I always liked Nick Lowe and his brand of power pop. I first heard of him with Cruel To Be Kind and then Rockpile who I wish would have made more albums as Rockpile. When I started to blog, Brinsley Schwarz came on my radar and I really then realized how talented this guy is.
This was Lowe’s first solo single following the split of the pub rock band, Brinsley Schwarz. It was also the first single released on Stiff Records, a label formed by the music managers, Dave Robinson and Andrew Jakeman. The single bore the catalog number BUY 1, establishing Stiff Records as a pioneering label in the UK punk and new wave scenes.
Although So It Goes failed to chart, it still earned a profit for the young Stiff Records. It was on the American album Pure Pop For Now People. The album in the UK was called Jesus of Cool. It peaked at #127 on the Billboard 100 in 1978.
Lowe got the title from a recurring line (So It Goes) in Kurt Vonnegut’s 1969 novel, The Slaughterhouse-Five. It is used every time a death occurs in the book. Steve Goulding (drums) and Nick Lowe were the only two musicians on this song. Lowe and Jake Riviera produced the album.
Nick Lowe: “It’s not my favorite, it’s a bit too much like Steely Dan. I think I must have got it from something they’d done.”
So It Goes
Remember on night the kid cut off his right arm
In a fit to save a bit of power
He got fifty thousand watts
In a big acoustic tower
Security’s so tight tonight
Oh they’re ready for a tussle
Gotta keep your backstage passes
‘Cause your promoter had the muscle
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
In the tall buildings
Sit the head of our nations
Worthy men from Spain and Siam
All day discussions with the Russians
But they still went ahead
And vetoed the plan
Now up jumped the U.S. representative
He’s the one with the tired eyes
747 for the midnight condition
Flyin’ back from a peace keepin’ mission
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
In the air there’s absolution
In the wake of a snaky Persian
On his arm there’s a skin tight vision
Wonder why she admires she is hissin’
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
But where it’s goin’ no one knows
But where it’s goin’ no one knows
But where it’s goin’ no one knows
CB sent this band to me and they are raw and powerful with a unique singer. I really love garage type bands. Bands like this were big in the sixties and turned toward punk in the 70s. They made a comeback in the 80s against the synth based mainstream at the time. The alternative rock scene was born which I liked more than the then top 40 with The Replacements, REM, The Dead Kennedys, and more.
The hardest part about this post was picking out which song to highlight. The album I’ve listened to is The Detroit Cobras: The Original Recordings which rocks. All of their covers are loud raw and catchy like garage rock is. I loved how they picked the songs they covered. Songs that went under the radar when they were originally released.
This song…not to be confused with Ain’t That A Shame was originally recorded by Question Mark and The Mysterians. The song was written by their drummer Robert Martinez and released in 1969.
The Detroit Cobras were known for their reinterpretations of classic R&B, rock, and soul songs. Guess where they are from? They emerged in the mid-1990s and added to the garage rock revival movement of that era. They came out of the same Detroit scene as the White Stripes did.
The band was formed in 1994 by guitarist Steve Shaw and drummer Jeff Meier but lead vocalist Rachel Nagy and guitarist Mary Ramirez would become the core of the band. The Cobras set themselves apart by reimagining lesser-known songs from the 1950s and 1960s rather than writing their own original material.
I first found out about The Jayhawks in 2000 or so with a song called I’m Gonna Make You Love Me and the song Blue.
The Jayhawks formed in Minneapolis–Saint Paul in 1985 and played alternative country rock. They have released 11 studio albums and are worth checking out. The band went on hiatus in the early 2000s but soon reformed and returned in 2003 with a highly regarded album Rainy Day Music and has stayed together ever since.
This song was written by Gary Louris. The song did reasonably well when released. I would hear it on our alternative channel in Nashville. They are one of those bands that never could get over the hump to a mass audience. I always think of them, Wilco, and Big Star coming from some of the same musical territory. The Jayhawks have had a few successful albums but never became household names.
The album peaked at #75 on the Billboard Album Charts and #51 in the UK in 2016. The single peaked at #26 on the Alternative Album Charts.
Since our Kinks Weeks are coming up I thought I would mention this. They have a Kinks tie… They backed Ray Davies on his albums Americana and Our Country – Americana Act II. T
Gary Louris: Quiet Corners & Empty Spaces” started with the idea that I wanted to write a big, soaring, old-school pop song. With lyrics, I either tend to do a stream-of-consciousness or a cut-and-paste kind of thing. This one was something out of a newspaper that I cut out. I just have piles of stuff.
For me, it’s a spark to kind of throw some things together, along with other methods, like mumbling. A lot of times, when I’m writing, I sing and play and whatever comes out comes out, and these words are inferred by sounds and half-words. Then I come around and get the meaning out of that, and it’s usually coming from some place inside that is kind of revelatory in a way. It’s almost like therapy.
So, from there, I wrote a song about running away from certain things. Again, in a Proust kind of way, finding a spot where you can be introspective, away from the noise, and get your head together.
Quiet Corners & Empty Spaces
Aside the wandering eye has opened A stare all the way bare and broken The start of a brand new adventure
Hey now Catch me quick before I walk away Tell me if there’s something I should say I’ll find the quiet corners and the empty spaces
Not far a blue guitar is playing It drew me like it knew And it’s saying
Hey now Catch me quick before I walk away Tell me if there’s something I should say I’ll find the quiet corners and the empty spaces
We drown in ups and downs Neglecting The beauty of my sun is setting
In the end there’s no way in redemption Hey now Catch me quick before I walk away Tell me if there’s something I should say I’ll find the quiet corners and the empty spaces Hey now Catch me quick before I walk away Tell me if there’s something I should say
This song was released in 1986…it sounds more like 1966. This intro reminds me of the intro to CCR’s Up Around The Bend with that searing guitar riff. I missed a lot of this music in the 1980s and I regret it but I’m making up for lost time now.
That Petrol Emotion was formed in Derry, Northern Ireland, after the disbandment of The Undertones. Damian and John O’Neill left the Undertones to form That Petrol Emotion. The band was formed in 1984 and consisted of Steve Mack (vocals), John O’Neill (guitar, vocals), Raymond O’Gorman (guitar), Damian O’Neill (bass), and Ciaran McLaughlin (drums).
It was featured on their debut album Manic Pop Thrill, which was released the same year. It’s a Good Thing received positive reviews from critics and helped establish the band’s reputation in the Indie college rock scene. The song was praised for its catchy hooks and jangly guitars.
The band continued to release albums throughout the late 1980s and early 1990s, including End of the Millennium Psychosis Blues (1988), Chemicrazy (1990), and Fireproof (1993). They called it quits in 1994.
The band has reunited several times for live performances, including a notable reunion in 2008 where they did a short tour and some festivals.
It’s A Good Thing
Senses fail And we know why Indifference slides From every corner But I just want To be with you The silent screams Above each other
It`s a good thing Such a good thing To do To do
While governments gain All money can buy Trash means cash In any country But I just want To be with you Our flesh feels fresh And that`s the beauty
I grew up listening to Zappa on the American Top 40 show with Casey Kasem. Uh…scratchthat. No, I only heard Zappa when I was over at a friend’s house with an older brother’s record collection. This was the first song I ever heard by him and it sticks with me after listening to it. The second song was Don’t Eat The Yellow Snow but I always favored this one.
This song reflects Zappa’s typical satirical style, poking fun at religion and society. I could only guess how many people were offended by this one. His songs still feel vibrant and new.
It was on the album Joe’s Garage which was released in two parts. “Act I” came out in September 1979, while “Acts II & III” followed in November 1979. The entire album was later released as a triple LP. He came up with the idea for Joe’s Garage as a satire on the music industry, government censorship, and society in general.
The album was about Joe, a young guitarist who started a garage band. The band gains popularity, but Joe soon faces disillusionment with the music industry. He gets involved with a groupie named Lucille, contracts a venereal disease, and ends up in trouble with the law.
I thought just maybe this would have been released as a single. Hell, he released the song Bobby Brown but not this one.
One thing the man didn’t get as much credit for as he deserved…his guitar playing was phenomenal.
Catholic Girls
Catholic Girls With a tiny little mustache Catholic Girls Do you know how they go? Catholic Girls In the Rectory Basement Father Riley’s a fairy But it don’t bother Mary
Catholic Girls At the CYO Catholic Girls Do you know how they go? Catholic Girls There can be no replacement How do they go, after the show?
All the way (That’s right, all the way!) That’s the way they go Every day (That’s right!) And none of their mamas ever seem to know Hip-Hip-Hooray For all the class they show There’s nothing like a Catholic Girl At the CYO When they learn to blow
They’re learning to blow All the Catholic Boys! Warren Cuccurullo Catholic Boys! Kinda young, kinda WOW! Catholic Boys! Vinnie Colaiuta . . .
Where are they now? Did they all take The Vow?
Catholic Girls! Carmenita Scarfone! Catholic Girls! Hey! She gave me VD! Catholic Girls! Toni Carbone!
With a tongue like a cow She could make you go WOW!
VD Vowdy vootie Right away That’s the way they go Every day Whenever their mamas take them to a show Matinee Pass the popcorn please There’s nothing like a Catholic Girl With her hand in the box When she’s on her knees
She was on her knees My little Catholic Girl Chorus: In a little white dress Catholic Girls They never confess Catholic Girls I got one for a cousin I love how they go So send me a dozen Catholic Girls OOOOOOH! (Well well now) Catholic Girls (Ma-ma-mum ma-ma-mum) Yai-ee-ahhh! Catholic Girls OOOOOOH! (Well well now) Catholic Girls (Ma-ma-mum ma-ma-ma-ma-mum) Yai-ee-ahhh!
Joe had a girl friend named Mary. They would meet each other at the Social Club. Hold hands And think Pure Thoughts But one night, at the Social Club meeting…
This New Zealand band came out in the 80s. I learned about this band through Graham on his Aphoristic Album Reviews site. I love the jangle and their power pop ways. It’s too bad they didn’t get heard more. They did tour the US a few times opening for Radiohead.
The Bats were formed in Christchurch, New Zealand. The original lineup included Robert Scott (vocals, guitar), Kaye Woodward (guitar, keyboards, vocals), Paul Kean (bass), and Malcolm Grant (drums).
This song was from their debut album Daddy’s Highway released in 1987. They would go on to release 10 albums and 8 EPs. This song was used as the theme song for a television show called The Hollowmen. It was also used in the movie: Topless Women Talk About Their Lives.
The band released Foothills, their tenth studio album in 2020. They are a band worth checking out. Daddy’s Highway was recorded at Mascot Studios in Christchurch, New Zealand. The recording sessions took place in late 1986 and early 1987.
They were on an interesting New Zealand indie label called Flying Nun.
North by North
Some people are happy most of the time
But they don’t know they’re in line
I don’t know what to do with you
I don’t know how to deal with you
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why
I find out what you’re meaning now
Your term is darkness anyhow
I can’t find out what it is with you
If there is one thing I can’t get through
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why
Absolve the waiting that you’ve done
Take away those moments of fun
There won’t be much left there for you
I’m taught we’ve a choice in what we do
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why (why, why)
Take a little Americana and mix it with a little jangle and you get this song. The Bodeans were a great band in the 80s and 90s but never got to the masses consistently. However, this song did reach a big audience.
In 1977 Sophomores Sam Llanas and Kurt Neumann meet in study hall at Waukesha South High School and bond over a shared love of music. The two later end up playing music together. In 1980 At Neumann’s urging, Llanas dropped out of college to pursue music full-time. The group pursues gigs at small bars, clubs, dances, and events. Llanas comes up with the name, Da BoDeans.
Llanas and Neumann added drummer Guy Hoffman (Oil Tasters, Confidentials, later the Violent Femmes) and bass player Bob Griffin (The Agents) to fill out their sound in 1983.
Upon its release, “Closer to Free” did not achieve huge chart success. However, its fortunes changed when it was selected as the theme song for the Fox television drama Party of Five, which premiered in 1994.
The song was on their 5th studio album called Go Slow Down. It was produced by the legendary T-Bone Burnett in 1993. The album peaked at #127 on the Billboard Album Chart.
The song peaked at #16 on the Billboard 100 and #1 in Canada in 1993.
Closer To Free
Everybody wants to live how they wanna live and
Everybody wants to love how they wanna love and
Everybody wants to be closer to free
Everybody wants respect, just a little bit
And everybody needs a chance once in a while
Everybody wants to be closer to free
Everybody one, everybody two, everybody free
Everybody needs to touch, you know now and then and
Everybody wants a good good friend
Everybody wants to be closer to free
I said everybody one, everybody two, everybody free
Everybody wants to live like they wanna live
And everybody wants to love like they wanna love
And everybody wants to be closer to free
After listening to the Flatlanders…I’ve listened to Joe Ely and Johnnie Dale Gilmore but never Butch Hancock. I was struck by his voice and was reminded a little of Dylan, Prine, Buddy Holly, and a little of Steve Earle at times.
In the early 1970s, Hancock co-founded The Flatlanders with fellow Lubbock musicians Joe Ely and Jimmie Dale Gilmore. The group initially struggled to find commercial success but later became famous within the Americana and alternative country scenes. Hancock has been a very good songwriter. Artists who covered him include Willie Nelson, Joe Ely, Jimmie Dale Gilmore, The Texas Tornados, Emmylou Harris, Jerry Jeff Walker, and more.
This song was on the album Eat Away The Night which was released in 1994. He has released 12 albums since 1978. This man is worth checking out. He will never make the top 40 but he has some quality songs that are worth hearing. This song has his voice and also a twangy guitar that sold it for me.
As I’ve been perusing his catalog…I’ve noticed a lot of storytelling, a sense of humor, good lyrics plus that voice. The album’s sound is powered by a classic rock ‘n’ roll combination of a Hammond B-3 organ, electric guitars, an acoustic, harmonica, and steel guitar at the edges for country and folk flavorings.
The title song closes the album, and I will include that above To Each His Own. Eats Away the Night sounds like something a musician would play at four in the morning after a six-hour gig. A quiet, restrained, and thoughtful tune to settle down with. A good way to end a night of music-making and an album. It’s almost a solo performance, with only a slide guitar accompanying Hancock’s voice and guitar.
Down in the pit of my stomach
I knew it couldn’t last…
It left me just as fast…
I tried to blame it on the moon above…
As I walked the beach alone
But all I heard were these few words…
To each his own
Down in the heart of the matter…
I first lost touch with you…
But for rosy and her constant chatter…
There was not much i could do
The world I tried to reach with her…
You can only reach alone
I even heard rose say to herself…
To each his own…
I’ve seen survival’s violent side…
I’ve seen some beast of prey…
Bring down some beasts of burden…
That just got in their way…
Some tore the hide…some chewed the
Flesh…right down to the bone
Some stopped there but some kept going…
To each his own…
I’ve run these things around my mind…
I’ve run ’em through my heart
In the mighty dream of life, i seem…
To play the strangest part
If I’m buried when I die…
Carve this on my stone…
Take a little here and leave a little there but
give…to each his own…
Well Dallas is a rich man with a death wish in his eyes
What a find this was for me. When CB recommended Joe Ely a while back, I found that he played in this band from 1972 until now. Their music is not the tears in my beer Nashville country music that you heard at the time and sometimes now. I would call it Americana…they have developed a big following following over the years. Comparing their music to country music at the time…this sounds like it came from a different planet.
They were formed in 1972 by three singer-songwriters: Jimmie Dale Gilmore, Joe Ely, and Butch Hancock. The band was born out of the music scene in Lubbock, Texas, where all three members grew up. They recorded their first album, All American Music in Nashville. Initially, the album was released only as an 8-track tape by Plantation Records, with the title “Jimmie Dale and the Flatlanders.” This limited release received little attention at the time, and the band members soon went their separate ways to pursue solo careers.
They then released an album in 1980 called One More Road. Their debut album was re-released in 1990 as More a Legend Than A Band after all of them had some success during their solo careers. They have released 9 albums including a live album in 2004 from 1972 to 2021. Their last album was released in 2021 called Treasure Of Love. They started to chart in the music charts in the 2000s.
Dallas was on their debut album All American Music released in 1972. This song was written by Jimmie Dale Gilmore. The track has a cool tool/instrument on it that always interested me…Steve Wesson is playing a saw on this. Take a listen to this and I included a much more recent live cut from Austin City Limits.
In 2016 The Flatlanders were voted into the Austin Music Awards Hall of Fame.
Jimmie Dale Gilmore: “The hook line of the song occurred to me while I was actually flying into Dallas, the line just presented itself to me. I had all those mixed feelings about the city and the song just came gradually. I’ve never felt that I’ve got it down right though. I’ve always been a perfectionist about that song. Joe also recorded it several times before he got the version that they put on the Musta Notta Gotta Lottaalbum. I’ve had a strange relationship with the song. I’ve had periods when I wish I’d never written it, then I’ve rediscovered it, looking at it through different eyes.”
Jimmie Dale Gilmore: “It so happened that in 1970 we all happened to be back in Lubbock, I had been in Austin working with a band called the Hub City Movers. Joe had been traveling in Europe and Butch had been in San Francisco. We just coincidentally moved back to Lubbock at the same time and started playing together. There was no design to put a band together as such but the chemistry was so great that it just took on a life of its own. We all had a common love of folk music, country and country blues-but then we also loved the Beatles. We had very eclectic taste. There was great radio in Lubbock at that time especially the border stations at night. We listened to it all.”
Joe Ely on the album: “It’s pretty crude but there’s a certain flavor about the record. It had an eerie, lonesome sound which reflected our roots in Lubbock and the wind, the dust and the environment.”
Music Critic Robert Christgau: In 1972, Joe Ely, Butch Hancock, and leader Jimmie Dale Gilmore–drumless psychedelic cowboys returned to Lubbock from Europe and San Francisco and Austin–recorded in Nashville for Shelby Singleton, and even an eccentric like the owner of the Sun catalogue and “Harper Valley P.T.A.” must have considered them weird. With a musical saw for theremin effects, their wide-open spaceyness was released eight-track only, and soon a subway troubadour and an architect and a disciple of Guru Mararaji had disappeared back into the diaspora. In cowpunk/neofolk/psychedelic-revival retrospect, they’re neotraditionalists who find small comfort in the past, responding guilelessly and unnostalgically to the facts of displacement in a global village that includes among its precincts the high Texas plains. They’re at home. And they’re lost anyway. A-
Dallas
Did you ever see Dallas from a DC-9 at night?
Well Dallas is a jewel, oh yeah, Dallas is a beautiful sight
And Dallas is a jungle but Dallas gives a beautiful light
Did you ever see Dallas from a DC-9 at night?
Well, Dallas is a woman who will walk on you when you’re down
But when you are up, she’s the kind you want to take around
But Dallas ain’t a woman to help you get your feet on the ground
And Dallas is a woman who will walk on you when you’re down
Well, I came into Dallas with the bright lights on my mind,
But I came into Dallas with a dollar and a dime
Well Dallas is a rich man with a death wish in his eyes
A steel and concrete soul with a warm hearted love disguise
A rich man who tends to believe in his own lies
Yeah Dallas is a rich man with a death wish in his eyes
Well, I came into Dallas with the bright lights on my mind,
But I came into Dallas with a dollar and a dime
Did you ever see Dallas from a DC-9 at night?
Well Dallas is a jewel, oh yeah, Dallas is a beautiful sight
And Dallas is a jungle but Dallas gives a beautiful light
Did you ever see Dallas from a DC-9 at night?
I found this band in 2019 when I was covering alternative bands from the 80s. So many great bands from that era that never made it to the mainstream. It is a shame that these bands didn’t have a larger audience. They had many songs that were better than what the mainstream was providing. Some of the alternative bands of 2024 sound like their 1980s predecessors.
These bands didn’t get the 1980s production memos. They sounded different from their mainstream counterparts and added a sixties jangle with a much smaller production. It’s not as easy to date them…the music was a little more timeless.
This band came from Marietta, Georgia, a suburb of Atlanta, but they were often billed as being from Athens, Georgia, and were lumped in with the other Athens acts like REM. They were a college Alternative Band.
I blogged about this band years back. Watusi Rodeo and Trail Of Tears off their debut album Walking In The Shadow of the Big Man. I would recommend that album to anyone for catchy songs and good lyrics. It is one of the best debut albums I’ve listened to.
Still in high school, singer/guitarists Murray Attaway and Jeff Walls became musical partners when they joined the punk band Strictly American. Electing to strike out on their own, they formed the Emergency Broadcast System (I love that name!). Walls was teaching Rhett Crowe bass at the time and she was asked to join the band. Crowe accepted the offer and quickly suggested a name change to Guadalcanal Diary (based on the 1940s movie).
The band formed in 1981 and disbanded in 1989. They reformed in 1997 but never recorded any new material. After going on hiatus in 2000, Guadalcanal Diary temporarily reunited for a second time in 2011 for Athfest, where they celebrated their 30th anniversary.
They released this song in 1989. It was on the album Flip Flop. The song was written by Murray Attaway & Jeff Walls. The song charted at #7 on the Billboard Alternative Chart in 1989. It stayed around for 10 weeks on the chart. It was their most successful and remembered song.
Though Guadalcanal Diary never achieved the same level of commercial success as some of their peers, they left a lasting impact on the alternative rock scene of the 1980s.
The Chicago Tribune on the album Flip Flop – Terrific mainstream rock, a shade quirkier than John Mellencamp or Tom Petty but no less deserving of Top 40 status.
The Los Angeles Times: “One of the most underrated, overlooked and inaccurately compared to R.E.M. bands around doesn’t offer much to change that on its fourth album.”
The Northwest Florida Daily News: Artsy rock ‘n’ roll that doesn’t stray too far from homespun melodies and twangy guitars.
Always Saturday
Waterfall pavement shimmering
Sunshine washes everything
A basket of light, I am trusting
To water the lawn is a wondrous thing
If I could have it this way I know I’d
I’d wanna live where it’s like today
I’d wanna live where it’s always this way
I wanna live where it’s always Saturday
A chorus of laughter fills the air
Everyone’s going everywhere
So many choices it’s not fair
I hop in the car and I just sit there
I don’t need, need to think about how much I
I wanna live where it’s all the same
I wanna live where it’s all just like today
I wanna live where it’s always Saturday In the shops are shining things
I can I can see them glittering
I wish that I could buy them all
I wish I lived in a shopping mall
Shady back yard afternoon
Summer clothes and tennis shoes
When the light begins to fade
A porch swing creaks with lemonade
A shower of whispers glow and bloom
Late night movie fills the room
Streetlights twinkling like dew
I close my eyes, it ends too soon
All in dreams, I can dream now oh how I
I wanna live where it’s like today
I wanna live where it’s always this way
I wanna live where it’s always Saturday
The Replacements are up there to me with the Beatles, Who, Kinks, Badfinger, Big Star, and The Stones. I wrote this for Dave’s site last year when he wrote a post about Hüsker Dü for my site. It’s catchy, great lyrics, and one of my favorite songs of the 1980s.
The Replacement’s tribute song about Big Star and Box Tops lead singer, Alex Chilton. The song was off the album Please To Meet Me.
It was 1985 and the Replacements had a gig at CBGB’s. This was not an ordinary gig though. Their reputation as a great live band had grown and in the audience were a lot of record company representatives. They knew this and refused to play the game. They spotted Gene Simmons coming in the door and The Mats played a terrible version of the KISS song Black Diamond…Simmons got out very quickly. The band followed up with an X-rated version of the “Ballad of Jed Clampett,” then whistled their way through the theme from The Andy Griffith Show before finally leaving the stage.
The Replacements and Alex Chilton shared a booking agent named Frank Riley. He watched the Replacements at CBGBs doing an absolutely self-sabotaging drunk set. Chilton had a grin plastered on his face. After the show, both Jesperson (manager) and Chilton were waiting to get paid by CBGB owner Hilly Kristal. Jesperson offered to buy breakfast the next morning. Chilton accepted.
The next morning Jesperson stopped by Westerberg’s room to remind him of the day’s interview schedule. Still sleepy and hungover, Westerberg asked where Peter was going. When he found out, Paul shot out of bed, threw on his clothes, and tagged along.
Paul did not impress easily, but he was very impressed with Alex Chilton. They took a taxi to the Gem Spa newsstand on Second Avenue and St. Mark’s Place. “He was standing by a trash can with a bag full of matches,” said Westerberg. “He was playing a game . . . pretending, ‘I’m Alex the Weirdo.’ I sucked up to it, and played the role.”
While eating breakfast…Chilton leaned over to Jesperson. “Man, I gotta tell you I thought they were great last night,” he said. “I’d love to work in the studio with them someday.” He did get to work with the band later on and played on “Can’t Hardly Wait.” The band avoided the awkwardness of playing “Alex Chilton” whenever Chilton was around.
This was around 1985 and Seymour Stein signed them up to Sire Records. They released their 4th album, Tim. For the first time, they were on a major label. Chilton was going to produce Tim but the negotiations fell through. He did help out on their next album recorded in his hometown.
The Replacements recorded their fifth album Pleased To Meet Me in Memphis at Ardent Studios in 1986, the same studio as Big Star. The man behind the board was Jim Dickinson, who produced the storied third Big Star album. It was probably their most radio-accessible album.
The record company loved the song but wanted the band to change the title and theme to a more famous person. The song was credited to Paul Westerberg, drummer Chris Mars, and bass player Tommy Stinson.
Per Wiki: Kory Grow of Rolling Stone called the song one of the two “all-time classics” from Pleased to Meet Me, the other being “Can’t Hardly Wait.” Kristine McKenna of Los Angeles Times was similarly glowing in her praise of the song, writing, “It’s hard to think of a more deserving pop hero [than Chilton], and if Pleased achieved nothing more than to revive interest in the criminally underrated Chilton it would justify its existence.”
Paul Westerberg:“It’s one of those where melody and chord changes were there and the lyrics changed over the course of six months or so. By the time we were down in Memphis we had already met Alex and I steered it toward him. Of course it was as the legend goes ‘George from Outer Space’ was the first working title, but that just didn’t grab it quite as well. I just thought it would be fun to write a song about a living person and we’ve been through this, Al and I, and I sort of regret the albatross that it’s came with… I was certainly trying to like, I guess, hip the outside world on who this guy might be publicly, but he didn’t need that. It would kind of hurt if he was always known as Alex Chilton of that song.”
Alex Chilton
If he was from Venus, would he feed us with a spoon? If he was from Mars, wouldn’t that be cool? Standing right on campus, would he stamp us in a file? Hangin’ down in Memphis all the while.
Children by the million sing for Alex Chilton when he comes ’round They sing I’m in love. What’s that song? I’m in love with that song.
Cerebral rape and pillage in a village of his choice. Invisible man who can sing in a visible voice. Feeling like a hundred bucks, exchanging good lucks face to face. Checkin’ his stash by the trash at St. Mark’s place.
Children by the million sing for Alex Chilton when he comes ’round They sing “I’m in love. What’s that song? I’m in love with that song.”
I never travel far, without a little Big Star
Runnin’ ’round the house, Mickey Mouse and the Tarot cards. Falling asleep with a flop pop video on. If he was from Venus, would he meet us on the moon? If he died in Memphis, then that’d be cool, babe.
Children by the million sing for Alex Chilton when he comes ’round They sing “I’m in love. What’s that song? I’m in love with that song.
I’m in love. What’s that song? I’m in love with that song.
If three and four was seven only
where would that leave one and two?
If love can be and still be lonely
where does that leave me and you?
When CB sent me this link… it was like listening to something I’ve heard all of my life but I haven’t… a very cool and inviting song and voice. The song Buckskin Stallion Blues was written by Townes Van Zandt.
Jimmie Dale Gilmore grew up in Lubbock, Texas, and moved to Austin in the 1960s. In the 1970s he joined forces with fellow musicians Joe Ely and Butch Hancock to form the influential country-folk band called The Flatlanders. The band was ahead of its time, blending traditional country music with rock and roll elements. They have been playing off and on since 1972…they have had 10 albums and the last one was released in 2021.
He released his solo debut album Fair & Square in 1988. His music has introspective lyrics, and a blend of country, folk, and rock influences. What I’ve heard is authenticity and depth. He has released 9 solo albums with his last one in 2018. But…there is more. He also acted in some movies…he was Smokey in The Big Lebowski and was Reverend Saunders in Parkland. He also has songs on soundtracks.
Mudhoney is a band out of Seattle in the early 90s. I have a friend who really likes them and I have heard some songs by them I really liked. They are often credited as pioneers of the grunge genre and were a prominent part of the Seattle music scene that eventually gave rise to bands like Nirvana, Pearl Jam, and Soundgarden.
This collaboration was unlikely on paper but it worked! The joint EP Buckskin Stallion Blues was released in 1994. Allmusic labeled the style as Alternative Pop/Rock, Alternative/Indie Rock, Garage Punk, Grunge, Country-Folk, and Progressive Country. After listening to it I thought that was a fair assessment. The EP has 5 tracks…2 by Mudhoney alone and the other 3 by Gilmore and Mudhoney.
Buckskin Stallion Blues
heard her sing in tongues of silver
I heard her cry on a summer storm
I loved her, but she did not know it
So I don’t think about her anymore
Now she’s gone, and I can’t believe it
So I don’t think about her anymore
If three and four was seven only
Where would that leave one and two?
If love can be and still be lonely
Where does that leave me and you?
Time there was, and time there will be
Where does that leave me and you?
If I had a buckskin stallion
I’d tame him down and ride away.
If I had a flyin’ schooner
I’d sail into the light of day
If I had your love forever
Sail into the light of day
Pretty songs and pretty places
Places that I’ve never seen
Pretty songs and pretty faces
Tell me what their laughter means
Some look like they’ll cry forever
Tell me what their laughter means.
If I had a buckskin stallion
I’d tame him down and ride away.
If I had a golden galleon
I’d sail into the light of day
If I had your love forever
Sail into the light of day
I hope you are all doing well on this Saturday! This will fill your rockabilly quota of the day.
Here is some 1980’s roots rockabilly. What caught my attention is the relentless guitar on this track plus the groove. The guitar player is Dave Gonzalez and the tone reminds me of Stevie Ray Vaughn. This song was written by blues guitarist and songwriter Otis Rush.
The Paladins are from San Diego and were into rockabilly. They billed their music as Western Bop. They played a combination of rockabilly and vintage country together with a blues groove. They were founded in 1980 by guitarist Dave Gonzalez and bass player Thomas Yearsley.
Dave Gonzalez’s initial influences came from his mother, who listened to Carl Perkins, Elvis Presley, Roy Orbison, and the Rolling Stones. He mixed this with his father’s love of country singers Buck Owens and Merle Haggard who also made a strong impression on him. As he got older he got into blues artists like B.B. King, Muddy Waters, and Johnny Winter.
Put that all together and you come up with a varied roots style.
They did some tours with Stevie Ray Vaughan, Los Lobos, The Blasters, and the Fabulous Thunderbirds. This song was on the Let’s Buzz! album released in 1990. They were nominated for the 1990 Entertainer Music Awards but lost out to the Beat Farmers…but they won two years later.
Dave Gonzalez and bass player Thomas Yearsley along with drummer Brian Fahey are still a top attraction at clubs at the present time. They have recorded five singles, nine full-length studio records, and three live albums.
Keep On Lovin Me Baby
I want you to love me (repeat) woh yeah. Oh baby i’m so glad youre mine… I want you to kiss me… Woh baby i’m so glad you’re mine…
Early every morning, sometimes late at night i can Feel your tender lips they make me feel alright.
Keep on loving me baby… Woh baby i’m so glad you’re mine…
I would do it all over again Just to see your hair dancing in the sea of Eastern wind
Around two years ago, fellow blogger Obbverse brought up this song and artist and I’ve listened to him ever since. It’s so refreshing to hear this newer Americana. I really like this artist. His voice is gritty and on point. Check his album out also if you have the time.
Originally from Missouri, Nash moved to New York City in 2006. He performed in clubs on the Lower East Side such as The Living Room and Rockwood Music Hall. In 2009, he independently released his debut solo album, New York Town, which was recorded at The Magic Shop in New York’s Soho neighborhood. He usually goes by just Israel Nash now.
You can hear his influences of the ’60s and ’70s with artists like Creedence Clearwater Revival, the Band, and Crosby, Stills & Nash. He is a hard-working artist. Since 2009 he has 7 studio albums, 2 live, and 5 EPs. His last one called Ozarker was released in 2023. He has maintained a dedicated following and continues to tour and record music.
On getting more popular in Europe. “I remember a night after a show in Amsterdam, my wife was sitting on the bed in a hotel room counting the money we made that night and it came out to $1,700. She says, ‘Maybe you can make a living at this!’ That was an awesome moment. Since then, it was a growing thing in Europe. Playing there gave me a lot of confidence because we played a ton of shows.”
Israel Nash: “I grew up in little churches that were in the middle of nowhere in Missouri, so having the woods and being outside has been part of me since I was a kid,” I also saw community––just this sense of people needing something, somebody, to look forward to. That was church for them, and that’s okay. I don’t really feel like there is just one right thing to look forward to. As a musician, I think that’s what I’ve found, too––something for people to look forward to, a reason to come together. No matter what changes in my career, that is my anchor: the need people have.”
*I transcribed the lyrics so there are probably mistakes…but I can safely say…they are the only printed lyrics to this song on the internet as far as I could find. *
Pray For Rain
The city’s lit up like the Fourth of July
The children playing in the street
I’m laying in the bed next to you
Just trying to get some sleep
Dont you know I will need the rest
Need a pocket full of cash
I’m tired of working my hands to the bone
And I can barely pay the rent
Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain
Until you miss the mid-western sun
It’s half as big but it’s twice as warm
My heart is not a thousand miles away
But I can’t look you in the face
And tell you I don’t miss those days
Cause no one knows what tomorrow brings
The bed of roses or some shattered dream
I would do it all over again
Just to see your hair dancing in the sea of Eastern wind
Cause it’s a hard road ahead
And it’s the price we pay
So pray for me
And won’t you pray for rain
Seeing if your dreams come true
Clouds may follow us
Some might say this bird has flown
But I don’t think it has
Lord I know it can
Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain
Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain
Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain
I blog because I like to talk to everyone about the artists I and they featured that day. Sometimes, the conversations go elsewhere and not long ago I happened to catch a conversation between CB and Phil from the Cactus Patch. They mentioned Circus Maximus which featured Jerry Jeff Walker. I pay attention to all the conversations, even if they don’t involve me, and pick up some good songs that way.
I started to listen to their music. I liked their debut album which has intricate musical arrangements that border a free-form type of music. It flows like jazz and dips into psychedelic. It also has a little of The Guess Who in it. It’s a piece of music from the psychedelic rock era that fits into the landscape of the 1960s. Their members included Jerry Jeff Walker, Bob Bruno, David Scherstrom, Gary White, and Peter Troutner.
Jerry Jeff Walker was probably the most famous to come out of the band. In the early 1970s, Walker relocated to Austin, Texas, where he became part of the burgeoning outlaw country music scene. He helped define that genre. He was part of the Texas songwriters such as Willie Nelson, Guy Clark, and Townes Van Zandt. You know his most famous song very well, Mr Bojangles. That song was made popular by the Nitty Gritty Dirt Band.
While Circus Maximus did not achieve mainstream commercial success, they gained a cult following within the psychedelic rock scene of the late 1960s. The song is called Wind, which was on their debut album released in 1967. The album was played on the progressive FM radio stations.
Wind
You say that once knew for sure
But now you’re walkin’ into shore to wonder*
The more you learn the less you know
The more you move the more you go to nowhere*
You ask a bird as she flies by
Just where she’s at she says, where the wind blows*
Ask her by that what she means
She says she doesn’t know
But as she flew away she seemed to say
Chorus:
The wind is love is the wind
Wind is my love
Who knows the wind
Who knows my love
Where blows the wind
The wind is my love
You say you staggered to your room
Sleep by day and plot by noon
Your conscious plight
Pack your dreams, you move away
Decide to eat and live by day
And leave the night
City sun blinks in your eyes
You shade your face and realize
a lonely crowd
Then at once you feel the smile
And then the ice warm air moves by
She says the breeze provokes her sigh
Chorus
You say you found another spring
Another joy or human thing
Called lovers
You play your role as a comedy
Refreshing well the tradgedy
Your living
Lovers shore, or so you say
Like the wind love blew away
But as she left she seemed to say