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
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
This one is a sad song. It reminds me a little of Cat’s in the Cradle…except more painful. This one was inspired by Fogerty’s parents getting a divorce when he was younger.
This song was on their last studio album Mardis Gras. To put it bluntly…a bad album. The only bad album in their original catalog. The band was coming apart at this time and John’s brother Tom had already quit after the last album. They made the album as a trio. John Fogerty, Stu Cook, and Doug Clifford. The others wanted to be able to have more of a say on the direction of the band.
John had heard this for a while so he basically told them…you two are responsible for a 1/3 of the album so go write. The other two were not ready for this as they had to write songs and sing also. The album was a disaster and was known as “Fogerty’s Revenge” and after the album they did a tour and the band was over after that.
The song peaked at #25 in the Billboard Album Charts and #29 in Canada in 1972. The album peaked at #11 in the Billboard 100 and #12 in Canada on the strength of Sweet Hitch Hiker and Someday Never Comes.
John Fogerty:
“Someday Never Comes” is simply a song about my parents undergoing a divorce when I was a child and me not knowing many things. When my dad left me, he told me to be a man and someday I would understand everything. Now, I’m here basically repeating the same thing really. I had a son in 1966 and I went away when he was five years old or so and again told him “someday” he would understand everything. Really, all kids ask questions like “Daddy, when are we going fishing?” and parents always answer with “someday”, but in reality someday never comes and kids never learn what they’re supposed to learn. –
When I wrote this song, my life was pretty chaotic. I knew my marriage was going to break up. My band was falling apart. I was beginning to sense the darkness that was Fantasy Records. This song was inspired by my parents’ divorce when I was a young boy and the effect it had on me. At the time, they told me, “Someday, you’ll understand.” The truth of this is that you never do and I found myself facing this as a parent. The irony was painful and inescapable
Someday Never Comes
First thing I remember was asking papa, why, For there were many things I didn’t know. And daddy always smiled and took me by the hand, Saying, someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes.
Well, time and tears went by and I collected dust. For there were many things I didn’t know. When daddy went away, he said, try to be a man, And someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes.
And then one day in April, I wasn’t even there, For there were many things I didn’t know. A son was born to me. Mama held his hand, Sayin’ someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes Ooo someday never comes.
Think it was September, the year I went away, For there were many things I didn’t know. And still I see him standing, tryin’ to be a man, I said, someday you’ll understand.
Well, I’m here to tell you now, each and every mother’s son, That you better learn it fast, you better learn it young, ‘Cause someday never comes Ooo someday never comes.
Otis could sing soul, rock, R&B, and anything he wanted. The sound of his voice alternating between smooth and rough is breath taking.
The music isn’t bad either. Otis was backed by the great Stax house band Booker T and the MG’s. Eddie Thomas, Jay Walker and Jerry Butler, a popular singer who had hits with “Make It Easy on Yourself” and “Are You Happy,” wrote this song but didn’t record it.
The song was on The Soul Album released in 1966. The song wasn’t released as a single but it’s one of my favorites by Otis. The album peaked at #54 in the Billboard Album Charts, #3 in the R&B Charts, and #22 in the UK.
Steve Cropper…guitarist for Booker T and The MG’s:The first time I heard him sing, he did “These Arms of Mine,” and the thing about Otis is, we had 17 hits in a row – R&B hits. Some of them went to #1, some of them didn’t, but they still generated income – that was good enough for us to do another record.
So, the hidden gem in his catalog, I’d have to really think about that. There’s so many, but there are two songs he did that I really loved. One was “A Change Is Gonna Come” and the other one is “Cigarettes and Coffee.” His version of “Shake” that we did – the Sam Cooke song – wow.
Otis sessions were a lot of fun. He was the only artist I remember recording at Stax that the band could not wait for him to come back. And they never did that with anybody – it was work, it was a job, and that’s what they did. We all had fun making music – we had a good time – but they could not wait for Otis to come back to record because we had so much fun.
Cigarettes And Coffee
It’s early in the morning About a quarter till three I’m sittin’ here talkin’ with my baby Over cigarettes and coffee, now And to tell you that Darling I’ve been so satisfied Honey since I met you Baby since I met you, ooh
All the places that I’ve been around And all the good looking girls I’ve met They just don’t seem to fit in Knowing this particularly sad, yeah
But it seemed so natural, darling That you and I are here Just talking over cigarettes and drinking coffee, ooh now
And whole my heart cries out Love at last I’ve found you, ooh now And honey won’t you let me Just be my whole life around you And while I complete, I complete my whole life would be, yeah If you would take things under consideration And walk down this hour with me And I would love it, yeah
People I say it’s so early in the morning Oh, it’s a quarter till three We’re sittin’ here talkin’ Over cigarettes and drinking coffee, now, lord And I’ll like to show you, well I’ve known nothing but good old joy Since I met you, darling Honey since I’ve met you, baby yeah
I would love to have another drink of coffee, now And please, darling, help me smoke this one more cigarette, now I don’t want no cream and sugar Cause I’ve got you, now darling But just let me enjoy Help me to enjoy This good time that we’ll have, baby It’s so early, so early in the morning So early, so early in the morning And I’ve got you And you’ve got me And we’ll have each other And we don’t, we don’t want nothing but joy, y’all Nothing but joy
I first heard this song after a band practice. We were in the guitarists garage when I was around 19-20. The guys in that band smoked pot…I didn’t…not because I was an angel…I just cannot smoke anything. That was my second contact high I ever got (my first was at a concert) and this one was much stronger. Someone played this song and the world was a lovely place. I saw right then why they did what they did.
This one would rank in my top twenty favorite songs. I could listen to this song on a tape loop forever and ever. It came out in 1967 on the Traffic album “Mr. Fantasy.” It was written by Jim Capaldi, Steve Winwood and Chris Wood.
The song is made for long solos. Normally I like a solo and then move on but certain songs lend themselves to longer solos and this would be one.
The song also transports me to a time that I wasn’t a part of and I wish I would have been. This one and Can’t Find My Way Back Home does the same thing to me. It’s nothing like jazz but it affects me like jazz…I just sit back and let the song take me away to the incents and patchouli oil.
I’ll let Jim Capaldi tell you about the creation of the song:
“It was the summer of 1967, and we were all living in this cottage in Berkshire. We were one of the first English bands to live together like that. We thought we’d try it and see if anything came of it. I remember the day very clearly: A bunch of friends came over early in the day and we had quite a party. It was sunny and the corn was coming up nicely around the cottage, and we were quite enjoying ourselves if you know what I mean. As things finally wound down in the evening, I was sitting around just doodling, as I would often do, drawing this character. It was this little fellow with a spiked sun hat. He was holding some puppeteer’s strings, and the puppet hands on the end of the strings were playing a guitar. Under that, I just scribbled some words: ‘Dear Mr. Fantasy,’ play us a tune, something to make us all happy’ and on a bit. It was nice, but I didn’t think much of it; certainly, it wasn’t intended to be a song.
“I crashed out eventually, but I remember hearing Steve and Chris playing around after. The next day, I woke up and found that they’d written a song around the words and drawing I’d done. I was completely knocked out by it. Chris wrote that great bass line. We added some more words later and worked out a bigger arrangement, too. Those were very happy days for Traffic.”
Papa Gene’s Blues was written by Mike Nesmith with The Monkees in 1966 and was on their debut album. Nesmith also produced and sang the lead vocals on the track. The great James Burton and Glen Campbell are playing guitar on this track. The song reminds me of Ricky Nelson.
Nesmith was allowed two songs on the album. This one and Sweet Young Thing…which to me were two of the highlights of the album. Nesmith didn’t write pop songs…he wrote more country rock. Halfway into the guitar solo, Nesmith calls out “Aw, Pick It, Luther!”. Which is a shout out to Johnny Cash and his guitar player, Luther Perkin
I have to add this every time I do a Monkees post. They should be in the Hall of Fame, if only with their influence on three generations of listeners. The show debuted in the 60s, it was in reruns in the 70s (that was when I found them), and a complete revival in the 80s plus a tour. MTV promoted them heavily and they a hot item again. I saw them in 1986 and they were great.
Michael Nesmith:“I liked the Monkees songs quite a bit, I wasn’t much of a pop writer. I tended, and still do, toward country blues, and lyrics with little moments in them – all pretty far off the pop songs of the ’60s. No resentment at all.”
Papa Gene’s Blues
No heartaches felt no longer lonely Nights of waiting finally won me Happiness that’s all rolled up in you
And now with you as inspiration I look toward a destination Sunny bright that once before was blue
I have no more than I did before But now I’ve got all that I need For I love you and I know you love me
So take my hand I’ll start my journey Free from all the helpless worry That besets a man when he’s alone
For strength is mine when we’re together And with you I know I’ll never Have to pass the high road for the low
I have no more than I did before But now I’ve got all that I need For I love you and I know you love me
Birtha was an all female rock/soul band from the seventies…and they didn’t mess about. They were really aggressive in their sound. Birtha was formed in 1968 by singer-bassist Rosemary Butler and guitarist-singer Shele Pinizzotto. The band consisted of Shele Pinizzotto, Rosemary Butler, Sherry Hagler, and drummer Olivia “Liver” Favela. All of them sang and provided backup vocals.
In the early seventies there were not loads of all female rock bands around. Fanny was probably the most successful one during that time. The other band I found was Isis… they were more of a horn rock band. Birtha was straight ahead rock and roll with some soul leanings.
The group immediately started playing the club circuit and toured from California to Alaska. From 1968 to 1971 Birtha worked to tighten and refine their rock sound and in 1971 they started writing their own material. Birtha signed a record contract with Dunhill Records in 1972 and recorded their first album, Birtha with record producer Gabriel Mckler and Engineers, David Hassinger and Val Caray.
Birtha released their self-titled debut album in 1972. It features nine songs, six of them written by the band. Too Much Woman (For a Henpecked Man) was written by Ike Turner. It was on Ike and Tina’s album Come Together released in 1970.
Birtha worked hard and toured constantly. They opened up for such acts as Fleetwood Mac, Alice Cooper, Poco, Black Oak Arkansas, Cheech and Chong, B.B. King, Three Dog Night, and The James Gang.
Birtha disbanded in 1975. The only member to continue in music was Rosemary Butler, who did backing vocals for James Taylor, The Doobie Brothers, Nicolette Larson, Neil Diamond, the Charlie Daniels Band, and numerous other artists. She also released a solo album in 1983.
I’m including two songs to give more of a selection of their music. As with Fanny…this band should have been heard…they were super talented.
Too Much Woman (For a Henpecked Man)
I wanna be loved, not teased I don’t want no man on his knees A henpecked man I can’t respect ‘Cause I’m a hard woman to handle, and I know that
He’s gotta be staid Use his head to turn me on Not give it all
My Mama was mean, my Papa was cruel I never got the chance to do like the other girls But now I’m a woman, sweet twenty-one I wanna find myself a man and have myself some fun
He’s gotta be staid Use his head to turn me on Not give it all Get it on, y’all
Pullin’ cotton sacks is all I’ve ever known The man I find has got to be strong ‘Cause a weak man I can’t stand Because I’m too much of a woman to have a henpecked man
He’s gotta be staid Use his head to turn me on Not give it all So get it on
I’ve always liked the Runaways. They were punk, rock, and some pop thrown in together. Their best known song is Cherry Bomb and it has gained popularity in the last decade because of the 2010 movie about them and the song included on the Guardians of the Galaxy soundtrack.
This song was written by Mark Anthony and Kim Fowley. It was on their self-titled debut album released in 1976.
The Runaways were formed in 1975 by producer Kim Fowley after guitarist Joan Jett and drummer Sandy West introduced themselves to him in hopes of starting a group. They eventually went on to recruit Lita Ford, Jackie Fox, and Cherie Currie. Lead singer, Currie, went into her audition with a rendition of Peggy Lee’s “Fever.”
Robert Plant played a joke on them and told them it was fun to collect (steal) hotel keys in England. The keys were big and ornate, and somewhat valuable, so when the band tried to enter France, they were detained by Customs. They had to cancel their show.
Joan Jetton her one arrest: “It was in England, on the first Runaways tour, about to catch the ferry to France. I blame Robert Plant, because we once asked him what souvenirs we should get on the road; he said he took hotel room keys. In England, the keys were big, ornate, metal things. I had four. At customs, the guy said, ‘Hmm, sticky fingers, you’re under arrest’, and put me in a jail cell.”
American NIghts
Clean rock n roll Makes the midnight flow tonight now It’s hot tonight Come on let’s have a good time In the dark of the night We hunt for fun Chasing after the moonlight Hiding from the sun
American nights You kids are so strange American nights You’re never gonna change
Our magic is young Cause we just begun We light up the sky Always on the run We live in the streets In the alleys of screams Cause we’re the queens of noise The answer to your dreams
American nights You kids are so strange American nights You’re never gonna change
Hey boy you’re my good time Dance close ya feel so fine Hold tight we’re on fire All night you’re my desire
Everybody Wanna party Everybody Wanna party
American nights You kids are so strange American nights You’re never gonna change
I posted a different song from this band a while ago. I’ve been listening to them recently and they were a special (see David Bowie quote below) band. The musicianship of Fanny was outstanding.
Their name was Wild Honey but…according to Wiki… The band was then renamed Fanny, not with a sexual connotation but to denote a female spirit
These women rocked…not pop rock but blues rock. They were pioneers before the Runaways, Bangles and the Go Go’s…and those bands all cited Fanny as an influence. Fanny was different than those bands… They had a blues edge about them.
Fanny was formed in the late sixties in Sacramento by two Filipina sisters, Jean and June Millington. June Millington was the lead guitar player and her sister Jean was the bass player. June could play circles around many rock guitarists. Fanny would be the first all-female band to release an album on a major label (their self-titled debut, on Reprise, 1970) and land four singles in the Billboard Hot 100 and two in the top 40. The band played blues, rock, and some pop.
Fanny toured worldwide, opening for Slade, Jethro Tull, Deep Purple, and Humble Pie. They were praised by David Bowie, John Lennon, George Harrison, Lowell George, Sly Stone, and Bonnie Raitt but yet vanished without much fan fair. They were touring and releasing records between 1970 – 1975.
This song was on their Charity Ball album. The album peaked at #140 in the Billboard Album Charts. The title song charted at #40.
The worked with producers such as Vini Poncia, Geoff Emerick, and Richard Perry. They also worked with
June was described by Guitar Player as the hottest female guitar player in the music industry in the 70s. She made a career as a producer for artists including Holly Near, Cris Williamson and Bitch and Animal. June also operates a music camp for young girls. Jean has done studio work for many artists, including Keith Moon, David Bowie, and Roderick Taylor. Jean also married Bowie’s guitarist Earl Slick and is presently an herbalist. The Millingtons continued to record together after Fanny as well, most recently on the 2011 album Play Like a Girl on June’s label Fabulous Records.
They also worked with Barbra Streisand. Jean commented that they heard horror stories about her from other musicians but she treated the band with nothing but respect.
These ladies need to be heard and remembered.
David Bowie:
“They were one of the finest fucking rock bands of their time,” “They were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody’s ever mentioned them. They’re as important as anybody else who’s ever been, ever; it just wasn’t their time.”
This is a trailer for documentary about Fanny…it’s short and interesting.
Special Care
You there in the corner Staring at me Do you think I’m blowing my cool Playing the fool?
You there in the window Staring at me Do you think I’m trouble? Would you like to shoot me down? (Shoot me down, down, down, down)
Now, now, now, special care (Special care) Has been taken To make you aware (Special Care) You’re forsaken If you don’t care (Special Care)
They’re gonna come burn your house down (Burn it down, down, down, down)
Woaaaaa. Wooooaaaaaa (Guitar Magic) Ooaaaa (Special Care) Oo-hoo-hoo (has been taken to make you aware) Oo-hooooo (You’re forsaken. If you don’t care)
Ohh-huh, they’re gonna come and burn it down Down, oh, yeah, oh yeah, oh, do it, do it, do it
I have a confession…every time I look at this song my mind wants to read “Morman” not Merman. It’s an interesting song by Hendrix. Anything he did I will listen to…even songs still coming out to this day. The guy must have lived permanently hooked up to a recording console.
This song is basically a scifi story. A merman is a male version of a mermaid. In this song, Hendrix sings about how he wants to escape the war-torn world and all the horrible things going on.
This song was recorded in 1968 for the Electric Ladyland album and it featured Chris Wood of the band Traffic.
Sometimes Hendrix would play bass himself and he had many guests such as drummer Buddy Miles of The Electric Flag, Traffic’s Dave Mason, Steve Winwood, Al Kooper and Jefferson Airplane bassist Jack Casady amongst others into the mix.
The went into the studio in February 1968 and the album was released on October 16th of that year. The final complete studio album ever recorded by the Jimi Hendrix Experience, and their only one to top the charts on both sides of the Atlantic. Electric Ladyland is Hendrix’s most experimental album and most musically varied.
Jimi Hendrix on going into the studio for Electric Ladyland:“We’ve been doing new tracks that are really fantastic and we’ve just been getting into them…“You have these songs in your mind. You want to hurry up and get back to the things you were doing in the studio, because that’s the way you gear your mind….We wanted to play [the Fillmore], quite naturally, but you’re thinking about all these tracks, which is completely different from what you’re doing now.”
Jimi Hendrix – 1983… (A Merman I Should Turn to Be)
Hurrah i awake from yesterday alive but the war is here to stay so my love catherina and me decide to take our last walk through the noise to the sea not to die but to be re-born away from a life so battered and torn…. forever… oh say can you see its really such a mess every inch of earth is a fighting nest giant pencil and lip-stick tube shaped things continue to rain and cause screaming pain and the arctic stains from silver blue to bloody red as our feet find the sand and the sea is strait ahead.. strait ahead….. well its too bad that our friends cant be with us today well thats too bad “the machine that we built would never save us” thats what they say (thats why they aint coming with us today) and they also said “its impossible for man to live and breath underwater.. forever” was their main complaint (yeah) and they also threw this in my face: they said anyway you know good well it would be beyond the will of God and the grace of the King (grace of the King yeah yeah)
so my darling and I make love in the sand to salute the last moment ever on dry land our machine has done its work played its part well without a scratch on our bodies and we bid it farewell
starfish and giant foams greet us with a smile before our heads go under we take a last look at the killing noise of the out of style… the out of style, out of style
Great way to start a morning listening to this 60s influenced guitar riff. It’s a pure joy power pop song.
Nikki was influenced by The Stooges and the MC5 in her teen years, before a friend pushed her on stage in the Detroit punk scene in 1978. Nikki and The Corvettes formed and recorded their self-titled and only studio album in the late ‘70s in Detroit. It was released in 1980 by Bomp! Bomp! records. This song was on that self-titled album.
The album they released influenced many starting bands in the years to follow. Nikki didn’t realize this until it was reissued in 2000. The band was short lived. They were only together from 1978-1981. Nikki returned to music in 2003 with Nikki and the Stingrays. They released an album called Back to Detroit.
In 2009 she formed a band called Gorevette and they opened up for Blondie and the Donna’s at a few shows.
Sorry I couldn’t find the lyrics…Just enjoy the song!
Game Theory was a power pop band founded by Scott Miller in 1982. I remember they got some MTV airplay. Miller was the only constant member of the band which changed members frequently. Game Theory got a lot of college play in the 80s.
Mitch Easter, who produced R.E.M. produced Game Theory. This song was on their album The Big Shot Chronicles which was praised when it was released and now. In the 2007 book Shake Some Action the album was #16 in the top 200 power pop albums of all time.
Scott Miller was a special songwriter. He influenced artists such as The New Pornographers, Jellyfish, Velvet Crush, Matthew Sweet, Ben Folds, Guided by Voices, and more.
Miller committed suicide in 2013. After Miller’s death, it emerged that he’d been planning a new Game Theory album with the working title, Supercalifragile. Miller’s widow enlisted The Posies’ Ken Stringfellow, along with some Game Theory bandmates, to finish the L.P. It was released in 2017.
There are many that compare him to Alex Chilton musically…and also in terms of being a really good songwriter that doesn’t beyond a cult following.
Alex Chilton and Scott Miller
Erika’s Word
Erica’s gone shy Some unknown X behind the why All is some less today Mass not conserving in the old way
Checking out with Brother Jay I’ll miss your half of me Girl are you leaving something You might later need?
Erica’s word, taking me clear and leaving me blurred Erica’s news, singing the praise and playing the blues Pulling the rug out under my shoes
Twelve years ago Shorthand allegiance to the long throw Make believe and pretend I remember when they served the same end
You always liked the photo of us Sitting in our car Just like we’re driving Girl it’s not looking like we’ll go all that far
Erica’s word, taking me clear and leaving me blurred Erica’s find, blowing my hair and tearing my mind Throwing for grabs and leaving behind
Maybe you’ll find that promised love The tingle to the touch Girl and I hope it comes through for you in a clutch But I wouldn’t bet much
Erica’s word, taking me clear and leaving me blurred Erica’s news, singing the praise and playing the blues Pulling the rug out under my shoes
Erica’s find, blowing my hair and tearing my mind Erica’s word, taking me clear and leaving me blurred Knocking me down from second to third
I’ve been posting bands that were in the Paisley Underground scene back in the 80s. This one is probably the most well known. Over the last few months I’ve become a fan of this 80s movement. For me…a better alternative to the top 40 at the time. I want to thank Dave at A Sound Day for introducing me to the song! They were called The Bangs before they released this song.
The Bangles were a breath of fresh air in the mid-eighties. The band played sixties inspired rock with Byrd’s chiming guitars. The lead singer, Susanna Hoffs, caught my eye right away. Yes for the normal ways but also for the fact she was playing a Rickenbacker guitar…what more could I want?
“Paisley Underground” was a moniker that helped music journalists describe their sound, which didn’t fit the New Wave or Rock. This song is an example of the genre, with a jangly guitar and ’60s-style reverb reminiscent of The Byrds or early Beatles. Other bands that fit this mode were The Rain Parade, The Dream Syndicate, and Rainy Day.
The scene also had a bit of early alt country rock (The Long Ryders and Green On Red) made more popular in the 90s.
The Real World was a song on the self titled EP the band released after signing with Miles Copeland’s I.R.S. Records. The EP wasn’t too successful but it did help get the band signed to the major label Columbia Records, which issued their first album called All Over The Place in 1984.
Guitarists Susanna Hoffs and Vicki Peterson wrote this song. This is one of the few Bangles tracks bassist Annette Zilinskas played on; she left the group soon after, replaced by Michael Steele. The song was released on the small label Faulty Products.
Rain Parade covered this on a 2018 compilation called 3 x 4, where four Paisley Underground groups…Rain Parade, Bangles, The Dream Syndicate and The Three O’Clock – cover each others’ songs.
The Real World
Forgot to tell you Sins are very hard to say And you know that the words are there, my love When I first saw you I didn’t notice it that day Now you’re the one I’m thinking of.
[Chorus:] Oh, you never bring me down Make me sad, it’s such a change, oh yeah (oh yeah) If I was insecure That was yesterday and now I’m sure Oh, so sure (oh so sure, so sure).
When I was a little girl I wanted everything ideal Yeah, and a love I could depend on This is the real world And I believe our love is real And it’s the only thing I’m counting on.
[Chorus] Oh, you never bring me down Make me sad, it’s such a change, oh yeah (oh yeah) If I was insecure That was yesterday and now I’m sure Oh, so sure.
[Chorus] Oh, you never bring me down Make me sad, it’s such a change, oh yeah (oh yeah) If I was insecure That was yesterday and now I’m sure Oh, so sure, oh.
This is the real world I really want to be your girl This is the real world (real world) I really want to be your girl This is the real world (real world) I really want to be your girl.
The lyrics won’t make you mistake these guys for Bob Dylan but the guitar action is pretty cool in this one.
Several years before it became fashionable…the Droogs were playing what would later be called “garage revival”. They started playing together as pre-teens in 1966 and began issuing singles in the early to mid seventies.
Ahead of My Time was released in 1974. They missed out on the garage band sixties and they were ahead of the curve of the 60s garage band revival in the late 70’s.
They started to release albums in the mid-eighties and were part of the Paisley Underground Scene. They released 8 albums between 1984 to 2017.
The Droogs just released an album in 2017 called Young Gun and are still together doing their thing.
Ahead Of My Time
Hey babe, this must be your lucky day babe I wanna kiss you if I may babe Don’t care what people have to say babe
I’ve got to love you, the only way that I can So please don’t misunderstand They’ll tell you that I’m not your kind But I’m just ahead of my time.
In your neighborhood, got a reputation that’s none too good. For knowing things no young man should I know baby, you would if you could
I’ve got to love you, the only way that I can So please don’t me be your man They’ll tell you true love’s hard to find But I’m just ahead of my time. I’m just ahead of my time. I’m just ahead of my time.
We’re just ahead of our time. We’re just ahead of our time. We’re just ahead of our time.
Hey babe, this must be your lucky day babe I wanna kiss you if I may babe Don’t care what people have to say babe
I’ve been listening to the Rain Parade’s album Emergency Third Rail Power Trip and I’ve heard influences from Buffalo Springfield to Rubber Soul. The Rain Parade were part of the Paisley Underground scene in Los Angeles in the early 80s. The Paisley Underground scene contained bands such as The Bangles, Green on Red, and The Long Ryders.
They were another band formed in Minnesota by college roommates Matt Piucci (guitar, vocals) and David Roback (guitar, vocals) in 1981, while they were attending Carleton College. David’s brother Steven Roback (bass, vocals) joined.
Their roots were in punk music but in this band…instead of the Sex Pistols and the Clash they went for the Byrds jangly guitars. The critics were mixed on this band…some saying they copied the psychedelic era too much and others saying they were ahead of their time. The Roback brothers were the main writers. After this album Dave Roback left the band.
From Wiki: Critic Jim DeRogatis would later write in his book Turn on Your Mind: Four Decades of Great Psychedelic Rock (2003) that “Emergency Third Rail Power Trip is not only the best album from any of the Paisley Underground bands, it ranks with the best psychedelic rock efforts from any era”, with uplifting melodies offset by themes that were “dark and introspective.”
They were together from 1981 to 1986. They broke up in 1986 and reformed in 2012 and have been touring since. Dave Roback passed away in 2020.
Daveid Roback: “Rain Parade was very much a recasting of our punk interests in more musical terms, inspired by our fascination with music history.”
One Half Hour Ago
What’s the point of looking back?
All you see is an empty track
Of lives you’ve lived
And things you tried to love
What’s the use of anything
That brings you down?
You can’t believe it for an hour
You’re in here just a while
Half an hour from an hour ago
From a half an hour from an hour ago
Call me early on Saturday
It’s my favorite day
I’ll come out to play
That is only, I go to bed
So that I can rest
I can leave my head behind
Disappointing everyone
I’m so much fun
Until I’m lost
Things we do are the way we choose to live
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