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The Tale Of Two Keiths and the NO.64 Bus…(A Guest Post By Colin and Paul from Once Upon A Time In The 70’s )

I’m very happy to have Colin Jackson and Paul Fitzpatrick from Once Upon A Time In The 70’s guest host my blog today and reproduce a great post. As many of you know two of my favorite rock stars are Keith Moon and Keith Richards. What an experience this had to be! Without further ado…

Colin Jackson and Paul Fitzpatrick grew up in Bearsden, a northern suburb of Glasgow, Scotland. They were school friends from the age of five until in 1974, aged sixteen, Paul left school to start a career working with fashion and sportswear brands.Their paths would not cross again for forty-four years, during which time Colin pursued a career in Banking.

With Paul in London and Colin in Glasgow they re-connected in 2020 when they both became active on their old secondary school’s Facebook page, instigating discussion and memories of their time at Bearsden Academy in the early to mid ’70s.

It became apparent pretty quickly that they enjoyed revisiting those halcyon days and after a quick catch up, they agreed that most people of a certain age, would have stories to share of growing up and living through the late 1960s and ’70s.

And so … ‘Once Upon a Time in The ’70s‘ was born in February 2021.

The blog focuses on all aspects of the ’70s (& late ’60s) generally, though not exclusively, from a light-hearted, personal perspective.

Music; school; sport; fashion; social life; family-life; television; comics; books; toys; holidays ….. memory makers, them all.

Colin and Paul encourage all their readers to share memories of that era – you can contact them at: submissions70s@gmail.com . The Group Facebook page is here.

Go on – they’d love to hear from you. And recalling your youth is quite cathartic, you know!

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Mark Arbuckle: Glasgow, May 2021

Inspired by the recent Apollo posts I’ve decided to share some of my own gig memories.

On 12th of May 1976, myself and my friend Peter attended The Rolling Stones concert at The Glasgow Apollo.

I don’t remember too much about the gig but apparently, it wasn’t their best as it was beset by sound problems all night.

It’s what happened after the gig that is etched on my mind, however.

As we were leaving there was an altercation on the street right outside the main doors.
Peter and I decided to cut along Renfield Lane to avoid whatever was happening. Just as we got to the side door it burst open and a figure hurtled out, slipped on the cobbles and crashed to the ground. I reached down to help him to his feet.

‘Scrag-dab Groog Slubdabahoo!’ spluttered the man and I suddenly realized that the skinny figure I was propping up was a totally wasted Keith Richards!
Almost immediately a black limo screeched to a halt in front of us and a very large man jumped out, removed KR from my arms, opened the back door and threw him onto the back seat!
He grunted ‘Thanks man’ jumped into the car and sped off! The entire incident lasted about 40 seconds!

Peter and I just stared open-mouthed at each other and then burst out laughing!

A few weeks later, on 5th June 1976, I was very fortunate to be asked to be part of the security team at ‘The Who Put The Boot In’ all-day gig at Celtic Park.

My brother was friendly with a guy (MR) who booked all the bands for Glasgow Tech and he was asked to provide some bodies for the day.
MR was very well known in the UK music industry and even had Pans People at his 22nd birthday party at the old Albany Hotel, where I danced with my long-time crush, the gorgeous Cherry Gillespie……but I digress.

My brother and I and 4 other friends duly turned up at Celtic Park at 8.00am and along with 60 other ‘security’ guards were given a briefing on our duties for the day.
We were issued with our yellow ‘Harvey Goldsmith’ security jackets and split up into teams of six.
We were then taken on a tour of the ground’s fire exits, toilets, catering, and first aid points.
We were also shown the No Access areas and told that in no uncertain terms that the large, bulky figures sporting the blue ‘Rock Steady’ jackets were the REAL security and we were to assist them whenever asked to!

Our team of six was then told to report to the front of the stadium where the crowds had been gathering for the last few hours. We were to assist the Police confiscating the fans’ alcohol before they entered the stadium! ‘Either drink it where you stand or give it to us!’
We had to open and empty the beer cans and smash the glass bottles into large brick bins. The smell of alcohol was eye-watering! People were attempting to consume their entire kerryoot there and then! Especially the ones at the back of the huge queues as the word quickly spread.

I watched a skinny wee guy down a bottle of vodka in the five minutes it took him to get to the turnstile!
I doubt if he saw much of the day’s entertainment!

Though I imagine quite a lot (hunners) of half and quarter bottles of alcohol were missed by our untrained searches and smuggled into the stadium.
(I’m also sure quite a few made it into Yella Jaikets’ zipped pokits!)
After about 2 hours of confiscating booze, I was partnered with an older guy and sent to guard the pylon on the right side of the stage.

We were there to prevent anybody trying to climb up it, but as you couldn’t see the stage from there, nobody did! After a boring half-hour, my partner announced that he was ‘Offski’ ‘F#€K This’ were his exact words.
I later found out that he was ejected for drinking. I lasted another 15 minutes then abandoned my post and decided to have a wander backstage. Little Feat were on stage and I was enjoying Lowell George’s superb slide guitar work.

I was talking to a long haired denim clad guy next to me who turned out to be the bass player (Frank O’Keefe… I had to google him) of The Outlaws who had already played their set.

The Outlaws, Frank O’Keefe second from right

A man approached us and said to Frank ‘Excuse me, this is Alan Longmuir of The Bay City Rollers….’Alan also plays bass’ Frank stared right through him, shrugged a ‘So what?’ and returned to talking to me! I felt really sorry for Alan Longmuir.

A Rock Steady Security Guy shouted ‘Right you! Follow me!’ So I did.

I followed him down a back staircase and emerged outside in a courtyard.

A few weeks before the gig a Sunday newspaper ran a competition to win a gig ticket and the chance to meet Keith Moon and help him smash up a replica of the organ used in Rock Opera, Tommy!

There stood Keith Moon dressed in a leather bikers jacket with tasseled sleeves and brandishing a sledgehammer!

After posing for press photographs, cackling Keith dealt the first mighty blow to the poor keyboard sending black and white keys flying in all directions! Then he handed his sledgehammer to me and said ‘Your turn’ The competition winner and I then set about the helpless instrument with glee! After 15 minutes our ‘Appetite for Destruction’ waned and we put down our weapons. Keith reappeared and invited us onto The Who’s tour bus for a drink. We were greeted by a stunning 6′ 2″ woman dressed in a black leather basque, fishnet stockings and thigh length leather boots with 4″ stiletto heels! Oh and she was carrying a whip!
The bus had been converted into a fully functioning bar with beer pumps, spirit optics and high stools! We took our seats and Miss Whiplash served our drinks. I had an ice cold beer (very welcome after our exertions) and a Jack & Coke. I did feel a pang of guilt for all the poor sods that had had their carry outs destroyed earlier…but not for long.

Keith was laughing and talking nonstop and it was obvious that he was already quite drunk and had probably partaken of other various substances. It was around 4pm and The Who weren’t due on stage for at least another 5 hours!

Keith offered us a second round but I declined and said I’d better, very reluctantly, get back to work. The competition winner (we never did introduce ourselves) left the bus with me. We were both still on a high after this amazing encounter with one of the legends of rock!

I returned backstage and watched SAHB’s amazing set.
Nobody questioned why I was there and I had a brilliant view!
The crowd went wild at Alex Harvey’s mad antics and Zal and the rest of the band pounded out song after song!

SAHB’s elaborate Vambo set then had to be dismantled and The Who’s much-heralded outdoor laser light show (the first in Scotland) was set up.

The crowd was getting a bit restless by the time The Who took the stage about 9.30pm but they played a magnificent set.

However the laser show didn’t really work as intended as it was still pretty light until around 10.30pm.
Then the show was over and I met up again with my brother and his pals as we queued up to be paid.
The deal was ‘Hand in your Yellow Jacket and get paid £1 per hour cash or keep the jacket and get zero. Now if I’d known then that eBay would exist in the future then I would’ve kept the jacket and sold it now for £500!

However I took my £14.00 handed out by Harvey Goldsmith himself sitting in a little wooden booth.

HG was beaming as he handed over the little bundles of cash obviously calculating the tens of thousands that he’d personally made from the tour!

I can’t even remember how we all got home from that exhausting but exhilarating day!

Now this last story may not be true…..It was told to me by an older guy who regularly attended gigs throughout 70’s

Fun and substance-loving band Dr. Hook were partying hard with their crew and local security at The Central Hotel after their gig at The Apollo.

One of the band overheard a local guy mentioning ‘Hocken-Shoe-Gal!
and in their spaced out, inebriated state the sound of this, strange, mystical place must’ve appealed to them and they decided they must visit, so they enquired how to get there.
The local guy suggested a taxi but the band insisted on traveling ‘like the other pilgrims do’
‘Then get the No. 64 bus from under the bridge’ They were told, so off they went to Argyle St. and got on the No. 64 bus….

Unfortunately, they boarded it on the wrong side of the road so instead of traveling east to the magical, mystical Auchenshuggle, they headed west through Finnieston, Partick, Whiteinch, Yoker, Clydebank and arrived at the large concrete terminus of Dalmuir West!

The band was very confused and didn’t appreciate these surroundings at all! They clambered back on the bus for the return journey back to the city centre to continue their par-tay! Hahaha

True or Not… It’s a great story!!

Visit their blog at Once Upon A Time In The 70’s

Ricky Nelson – Poor Little Fool

I just had a Ricky Nelson song not long ago…sue me…I’ve been listening to him a lot lately.

“Poor Little Fool” was written by 17-year-old Sharon Sheeley when she was still attending high school in Newport Beach, California. Female songwriters were rare at the time, and when the song climbed to #1 in the US, she became the first woman to compose an American chart-topper on her own.

Sharon Sheeley was engaged to Eddie Cochran and was involved in the car wreck that killed Cochran and injured Gene Vincent. Sheeley suffered a broken pelvis, Vincent broke his ribs and collarbone and added further damage to his already weak leg.

Sheeley later collaborated with Jackie DeShannon on hits for artists like Brenda Lee, and Irma Thomas. Sheeley and DeShannon were the first female writing team to have significant success in the pop realm. She died in 2002 at the age of 62 of complications following a cerebral hemorrhage.

Ricky Nelson didn’t hear hit potential in this song, but his father, the popular bandleader Ozzie Nelson, did. Ozzie convinced Ricky’s label, Imperial Records, to issue it as a single, but Ricky refused to approve a photo for the cover and wouldn’t perform it on the family TV show, The Adventures of Ozzie and Harriet. Ozzie’s instincts were correct. Father knew best in this instance.

Poor Little Fool featured The Jordanaires, who were Elvis Presley’s backing singers. This song peaked at #1 in the Billboard Charts in 1958. This was Ricky’s first number one hit.

Poor Little Fool

I used to play around with hearts that hastened at my call
But when I met that little girl I knew that I would fall
Poor little fool oh yeah I was a fool uh huh
(Uh huh poor little fool I was your fool oh yeah)

She played around and teased me with her carefree devil eyes
She’d hold me close and kiss me but her heart was full of lies
Poor little fool
She told me how she cared for me and that we’d never part

And so for the very first time I gave away my heart
Poor little fool
The next day she was gone and I knew she’d lied to me
She left me with a broken heart and won her victory

Poor little fool
Well I’d played this game with other hearts but I never thought I’d see
The day that someone else would play love’s foolish game with me
Poor little fool

Beatles – Let It Be

Today I’m guest hosting on “Once Upon a Time in the 70s.” If you can please give them a visit and leave a comment…I would appreciate it! They have a great site and they will be guest hosting my site one day this week! Now back to our song…

This one has always been a favorite of mine. Many people I know thought it was a religious song because of Mother Mary but Mother Mary was Paul’s mother. It does have a gospel feel though.

It’s always had a calming effect on me. The song is part of my DNA and although it’s been played quite a bit on radio…I can still enjoy it.

Paul McCartney has said he wrote “Let It Be” and “The Long and Winding Road” on the same day. How is that for a day’s work?

One thing that makes the song unique is what solo are you going to hear from George? The single version of the song has a good solo, but the album version has the best. On January 4, 1970, Paul, George, and Ringo went into the studio to clean up tracks for the album release. George put down one of my favorite solos of all time. It’s the solo that has some growl to it and is highly melodic. Later on, in 2003 when Let It Be Naked was released…yet another version of the solo was on there but not as good as the distorted version.

On October 31st, 1956, Paul’s mother Mary Patricia McCartney had passed away from breast cancer. Paul had said she was the unsung leader of their family. John and Paul bonded later on when John’s mother was killed by getting hit by a car.

The song was on the Let It Be Album. The album had the largest initial sales in US record history up to that time: 3.7 million advance orders. That is going out on top. Let It Be peaked at #1 in the Billboard 100, Canada, New Zealand and #2 in the UK. The album peaked at #1 in the Billboard Album Charts, Canada, and the UK in 1970.

At the time some critics didn’t like the album as much. I’ve always liked the raw feel of it. The album contained Let It Be, The Long and Winding Road, Get Back, and I’ve Got A Feeling…plus a song that could have been a single…The Two Of Us. It shows what high standards they were held to.

I bought the Let It Be at a yard sale when I was a kid. The single had a B side that I had never heard of at the time. The song is called You Know My Name (Look Up The Number). It’s so off the wall it has to be heard…not described. It is basically John and Paul making a comedy record…with Brian Jones of the Rolling Stones on sax.

Paul started to write this during the White Album sessions but instead of Mother Mary…it was Mother Malcome after their roadie Mal Evans. He also sings a ling about Brother Malcome in a video I have below. Mal Evans has said that during the White Album sessions Paul had a vision of him saying Let It Be. I have Mal’s quote below.

Mal Evans: “Paul was meditating one day, they were writing all the time, and I came to him in a vision. I was just standing there, saying, “Let it be, let it be,’ and that’s where the song came from. It was funny; I had driven him back from a session one night (at Twickenham Film Studios in London, January 1969) a few months later. It was three o-clock in the morning, it was raining, it was dark in London and we were sitting in the car, just before he went in, just laughing and talking. He said, ‘Mal, I’ve got a new song and it’s called “Let It Be,” and I sing about “Mother Malcolm,” but he was a bit shy. So, he turned to me and said, ‘Would you mind if I said, “Mother Mary,” because people might not understand?’ So, I said, ‘Sure.’ But, he was lovely.”

Paul McCartney: “One night during this tense time, I had a dream. I saw my mum, who’d been dead ten years or so. And it was so great to see her because that’s a wonderful thing about dreams: you actually are reunited with that person for a second; there they are and you appear to both be physically together again. It was so wonderful for me and she was very reassuring. In the dream she said, ‘It’ll be all right.’ I’m not sure if she used the words ‘Let it be’ but that was the gist of her advice. It was, ‘Don’t worry too much, it will turn out okay.’ It was such a sweet dream. I woke up thinking, ‘Oh, it was really great to visit with her again. I felt very blessed to have that dream. So that got me writing the song ‘Let It Be.’ I literally started off ‘Mother Mary,’ which was her name. ‘When I find myself in times of trouble,’ which I certainly found myself in. The song was based on that dream.”

“She was reassuring me, saying, ‘It’s going to be OK, just let it be.’ I felt so great. She gave me the positive words. I woke up and thought, ‘What was that? She said ‘Let It Be.’ That’s good.’ So I wrote the song ‘Let It Be’ out of positivity.”

From Songfacts

Since Let It Be was The Beatles’ last album, it made an appropriate statement about leaving problems behind and moving on in life. The album was supposed to convey an entirely different message. It was going to be called “Get Back,” and they were going to record it in front of an audience on live TV, with another TV special showing them practicing the songs in the studio. It was going to be The Beatles getting back to their roots and playing unadorned live music instead of struggling in the studio like they did for The White Album. When they started putting the album together, it became clear the project wouldn’t work, and George Harrison left the sessions. When he returned, they abandoned the live idea and decided to use the TV footage as their last movie. While the film was being edited, The Beatles recorded and released Abbey Road, then broke up. Eventually, Phil Spector was given the tapes and asked to produce the album, which was released months after The Beatles broke up. By then, it was clear “Let It Be” would be a better name than “Get Back.”

According to McCartney, this is a very positive song, owing to its inspiration. One night when he was paranoid and anxious, he had a dream where he saw his mother, who had been dead for ten years or so – she came to him in his time of trouble, speaking words of wisdom that brought him much peace when he needed it. It was this sweet dream that got him to begin writing the song.

Many have been moved by the song on a deeply personal level, including Corden, who broke down when they sang it together. “I remember my granddad, who was a musician, sitting me down and telling me, ‘I’m going to play you the best song you’ve ever heard,’ and he played me that,” he said. “If my granddad was here right now he’d get an absolute kick out of this.” McCartney replied, “He is.”

It was John Lennon who wanted Phil Spector to produce the album. Spector worked on Lennon’s “Instant Karma” and was known for his bombastic “Wall Of Sound” style. McCartney hated Spector’s production, and in 2003 he pushed to have the album remixed and released without Spector’s influence. The result was Let It Be… Naked, which eliminated most of Spector’s work and is much closer to what The Beatles intended for the album. “Maggie Mae” and “Dig It” were removed, and an entirely different guitar solo was used for this song.

The Beatles weren’t the first to release this song – Aretha Franklin was. The Queen of Soul recorded it in December 1969, and it was released on her album This Girl’s In Love With You in January 1970, two months before The Beatles released their version (she also covered The Beatles “Eleanor Rigby” on that album).

Aretha recorded it with the Muscle Shoals Rhythm Section, who were a group of musicians that owned their own studio in Alabama, but would travel to New York to record with Aretha. David Hood, who was their bass player, told us that Paul McCartney sent demos of the song to Atlantic Records (Franklin’s label) and to the Muscle Shoals musicians. Said Hood, “I kick myself for not grabbing that demo. Because I think they probably dropped it in the garbage. Our version was different. We changed it a little bit from his demo, where their version is different from that demo and from Aretha’s version, as well. Just slightly, but little things.”

In April 1987, this was released as a charity single in aid of The Sun newspaper’s Zeebrugge ferry disaster fund. Featuring Paul McCartney, Mark Knopfler, Kate Bush, Boy George and many others, it was called “Ferry Aid” and spent three weeks at #1 in the UK.

Billy Preston added organ and electric piano to this track. Preston was such a significant contributor to the Let It Be album that John Lennon floated the idea of making him a full band member. Preston’s contributions were more than musical: He came in after George Harrison got frustrated with the sessions and quit the band. After his bandmates agreed to his terms (including abandoning a live performance they had planned), Harrison returned to the sessions after 12 days and arranged for Preston to join them. Having Preston there kept tensions at bay and greased the creative gears, allowing them to complete the album that was looking precarious when he arrived.

This was the first Beatles song released in The Soviet Union. The single made it there in 1972.

In 2001, McCartney helped organize the “Concert For New York,” to benefit victims of The World Trade Center disaster. He closed the show with this, inviting the other acts and some New York cops and firefighters on stage to sing with him.

This song was played at Linda McCartney’s funeral.

On July 18, 2008, Paul McCartney joined Billy Joel onstage at Shea Stadium in New York and played this as the final song of the final concert at Shea. As a member of The Beatles, McCartney played the first stadium rock concert when they performed at Shea on August 15, 1965.

Until 1994 and the recordings for “Free As A Bird,” the session for this song on January 4, 1970 was the last Beatles recording session. Lennon wasn’t present that day, as he was on holiday.

A cover by American R&B artist Jennifer Hudson featuring the Roots, who are the house band on NBC’s Late Night with Jimmy Fallon, debuted at #98 on the Hot 100 in February 2010. She recorded it for the Hope For Haiti Now charity telecast after the earthquake that devastated the country. It was the third time the song had entered the US singles chart as Joan Baez’s version peaked at #49 in 1971.

A month after Jennifer Hudson’s version reached the Hot 100, Kris Allen took the song to the chart for a fourth time when his cover debuted at #63. Allen’s cut charted after he performed the song on American Idol, with proceeds from its digital sales benefiting Haiti earthquake relief efforts through the Idol Gives Back Foundation.

John Legend and Alicia keys performed this song on the tribute special The Beatles: The Night That Changed America, which aired in 2014 exactly 50 years after the group made their famous appearance on Ed Sullivan Show. Legend introduced it as “a song that has comforted generations with its beauty and its message.”

Sesame Street used this with the title changed to “Letter B.” The lyrics were changed to list words that begin with B.

Paul sings “Brother Malcolm” in this rough version near the end

Let It Be

When I find myself in times of trouble, Mother Mary comes to me
Speaking words of wisdom, let it be
And in my hour of darkness she is standing right in front of me
Speaking words of wisdom, let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be

And when the broken hearted people living in the world agree
There will be an answer, let it be
For though they may be parted, there is still a chance that they will see
There will be an answer, let it be

Let it be, let it be, let it be, let it be
There will be an answer, let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be, be

And when the night is cloudy there is still a light that shines on me
Shinin’ until tomorrow, let it be
I wake up to the sound of music, Mother Mary comes to me
Speaking words of wisdom, let it be

And let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be

…

Who – Slip Kid

I have a bootleg concert of The Who in 1976 in Houston. This song is very dynamic and powerful live. This was released in August 1976 in Canada and the US with “Dreaming From The Waist” as its B side. It was on the album The Who By Numbers and it peaked at #8 in the Billboard Album charts, #7 in the UK, #9 in Canada and #29 in New Zealand in 1976.

The Who played this song in 1976 but after they didn’t play it much at all until the 50h anniversary tour.

Pete Townshend wrote this song, which uses imagery as metaphor for life in the music business. Much of the album deals with his frustrations with the industry, of being obsolete as a 30-year-old rock star. Oh, how times have changed now.

Pete usually wrote a lot of songs for the band to pick from for an album. This time they recorded everything he wrote because he was going through writer’s block at the time.

It’s one of my favorite Who album covers. They usually took turns on who would think of the album cover. It was John Entwistle’s turn and he drew the album cover along with numbers.

John Entwistle on the cover

“The first piece of artwork released is The Who by Numbers cover, which I never got paid for, so now I’m going to get paid. We were taking it in turns to do the covers. It was Pete’s turn before me and we did the Quadrophenia cover, which cost about the same as a small house back then, about £16,000. My cover cost £32

Pete Townshend: “‘Slip Kid’ came across as a warning to young kids getting into music that it would hurt them – it was almost parental in its assumed wisdom.”

Pete Townshend on The Who By Numbers: I felt partly responsible because the Who recording schedule had, as usual, dragged on and on, sweeping all individuals and their needs aside. Glyn worked harder on The Who by Numbers than I’ve ever seen him. He had to, not because the tracks were weak or the music poor but because the group was so useless. We played cricket between takes or went to the pub. I personally had never done that before. I felt detached from my own songs, from the whole record. Recording the album seemed to take me nowhere. Roger [Daltrey] was angry with the world at the time. Keith [Moon] seemed as impetuous as ever, on the wagon one minute, off the next. John [Entwistle] was obviously gathering strength throughout the whole period; the great thing about it was he seemed to know we were going to need him more than ever before in the coming year

Slip Kid

One, two, three, four, five, six, seven, eight …

I’ve got my clipboard, text books
Lead me to the station
Yeah, I’m off to the civil war
I’ve got my kit bag, my heavy boots
I’m runnin’ in the rain
Gonna run till my feet are raw

Slip kid, slip kid, second generation
And I’m a soldier at thirteen
Slip kid, slip kid, realization
There’s no easy way to be free
No easy way to be free

It’s a hard, hard world

I left my doctor’s prescription bungalow behind me
I left the door ajar
I left my vacuum flask
Full of hot tea and sugar
Left the keys right in my car

Slip kid, slip kid, second generation
Only half way up the tree
Slip kid, slip kid, I’m a relation
I’m a soldier at sixty-three
No easy way to be free

Slip kid, slip kid

Keep away old man, you won’t fool me
You and your history won’t rule me
You might have been a fighter, but admit you failed
I’m not affected by your blackmail
You won’t blackmail me

I’ve got my clipboard, text books
Lead me to the station
Yeah, I’m off to the civil war
I’ve got my kit bag, my heavy boots
I’m runnin’ in the rain
Gonna run till my feet are raw

Slip kid, slip kid, slip out of trouble
Slip over here and set me free
Slip kid, slip kid, second generation
You’re slidin’ down the hill like me
No easy way to be free
No easy way to be free
No easy way to be free

Aerosmith – Same Old Song And Dance

For some reason this post vanished from the reader this morning…so I’m trying a repost.

This is one of my favorite Aerosmith songs. I do prefer them in their 70s period because their sound was so dirty. This was the first single released from Aerosmith’s second album, Get Your Wings. (2 Loud 2 Old Music Review of the album )

The producer of this album caught my attention. Jack Douglas would later produce Cheap Trick and John Lennon’s Double Fantasy. Douglas brought in a horn section on this track.

Joe Perry came up with this riff in the Summer of 1973. The band were living together in a house on Beacon Sreet in Boston. Steven Tyler wrote the lyrics that went together with the riff. One lyric change was “Got you with the cocaine, found with your gun” was altered for the single version to “You shady looking loser, you played with my gun.”

Around this time Clive Davis had been let go from the record company for allegedly using company funds to bankroll his son’s bar mitzvah. He was replaced with Bruce Lundvall and Aerosmith’s management convinced him to put more effort into promoting Aerosmith this time, which he did.

This single didn’t chart but has remained on classic radio. The album peaked at #74 in the Billboard Album charts in 1974. Their next album Toys In The Attic would break them through.

Same Old Song And Dance wasn’t a hit, but it helped sell the album, which stayed on the Billboard album charts for nearly a year as Aerosmith hit the road, establishing themselves as an outstanding live act and growing their fan base.

Joe Perry: The tracks were the stuff we’d been working on at our apartment on Beacon Street in the summer of ’73. I wrote the riff to “Same Old Song and Dance” one night in the front room and Steven just started to sing along. “Spaced” happened the same way in the studio, with a lot of input from Jack. “S.O.S.” meant “Same Old Shit” and came from the rehearsals at the Drummer’s Image … “Lord of the Thighs” and “Seasons of Wither” were Steven’s songs. Of all the ballads Aerosmith has done, “Wither” was the one I liked best

Producer Jack Douglas: “To the best of my memory, the preproduction work for Get Your Wings started in the back of a restaurant that was like a Mob hangout in the North End. I commuted there from the Copley Plaza Hotel and they started to play me the songs they had for their new album. My attitude was: ‘What can I do to make them sound like themselves?'”

Same Old Song And Dance

Get yourself cooler, lay yourself low
Coincidental murder, with nothing to show
When the judge’s constipation go to his head
And his wife’s aggravation, you’re soon enough dead
It’s the same old story, same old song and dance, my friend
It’s the same old story, same old song and dance, my friend

Gotcha with the cocaine they found with your gun
No smoothy face lawyer to getcha undone
Say love ain’t the same on the south side of town
You could look, but you ain’t gonna find it around
It’s the same old story, same old song and dance, my friend
It’s the same old story, same old story
Same old song and dance

Fate comes a-knockin’, doors start lockin’
Your old time connection, change your direction
Ain’t gonna change it, can’t rearrange it
Can’t stand the pain when it’s all the same to you, my friend

When you’re low down and dirty, from walkin’ the street
With your old hurdy-gurdy, no one to meet
Say love ain’t the same, on the south side of town
You could look, but you ain’t gonna find it around
It’s the same old story, same old song and dance, my friend
It’s the same old story, same old story
Same old song and dance, yeah

…

Replacements – Kiss Me On The Bus

This song is off of the album Tim released in 1985. This was their first album on Sire Records with Warner Brothers. They had left the indie Twin/Tone records after the album Let It Be. Another song title that I had to listen to and I’m glad I did.

Bob Stinson’s imprint was heavy on Kiss Me on the Bus, which he turned into a showcase for his breakneck riffing. When Bob was right…he could give you the quickest most perfect riffs…but when he was off…he was off. It could be from song to song some nights.

This would be Bob’s last album with the band. He would leave a little while after this. Slim Dunlap would take his place in 1988.

Being on a big label meant they got a slot on SNL. They sounded ragged but great on the show. They played two songs… Bastards of Young and Kiss Me On The Bus. Paul Westerberg muttered the F word during Bastards of Young and Lorne Michaels berated the band before they played this song as their last song.

It would be the last time because they were barred from future SNL performances.

After their performance, they went to a party and then back to the hotel. Bob Stinson who had some emotional along with chemical problems caused a lot of damage in his room at the hotel.

Later when Michaels got the $1,100 bill for the hotel damages, he hit the roof again. He was threatening to ban not just the Replacements but any Warner Bros. act from appearing on SNL. In one night, the Replacements had managed to destroy a decade of cozy relations between the show and the label.

Paul Westerberg: “Rock-and-roll doesn’t always make for great television, but we were trying to do whatever possible to make sure that was a memorable evening.”

I could not find the SNL video, but the below clip is a European television appearance. Bob’s guitar playing is the highlight of this video.

Kiss Me On The Bus

On the bus, that’s where we’re riding
On the bus, okay, don’t say “hi” then
Your tongue, your transfer
Your hand, your answer

On the bus, everyone’s looking forward
On the bus, I am looking forward
And it really ain’t okay
I might die before Monday
They’re all watching us

Kiss me on the bus
Kiss me on the bus
Oooo, if you knew how I felt now
You wouldn’t act so adult now
Hurry hurry, here comes my stop

On the bus, watch our reflection
On the bus, I can’t stand no rejection
C’mon let’s make a scene
Oh baby don’t be so mean
They’re all watching us

Kiss me on the bus
Kiss me on the bus
Oooo, if you knew how I felt now
You wouldn’t act so adult now
Hurry hurry, here comes my stop

Oooo, if you knew how I felt now
You wouldn’t act so adult now
They’re all watching us
Kiss me on the bus
Kiss me on the bus
Kiss me on the bus
Kiss me on the bus

Bob Seger – Mainstreet

Pop’s Pool Hall…did every small town have one? I was there in a small town in Tennessee as a 12-year-old when I first heard this song in that pool hall. The song had been out for a few years but this is when I really paid attention to it. It made me feel like I was looking back on my town at 12 years old. The guitar (Pete Carr) stands out in this song and any song that can make a 12-year-old look back works rather well.

What surprised me about this one is the Canadian love for this Seger song. Personally, I thought it did better in America than it did…but Canada really loved it. This song peaked at #1 in Canada and #24 in the Billboard 100 in 1977. The song was on his Night Moves album released in 1976. This was his breakthrough album and it peaked at #8 in the Billboard Album Charts and #12 in Canada.

The actual street Seger sings about in this song is Ann Street, which was off of Main Street in Ann Arbor. Seger has said he wrote this song about his high school years in Ann Arbor, Michigan. The song explores the promise of youth, and what Seger calls his “awakening” after being a quiet, awkward kid for most of his youth.

This is another song that Seger recorded at Muscle Shoals Sound Studios in Sheffield, Alabama. While most of Seger’s work was done with his Silver Bullet Band, he did make a few trips to Alabama to record at Muscle Shoals, taking advantage of the talented musicians and lack of distractions.

Bob Seger: “It was a club. I can’t remember the name of the club, but the band that played there all the time was called Washboard Willie. They were a Delta and Chicago blues band. Girls would dance in the window. They were a black band, and they were very good. That’s where I would go but I was too young to get in. It wasn’t in a great part of town but college students loved to go there.”

From Songfacts

The nostalgic tone of this song led many critics to compare Seger to Bruce Spingsteen, sometimes unfavorably. The NME wrote, “Leaning heavily on anyone so personally stylized as Springsteen has got to qualify as an error of judgment.”

Seger acknowledges Springsteen as an influence at that time, but insists he wasn’t going after Bruce’s sound or image. There weren’t many rock musicians writing introspective hit songs about life in working-class America at the time, and with Springsteen in a legal dispute with his manager that kept him from recording, Seger had 1977 to himself.

The studio was owned by four of the guys who played on the track: David Hood (bass), Jimmy Johnson (rhythm guitar), Roger Hawkins (drums) and Barry Beckett (keyboards). The lead guitarist on the session was Pete Carr.

This was the second single from the Night Moves album, following the title track. Both songs are very nostalgic and a departure from high-energy rockers that dominate his album Live Bullet, which was released in 1976 six months before Night Moves. By this time, Seger had been at it in earnest for over a decade and was just starting to break through to a national audience. Live Bullet was his first album to find a broad audience; many who bought it snatched up Night Moves when it came out, and weren’t disappointed. Both albums ended up selling over 5 million copies, making Seger a star.

Mainstreet

I remember standing on the corner at midnight
Trying to get my courage up
There was this long, lovely dancer in a little club downtown
Loved to watch her do her stuff
Through the long, lonely nights she filled my sleep
Her body softly swaying to that smoky beat
Down on Main Street
Down on Main Street

In the pool halls, the hustlers and the losers
Used to watch ’em through the glass
Well I’d stand outside at closing time
Just to watch her walk on past
Unlike all the other ladies, she looked so young and sweet
As she made her way alone down that empty street
Down on Main Street
Down on Main Street

Sometimes even now, when I’m feeling lonely and beat
I drift back in time and I find my feet
Down on Main Street
Down on Main Street
Down on Main Street
Down on Main Street
Down on Main Street
Down on Main Street

Comedian Quotes V

I’ll start off with two talk show hosts going first. Carson, still is probably the most popular of them all. Cavett was great at what he did… he was funny but most of all he had conversations with his guests rather than interviewing them.

This will be the end of the Comedian Quotes…I thank all of you who have read and enjoyed them…also thanks for all of the suggestions.

Comedian Quotes
Comedian Quotes II
Comedian Quotes III
Comedian Quotes IV

Dick Cavett

I eat at this German-Chinese restaurant and the food is delicious. The only problem is that an hour later you’re hungry for power

If your parents never had children, chances are… neither will you

Censorship feeds the dirty mind more than the four-letter word itself

I don’t see the future as bright, language-wise. I see it as a glass half empty – and evaporating quickly

I would not ever try to be a show intellectual, which I was accused of doing a while on ABC. I thought you were supposed to read the guests’ books

I don’t feel old. I feel like a young man that has something wrong with him

Johnny Carson

I know a man who gave up smoking, drinking, sex, and rich food. He was healthy right up to the day he killed himself

People will pay more to be entertained than educated

Never use a big word when a little filthy one will do

I hated my last boss. He asked, Why are you two hours late? I said, I fell downstairs. He said, That doesn’t take two hours

Some sad news from Australia… the inventor of the boomerang grenade died today

Married men live longer than single men. But married men are a lot more willing to die

May you have the income of a Republican and the sex life of a Democrat!

Bill Burr

God’s everywhere, but I gotta go down (to church) to see him? Really? And he’s mad at me down there, and I owe you money?”

Deny your emotions and act like you have answers

You’re a kid, your whole life is awesome. It’s awesome, right? You had no money, no ID, no cell phone, no nothing, no keys to the house. You just ran outside into the woods. You weren’t scared of nothing. I challenge you to do that as an adult. All your IDs, all your credit cards – just run out of the house with no phone, turn the corner where you can’t see your house, and not have a full on panic attack

I gotta be honest with you. Im kind of jealous of the way my dad gets to talk to my mom sometimes. Where are all those old-school women you can just take your day out on? When did they stop making those angels?

People focus too much on whether there’s a Democrat or a Republican in office. It’s not like this guy Kim-Jong Un got into power the second Trump got into power. It’s not like he wasn’t a problem. It’s not like we haven’t had warmongers. It’s not like corporations haven’t been the main influence on what we’re doing around the world.

I can’t quite remember who I voted for president. It wasn’t Trump or Hillary, though. I didn’t like either one of them

Chris Rock

There are only three things that women need in life: food, water, and compliments.

Every man has to settle down eventually. You know why you gotta settle down eventually? Because you don’t want to be the old guy in the club.

Oprah is rich, Bill Gates is wealthy. If Bill Gates woke up tomorrow with Oprah’s money, he’d jump out a f***ing window and slit his throat on the way down saying, ‘I can’t even put gas in my plane!’

Gun control? We need bullet control! I think every bullet should cost 5,000 dollars. Because if a bullet cost five thousand dollar, we wouldn’t have any innocent bystanders.

Comedy is the blues for people who can’t sing.

People are always going to, you know, find something wrong with people who are not the exact same as them. That’s just what it is. Black, white, short, tall, religions, whatever. People are bad.

Jim Gaffigan

You wanna know how good bacon is? To improve other food, they wrap it in bacon.”

Whenever you correct someone’s grammar just remember that nobody likes you

There should be a children’s song: ‘If you’re happy and you know it, keep it to yourself and let your dad sleep

Isn’t it strange — when you’re single, all you see is couples, and when you’re part of a couple, all you see are hookers

Babies and toddlers are mostly what I’ve been exposed to at this point. I’m hoping parenting just gets much easier after this. It does, right?

Anyone know if the shuttles to Hell will have Wifi? Asking for a friend

Bob Saget

Beautiful clear day in Beverly Hills. The sweet smell of Botox is in the air.

My confidence wavers between being genuine and being insecure.

I’m going to be fifty this year. Soon I’m going to meet somebody around my own age, and she’s going to be smart and beautiful, and I’m going to date her daughter.

When you’re famous, you’re always famous. It doesn’t go away.
Jon Lovitz. Jon, your act is like masturbation: you’re the only one who enjoys it, and you should be arrested for doing it in public.

My dad’s like, “If your mom and I are having sex and we videotape it and she falls out of bed funny, can I win ten-thousand dollars?”

Steve Allen

Radio is the theater of the mind; television is the theater of the mindless

Physical fitness is in. I recently had a physical fit myself

Thousands of years ago only Christ could walk on the water. Today anybody can do it; you just step on the garbage

Civilization itself . . . can easily be swept aside when mob passions are aroused

Humor is a social lubricant that helps us get over some of the bad spots

In a rational society we would want our presidents to be teachers. In our actual society we insist they be cheerleaders

Joey Bishop

The other day I started to take a course in psycho-ceramics. What is psycho-ceramics? It’s the study of crackpots

“Today you can go to a gas station and find the cash register open and the toilets locked. They must think toilet paper is worth more than money.

There are many things that I find attractive about a woman. Foremost to me, of course, would be a sense of humor-but that doesn’t come in a bottle

A woman driver went through a red light. The cop stopped her and said, Lady, didn’t you see that red light? The woman said, You’ve seen one, you’ve seen them all

John Fogerty – Jambalaya (On The Bayou)

In the 90s our band would play this live. It was close to this version but when that second verse kicked in… we really kicked in full blast. A drunken patron at a bar once told me during a break…that it sounded great… like Hank Williams with 5 lines of blow. That made me smile anyway.

Hank Williams wrote this song and originally recorded it in 1952. Williams’ original peaked at #1 in the Country charts and also went to #20 on the US pop charts. Other artists to record this include Jo Stafford, Fats Domino, Brenda Lee and The Carpenters.

John Fogerty released the Blue Ridge Rangers album in 1973. This was his debut solo album after Creedence Clearwater Revival broke up. Some songs were written by country legends like Jimmie Rodgers and Hank Williams; some are traditional numbers, adapted by Fogerty in the style of those artists.

This was a one man album. Fogerty played every instrument himself. It was a risky move releasing a country cover album in the early seventies. He wanted to distance himself from CCR. While it wasn’t a large hit, it wasn’t a disaster considering what it was. The album peaked at #47 in the Billboard Album Charts and #59 in Canada in 1973.

Jambalaya (On The Bayou)

Goodbye, Joe, me gotta go, me oh my oh.
Me gotta go, pole the pirogue down the bayou.
My Yvonne, sweetest one, me oh my oh.
Son of a gun, gonna have big fun on the bayou.

[CHORUS:]
Jambalaya and a crawfish pie and fillet gumbo
‘Cause tonight I’m gonna see my ma cher amio.
Pick guitar, fill fruit jar and be gayo,
Son of a gun, gonna have big fun on the bayou.

Thibodeaux, Fontaineaux, the place is buzzin’,
Kinfolk come to see Yvonne by the dozen.
Dress in style, go hog wild, and be gayo.
Son of a gun, gonna have big fun on the bayou.

[CHORUS:]
Oh, guitar!

[CHORUS]

Oh, Lord!
Hang tight, ooh Lord!
Ah, take it out.
He’s comin’, ah!

….

Queen – Killer Queen

This is one of the first Queen songs I heard. I saw Queen’s popularity in America peak in with The Game. You couldn’t go anywhere without hearing Another One Bites the Dust. After that album, I didn’t hear as much from there here. Now they are peaking again after the Bohemian Rhapsody movie.

The first single from Queen’s third album, Sheer Heart Attack was released in 1974. The song peaked at #12 in the Billboard 100, #2 in the UK, #15 in Canada.

Killer Queen was their first song to chart outside their native UK, where “Seven Seas of Rhye,” from their previous album Queen II. Their breakthrough to superstardom came with their next album, A Night At The Opera, which has the epic Bohemian Rhapsody.

The Sheer Heart Attack album cover was shot by Mick Rock, who did the famous cover of their previous album, Queen II. Freddie Mercury typically drove the visual direction of the band, but it was drummer Roger Taylor who came up with the concept for the Sheer Heart Attack cover.

Roger Taylor wanted them to look like they had been thrown up from a shipwreck on some distant shore,’ so that’s what ick Rock shot. He said they were soaking wet with a lot of spraying going on.

Freddie Mercury : “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

Brian May: “This is a perfect pop record and one of Freddie’s greatest songs. It’s beautifully constructed and it’s also got one of the solos I’m most proud of.”
“Every slice of that record is pure pop perfection. Little things that visit once and come again, like the little bell in the second verse.”

From Songfacts

Regarding the line, “‘Let them eat cake’ she says, just like Marie Antoinette,” according to legend, Marie Antoinette (the Queen of France) said “Let them eat cake” after hearing how the peasants had no bread to eat. It’s more likely that the phrase was uttered by a French philosopher, not Antoinette.

The Marie Antoinette quote has gone down in history as justification for the French Revolution. It demonstrates how out of touch with the common folk the ruling class had become. According to legend, when informed that there was no bread for the people to eat, she replied, oblivious, “then let them eat cake!” It is said, that enraged by this incredibly ignorant response, the people revolted. In the song, it is used to demonstrate at what level this high priced prostitute sells her wares.

This was one of the first songs recorded at The Quadrangle, a studio opened at the Rockfield Studios complex in Wales in 1973. The following year, Queen recorded much of their Sheer Heart Attack album at Rockfield, and in 1975 they did the bulk of “Bohemian Rhapsody” there.

In Ben Elton’s musical We Will Rock You, Killer Queen is an evil matriarch who controls the music industry.
Nevertheless, he was a little reticent at first about releasing it: “I was a little hesitant; I was thinking are we setting ourselves as something very light?” He relates this back to how initially the band were very heavy and rock-orientated, and “Killer Queen” was a major departure from that sound.

Californian pop princess Katy Perry named one of her fragrances after this tune. She told Women’s Wear Daily the song’s lyrics really spoke to her when she was a teenager. “Killer Queen has been in my vocabulary since I was 15,” Perry said. “Freddie Mercury painted the lyrics of this woman who I wanted to be. She seemed very powerful, and she captivated a room when she walked in.”

This song was covered by Sum 41 for the 2005 Queen tribute album Killer Queen.

In the video game Guitar Hero 3, one of the unlockable guitars called the “Card Sharp Special” can have a finish called “Killer Queen.” In the description it says: ” Something about dynamite and laser beams? what’s that all about? and who am I to deny it?”, which is a reference to the song lyrics.

Killer Queen

She keeps her Moet et Chandon
In her pretty cabinet
“Let them eat cake”, she says
Just like Marie Antoinette
A built-in remedy
For Kruschev and Kennedy
At anytime an invitation
You can’t decline

Caviar and cigarettes
Well versed in etiquette
Extraordinarily nice

She’s a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?

To avoid complications
She never kept the same address
In conversation
She spoke just like a baroness
Met a man from China
Went down to Geisha Minah
Then again incidentally
If you’re that way inclined

Perfume came naturally from Paris (naturally)
For cars she couldn’t care less
Fastidious and precise

She’s a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Drop of a hat she’s as willing as
Playful as a pussy cat
Then momentarily out of action
Temporarily out of gas
To absolutely drive you wild, wild
She’s all out to get you

She’s a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?
You wanna try

Nazareth – Love Hurts

I owned Nazareth’s Hair of the Dog on 8-track tape (a book about 8-tracks from Deke) that was given to me as a kid. I still remember that CLICK during the title song. I expect to hear it when I listen to it today. The only version I knew of Love Hurts was Nazareth for the longest time. Later I found out it has been covered by many people including The Everly Brothers.

I saw Nazareth in the early 80s. Dan McCafferty’s voice was rough, loud, and great. Instead of talking to the audience he screamed through a very hot mic…but they were awesome. The opened up for Billy Squire but I would have loved to seem them headline.

The album this song was on was Hair of the Dog. It would be Nazareth’s biggest album. The album peaked at #17 in the Billboard Album Charts and #20 in Canada in 1975.

Nazareth released Love Hurts as a single late in 1974. Surprisingly, it tanked, but in April 1975 it became a hit in South Africa, prompting their label, A&M, to release it in America. It took a while, but radio stations in Texas started playing the song, and others around the country gradually followed suit.

The song peaked at #1 in Canada and #8 in the Billboard 100 and #41 in the UK. Nazareth got their name from the first line of the Band’s “The Weight” – “I pulled into Nazareth…”

The Everly Brothers may have been the first to cover it, but they never released the song as a single. They planned to release this as a single, but industry politics got in the way. The group was managed by Wesley Rose, who was part owner of the publishing company Acuff-Rose. After a string of hits for Cadence Records, they left for Warner Bros. in 1960, and continued to make hits but Rose wanted them to release singles for which Acuff-Rose owned the publishing, and when the duo recorded covers of “Lucille” and “Temptation” (a song from 1933), he protested, leading to a split and a legal dispute. Rose had another one of his clients, Roy Orbison, record “Love Hurts” and released it as the B-side to his #1 hit “Running Scared” in 1961.

Don Everly: “Wesley covered us with Roy Orbison, which was outlandishly selfish,” Don Everly said in Walk Right Back: The Everly Brothers On Warner Bros. “The arrangement was ours, and it was written for us. We couldn’t release it as a single because we didn’t know if Acuff-Rose would license it or not because we were in a lawsuit with them. It got that bitter.”

Pete Aginew Nazareth bassist: “We all loved the song. We often covered songs that we liked that we used to listen to on tape. Every now and then, we’d just go back and try to do something with one of these things. If you could change it and make it yours, we’d do it in the studio and see if we could do something about it. When we did Love Hurts, I believe there were 42 different versions recorded of it. The one we used to listen to was Gram Parsons and Emmylou Harris, off the “Grievous Angel” [1974] album. We used to have that in our van and we loved the song. […] We recorded “Love Hurts” as a b-side and that’s how we saw it. Of course, when I hear it now, it’s probably one of the best rock ballads of all time and definitely the vocal is in the top three.”

From Songfacts

Nazareth made this song a hit, but it was originally released by the Everly Brothers on their 1960 album A Date With The Everly Brothers. Like their heartbreak hit from 1957, “Bye Bye Love,” it was written by Boudleaux Bryant.

Young love is hot with passion, but it burns you when it’s hot. The guy in this song has just made this discovery, which is a revelation of sorts – all those singing the praises of love are fools who will soon be burned, as love is just a lie made to make you blue.

The original Everly Brothers version runs 2:23 and is delivered in their distinctive, pleasing harmonies. The Nazareth version is 3:03, with sandpaper vocals by lead singer Dan McCafferty screamed out as if he’s falling into the pit of despair.

The group is from Scotland and had three UK hits under their belts when
Nazareth’s Stateside success was short lived: “Holiday” reached #87 in 1980, and “Love Leads To Madness” went to #105 in 1982, but none of their other songs charted there.

The album version runs 3:52, with a guitar solo by Manny Charlton that is not on the 3:03 single.

By the time Nazareth brought this song to life, the Everly Brothers had been split for three years. When they re-formed in 1983, they added the song to their setlists for the first time, starting with their reunion concert at Royal Albert Hall, which was released as a live album. In later years, it sometimes seemed like they were singing it to each other on stage, as their relationship had clearly soured.

The Everly Brothers recorded a new version on their 1965 album Rock’n Soul. Other artists to release it include Ray Peterson, Jimmy Webb, and Gram Parsons with Emmylou Harris. Jim Capaldi is the only other artist to chart with the song; he took it to #97 US in December 1975.

***A Real 8-Track Museum in Dallas Texas***

Love Hurts

Love hurts

Love scars

Love wounds and marks

Any heart not tough or strong enough

To take a lot of pain, take a lot of pain

Love is like a cloud, it holds a lot of rain

Love hurts

Ooh love hurts

I’m young

I know

But even so

I know a thing or two, I learned from you

I really learned a lot, really learned a lot

Love is like a flame, it burns you when it’s hot

Love hurts

Ooh love hurts

Some fools think

Of happiness, blissfulness, togetherness

Some fools fool themselves, I guess

They’re not foolin’ me

I know it isn’t true I know it isn’t true

Love is just a lie made to make you blue

Love hurts

Ooh love hurts

I know it isn’t true

Love is just a lie made to make you blue

Love hurts

Ooh love hurts

Ooh, love hurts, ooh

…

Warren Zevon – Poor Poor Pitiful Me

I love this song. Not many songs deal with a failed suicide, domestic abuse, and a brush with sadomasochism. I’m a huge Warren Zevon fan. His songs tend to be on the dark side…and anyone who has listened to Excitable Boy will testify to that.

When I heard Zevon’s version of this song for the first time I was sold. I first heard the Linda Ronstadt version and I loved it. I’m a Linda Ronstadt fan but something about Zevon’s version draws me in. It’s raw and crude and I love the way he sings it.

Zevon wrote and recorded the song and it appeared on his self-titled album in 1976. It became a hit when Linda Ronstadt covered it the next year. She cleaned up the song a little. Ronstadt’s cover was a cleaned-up version with the gender reversed. Still, her character fails at suicide, but the S&M (sadomasochism) references are gone.

Like other Zevon songs this is a pretty crude and risqué song. His character is such a disaster that he can’t even kill himself: he puts his head on the railroad tracks, but the train doesn’t run anymore.

I met a girl at the rainbow bar
She asked me if I’d beat her
She took me back to the hired house
I don’t wanna talk about it, hut

It’s thought that the song was a friendly swipe at Jackson Browne, whose songs such as “Here Come Those Tears Again” and “Sleep’s Dark and Silent Gate” from The Pretender could be quite dark. The album was produced by Jackson Browne and had backing vocals by Lindsey Buckingham.

Another hit cover version of the song was recorded by Canadian country singer Terri Clark in 1996. It peaked at #1 in the Canadian Country Charts and #5 in the Billboard Country Charts.

Poor Poor Pitiful Me

I lay my head on the railroad tracks
I’m waiting on the double E
The railroad don’t run no more
Poor poor pitiful me

Poor poor pitiful me and poor poor pitiful me
These young girls won’t let me be
Lord have mercy on me, woe is me

Well I met a girl in West Hollywood
Well I ain’t naming names
But she really worked me over good
She was just like Jesse James

She really worked me over good
She was a credit to her gender
She put me through some changes Lord
Sort of like a waring blender

Poor poor pitiful me, poor poor pitiful me
These young girls won’t let me be
Lord have mercy on me, woe is me

Poor poor pitiful me and poor poor pitiful me
Oh these girls won’t let me be
Lord have mercy on me, woe is me

I met a girl at the rainbow bar
She asked me if I’d beat her
She took me back to the hired house
I don’t wanna talk about it, hut

Poor poor pitiful me
Poor poor pitiful me
Hut, never mind
Poor poor pitiful me
Yeah poor poor pitiful me

Beatles – One After 909

A pure rock and roll song by The Beatles. It’s always a joy to listen to because it goes back to their roots They played this song live in the early days before Beatlemania. When they recorded the final version on the roof you could see they were having a good time. George’s guitar playing on this is perfect.

A song that was recorded in January of 1969 but was written by John and Paul in the 1950s. Being a very early attempt at songwriting, John Lennon reluctantly brought it forward for The Beatles to record when they were looking for new material in early 1963. They recorded it but didn’t have a take that they liked.

In 1969 John pulled out “One After 909” from his memory and presented it again. On this occasion, it was reworked with enthusiasm and with a different feel and arrangement, the result becoming a cool presentation of early Beatlemania at their final live performance on the rooftop in 1969.

John, Paul, and George were talking about the song and John said he always wanted to change the words. Paul said no…it’s great like it is so they played the song on the rooftop. It would be included on the Let It Be album released in 1970

The song was about a lady who tells her boyfriend she is leaving on the train that leaves after train number 909. He begs her not to go, but she does anyway. He packs his bags and rushes after her and discovers that she is not on “the one after 909,” so he goes home depressed and goes into the wrong house.

John Lennon: “I wrote it when I was about seventeen, either right before or after ‘Hello Little Girl,’ and it was resurrected for (the ‘Let It Be’) album, probably for lack of material. Nine has always been around. I’m not sure why. I was born on the ninth of October, I lived at nine Newcastle Road, ‘Revolution 9.’ Numerologically, I’m apparently a number three or six, so I’m not sure where the nine comes from…but it’s all part of nine.”

Paul McCartney: “It was a number we didn’t used to do much but it was one that we always liked doing, and we rediscovered it. There were a couple of tunes that we wondered why we never put out; either George Martin didn’t like them enough to or he favored others. It’s not a great song but it’s a great favorite of mine because it has great memories for me of John and I trying to write a bluesy freight-train song. There were a lot of those songs at the time, like ‘Midnight Special,’ ‘Freight Train,’ ‘Rock Island Line,’ so this was the ‘One After 909.’ She didn’t get the 909, she got the one after it! It was a tribute to British Rail, actually. No, at the time we weren’t think British, it was much more the Super Chief from Omaha.”

One After 909

My baby said she’s trav’ling on the one after 909
I said move over honey I’m traveling on that line
I said move over once, move over twice
Come on baby don’t be cold as ice.
Said she’s trav’ling on the one after 909.

I begged her not to go and I begged her on my bended knees,
You’re only fooling around, you’re fooling around with me.
I said move over once, move over twice
Come on baby don’t be cold as ice.
Said she’s trav’ling on the one after 909.

I got my bag, run to the station
Railman says you’ve got the the wrong location
I got my bag, run right home
Then I find I’ve got the number wrong

Well she said she’s trav’ling on the one after 909
I said move over honey I’m traveling on that line
I said move over once, move over twice
Come on baby don’t be cold as ice.
Said she’s trav’ling on the one after 909.

I got my bag, run to the station
Railman says you’ve got the the wrong location
I got my bag, run right home
Then I find I’ve got the number wrong

AC/DC – Jailbreak

Bon Scott was reading a story in the paper about Mark Brandon Reid…otherwise known as Chopper Reid. Chopper was sent to jail for 16 years for murdering a gang leader. After a while, he got fed up with jail life, so a criminal friend of his named Jimmy Loughnan planned an escape. It didn’t go well because of Chopper’s fear of tight places…and he and Jimmy were caught.

Bon Scott and Angus and Malcolm Young wrote Jailbreak. The song peaked at #10 in Australia in 1976. The song appeared on the Australian version of Dirty Deeds Done Dirt Cheap. The song would not be released to the rest of the world until the 1984 international release of the ‘74 Jailbreak EP.

Mark Evans plays bass on this track and album. Evans would play on one more album, Let There Be Rock, and then he would be replaced by Cliff Williams on the Powerage album. Williams remains with ACDC to this day.

They made two videos for this song, one of them playing on a bunch of rocks as various explosions go on around them and the other which features the band simply playing on a stage.

In the bottom video Bon Scott and Phil Rudd (shirts with arrows) were dressed in blue prisoner uniforms while Malcolm Young and Mark Evans wore guard uniforms.

Jailbreak

There was a friend of mine on murder
And the judge’s gavel fell
Jury found him guilty
Gave him sixteen years in hell
He said “I ain’t spending my life here
I ain’t livin’ alone
Ain’t breakin’ no rocks on the chain gang
I’m breakin’ out and heading home”
Gonna make a (jailbreak)
And I’m looking towards the sky
I’m gonna make a (jailbreak)
Oh, how I wish that I could fly

All in the name of liberty
All in the name of liberty
Got to be free

(Jailbreak)
Let me outta here
(Jailbreak)
Sixteen years
(Jailbreak)
Had more than I can take
(Jailbreak)

Yeah

He said he’d seen his lady being fooled with
By another man
She was down and he was up
Had a gun in his hand
Bullets started flying everywhere
People start to scream
Big man lyin’ on the ground
With a hole in his body where his life had been

But it was all in the name of liberty
All in the name of liberty
I got to be free

(Jailbreak)
(Jailbreak)
I got to break out
Out of here

Heartbeats
They were racing
Freedom
He was chasin’
Spotlights
Sirens
Rifles firing
But he made it out

With a bullet in his back

Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak
Jailbreak

Rolling Stones – Ain’t Too Proud To Beg

If I had to pick my favorite Stones song they covered…this one would be high up there. I like the intro and Keith’s sloppy guitar solo that was perfect for it.

The Stones covered this song in 1974 on the It’s Only Rock ‘n’ Roll album. Later in 1978 they would cover another Temptations song called Just My Imagination.

The Stones originally planned for Dobie Gray’s “Drift Away” as the only cover song on It’s Only Rock ‘n’ Roll, but they bumped it for this. Billy Preston plays the funky piano on this song, and it really makes it.

It’s Only Rock and Roll would be the last album that Mick Taylor worked on. Ron Wood would eventually replace him on guitar. Wood probably fit in with the Stones more than Taylor…but Taylor had a sound that was never replicated again. The albums he played on are considered to be the Stones best.

This was written by Motown writers Norman Whitfield and Eddie Holland. Holland, who was part of the Holland/Dozier/Holland writing team, wrote the lyrics. The Temptations version peaked at #13.

Other covers of this song include Phil Collins, TLC, and the one and only Rick Astley… whom the Internet’s never going to give up..

The song peaked at #17 in the Billboard 100 and #14 in Canada in 1974.

Paul McCartney: “There were two songs I turned Mick onto that the Stones have done. One was She Said Yeah and the other was Ain’t Too Proud To Beg. Mick would deny it – ‘Wot? Never saw him, never met him’ – but I distinctly remember having him up into a little music room and playing it to him. He loved it and he went and did it. We’ve messed around with the track a little bit, but it is sort of like my memory of the original.”

Ain’t Too Proud To Beg

I know you wanna leave me,
But I refuse to let you go,
If I have to beg, plead for your sympathy,
I don’t mind ’cause you mean that much to me.

Ain’t too proud to beg and you know it,
Please don’t leave me girl,
Don’t you go,
Ain’t too proud to plead, baby, baby,
Please don’t leave me, girl,
Don’t you go.

Now I’ve heard a cryin’ man
Is half a man with no sense of pride,
But if I have to cry to keep you,
I don’t mind weepin’ if it’ll keep you by my side.

Ain’t too proud to beg and you know it,
Please don’t leave me girl,
Don’t you go,
Ain’t too proud to plead, baby, baby,
Please don’t leave me, girl,
Don’t you go.

If I have to sleep on your doorstep all night and day
Just to keep you from walking away,
Let your friends laugh, even this I can stand,
’cause I wanna keep you any way I can.

Ain’t too proud to beg and you know it,
Please don’t leave me girl,
Don’t you go,
Ain’t too proud to plead, baby, baby,
Please don’t leave me, girl,
Don’t you go.

Now I’ve got a love so deep in the pit of my heart,
And each day it grows more and more,
I’m not ashamed to call and plead to you, baby,
If pleading keeps you from walking out that door.

Ain’t too proud to beg and you know it,
Please don’t leave me girl,
Don’t you go,
Ain’t too proud to plead, baby, baby,
Please don’t leave me, girl,
Don’t you go.