Gordon Lightfoot – The Wreck Of The Edmund Fitzgerald

A song that was unfortunately a true story. It was written and performed by Gordon Lightfoot. The Edmund Fitzgerald was an American Great Lakes freighter that sank in a Lake Superior storm on November 10, 1975.

This is a factual retelling of a shipwreck on Lake Superior in November 1975 that claimed the lives of 29 crew members. On November 10, 1975, the S.S. Edmund Fitzgerald broke in half and sunk in Lake Superior. The storm she was caught in reported winds from 35 to 52 knots, and waves anywhere from 10 to 35 feet high.

She was loaded with 26,116 tons of taconite pellets at the Burlington Northern Railroad, Dock #1. Her destination was Zug Island on the Detroit River. There were 29 crew members who perished in the sinking.

The song released in 1976 peaked at #2 in the Billboard 100.

Gordon Lightfoot: “The Edmund Fitzgerald really seemed to go unnoticed at that time, anything I’d seen in the newspapers or magazines were very short, brief articles, and I felt I would like to expand upon the story of the sinking of the ship itself,”  “And it was quite an undertaking to do that, I went and bought all of the old newspapers, got everything in chronological order, and went ahead and did it because I already had a melody in my mind and it was from an old Irish dirge that I heard when I was about three and a half years old.”

“I think it was one of the first pieces of music that registered to me as being a piece of music,” he continued. “That’s where the melody comes from, from an old Irish folk song.”


For those interested…I have a bio of the event at the bottom.

From Songfacts

In the US, this was held out of the #1 spot by Rod Stewart’s “Tonight’s The Night.”

This was nominated for the Song of the Year Grammy, but it was beaten by Barry Manilow’s “I Write The Songs.” >>

Paul Gross hoped to use this tune for his episode of the TV show Due South, “Mountie on the Bounty.” He discreetly tried to secure the right to use the song, but out of respect for the families who wished not to be reminded of the tragedy, he didn’t pursue the option aggressively. He instead wrote the similarly themed song “32 down On The Robert MacKenzie.” 

Ohio-based Great Lakes Brewery produces a beer called Edmund Fitzgerald Porter. 

In 1970, baseball commissioner Bud Selig’s co-founding partner in the Brewers was fellow Milwaukee businessman Edmund B. Fitzgerald, a patron of Milwaukee arts and civic projects, and the son of a family that owned Great Lakes shipyards. In 1958, the freighter SS Edmund Fitzgerald was named for Edmund B.’s father. Fitzgerald later became a professor at Vanderbilt University.

An initial investigation suggested that the crew was partly to blame for the disaster by not securing the ship’s hatches. Lightfoot’s song reflected the original findings in the verse, “…at 7 p.m. a main hatchway gave in.” However, in 2010 a Canadian documentary claimed to have proven the crew of the ship was not responsible for the tragedy. It concluded that there is little evidence that failure to secure the ship’s hatches caused the sinking.

Lightfoot said he intended to change it to reflect the new findings. “I’m sincerely grateful to yap films and their program The Dive Detectives for putting together compelling evidence that the tragedy was not a result of crew error,” he said in a release. “This finally vindicates, and honors, not only all of the crew who lost their lives, but also the family members who survived them.”

Lightfoot wrote the lyrics after coming up with the melody and chords. He recalled: “When the story came on television, that the Edmund had foundered in Lake Superior three hours earlier, it was right on the CBC here in Canada, I came into the kitchen for a cup of coffee and saw the news and I said ‘That’s my story to go with the melody and the chords.'”

In a 2015 interview with NPR’s Scott Simon, Gordon Lightfoot explained that the article he read in Newsweek about the tragedy was, “Short shrift for such a monumental event.” Lightfoot says the song came about when he discovered the newspaper writers kept misspelling the name of the ship, rendering it as “Edmond Fitzgerald” rather than “Edmund Fitzgerald.” Though he didn’t say whether or not the misspelling was deliberate, he was quoted as telling Scott, “That’s it! If they’re gonna spell the name wrong, I’ve got to get to the bottom of this!” 

This is referenced in the Seinfeld episode “Andrea Doria,” when Elaine mistakenly believes Gordon Lightfoot was the name of the ship and Edmund Fitzgerald was the name of the singer. Jerry quips: “Yeah, and it was rammed by the Cat Stevens.”


Wreck Of The Edmund Fitzgerald

The legend lives on from the Chippewa on down
Of the big lake they called ‘gitche gumee’
The lake, it is said, never gives up her dead
When the skies of November turn gloomy
With a load of iron ore twenty-six thousand tons more
Than the Edmund Fitzgerald weighed empty
That good ship and crew was a bone to be chewed
When the gales of November came early

The ship was the pride of the American side
Coming back from some mill in Wisconsin
As the big freighters go, it was bigger than most
With a crew and good captain well seasoned
Concluding some terms with a couple of steel firms
When they left fully loaded for Cleveland
And later that night when the ship’s bell rang
Could it be the north wind they’d been feelin’?

The wind in the wires made a tattle-tale sound
And a wave broke over the railing
And every man knew, as the captain did too,
T’was the witch of November come stealin’
The dawn came late and the breakfast had to wait
When the gales of November came slashin’
When afternoon came it was freezin’ rain
In the face of a hurricane west wind

When suppertime came, the old cook came on deck sayin’
Fellas, it’s too rough to feed ya
At seven pm a main hatchway caved in, he said
Fellas, it’s been good t’know ya
The captain wired in he had water comin’ in
And the good ship and crew was in peril
And later that night when his lights went outta sight
Came the wreck of the Edmund Fitzgerald

Does any one know where the love of God goes
When the waves turn the minutes to hours?
The searches all say they’d have made Whitefish Bay
If they’d put fifteen more miles behind her
They might have split up or they might have capsized
They may have broke deep and took water
And all that remains is the faces and the names
Of the wives and the sons and the daughters

Lake Huron rolls, superior sings
In the rooms of her ice-water mansion
Old Michigan steams like a young man’s dreams
The islands and bays are for sportsmen
And farther below Lake Ontario
Takes in what Lake Erie can send her
And the iron boats go as the mariners all know
With the gales of November remembered

In a musty old hall in Detroit they prayed,
In the maritime sailors’ cathedral
The church bell chimed till it rang twenty-nine times
For each man on the Edmund Fitzgerald
The legend lives on from the Chippewa on down
Of the big lake they call ‘gitche gumee’
Superior, they said, never gives up her dead
When the gales of November come early

Vinyl or Digital?

I’m not writing this to put down CD’s/Mp3’s or Vinyl…just wanted to know your opinion. There is room for both in today’s world. When we are on the go so much…the answer is easy…digital. When I take a walk every day I have my iPhone with my music and audiobooks. When I’m at home…I’m starting to more and more listen to vinyl.

I had a huge collection of albums and singles when I was younger. Unfortunately, many were lost during my early twenties moves from apartment to apartment. In the late nineties, I started to work in the IT field, so I drifted to CD/ digital for convenience if anything.

Slowly in the 2000s, I started to pull out the albums I still had and bought a turntable. Yes, I heard some scratches but some were immaculate. I noticed a difference right away and I then realized what warmth I had been missing with CD’s/mp3’s. I’ve heard some people say Digital serves the music. Vinyl serves the romantics…I don’t really agree with that. Yes, digital is clear…so clear you can hear things that weren’t meant to be heard…some sounds (tambourine, handclaps etc…) were meant to be lower in the mix to be felt more than heard.

One song that I noticed a lot of difference was “I Want To Hold Your Hand” by the Beatles. The vinyl single when played, jumps out at you. When I heard it on CD it was flat and sterile. It’s hard to describe it in words but there was a sharpness and a rawness that was missing on the CD.

Earlier CD’s were heavily compressed…they have come a long way but it’s still a difference. The below video is quite long but he does mention that the record companies are making CDs more about high-end quality now than “loudness.”

I know MP3’s are not the ideal format for quality. Flac is one of the best formats I have found.

I am not an Audiophile nor do I play one on TV…I can listen to either format but I do know what vinyl lovers are talking about…what about you?


Who was the Last Rock Star…Post Cobain?

This is more of a question than a post…just curious what you think.

I was commenting on A Sound Day and I asked Dave a question on a post about Michael Hutchinson of INXS. Who was the last Rock Star? Since Kurt Cobain died has there really been a rock star like we knew in the 60s and 70s to come along? Not counting older ones still around.

When I say rock star…I mean one comparable to the legends that we know… Between 1955 and 1994 there were plenty to pick from…Elvis, John Lennon, Bob Dylan, Mick Jagger, Keith Richards, Roger Daltrey, Keith Moon, Robert Plant, Jimmy Page, Elton John, Sly Stone, Roger Waters, Prince, and the list could go on…These artists spoke to generations.

So no… Nickleback’s lead singer would not count.

The only two names I could think of was Dave Grohl and  Jack White of the White Stripes. Someone who is known outside the world of Rock and Roll. I’m not sure Grohl and White would count either.

Johnny Depp has the image but is an actor mostly.

Anyone else?



Classic TV Episodes – SNL – Steve Martin/Blues Brothers

This Emmy-nominated episode has acquired a reputation as the best of all Martin’s hosting gigs. Its not my favorite episode…I do like it though… but it’s probably one of the most important in the show’s history.  It was a turning point for SNL. It went from a cult hit to a major player in the ratings during this period. Many people have picked it as the best episode.

Saturday Night Live has always been hit or miss in any era. The difference in the 70s is they would take more chances and Lorne made sure everyone had a chance in the cast.

The show introduced a lot of comedians and some unknown musical artists like Redbone and others that would not have gotten coverage on a network show.

Related image



Saturday Night Live: Steve Martin/Blues Brothers

The Cast: Steve Martin, Dan Aykroyd, John Belushi, Jane Curtin, Garrett Morris, Bill Murray, Laraine Newman, Gilda Radner, The Blues Brothers, and Don Pardo

The host for the episode is Steve Martin (his fifth appearance), and the musical guest is The Blues Brothers (their second appearance). The skits for this episode are as follows: Concert promoter Don Kirschner presents footage of an old club performance by The Blues Brothers. For his opening monologue, Steve Martin talks about the inspiration for his comedy ideas, then does a magic act that ends with him tackling and beating a member of the audience.

The Festrunk brothers prepare their apartment for the two girls they believe are on the way, but their neighbor Cliff tells them they’ve been stood up. Medieval doctor Theodoric of York treats a series of patients by draining their blood. A man and woman catch each other’s notice in a crowded club, and dance together romantically as the rest of the club freezes in place around them. During the Weekend Update, Jane Curtain and Dan Aykroyd debate abortion, Jane reports on Carter’s energy policy and a new nasal contraceptive, and Dan berates Garrett Morris for short-changing him on the weed he bought. Steve performs a song about King Tut. The Nerds Todd and Lisa prepare their science fair projects. The Blues Brothers perform “I Don’t Know”.


Classic TV Episodes: All In The Family – Edith’s Problem

This particular episode was about women going through menopause which today would not receive a second notice…but then, comedy shows just didn’t feature subjects like this. All In The Family had so many great episodes that it is hard picking out one. In this one, the tables are turned and Edith rounds on Archie with a vengeance because of her mood swings caused by menopause.

All in the Family changed the game in sitcoms and television. In the early seventies, many country type sitcoms were canceled when this show debuted in 1971. As Pat Butram of Green Acres said: “CBS canceled everything with a tree including Lassie.

The show tackled controversial subjects such as racism, rape, gun control, feminism, and homophobia. It was under fire from the first episode for its controversial subject matter. Critics and viewers were divided on what they were seeing…some saw it as comic genius and some as tasteless bigotry. The backlash did not come only from the public and the reviewers. Several actors including Harrison Ford turned down roles in the show because they were offended by the script’s humor.

Lucille Ball lambasted CBS for running such an “Un-American” show on the same network her own series was airing on. I seriously doubt if the show could be made today on network television. The show was a huge success in the seventies.

Mike Stivic: [Edith is going through menopause] What did the doctor say?
Archie Bunker: He just said that menopause is a pretty tough time to be going through; especially for nervous types.
Mike Stivic: So?
Archie Bunker: So he prescribed these here pills.
[takes bottle of pills out of paper bag]
Mike Stivic: Oh, good.
Archie Bunker: I gotta take three of ’em a day.


“If you’re gonna change, Edith, change! Right now! CHANGE!”


All In The Family: Edith’s Problem

Characters: Edith Bunker, Archie Bunker, Mike Stivic, Gloria Stivic, and The Waitress

The Bunker family is thrown into an uproar when the normally docile Edith undergoes several sudden and unexpected mood swings, yelling at her family and displaying a foul temper that makes Archie look like a pussycat! Though the men in the family don’t quite know what is happening, Gloria does: Edith is going through menopause. Perhaps the best and funniest line of the episode is when an upset Archie, who’s frustrated at his wife’s sudden and constantly unpredictable mood changes, yells at Edith: “If you’re gonna change, Edith, change! Right now! CHANGE!”

The short scene starts at 15 seconds.

The complete episode

Boy, the way Glen Miller played…”

Those Were The Days

Boy, the way Glen Miller played.
Songs that made the Hit Parade.
Guys like us, we had it made.
Those were the days
Didn’t need no welfare state.
Everybody pulled his weight
Gee, our old LaSalle ran great.
Those were the days
And you knew where you were then
Girls were girls and men were men.
Mister, we could use a man like Herbert Hoover again.
People seemed to be content.
Fifty dollars paid the rent.
Freaks were in a circus tent.
Those were the days
Take a little Sunday spin,
Go to watch the Dodgers win.
Have yourself a dandy day
That cost you under a fin.
Hair was short and skirts were long.
Kate Smith really sold a song.
I don’t know just what went wrong
Those Were the Days


Songs That Were Banned: Everly Brothers – Wake Up Little Suzie

The lines “We both fell sound asleep / Wake up, little Suzie, and weep / The movie’s over, it’s four o’clock / And we’re in trouble deep” were suggestive enough to cause the song to be banned by several radio stations. Although it’s pretty clear the Suzie and her date were at the movies but that didn’t matter.

As with the case of other songs being banned…it only made it more appealing to teenagers at the time. The song peaked at #1 in Billboard and #2 in the UK in 1957.

This was written by the husband and wife team of Felice and Boudleaux Bryant, who wrote most of The Everly Brothers songs in the ’50s. Their songs were also recorded by Bob Dylan, Elvis, and Buddy Holly.

From Songfacts

This is about a young couple who fall asleep at the drive-in, realize they are out past curfew, and make up a story to tell Susie’s parents.

Some Boston radio stations banned this because of the lyrics, which imply that the young couple spent the night together. At the time, staying out late with a girl was a little controversial.

For The Everly Brothers, this was the first of four US #1 hits. It also went to #1 on the Country & Western charts.

At an appearance on The Oprah Winfrey Show while campaigning for President in year 2000, George W. Bush was asked by Oprah what his favorite song was. He said: “Wake Up Little Susie – by Buddy Holly.”

Simon & Garfunkel played this at their 1981 concert in Central Park. The live recording was released as a single the next year and hit #27 in the US.

Chet Atkins played guitar on this. Atkins, who died of cancer in 2001, was a Nashville musician who created a distinctive sound using a three-fingered picking technique.

This was a labor of love for the songwriting duo. “We persevered with ‘Wake Up Little Susie’ for many hours,” Boudleaux recalled to Country Music People. “I started writing one night, kept trying to get my ideas down, but it just wouldn’t happen. Finally I woke Felice, who took one listen to what I had so far achieved and came up with the final touches that I couldn’t get. The Everlys liked the song, but like me had problems with getting it right in the studio. They worked a whole three-hour session on that one song and had to give up, they just couldn’t get it right. We all trooped back to the studio the next day and got it down first take. That’s the way it happens sometimes.”

Wake Up Little Susie

Wake up, little Susie, wake up
Wake up, little Susie, wake up
we’ve both been sound asleep, wake up, little Susie, and weep
The movie’s over, it’s four o’clock, and we’re in trouble deep
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say ?ooh-la-la?
Wake up little Susie
Wake up little Susie, well

I told your mama that you’d be in by ten
Well Susie baby looks like we goofed again
Wake up little Susie
Wake up little Susie, we gotta go home

Wake up, little Susie, wake up
Wake up, little Susie, wake up
The movie wasn’t so hot, it didn’t have much of a plot
We fell asleep, our goose is cooked, our reputation is shot
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say “ooh-la-la”
Wake up little Susie
Wake up little Susie
Wake up little Susie


Songs That Were Banned: The Who – My Generation

This week I’ll feature songs that have been banned from the radio for one reason or another for a time. I will just feature pre-9-11 songs because after 2001 practically every song was banned for a little while.

My Generation featured the chorus “Hope I Die Before I Get Old” but that was ok…It was the vocals that resembled stuttering; afraid to offend people with actual stuttering problems, the BBC prohibited the song from receiving airplay. Later, when the song proved to be a huge hit, they allowed it.

The best part of this song for me was John Entwistle’s bass solo. You just didn’t hear many bass solos at that time. John Entwistle “I bought this Danelectro bass and it had these tiny, thin wire-wound strings on. They were so thin, they sounded just like a piano, an unbelievably clear sound. The only thing was that you couldn’t buy these strings. When we recorded ‘My Generation,’ I ended up with three of these Danelectros just for the strings. The last one I had, the string busted before we actually got into the studio to re-record it, so I did it on a Fender Jazz in the end with tape-wound La Bella strings.”

Pete wrote this song for British mods at the time who didn’t think older people understood what was going on. The song peaked at #74 in the Billboard 100, #2 in the UK, and #3 in Canada in 1966.

Pete Townshend was asked if the line still resonated with him. “I think it does,”  “The line actually came from a time when I was living in a really wealthy district of London, just by accident. I didn’t really understand quite where I was living at the time. And I was treated very strangely on the street, in an imperious way by a lot of people, and it was that that I didn’t like. I didn’t like being confronted with money and the class system and power. I didn’t like being in a corner shop in Belgravia and some woman in a fur coat pushing me out of the way because she was richer. And I didn’t know how to deal with that. I could’ve, I suppose, insisted on my rights and not written the song. But I was a tucked-up little kid and so I wrote the song.”


From Songfacts

Roger Daltrey sang the lead vocals with a stutter, which was very unusual. After recording two takes of the song normally, The Who’s manager, Kit Lambert, suggested to Daltrey that he stutter to sound like a British kid on speed. Daltrey recalled to Uncut magazine October 2001: “I have got a stutter. I control it much better now but not in those days. When we were in the studio doing ‘My Generation’, Kit Lambert came up to me and said ‘STUTTER!’ I said ‘What?’ He said ‘Stutter the words – it makes it sound like you’re pilled’ And I said, ‘Oh… like I am!’ And that’s how it happened. It was always in there, it was always suggested with the ‘f-f-fade’ but the rest of it was improvised.”

Pete Townshend wrote this on a train ride from London to Southampton on May 19, 1965 – his 20th birthday. In a 1987 Rolling Stone magazine interview, Townshend explained: “‘My Generation’ was very much about trying to find a place in society. I was very, very lost. The band was young then. It was believed that its career would be incredibly brief.” 

Back in 1967, Pete Townshend called this song, “The only really successful social comment I’ve ever made.” Talking about the meaning, he explained it as “some pilled-up mod dancing around, trying to explain to you why he’s such a groovy guy, but he can’t because he’s so stoned he can hardly talk.”

This contains the famous line, “I hope I die before I get old.” The Who drummer Keith Moon did, dying of a drug overdose in 1978 at age 32. The rest of the band found themselves still playing the song 50 years later, giving that line more than a hint of irony.

A Singapore magazine called BigO is named for the famous line in this song – it’s an acronym for “Before I Get Old.”

This song went through various stages as they tried to perfect it. It began as a slow song with a blues feel, and at one point had hand claps and multiple key changes. The final product was at a much faster tempo than the song was conceived; it was Kit Lambert’s idea to speed it up.

This is the highest charting Who song in the UK, but it never cracked the Top 40 in America, where they were less known. In the UK, the album was also called My Generation, but in America it was titled The Who Sing My Generation.

Entwistle was the least visible member of the band, and his bass solos on this song threw off directors when The Who would perform the song on TV shows. When it got to his part, the cameras would often go to Pete Townshend, and his fingers wouldn’t be moving. Entwistle played the solos using a pick, since their manager Kit Lambert didn’t think fingers recorded well. Most of Entwistle’s next recordings were done with fingers.

The BBC refused to play this at first because they did not want to offend people with stutters. When it became a huge hit, they played it.

In 1965, Roger Daltrey stood by this song’s lyric and claimed he would kill himself before reaching 30 because he didn’t want to get old. When he did get older, he answered the inevitable questions about the “hope I die before I get old” line by explaining that it is about an attitude, not a physical age.

On September 17, 1967, The Who performed this song on The Smothers Brothers Comedy Hour. Keith Moon set his drums to explode after the performance, but the technical crew had already done so. The resulting explosion burned Pete Townshend’s hair and permanently damaged his hearing.

Also of note during this performance was Moon’s total disregard for the illusion of live performance. The band was playing along to a recorded track (common practice on the show), and while his bandmates synched their movements to the music, Moon made no effort to keep time, even knocking his cymbal over at one point.

Shel Talmy, who produced this track, was fired the next year. Talmy filed a lawsuit and won extensive royalties from future albums.

The ending of this song is electric mayhem, with Keith Moon pounding anything he can find on his drum kit and Townshend flipping his pickups on an off, something he also did on the album opener “Out in the Street.” Townshend and Daltrey go back and forth on the vocals, intentionally stomping on each other to add to the chaos.

This was covered by Iron Maiden, who was usually the Who’s polar opposite both musically and lyrically. One connection they share is the BBC-TV series Top of the Pops. Performances on the show were customarily lip-synched, but The Who performed live on the show in 1972. In 1980, Iron Maiden also performed live, and was the first band to do so since The Who. Maiden put their version of “My Generation” on the B-side to the single for “Lord of the Flies.” 

The Who played this during their set at Woodstock, which didn’t begin until 5:00 a.m. on the second day. The group turned in a solid performance, but they weren’t pleased with the scheduling and weren’t feeling the peace and love – at one point an activist named Abbie Hoffman came on stage uninvited and was forcibly ejected by Pete Townshend.

Green Day recorded this for their 1992 album Kerplunk!

When the teen pop singer Hilary Duff covered this as a B-side for her 2005 single “Someone’s Watching Over Me,” she made the curious decision to rewrite some of the lyrics. “I hope I don’t die before I get old,” doesn’t really have the same rock ‘n’ roll attitude as Townshend’s original words, and her rendition caused some consternation among Who fans.

This song fits nicely into the “primal rock” genre, which covers tunes that are raucous, rebellious, unusual, and also celebratory. Roger Reale, who was in one of these primal rock bands with Mick Ronson, explains the impact of the song:

“‘My Generation’ had no lead guitar, but a lead part played on the bass. It also had a bass breakdown, and unless you listened to a lot of jazz, there were no bass breakdowns in pop music. I remember playing the end of that track over and over and over again, because you could hear the feedback of the guitar, which was so exciting to listen to. In those days, you weren’t supposed to have an outro that was pure noise.”

My Generation

People try to put us d-down (talkin’ ’bout my generation)
Just because we get around (talkin’ ’bout my generation)
Things they do look awful c-c-cold (talkin’ ’bout my generation)
I hope I die before I get old (talkin’ ’bout my generation)

This is my generation
This is my generation, baby

Why don’t you all f-fade away (talkin’ ’bout my generation)
Don’t try to dig what we all s-s-s-say (talkin’ ’bout my generation)
I’m not trying to ’cause a big s-s-sensation (talkin’ ’bout my generation)
I’m just talkin’ ’bout my g-g-g-generation (talkin’ ’bout my generation)

My generation
This is my generation, baby

Why don’t you all f-fade away (talkin’ ’bout my generation)
And don’t try to d-dig what we all s-s-say (talkin’ ’bout my generation)
I’m not trying to ’cause a b-big s-s-sensation (talkin’ ’bout my generation)
I’m just talkin’ ’bout my g-g-generation (talkin’ ’bout my generation)

This is my generation
This is my generation, baby
My my my generation

People try to put us d-down (talkin’ ’bout my generation)
Just because we g-g-get around (talkin’ ’bout my generation)
Things they do look awful c-c-cold (talkin’ ’bout my generation)
Yeah, I hope I die before I get old (talkin’ ’bout my generation)

This is my generation
This is my generation, baby
My my my generation

(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation