Blind Melon – No Rain

This 1993 song has a sixties feel to it. The lead singer Shannon Hoon did a great job on this track.

Blind Melon bass player Brad Smith wrote this song before he formed the band. He had moved from Mississippi to Los Angeles, where he fell into a down period. He said that the song is about not being able to get out of bed and find excuses to face the day when you have nothing. At the time he was dating a girl who was going through depression  and for a while he told himself that he was writing the song from her perspective. He later realized that he was also writing about it himself.

The video was very popular. It has a very intriguing video featuring a girl dressed in a bee costume. The bee girl, Heather DeLoach, was 10 years old when she starred in it, creating one of the most enduring images on MTV.

The concept for the video was inspired by the Blind Melon album cover, which features a 1975 photo of Georgia Graham, the younger sister of Blind Melon drummer Glenn Graham. DeLoach was the first to audition for the role, and because she resembled Graham’s sister so much, director Samuel Bayer (who also directed Nirvana’s “Smells Like Teen Spirit”) chose her.

This song peaked at #1 in Canada, #20 in the Billboard 100, #17 in the UK, and #15 in New Zealand in 1993.

Blind Melon’s songs, were credited to the entire band even when one member wrote most of the song, as Brad Smith did with this one. Brad says that even though he wrote it, lead singer Shannon Hoon took it to a new level with his vocal.

The video made #22 on MTV’s Greatest Videos Ever Made countdown at the end of 1999.

From Songfacts

The bee girl parlayed the role into a credible acting career, appearing in the movie Balls of Fury, a remake of the Shirley Temple film A Little Princess and the TV shows ER and Reno911. She got married in 2017. DeLoach recalled to MTV News her audition for the bee girl: “They told me Sam didn’t look at any other tapes. I went in with my hair in braids and wearing those chunky glasses, because they said to look nerdy. My mom said we had to find some glasses before we went in, so we ran to a local mall right before the audition and bought them, and Sam liked them so much they’re the same ones I used in the video.”

This was a hit on a variety of formats. It reached #1 on the AOR (classic rock), modern rock and metal charts.

The first performances of this song were on Venice Beach, where Brad Smith would do his busking. “That’s where the lyric and the song was inspired from, is just having to write songs,” he said. “Then being in the state of mind I was in and having to come up with material to go play down on the beach for change. I played that song on the beach for change for over a year before Shannon Hoon actually joined the band and really made that song a hit.”

The band didn’t always appreciate this song. When they opened some shows for The Rolling Stones in 1994, they left it off their setlist. Their tour manager, Paul Cummings explained: “They had become one of those bands that hate their hit – at least at that point. I couldn’t understand it, but it’s not my call. That probably would have been the only song that crowd would have recognized.”

A hallmark of Brad Smith’s lyrics a feeling of melancholy, which doesn’t always match the music he puts to the song. He describes the music to this song as a “jaunty little happy halfway island beat,” which sounds like “Don’t Worry, Be Happy.” He explained: “A lot of my songs come from a darker place. And if you just met me walking down the street, you’d say, ‘Oh, you’re such a happy guy, Brad. Why the dark songs?’ I’m like, ‘I don’t know.’ For me, it just has more meaning if you can get inside someone’s soul and identify with them on a heavier level and try to connect with them on that level. Because when you’re sad and you’re down, you’re the most vulnerable, and you feel the most alone.”

In 1993, Heather DeLoach reprised her role as Bee Girl in the Weird Al Yankovic video for “Bedrock Anthem” (a parody of “Give It Away” by the Red Hot Chili Peppers).

The inertia described in this song sounds typical of the stoner ennui like that described in “Because I Got High,” but you can blame this one on the herb. “I wasn’t even on drugs or drinking,” Brad Smith told us. “It was just a tough point in my life. And the cool thing about that song, I think a lot of people do interpret those lyrics properly and can connect with it on that level, where ‘I don’t understand why I sleep all day and I start to complain that there’s no rain.’ It’s just a line about, I’d rather it be raining so I can justify myself by laying in the bed and not doing anything. But it’s a sunny day, so go out and face it.”

In 2003, this was used in a commercial where a girl in a hot dog costume meets a guy in a Pepsi costume. Love blooms.

Pearl Jam has a song called “Bee Girl” that they first performed in 1994. With lyrics like, “Bee girl, you’re gonna die. You don’t wanna be famous, you wanna be shy,” the track was seen as a very accurate warning to Shannon Hoon that he was on a path of destruction. The song can be found on their Lost Dogs rarities album.

In 2016, the pop singer Mandy Jiroux released a song called “Insane” using many elements of “No Rain,” including the signature riff. Her song has similar but different lyrics, for instance:

All I can say is that my life’s not really plain
I like dancing in puddles that gather rain

In places where Shannon Hoon sang “no rain,” Jiroux substituted “insane.”

This prompted Blind Melon to file a lawsuit using the same lawyer who won big bucks for Marvin Gaye’s estate in the “Blurred Lines” case. Had Jiroux simply covered the song, it wouldn’t be an issue, but Blind Melon claimed that she created a “derivative work” that requires licensing.

The suit is unusual in that the plaintiff is trying to prove that the defendant didn’t make the song similar enough.

This song was featured in the 2004 comedy movie Without A Paddle.

No Rain

All I can say is that my life is pretty plain
I like watchin’ the puddles gather rain
And all I can do is just pour some tea for two
And speak my point of view but it’s not sane
It’s not sane

I just want someone to say to me, oh
I’ll always be there when you wake, yeah
You know I’d like to keep my cheeks dry today
So stay with me and I’ll have it made

And I don’t understand why I sleep all day
And I start to complain that there’s no rain
And all I can do is read a book to stay awake
And it rips my life away but it’s a great escape
Escape, escape, escape

All I can say is that my life is pretty plain
You don’t like my point of view, you think that I’m insane
It’s not sane, it’s not sane

I just want someone to say to me, oh
I’ll always be there when you wake, yeah
You know I’d like to keep my cheeks dry today
So stay with me and I’ll have it made, I’ll have it made, I’ll have it made
Oh, no, no, you know, I really wanna, really gonna have it made
You know, I’ll have it made

Watermelon Men – Seven Years

For everyone that follows me on the weekend…I’m working on a home project and I will only post one Twilight Zone each day with no music posts this weekend. Have a great weekend. 

This song was released in 1985 on the Watermelon’s album Past, Present and Future.

The Watermelon Men were a Swedish five piece band that were around from the mid Eighties up till 1994. They had quite a following in Sweden, Germany, England, among other places.

The band is still popular over ten years after they ceased. They are praised in power pop circles in Europe. They were mostly known for garage rock and brought good melodies with jangly guitars in a lot of their music.

When they were together they released three albums, an Ep, and three singles. One album remains unreleased…it’s up in the air on if it will come out.

The guitar player Imre von Polgar died in the tsunami disaster in Khao Lak in 2004. Shortly after, the band reformed for a one time show in his memory.

Seven Years

If the man can’t choose which way to go
If the girl don’t know where she belongs
Then you’re apt to say all the love can’t kill the pain
Till they meet, he’ll be a traveling man
When his hope was buried in the ground
In tears she left her man behind
The you’re apt to think seven years has passed today
Till they meet, she’ll dream her life away

You won’t feel, you’ll meet her someday
And in his arms, she’ll always stay
But it’s the story
No one ever fades

In surprise they think
When they both run from themselves
Till they meet, the story has no end

You won’t see, you’ll meet her someday
And in his arms, she’ll always stay
But it’s the story
No one ever fades

Kinks – Dandy

If you heard this song on the radio in the sixties it probably wasn’t the Kinks version unless you lived in Germany where it peaked at #1, The Netherlands where it peaked at #3 and #2 in Belgium.

The mighty Herman Hermits covered the song and it peaked at #5 in the Billboard 100, #1 in Canada, #3 in New Zealand…sometimes life just isn’t fair.

It is said to have been written about Dave Davies, mostly about his rock star lifestyle… Dave confirmed in the documentary about Dave Davies.

The song was on the Face to Face album.. one of the first rock and roll concept albums.  In the album’s original inception, Davies attempted to bridge the songs together with sound effects, but was forced to revert to the more standard album because of the record company.

Ray Davies: “I think it was about someone, probably me, who needed to make up his mind about relationships. Also about my brother, who was flitting from one girl to another. It’s a more serious song than it seems. It’s about a man who’s trapped by his own indecision with relationships and lack of commitment. That’s the way I’d write it now, but when I was twenty-two or twenty-three I wrote it about a jovial person who’s a womanizer.”

From Songfacts

Running to just 2 minutes 22 seconds, “Dandy” was written by Ray Davies, and is the third track on the band’s 1966 Face To Face album. 

The song ends with the line “…Dandy, you’re all right”.

Sadly, this sentiment was not reciprocated; in the aforementioned documentary, Dave Davies said that he loved his brother, even though he was an arsehole! 

“Dandy” was released as a single in Europe on the Pye label backed by “Party Line.” The single was produced by Shel Talmy, who worked on most of the early Kinks material. 

I’m so sorry but I feel I’m obliged to post the Colossal Hermit’s version also. 

Dandy

Dandy, Dandy
Where you gonna go now?
Who you gonna run to?
All you life
You’re chasing all the girls,
They can’t resist your smile.
Oh, they long for Dandy, Dandy.

Checkin’ out the ladies,
Tickling their fancy,
Pouring out your charm
To meet all your own demands,
And turn it off at will.
Oh, they long for Dandy, Dandy.

Knockin’ on the back door,
Climbing through the window,
Hubby’s gone away,
And while the cat’s away,
The mice are gonna play.
Oh, you low down Dandy, Dandy.
Dandy

Dandy you know you’re moving much too fast,
And Dandy, you know you can’t escape the past.
Look around you and see the people settle down,
And when you’re old and grey you will remember what they said,
That two girls are too many, three’s a crowd and four you’re dead.

Oh Dandy, Dandy,
When you gonna give up?
Are you feeling old now?
You always will be free,
You need no sympathy,
A bachelor you will stay,
And Dandy, you’re all right.
You’re all right.
You’re all right.
You’re all right.
You’re all right.
You’re all right.

Beatles Get Back Trailer

Just saw this a few minutes ago. Lately I’ve been living in a bubble because of work but this is the new Get Back trailer. This is not the sneak peak Peter Jackson released before. On November 25,26, and 27th… 6 hours of the Let It Be/Get Back music, comedy, and drama will all unfold on the Disney plus.

As a very young Beatle fan I read about these sessions and only saw still photographs. Later on I saw them do Get Back on MTV while on the rooftop and it was like photos coming to life…I read where they had 56 hours of video footage sitting in a vault from this album. Now we will see 6 hours out of that anyway…you what what? I would happily sit through 56 hours… Peter Jackson has done such a great job on the look of the film…it looks like it could have been filmed yesterday. Peter, need an assistant for free?

With the previews I’ve seen…it looks like it was a lot of fun and the bad drama was not prevalent through the filming. Ringo has said that people have focused on the negative but it was much more positive than that. What is great about Get Back is the good time they had and it wasn’t all doom and gloom. I can’t imagine the pressure they were under to deliver and be as good as their last album. In this case, when they filmed this, it was just a few months after they released The White Album…The Let It Be album didn’t get released until after their last studio album Abbey Road.

Enough of me talking…here is the preview.

Beatles – Revolution 1

We all know Revolution by the Beatles but this is the acoustic version of the song. They fell into a nice groove doing this. It took a while for this to grow on me but now I like it just as well as the single fast hard rocking version.

The fast version was released as the B-side of “Hey Jude” in August 1968, three months before the slow version appeared on The White Album. John Lennon wanted it to be the first A-side released on Apple Records, the label The Beatles started, but Paul McCartney’s Hey Jude got the honor.

Brian Epstein, the Beatles manager was always careful with them  by asking them to not talk about controversial subjects like the war, politics, and anything that could cause controversy…I don’t think John Lennon got that memo many times. After Brian died they started to be more open and they talked a little more freely.

John Lennon said : “I wanted to put out what I felt about revolution,”  “I thought it was about time we spoke about it, the same as I thought it was about time we stopped not answering about the Vietnamese war when we were on tour with Brian Epstein and had to tell him, ‘We’re going to talk about the war this time and we’re not going to just waffle’…That’s why I did it: I wanted to talk, I wanted to say my piece about revolutions. I wanted to tell you, or whoever listens, to communicate, to say, ‘What do you say?’ ‘This is what I say.’”

“I think our society is run by insane people for insame objectives. If anybody can put on paper what our government, and the American government, and the Russian, Chinese…what they are actually trying to do, and what they think they’re doing, I’d be very pleased to know.” John wanted to see a plan as the song goes. John said he believed that revolution comes from inner change rather than social violence.

On the  two versions. On one John said “count me in” and the other he said “count me out” as he explains below.

John Lennon: “There were two versions of that song, but the underground left only picked up on the one that said ‘count me out.’ The original version, which ends up on the LP, said ‘count me in’ too; I put in both because I wasn’t sure. I didn’t want to get killed. I didn’t really know much about the Maoists, but I just knew that they seemed to be so few and yet they painted themselves green and stood in front of the police waiting to get picked off. I just thought it was unsubtle. I thought the original Communist revolutionaries coordinated themselves a bit better and didn’t go around shouting about it.”

Engineer Alan Brown: “I was in the control room of studio three and there on the other side of the glass was a figure in semi-darkness going over and over some lines of a song. I knew the voice and sure enough I knew the face. John Lennon was about 30 feet away! He was working on ‘Revolution,’ the slow one, and I remember him going through the song again and again in rehearsal, changing a word or two every time. Each time it would alter very slightly, it would develop and evolve. ‘When you talk about destruction…you can count me out.’ ‘When you talk about destruction…you can count me in.’” John either hadn’t decided which way he felt or which way would be more palatable to his audience.

John eventually decided to opt for both, singing “count me out…in” on this vocal performance, which was sung in a “light voice” in imitation of Martha Reeves and Diana Ross, as his handwritten lyric sheet reminded him.

White Album Version

Revolution 1

Ah, take 2
OK!

You say you want a revolution
Well you know
We all want to change the world
You tell me that it’s evolution
Well you know
We all want to change the world

But when you talk about destruction
Don’t you know that you can count me out in

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

You say you got a real solution
Well you know
We’d all love to see the plan
You ask me for a contribution
Well you know
We’re doing what we can

But if you want money for people with minds that hate
All I can tell you is brother you have to wait

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

You say you’ll change the constitution
Well you know
We’d all love to change your head
You tell me it’s the institution
Well you know
You better free your mind instead

But if you go carrying pictures of Chairman Mao
You ain’t going to make it with anyone anyhow

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Alright, alright, alright, alright, alright
Alright, alright, alright, alright, alright
Oh, oh, oh, oh, oh, oh
Alright, alright, alright
Alright
Alright

Violent Femmes – American Music…. 80’s Underground Mondays

The Milwaukee, Wisconsin band Violent Femmes are best known for their song Blister in the Sun released in 1983. A girl that I knew drove me crazy playing that song but after a while I started to like it…more than the girl. The song started to be played on alternative and college radio.

James Honeyman Scott (Pretenders guitar player) was booked to play a gig and he was so impressed by the Violent Femmes that he let them open for him. They were were then offered a record deal by Slash Records and soon after that they released their 1982 debut album, “Violent Femmes.” The album slowly hit and later went platinum.

This song was on their Why Do Birds Sing? album in 1991 and it was their fifth studio album. The album peaked at #141 in the Billboard Album Chart but the song peaked at #2 on Billboards Modern Rock chart.

Through breakups and reunions the band minus the original drummer Victor DeLorenzo  are still together. Gordon Gano is the singer- songwriter and Brian Ritchie is the bass player with new drummer John Sparrow.

They released an album in 2019 called Hotel Last Resort and it peaked at #29 in the Billboard Indie Charts.

American Music

Can I, can I put in something like…
“This is “American Music”… take one.” 1-2-3-4!
Do you like American music?
I like American music.
Don’t you like American music, baby?

I want you to hold me, I want your arms around me.
I want you to hold me, baby…
Did you do too many drugs? I did too many drugs.
Did you do too many drugs, too, baby?

You were born too late, I was born too soon,
But every time I look at that ugly moon, it reminds me of you.
It reminds me of you… ooh-ooh-ooh.

I need a date to the prom, would you like to come along?
But nobody would go to the prom with me, baby…
They didn’t like American music, they never heard American music.
They didn’t know the music was in my soul, baby…

You were born too soon, I was born too late,
But every time I look at that ugly lake, it reminds me of me.
It reminds me of me…

Do you like American music? We like American music.
I like American music… Baby.
Do you like American music? We like all kinds of music.
But I like American music best… baby.

You were born too late, and I was born too late,
But every time I look at that ugly lake,
It reminds me of me…
It reminds me of me
It reminds me of me
Do you like american music
It reminds me of me
Do you like american music
It reminds me of me
Do you like american music
It reminds me of me
I like american music
It reminds me of me
She like american music
It reminds me of me
I like american music
It reminds me of me
She like american music
It reminds me of me
I like american music
It reminds me of me
She like american music
It reminds me of me
I like american music
It reminds me of me
She like american music
It reminds me of me
I like american music
It reminds me of me
She like american music
It reminds me of me

Rolling Stones – Worried About You

When Tattoo You came out I bought the single Start Me Up and couldn’t get enough of it…yea I have had about enough of it now. I bought the album played it non stop. 10 years later a friend and  I took a trip to Pensacola after playing a gig and this album was on all of the way. This song stood out at the time because I skipped the hits. Mick sings it in a falsetto voice that works well.

The Stones dug down deep in their vaults for this album because they wanted to tour in 1980. They had released Some Girls in 78, Emotional Rescue in 80, and Tattoo You in 1981 and needed some songs. This song’s origins go back to 1976’s Black and Blue.

This song features a guitar solo by Wayne Perkins, who had once auditioned as a potential replacement for Mick Taylor, and Billy Preston on keyboards.

Tattoo You peaked at #1 in the Billboard Album Charts, #1 in Canada, and #2 in the UK in 1981.

Worried About You

Sometime I wonder why you do these things to me
Sometime I worry girl that you ain’t in love with me

Sometime I stay out late, yeah I’m having fun
Yes, I guess you know by now that you ain’t the only one

Yeah-hey, oh baby
Ooh, sweet things that you promised me babe, yeah
Seemed to go up in smoke
Yeah, vanish like a dream
Baby I wonder why you do these things to me

Cause I’m worried
I just can’t seem to find my way, baby

Ooh, the nights I spent just waiting on the sun, yeah
Just like your burned out cigarette
You threw away my love
Why did you do that baby

I wonder why, why you do these things to me well, oh

I’m worried
Lord, I’ll find out anyway
Sure gonna find myself a girl someday
‘Til then I’m worried
Yeah, I just can’t seem to find my way
Ooh

Yeah, I’m a hard working man
When did I ever do you wrong?
Yeah, I get all my money baby, yeah
I bring it, I bring it all home
Yeah, I’m telling the truth, yeah

Well, sweet things, sweet things that you promised me

Well I’m worried and I just can’t seem to find my way, baby

I’m worried about you, yeah
I’m worried about you, yeah
Tell you something now
I’m worried ’bout you (oh, yeah)
I’m worried ’bout you, child (oh, yeah)
I’m worried ’bout you, woman (oh, yeah)
That’s come on, tell you something now
I’m worried ’bout you (oh, yeah)
I’m worried about you (aw yeah), yeah

Yeah, I’m worried
Lord, I’ll find out anyway
Sure as Hell I’m gonna find that girl someday
Lord, I’m worried
Lord, I just can’t seem to find my way

….

Replacements – Sixteen Blue

Sixteen Blue was inspired by bassist Tommy Stinson. Tommy played his first gig with the Replacements in June of 1980 when he was just 13. The other members were 5-6 years older than Tommy.

Westerberg had witnessed how Stinson had been forced to grow up way faster than most kids, yet still faced the typical teenage issues and doubts. Westerberg also said it was about his lonely teenage years.

The song is on their Let It Be album released in 1984. Let It Be was the first of a three album stretch (Let It Be, Tim, Please To Meet Me) that they are probably best remembered for today.

Peter Jesperson (manager): “Hearing it the first time they did it, at a sound check in Boston, I thought, Jesus, he’s written a song about Tommy.”“Tommy was kind of the mascot of the band, and Paul had written about him in songs before. But this wasn’t just some goofy thing. This was serious and tender.”

Paul Westerberg on why they named the album Let It Be

“We were riding around . . . kicking around silly [album] names and we thought, ‘The next song that comes on the radio, we’ll name it after that.”

“We peed our pants [laughing], and Peter (manager and Beatles fan) is at the wheel, silent as hell, thinking, ‘They’re not going to do this, ““We did it pretty much to piss him off and pretty much to show the world, in a Ramones kind of way, how dumb-smart we were. . . . Just to figure how many feathers we can ruffle.”

Sixteen Blue

Drive yourself right up the wall
No one hears and no one calls
It’s a boring state
It’s a useless wait, I know

Brag about things you don’t understand
A girl and a woman, a boy and a man
Everything is sexually vague
Now you’re wondering to yourself
If you might be gay

Your age is the hardest age
Everything drags and drags
One day, baby, maybe help you through
Sixteen blue
Sixteen blue

Drive your ma to the bank
Tell your pa you got a date
You’re lying, now you’re lying on your back

Try to figure out, they wonder what next you’ll pull
You don’t understand anything sexual
I don’t understand
Tell my friends I’m doing fine

Your age is the hardest age
Everything drags and drags
You’re looking funny
You ain’t laughing, are you?
Sixteen blue
Sixteen blue

Flamin’ Groovies – Slow Death

The Flamin’ Groovies are a treasure find of a band. They have songs that are power pop, grungy blues rock, and some great rock and roll. On this song we are concentrating on the rock/blues phase of the Groovies.

I first heard this band with Shake Some Action. Their music style at first was hard to pin down. They admitted they were all over the map. They are most known for the power pop song Shake Some Action but I read where a commenter said…Slow Death was the best Stones song the Stones never did.

Released the same year as the Rolling Stones’ album Sticky Fingers, Mick Jagger reportedly noticed the similarities between the Groovies Teenage Head album … and thought the Flamin’ Groovies did the better take on the theme of classic blues and rock ‘n roll revisited in a modern context.

The band started in 1965 by  Roy Loney and Cyril Jordan. By the end of the sixties they clashed over where to go. Loney was more Stones and Jordon leaned toward the Beatles. Loney left in 1971 and they got an 18 year old lead singer named Chris Wilson.

The moved to London and started to work with Dave Edmunds. With Chris they did more power pop and that is when Shake Some Action came about with Wilson and Jordon writing it.

They would go on to be a great power pop band and also be know as an early proto punk band…they pretty much covered the gamut. This anti-drug song was written by Jordon and Loney before he left…Chris Wilson is singing it.

Wilson left in the early eighties but the band continued until around 1994. They regrouped in 2012 including Chris Wilson. The Flamin Groovies have released 9 studio albums and one as late as 2017.

Bass Player George Alexander:

We were the fastest band on the planet, like Ramones-fast. Once Chris got in, we decided to move on to what we considered the next level. We needed a lead singer that could carry that off, a young, good-looking guy who could Jagger-out.

With Chris we were moving into ‘Shake Some Action.’ Our last record from the punk phrase was ‘Teenage Head’ and [the first single with Wilson] ‘Slow Death,’ which was more Stones-y. We kept ‘Slow Death’ in the set but it was now time for ‘Shake Some Action’ and the power pop.

On this video…looks like they are at the Marquee Club where the Who started.

Slow Death

I called the doctor
In the morning
I had a fever
It was a warning
She said “There’s nothing I can prescribe
To keep your raunchy bag of bones alive”
I got some money left for one more shot
She said “God bless you” I said “Thanks a lot”

It’s a slow, slow death

I called the preacher
Holy, holy
I begged forgiveness
That’s when he told me
He said “There’s nothing I can prescribe
To keep your raunchy bag of bones alive”
I got some money left for one more shot
He said “God bless you” I said “Thanks a lot”

Slow Death

I’m set to mainline
A hit of morphine
It’s set to mainline
It’s like a bad dream
Slow death–eat my mind away
Slow death–turn my guts to clay
It’s a slow, slow, slow death

Holly and the Italians – Tell That Girl to Shut Up

Holly Beth Vincent was born in Chicago but grew up in Los Angeles. It was there she formed Holly and The Italians with drummer Steve Young in 1978. After movie to London they were discovered. While in London Holly began a romantic relationship with Mark Knopfler of Dire Straits. The relationship didn’t end well except that Knopfler wrote Romeo and Juliet are about their failed romance.

They added guitarist Colin White, and in November released this song as their debut single which landed them a deal with Virgin Records in 1980. The song didn’t chart but a few years later Transvision Vamp’s 1988 version of this song did get in the UK’s charts. Their album The Right to Be Italian recorded at Electric Ladyland was released in 1981. It didn’t chart but did get some MTV play. The album was panned at the time…but recently the album as been acclaimed as a pop punk masterpiece by critics.

The album was reissued in 2002 in the US by Wounded Bird Records with bonus tracks. The album peaked at #177 on the Billboard Album Charts.

By the end of 1981 the band broke up but Holly recorded a solo album called Holly and the Italians was released and it didn’t chart.

Holly started to write music for movies in the 80s and in 2003 returned to releasing solo albums.

Tell That Girl To Shut Up

Well you got that girl and she lives with you
And she does just want you want her to
And when I call you on the phone, she says you’re not there
But I know you’re home

You better tell that girl to shut up
Tell that girl I’m gonna beat her up
You better tell that girl, tell that girl, tell that girl

Well we used to be the best of friends
Now all that’s gonna have to end
But there’s just one thing that I can’t see
That’s she’s got got you hanging up on me yeah

You better tell that girl to shut up
Tell that girl I’m gonna beat her up
You better tell that girl, tell that girl, tell that girl

Well I’m better tonight and I’m awfully kind
It takes a lot for me to loose my mind
Don’t you know that I don’t care?
Maybe if I hit her, maybe if I pulled her hair
Oh oh yeah yeah yeah

Well, she likes to seem intellectual
And to be a musician she goes to school
And the way she acts is so uncool
I just can’t stand her

You better tell that girl to shut up
Tell that girl I’m gonna beat her up
You better tell that girl tell that girl, tell that girl

Ooh you better tell (you better tell that girl to shut up)
(Yeah you better) tell that girl I’m gonna beat her up
You better tell that girl tell that girl, tell that girl

Girl, girl, girl, girl, girl, girl
You better tell that girl
You better tell that girl to shut up
Tell that girl I’m gonna beat her up
You better tell that girl tell that girl, tell that girl

Tom Petty – Don’t Come Around Here No More

When I first heard this song in the 1980s…the instrument that stood out was the sitar. I’ve been in love with that instrument since I heard Norwegian Wood. I want one and if I find a cheap one I will get it. One strum and you are back in the sixties and it fit this song well…or this song fits the sitar.

Sitar - Wikipedia

After Tom Petty and the Heartbreakers toured in 1983, they took some time off, and Petty started working with Dave Stewart from the Eurythmics. This was the first song they wrote together, and the psychedelic sound was a big departure from Petty’s work with The Heartbreakers.

Petty released Southern Accents and it was going to be a double album produced by Stewart…but ended up being a Tom Petty and the Heartbreakers single album, with Jimmy Iovine producing some songs and Stewart producing others. Personally I never thought this song fit with most of the other songs but I liked the album all the same.

Even in the 80s I wasn’t in love with videos after a few years but…this one I loved. It remains one of my favorite music videos.

The song peaked at #13 in the Billboard 100, #20 in Canada, #50 in the UK, and #42 in New Zealand in 1985.

From Songfacts

Stewart tells the full glorious story in The Dave Stewart Songbook, but here are the highlights: Eurythmics had a huge hit with “Sweet Dreams (Are Made Of This)” and became a phenomenon in the United States. They played the Wiltern Theatre in Los Angeles, and Stewart met Stevie Nicks backstage after the show. She had broken up with Joe Walsh the day before, so she took Stewart home with her and they had a romantic encounter. The next morning, Stevie kicked him out, and Stewart flew to San Francisco for his next gig. After the show, he used a Portastudio to create a track using a drum machine, a synthesizer and a sitar. Reflecting on the last 24 hours, Stewart says: “I really liked Stevie and she seemed vulnerable and fragile when I was leaving that morning. I was thinking about that and the situation she was in and I started singing, ‘Don’t come around her no more.'”

A few days later Stewart was staying with producer Jimmy Iovine, who was working on Stevie’s Bella Donna album. Stewart played him his demo, and they started writing the song for Stevie. Stewart didn’t know that Nicks and Iovine were once a couple, and when she came over to record the song, tensions boiled over and she left in a huff. Iovine decided to give Tom Petty the song, and had him come by, where they finished it up. Petty and Nicks had worked with Iovine on the duet “Stop Draggin’ My Heart Around,” which went on Stevie’s album, so it was only fair that Petty got this one.

The video used an Alice In Wonderland theme, which was Stewart’s idea – it reflected how he felt coming to Los Angeles. It was directed by Jeff Stein, who used a black-and-white tiled background and oversized, elaborate costumes starring Tom Petty as the Mad Hatter. Stewart appears in the beginning of the video playing the sitar on a giant mushroom. At the end, the girl becomes a cake and is eaten by the band, something that caused enough of a stir that they created a version where she doesn’t get eaten. The video was a huge hit on MTV, helping introduce Petty to a younger audience and building anticipation for his next videos. (Read our interview with Dave Stewart.)

MTV ordered a shot of a grinning Petty while Alice gets served edited out of the video before they would air it. “They said it was just too lascivious,” he told Billboard. “They were like, ‘Well, you can do it, but you can’t enjoy it that much.'”

Louise “Wish” Foley plays Alice in the video. At the casting call, she was dressed demure, like Alice would, while the other girls auditioning (mostly models) were to the nines. Foley went on to land roles in the TV series Santa Barbara and Family.

Don’t Come Around Here No More

Don’t come around here no more
Don’t come around here no more
Whatever you’re looking for
Hey! don’t come around here no more

I’ve given up, I’ve given up
I’ve given up on waiting any longer
I’ve given up, on this love getting stronger

I don’t feel you any more
you darken my door
Whatever you’re looking for
Hey! don’t come around here no more

I’ve given up, I’ve given up
I’ve given up, you tangle my emotions
I’ve given up, honey please admit it is over

[Chorus]

Stop walking down my street
Who do you expect to meet?
Whatever you’re looking for
Hey! don’t come around here no more

Squirrel Bait – Sun God…. 80’s Underground Mondays

I absolutely love this band’s sound…and you have to admit they were thinking outside of the box with the band name. 

They were originally known as Squirrelbait Youth, with David Grubbs on guitar and vocals, Clark Johnson, Ben Daughtrey and Brian McMahan joined on second guitar.

They were known as a pop punk band that came out in 1983 from Louisville, Kentucky. Squirrel Bait (I love typing that) opened for such bands as Hüsker Dü and Chicago-based bands Naked Raygun and Big Black, who recommended Squirrel Bait to their label, Homestead Records.

Through Homestead, Squirrel Bait released an eponymous EP in 1985, a single in 1986 and an LP in 1987, all of which were later compiled onto a single CD. The Squirrel Bait  record released in 1985 didn’t make any waves at first.. What helped them was Bob Mould from Husker Du and Evan Dando of the Lemonheads talking it up among others in the music press, people began to notice this band. 

The band broke up in 1987 and most of the members joined other bands and David Grubbs did the same and started to release solo albums as late as 2017. 

Sun God

I feel the power of the sun on my back
So good
That heat’s good
That light has a mind to take it away

Take it away…

Let something go
If it comes back it’s a good thing
A good life
A good feeling
But it has a mind to take it away

Take it away…
Take it away and it’s gone

I feel the power of the sun on my back
So good…that heat’s good
That light has a mind to take it away

Take it away…
Take it away and it’s gone

Billy Rancher and The Unreal Gods – Uptown

This band had one of the most inspiring rises and the most devastating fall a band could have. They had the help of the biggest rock star in the 80s but that couldn’t stop what was coming. A truly sad story and a what might have been.

When Billy Rancher was a kid…he didn’t dream of rock stardom…it was baseball that he dreamed of. Billy’s father Joe was in the Dodgers minor league system. Billy was born in 1957 and he was an all-city shortstop at Madison High School and played ball for Mount Hood Community College on an athletic scholarship. His mom wanted Billy to finish his education, but his dad died in 1978, and Billy dropped out and concentrated on music.

He taught himself how to play guitar and started a band in Portland, the Malchicks, with his younger brother Lenny. That band soon broke up and Billy formed the Unreal Gods with Jon DuFresne, Bill Flaxel, Alf Rider, and Dave Stricker. The band was a hit in the Portland club scene…they even opened up for Peter Tosh at one point. At this time around 1981, Billy found out that he had cancer. He went to the hospital and he was cleared of cancer afterward.

The band raised some money and went to New York to record for Joe Delia, a session musician and independent producer.

They rehearsed at an auto-body shop, a favorite rehearsal spot for local bands. They noticed someone walking through…and that someone was Bruce Springsteen. Bruce helped to get the Unreal Gods into the Power Station…a famous studio…which was the place to record in the Big Apple. The Rolling Stones were putting down tracks there at the time.

Clive Davis, head of the Arista label, heard about this Portland band that had impressed Bruce Springsteen and hopped a flight to see them. Davis, caught an Unreal Gods show at the club Starry Night. He signed them the next day.

The label hired Men at Work producer Peter McIan to produce them. Right away the band were at odds with Mclan…he wanted to take their rawness away. Billy argued with him and the band agreed they would have found common ground but it was not meant to be. At this time Billy found out his cancer had come back. The label was sending the band to England to tour but that was put on hold…permanently

Billy fought the cancer and he was thought to be cleared but it then spread through his body. Billy Rancher died on December 2, 1986.  He played live up until before he died.

In 2019 an album named Upstroke Down was released and featured some of the songs they were working on for Arista and others that sat in the vaults…including Uptown.

Jon DuFresne: Stuff started showing up on YouTube, I’d think, Wow, that was me. There we all are. There’s Billy. Did that really happen?

https://www.oregonlive.com/history/2019/08/billy-rancher-and-the-unreal-gods-kings-of-downtown-portland-streaked-toward-1980s-rock-stardom-until-tragedy-struck.html

https://en.wikipedia.org/wiki/Billy_Rancher

Miracle Workers – You’ll Know Why

These garage bands were a breath of fresh air in the 80s. They sound like their 60’s predecessors but with an updated sound.

The Miracle Workers were formed in January 1982 in Chicago by Gerry Mohr, and Joel Barnett. The original guitarist and drummer left the band early on. Matt Rogers, a friend of Joel’s, became the guitarist. The band finally stabilized in 1984, with the addition of Dan Demiankow, and Gene Trautman.

They ended up recording 5 albums and 8 singles and EPs between 1984 and 1995. They play garage rock and fit with the  revival acts, such as The Chesterfield Kings and Lyres that I have covered.

They broke up in 1992 because of musical differences. The band came together back in Portland to record their last album “Anatomy of a Creep” and released it in 1995.

You Know Why

You thought you’d be back here but it’s not that
that it works for you, but you don’t know where it’s at
You’ll know why when you learn to cry
You can’t see through another’s eyes

Someday you’ll be hurt like others have been by you
Can you feel the pain inside when there’s nothing you can do
You’ll know why when you learn to cry
You can’t see through another’s eyes

You could be who you want to be if you change your state of mind
Look inside and you will find something you just can’t hide
You’ll know why when you learn to cry
You can’t see through another’s eyes

Jayhawks – Big Star

I love this band…it seems I have a fondness for bands that released good to great music but never could get over that hump to mass audiences. Maybe if they would have cleared that obstacle their music would have changed…but who knows… maybe it’s a part of their appeal.

This song comes out in 1997 and was on their Sound of Lies album. At first I thought it was about the Memphis band Big Star and it is kinda…and also about The Jayhawks and loving what you have now. The album peaked at #112 in the Billboard Album Chart and #61 in the UK.

They have a Kinks tie… They recently backed Ray Davies on his albums Americana and Our Country – Americana Act II. Their 2016 album Paging Mr. Proust was produced by Peter Buck of REM.

They formed in the mid-80s in the Twin Cities .

Gary Louris when asked if the song is about the band Big Star: “Not exactly. Maybe in the back of my mind.” “You could say it about the Velvet Underground or Big Star or The Jayhawks,” “world’s unluckiest bands. They should have been bigger. But everybody in the audience started a band. Everybody that saw them started a band. The old cliché. But it’s true.”

 “I have a lot of famous friends.” “about achieving a place that you thought you wanted to be and maybe it would make you happy. It’s a typical human response. If I get there, then I’m finally going to be happy. And in reality, you probably won’t be. You should just be happy with what you have.”

Big Star

I’m flat-busted
Wild-eyed and free
I couldn’t get arrested if I tried
A has-been at a mere thirty-five

Straight, honest, forthright and true
Great expectations for someone
Doesn’t anybody know how to have fun
But I’m

Gonna be a Big Star
I’m gonna be a Big Star someday
I’m gonna be a Big Star someday

Grape’s bitter
I’m no quitter
Revolutions come one by one
Seems it’s high noon and I ain’t got no gun

But it’s so hard
So hard
So hard getting by

Gonna be a Big Star
I’m gonna be a Big Star someday
I’m gonna be a Big Star someday

Fine bourbon, Cuban cigars
Rude remarks observed at the C.C. Bar
I’m perfecting the finest art of wasting hours
But I’m

Gonna be a Big Star
I’m gonna be a Big Star someday
I’m gonna be a Big Star someday

I’m gonna be a Big Star
I’m gonna be a Big Star someday