There is one more song coming after Free Bird…and we will finish this up.
When I was playing in clubs and bars we played mostly British rock. We didn’t know many Lynyrd Skynyrd songs. There would always be one drunk jackass person in the back that yelled “Free Bird”…it never failed! I have to admit it was funny the first few times. The song is a classic. It is one of rock’s anthems.
Like the others this week it builds up and it does have an electrifying solo to close it out. I’ve heard this live before and it is one of the great live songs you can hear.
The song was usually dedicated to Duane Allman and he died in 1971, two years before “Free Bird” was released. The song was written long before his death. The double guitar solo at the end is the same style as many early Allman Brothers songs.
Free Bird was on their debut album Pronounced Leh-nerd Skin-nerd…They gave it the title because well… they knew people would not be able to pronounce their name. The album was a very solid album and it peaked at #27 in the Billboard Album Chart, #47 in Canada, and #44 in the UK in 1973. They would soon open up for The Who on their Quadrophenia tour and that helped build their audience.
This song began as a ballad without the guitar solos at the end, and Lynyrd Skynyrd recorded it that way for the first time in 1972. Guitarist Allen Collins had been working on the song on and off for the previous two years. Collins wrote the music long before Ronnie Van Zant came up with lyrics for it. Van Zant finally got inspired one night and had Collins and Gary Rossington play it over and over until he wrote the words.
At the time of recording, the song was only 7 1/2 minutes long, but throughout the next year, Collins continued to refine the song until it was recorded for the final cut of the Pronounced album in 1973. It ended up 9:08 minutes long.
MCA did not want this on the album. They thought it was too long and that no radio station would play it. Even the band never thought it was going to be a hit.
The song was released as a single in 1974 and peaked at #19 in the Billboard 100 adn #58 in Canada. In 1976, a live version was released from the One More For the Road live album. It peaked at #38 in the Billboard 100 and #48 in Canada.
From Songfacts
Frontman Johnny Van Zant discussed this song in a track-by-track commentary to promote the band’s 2010 CD/DVD Live From Freedom Hall. He said: “For years Skynyrd has always closed the show with that song and the song has different meanings for different people. This kid was telling me that they used it for their graduation song and not too long ago somebody told me that they used it at a funeral. And really it’s a love song, its one of the few that Lynyrd Skynyrd’s ever had. It’s about a guy and a girl. Of course at the end it was dedicated to Duane Allman from the band Allman Brothers because it goes into the guitar part. If you can get through that one you’ve had a good night at a Skynyrd show.”
The lyrics are about a man explaining to a girl why he can’t settle down and make a commitment. The opening lines, “If I leave here tomorrow, would you still remember me?” were inspired by Allen Collins’ girlfriend Kathy, who had asked him this very question during a fight.
The album version runs 9:08, with the last lyric uttered at 4:55 (“fly high, free bird, yeah”). Those last four minutes comprise perhaps the most famous instrumental passage in rock history. Skynyrd had three guitarists: Allen Collins, Ed King and Gary Rossington, allowing them to jam for extended periods long after most songs would peter out.
After the 1977 plane crash that killed lead singer Ronnie Van Zant, his brother, Johnny, took his place. Performing the song was very emotional for Johnny, and for a while, he wouldn’t sing it – the band played it as an instrumental and the crowd would sing the words.
This is a classic rock anthem. Shouting it out as a request at concerts became a rock and roll joke, and every now and then a musician will actually play it. The 2007 Mitch Myers book The Boy Who Cried Freebird: Rock & Roll Fables and Sonic Storytelling explores this subject in a work of fiction about the first person ever to shout “Free Bird” at a concert.
In places, the high-pitched guitar mimics a bird flying free. This is something Duane Allman did on the 1970 Derek & the Dominos track “Layla,” where at the end he plays the “crying bird.” In that song, it signifies Layla’s untamed spirit. In “Free Bird,” the guy is the elusive one, refusing to be caged by intimacy.
Like “Free Bird,” “Layla” loses most of its mojo when cut down for single release. The full version of that song runs 7:10, with the radio edit truncated to 2:43.
Skynyrd always plays this as the last song at their shows.
In the US, this wasn’t released as a single until a year after the album came out. By that time, “Sweet Home Alabama” had already been released, and the single version of “Free Bird” was edited down. The long version from the album has always been more popular.
This Southern Rock classic was produced by a northerner: Al Kooper, who discovered the band a year earlier when they were playing a gig in Atlanta. Kooper, a founding member of Blood, Sweat & Tears, is from Brooklyn, New York, but he gelled with Skynyrd, crafting their sound for wide appeal without diluting it. He produced their next two albums as well.
Despite having three guitarists, “Free Bird” opens with an organ as the lead instrument, giving the guitars more impact when they arrive. In early versions of the song, this section was done on piano, but Al Kooper convinced the band that organ was the way to go. He played the instrument on the track, credited on the album as “Roosevelt Gook.” Kooper had the bona fides to pull it off: he came up with the organ section on Bob Dylan’s “Like a Rolling Stone.”
Ronnie Van Zant thought at first that this song “had too many chords to write lyrics for.” Skynyrd guitarist Gary Rossington commented in an interview with Blender magazine, “But after a few months, we were sitting around, and he asked Allen to play those chords again. After about 20 minutes, Ronnie started singing, ‘If I leave here tomorrow,’ and it fit great. It wasn’t anything heavy, just a love song about leavin’ town, time to move on. Al put the organ on the front, which was a very good idea. He also helped me get the sound of the delayed slide guitar that I play – it’s actually me playing the same thing twice, recording one on top of the other, so it sounds kind of slurry, echoey.”
In 1988, the group Will To Power went to #1 in America with a mellow medley of this song and Peter Frampton’s “Baby, I Love Your Way.” The official title of that track is “Baby, I Love Your Way/Freebird Medley (Free Baby).”
While the lyrics contain the phrase “free as a bird,” the title itself (“Free Bird”) is used just once, right before the guitar solos begin: “Won’t you fly high, free bird.”
Free Bird
If I leave here tomorrow Would you still remember me? For I must be travelin’ on now ‘Cause there’s too many places I’ve got to see
But if I stay here with you, girl Things just couldn’t be the same ‘Cause I’m as free as a bird now And this bird you cannot change Oh oh oh oh oh oh And the bird you cannot change And this bird you cannot change Lord knows, I can’t change
Bye-bye baby, it’s been sweet love, yeah yeah Though this feelin’ I can’t change Please don’t take it so badly ‘Cause Lord knows, I’m to blame
If I stay here with you girl Things just couldn’t be the same ‘Cause I’m as free as a bird now And this bird you cannot change Oh oh oh oh oh oh And the bird you cannot change And this bird you cannot change
Lord knows, I can’t change Lord help me, I can’t change Lord, I can’t change Won’t you fly high, free bird yeah
There is one thing I can say about every song this week… I can safely use the word masterpiece to describe all of them.
I posted this song a while back but I had to include it in this week’s group of songs… When John Lennon starts to sing with that echo on his voice… Chills go down my spine. It’s like a voice out of the fog and it’s haunting. It is without a doubt my favorite vocal of all time.
When asked what my favorite Beatles song is…It usually depends on what Beatle mood I’m in…early, middle or late…but this one is always near the top.
A Day In The Life came to life by John and Paul by melding two songs together. It’s working title was “In The Life Of….”
Parts of this song was based on two stories John Lennon read about in the Daily Mail newspaper. Guinness heir Tara Browne dying when he smashed his Lotus into a parked van. Also an article in the UK Daily Express in early 1967 which told of how the Blackburn Roads Surveyor had counted 4000 holes in the roads of Blackburn and commented that the volume of material needed to fill them in was enough to fill the Albert Hall.
The lyrics I saw a film today oh boy, the English army had just won the war was about a film that John had appeared in called How I Won The War.
The middle “woke up got out of bed…” was a song Paul was writing and it fit perfectly in this puzzle. McCartney contributed the line “I’d love to turn you on.” This was considered a drug reference and the BBC quickly banned it…that guaranteed the song would be huge.
The still had 24 bars at the end of song they needed to be filled. Producer George Martin asked John Lennon what he wanted… John answered that question with this:
“I want it to be like a musical orgasm…What I’d like to hear is a tremendous build-up, from nothing up to something absolutely like the end of the world. I’d like it to be from extreme quietness to extreme loudness, not only in volume, but also for the sound to expand as well. I’d like to use a symphony orchestra for it. Tell you what, George, you book a symphony orchestra, and we’ll get them in a studio and tell them what to do.”
An orchestra was needed to achieve that but George Martin could not see charging EMI for a full 90 piece orchestra for just 24 bars of music. So Ringo…Ringo said well why not hire half the orchestra and have them play it twice? Everyone turned around stunned by the simplicity of it. John then said do it.
Then the orchestra kicks in and it sounds like the end of the earth until a long piano chord shuts the door on the song.
A 41-piece orchestra played on this song. The musicians were told to attend the session dressed formally. When they got there, they were presented with party novelties (false noses, party hats, gorilla-paw glove) to wear, which made it clear this was not going to be a typical session. The orchestra was conducted by Paul McCartney, who told them to start with the lowest note of their instruments and gradually play to the highest.
After that they all played the last piano chord at the same time. Engineers turned the faders up so high that you can hear the Abbey Road air conditioner.
Paul McCartney: “‘A Day In The Life’ was a song that John had started. He had the first verse, and this often happened: one of us would have a little bit of an idea and instead of sitting down and sweating it, we’d just bring it to the other one and kind of finish it together, because you could ping-pong – you’d get an idea. So he had the first verse: ‘I read the news today oh boy,’ and we sat in my music room in London and just started playing around with it, got a second verse, and then we got to what was going to lead into the middle. We kind of looked at each other and knew we were being a little bit edgy where we ‘I’d love to turn you on.’ We knew that would have an effect.
It worked. And then we put on another section I had: ‘Woke up, fell out of bed, dragged a comb across my head.’ Then we finished the song up and did a big sort of epic recording of it with a big full orchestra and everything. And then did that crescendo thing in the middle of it with the orchestra, which was an idea I’d had because I’d been talking to people and reading about avant-garde music, tonal stuff and crazy ideas. I came up with this idea. I said to the orchestra, ‘You should start, all of you.’ And they sat all looking at me puzzled. We’ve got a real symphony orchestra in London who are used to playing Beethoven, and here’s me, this crazy guy out of a group and I’m saying, ‘Everyone start on the lowest note your instrument can play and work your way up to the highest at your own pace.’ That was too puzzling for them, and orchestras don’t like that kind of thing. They like it written down and they like to know exactly what they’re supposed to do. So George Martin, the producer, said to the people, ‘You should leave this note and this point in the song, and then you should go to this note and this note,’ and he left the random thing, so that’s why it sounds like a chaotic sort of swirl. That was an idea based on the avant-garde stuff I was into at the time.”
From Songfacts
This was recorded in three sessions: First the basic track, then the orchestra, then the last note was dubbed in.
Regarding the article about Tara Browne, John Lennon stated: “I didn’t copy the accident. Tara didn’t blow his mind out. But it was in my mind when I was writing that verse.” At the time, Paul didn’t realize the reference was to Tara. He thought it was about a “stoned politician.” The article regarding the “4000 holes in Blackburn, Lancashire” was taken from the UK Daily Express, January 17, 1967 in a column called “Far And Near.”
John’s friend Terry Doran was the one who completed John’s line, “Now they know how many holes it takes to fill…” Terry told him “fill the Albert Hall, John.”
The ban was finally lifted when author David Storey picked it as one of his Desert Island Discs.
The final chord was produced by all four Beatles and George Martin banging on three pianos simultaneously. As the sound diminished, the engineer boosted to faders. The resulting note lasts 42 seconds; the studio air conditioners can be heard toward the end as the faders were pushed to the limit to record it.
The rising orchestra-glissando and the thundering sound are reminiscent of “Entry of the Gods into Valhalla” from Richard Wagner’s opera “Das Rheingold,” where after the rising glissando, Thor beats with his hammer. George Martin said in his 1979 book All You Need is Ears that the glissando was Lennon’s idea. After Lennon’s death, Martin seems to have changed his mind. In his 1995 book Summer of Love: The Making of Sgt. Pepper, he states that the rising orchestra-glissando was McCartney’s idea.
This being the last song on the album, The Beatles found an interesting way to close it out. After the final note, Lennon had producer George Martin dub in a high pitched tone, which most humans can’t hear, but drives dogs crazy. This was followed by a loop of incomprehensible studio noise, along with Paul McCartney saying, “Never could see any other way,” all spliced together. It was put there so vinyl copies would play this continuously in the run-out groove, sounding like something went horribly wrong with the record. Another good reason to own vinyl.
In 2004, McCartney did an interview with the Daily Mirror newspaper where he said he was doing cocaine around this time along with marijuana. “I’d been introduced to it, and at first it seemed OK, like anything that’s new and stimulating,” he said. “When you start working your way through it, you start thinking, ‘This is not so cool and idea,’ especially when you start getting those terrible comedowns.”
The movie reference in the lyrics (“I saw a film today, oh boy. The English Army had just won the war”) is to a film John Lennon acted in called How I Won The War.
McCartney’s middle section (woke up, got out of bed…) was intended for another song.
The Beatles started this with the working title “In The Life of…”
This is a rare Beatles song with a title that is not part of the lyrics. Another one is “Yer Blues.”
That’s Mal Evans doing the counting during the first transition from John to Paul. He set the alarm clock (heard on the recording) to go off at the end of his 24-bar count. Evans also helped with the composition of a couple of songs on the Sgt. Pepper album. Although he never received composer’s credit, the Beatles did pay his estate a lump sum in the 1990s for his contributions. Evans died January 5, 1976 after a misunderstanding with the police.
George Martin (from Q Magazine, July 2007): “John’s voice – which he hated – was the kind of thing that would send shivers down your spine. If you hear those opening chords with the guitar and piano, and then his voice comes in, ‘I heard the news today, oh boy’ It’s just so evocative of that time. He always played his songs to me on the guitar and I would sit on a stool as he strummed. The orchestral section was Paul’s idea. We put two pieces of songs together that weren’t connected in any way. Then we had that 24-bars-of-nothing in between. I had to write a score, but in the climax, I gave each instrument different little waypoints at each bar, so they would know roughly where they should be when they were sliding up. Just so they didn’t reach the climax too quickly. With ‘A Day In The Life,’ I wondered whether we were losing our audience and I was scared. But I stopped being scared when I played it to the head of Capitol Records in America and he was gob smacked. He said, That’s fantastic. And of course, it was.”
David Crosby was at Abbey Road studios when The Beatles were recording this. In an interview with Filter magazine, he said: “I was, as near as I know, the first human being besides them and George Martin and the engineers to hear ‘A Day In The Life.’ I was high as a kite – so high I was hunting geese with a rake. They sat me down; they had huge speakers like coffins with wheels on that they rolled up on either side of the stool. By the time it got the end of that piano chord, man my brains were on the floor.”
When asked by Rolling Stone magazine what songs of his dad’s constantly surprise him, Sean Lennon said: “I’ve listened so much to that stuff that there are very few surprises. But I do think ‘A Day In The Life’ is always inspiring.”
On June 18, 2010 John Lennon’s handwritten lyric sheet for this song featuring corrections and alternate crossed-out lines was auctioned at New York Sotheby’s. It was sold for $1.2 million to an anonymous American buyer.
This was rated the greatest ever Beatles song in a special collector’s edition issue by The Beatles: 100 Greatest Songs. The list was compiled to coincide with the 40th anniversary of the Fab Four’s final studio album, Let It Be.
There is term for the techniques The Beatles used in arranging the final chords of this song: Deceptive Cadence. Glen Burtnik, who was a member of Styx and was also in a popular Beatles tribute band, told us: “It’s an instance where the listener assumes the next chord, or melody note, will go somewhere it doesn’t. Even though all the indications lead you to expecting a certain outcome, the writer/arranger intentionally surprises you by going someplace else musically. Not sure it’s simple to understand, as you’re conditioned to being used to the outcome.”
Peter Asher, who worked for The Beatles at Apple Records and produced the biggest hits of James Taylor and Linda Ronstadt, considers this the greatest Beatles song from a production standpoint. “‘A Day In The Life’ certainly combined Beatle ideas and George Martin ideas very effectively,” he told Songfacts.
Keith Richards named his second son Tara after Tara Brown, the Guinness heir who smashes his car in Lennon’s first verse. Richard’s son was premature and died soon after birth.
I read the news today oh boy About a lucky man who made the grade And though the news was rather sad Well I just had to laugh
I saw the photograph He blew his mind out in a car He didn’t notice that the lights had changed A crowd of people stood and stared They’d seen his face before Nobody was really sure If he was from the House of Lords
I saw a film today oh boy The English army had just won the war A crowd of people turned away But I just had to look Having read the book I’d love to turn you on
Woke up, fell out of bed Dragged a comb across my head Found my way downstairs and drank a cup And looking up I noticed I was late Found my coat and grabbed my hat Made the bus in seconds flat Found my way upstairs and had a smoke Somebody spoke and I went into a dream
I read the news today oh boy Four thousand holes in Blackburn, Lancashire And though the holes were rather small They had to count them all Now they know how many holes it takes to fill the Albert Hall I’d love to turn you on
This made a huge comeback courtesy of Waynes World in 1991. In the eighties my buddies would pile into my Mustang and turn this song up to 11. We loved to see people’s reactions…so when I saw it in Wayne’s World…. in their car I had to laugh…but we didn’t have a Pacer though.
So many overdubs took place that the tape was virtually a transparent. All the oxide had been rubbed off. They hurriedly made a copy so they could preserve what they had already. They were working with a 24 track machine but they still had to bounce tracks. They used `180 overdubs… The song took 3 weeks to record. The song was on A Night At The Opera album.
The song reminds me of Good Vibrations and A Day In The Life…short melodies combined together to make one whole. The song was so different in 1975 and it’s so different today…it still holds up.
The song peaked at #1 in the UK in 1975…#9 in the Billboard 100, #1 in Canada, and #1 in New Zealand in 1976.
With Wayne’s World help it re-charted. #1 in the UK in 1991. #2 in the Billboard 100, #18 in Canada, and #16 in New Zealand in 1992.
Again because of the movie it re-charted… #33 in the Billboard 100, #25 in Canada, #45 in the UK, and #20 in New Zealand in 2018-19.
Bohemian Rhapsody” had reached the Top 40 in three different decades (’70s, ’90s and ’10s).
The video was directed by Bruce Gowers, the video was shot in three hours for £3,500 at the band’s rehearsal space. Gowers got the gig because he was one of the few people who had experience working on music videos…he ran a camera on a few Beatles promotional clips, including the one for “Paperback Writer.”
Brian May:“That was a great moment, but the biggest thrill for us was actually creating the music in the first place. I remember Freddie coming in with loads of bits of paper from his dad’s work, like Post-it notes, and pounding on the piano. He played the piano like most people play the drums. And this song he had was full of gaps where he explained that something operatic would happen here and so on. He’d worked out the harmonies in his head.”
From Songfacts
Freddie Mercury wrote the lyrics, and there has been a lot of speculation as to their meaning. Many of the words appear in the Qu’ran. “Bismillah” is one of these and it literally means “In the name of Allah.” The word “Scaramouch” means “A stock character that appears as a boastful coward.” “Beelzebub” is one of the many names given to The Devil.
Mercury’s parents were deeply involved in Zoroastrianism, and these Arabic words do have a meaning in that religion. His family grew up in Zanzibar, but was forced out by government upheaval in 1964 and they moved to England. Some of the lyrics could be about leaving his homeland behind. Guitarist Brian May seemed to suggest this when he said in an interview about the song: “Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood. He never explained the lyrics, but I think he put a lot of himself into that song.”
Another explanation is not to do with Mercury’s childhood, but his sexuality – it was around this time that he was starting to come to terms with his bisexuality, and his relationship with Mary Austin was falling apart.
Whatever the meaning is, we may never know – Mercury himself remained tight-lipped, and the band agreed not to reveal anything about the meaning. Mercury himself stated, “It’s one of those songs which has such a fantasy feel about it. I think people should just listen to it, think about it, and then make up their own minds as to what it says to them.” He also claimed that the lyrics were nothing more than “Random rhyming nonsense” when asked about it by his friend Kenny Everett, who was a London DJ.
The band were always keen to let listeners interpret their music in a personal way to them, rather than impose their own meaning on songs, and May stated that the band agreed to keep the personal meaning behind the song private out of respect for Mercury.
Mercury may have written “Galileo” into the lyrics for the benefit of Brian May, who is an astronomy buff and in 2007 earned a PhD in astrophysics. Galileo is a famous astronomer known for being the first to use a refracting telescope.
The backing track came together quickly, but Queen spent days overdubbing the vocals in the studio using a 24-track tape machine. The analog recording technology was taxed by the song’s multitracked scaramouches and fandangos: by the time they were done, about 180 tracks were layered together and “bounced” down into sub-mixes. Brian May recalled in various interviews being able to see through the tape as it was worn so thin with overdubs. Producer Roy Thomas Baker also recalls Mercury coming into the studio proclaiming, “oh, I’ve got a few more ‘Galileos’ dear!” as overdub after overdub piled up.
Was Freddie Mercury coming out as gay in this song? Lesley-Ann Jones, author of the biography Mercury, thinks so.
Jones says that when she posed the question to Mercury in 1986, the singer didn’t give a straight answer, and that he was always very vague about the song’s meaning, admitting only that it was “about relationships.” (Mercury’s family religion, Zoroastrianism, doesn’t accept homosexuality, and he made efforts to conceal his sexual orientation, possibly so as not to offend his family.)
After Mercury’s death, Jones says she spent time with his lover, Jim Hutton, who told her that the song was, in fact, Mercury’s confession that he was gay. Mercury’s good friend Tim Rice agreed, and offered some lyrical analysis to support the theory:
“Mama, I just killed a man” – He’s killed the old Freddie he was trying to be. The former image.
“Put a gun against his head, pulled my trigger, now he’s dead” – He’s dead, the straight person he was originally. He’s destroyed the man he was trying to be, and now this is him, trying to live with the new Freddie.
“I see a little silhouetto of a man” – That’s him, still being haunted by what he’s done and what he is.
Queen made a video for the song to air on Top Of The Pops, a popular British music show, because the song was too complex to perform live – or more accurately, to be mimed live – on TOTP. Also, the band would be busy on tour during the single’s release and thus unable to appear.
The video turned out to be a masterstroke, providing far more promotional punch than a one-off live appearance. Top Of The Pops ran it for months, helping keep the song atop the charts. This started a trend in the UK of making videos for songs to air in place of live performances.
When the American network MTV launched in 1981, most of their videos came from British artists for this reason. In the December 12, 2004 issue of the Observer newspaper, Roger Taylor explained: “We did everything we possibly could to avoid appearing in Top Of The Pops. It was one, the most boring day known to man, and two, it’s all about not actually playing – pretending to sing, pretending to play. We came up with the video concept to avoid playing on Top Of The Pops.”
The group had previously appeared on the show twice, to promote the “Seven Seas of Rhye” and “Killer Queen” singles.
The video was very innovative, the first where the visual images took precedence over the song. The look, with the four band members peering up into the shadows, was based on their 1974 Queen II album cover, which was shot by Mick Rock, who got the idea from a publicity photo of Marlene Dietrich striking a similar pose in the movie Shanghai Express. (Rock told Songfacts: “I showed it to Freddie and said, ‘Freddie, you could be Marlene Dietrich! How do you fancy that?’ And he loved it.”)
The two big effects used in the video were the multiple images that appear in the “thunderbolts and lightning section,” which were created by putting a prism in front of the camera lens, and the feedback effect where the image of the singer travels to infinity, which was done by pointing a camera at a monitor (like audio feedback, this is something you usually tried to avoid, but when harnessed for artistic purposes, was quite effective). At the time, the video looked high-tech and futuristic. It was also the first music “video” in the sense that it was shot on video instead of film.
This was Queen’s first Top 10 hit in the US, peaking at #9 on April 24, 1976. In the UK, where Queen was already established, it went to #1 on November 29, 1975 and stayed for nine weeks, a record at the time.
This got a whole new audience when it was used in the 1992 movie Wayne’s World, starring Mike Myers and Dana Carvey. In the film, Wayne and his friends lip-synch to it in his car (the Mirth Mobile), spasmodically head-bobbing at the guitar solo. As a result of the movie, it was re-released as a single in the US and charted at #2 (“Jump” by Kris Kross kept it out of #1).
In America, this marked a turning point in Queen’s legacy. The band’s 1982 album Hot Space contained a side of disco-tinged tracks at a time when disco was anathema to rock fans. The album had disappointing sales in the US, and also cost Queen in credibility. Their tour to support the album would be Freddie Mercury’s last with Queen in America, and the band was largely forgotten there for the rest of the decade. When Wayne’s World revived “Bohemian Rhapsody,” American listeners remembered how cool Queen really was, and they the ringing endorsement from Wayne and Garth to back them up.
At 5:55, this was a very long song for radio consumption. Queen’s manager at the time, John Reid, played it to another artist he managed, Elton John, who promptly declared: “are you mad? You’ll never get that on the radio!”
According to Brian May, record company management kept pleading with the group to cut the single down, but Freddie Mercury refused. It got a big bump when Mercury’s friend Kenny Everett played it on his Capital Radio broadcast before the song was released (courtesy of a copy Mercury gave him). This helped the single jump to #1 in the UK shortly after it was released.
There was a single version released only in France on a 7″, cut down to 3:18, edited by John Deacon, but beyond the initial pressing of this French single, the only version recognized is the album version, at 5:55. This little-heard French single started right at the piano intro, and edited out the operetta part. Brian May admitted that there may have been additional parts for the song on Freddie’s notes, but they were apparently never recorded.
In 1991, this was re-released in the UK shortly after Freddie Mercury’s death. It again went to #1, with proceeds going to the Terrence Higgins Trust, which Mercury supported.
Elton John performed this with Axl Rose at the 1992 “Concert For Life,” held in London at Wembley Stadium. It was a tribute to Freddie Mercury, who died of AIDS the year before. In 2001, Elton John got together with Eminem, who like Axl Rose, was often accused of being intolerant and homophobic. They performed Eminem’s “Stan” at the Grammys.
When this was re-released in the US, proceeds from the single went to the Magic Johnson AIDS Foundation. Johnson and Freddie Mercury were two of the first celebrities to get AIDS. Rock Hudson, who succumbed to the disease on October 2, 1985, was another.
Thanks to this track, A Night At The Opera was the most expensive album ever made at the time. They used 6 different studios to record it. Queen did not use any synthesizers on the album, which is something they were very proud of.
In an interview with Brian May and Roger Taylor on the Queen Videos Greatest Hits DVD, Brian said: “What is Bohemian Rhapsody about, well I don’t think we’ll ever know and if I knew I probably wouldn’t want to tell you anyway, because I certainly don’t tell people what my songs are about. I find that it destroys them in a way because the great thing about about a great song is that you relate it to your own personal experiences in your own life. I think that Freddie was certainly battling with problems in his personal life, which he might have decided to put into the song himself. He was certainly looking at re-creating himself. But I don’t think at that point in time it was the best thing to do so he actually decided to do it later. I think it’s best to leave it with a question mark in the air.” >>
A Night At The Opera was re-released as an audio DVD in 2002 with the original video included on the disc. Commentary from the DVD reveals that this song had started taking shape in the song “My Fairy King” on Queen’s debut album. >>
In 2002, this came in #1 in a poll by Guinness World Records as Britain’s favorite single of all time. John Lennon’s “Imagine” was #2, followed by The Beatles’ “Hey Jude.”
The name “Bohemian” in the song title seems to refer not to the region in the Czech republic, but to a group of artists and musicians living roughly 100 years ago, known for defying convention and living with disregard for standards. A “Rhapsody” is a piece of Classical music with distinct sections that is played as one movement. Rhapsodies often have themes.
Roger Taylor (from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh): “Record companies both sides of the Atlantic tried to cut the song, they said it was too long and wouldn’t work. We thought, ‘Well we could cut it, but it wouldn’t make any sense,’ it doesn’t make much sense now and it would make even less sense then: you would miss all the different moods of the song. So we said no. It’ll either fly or it won’t. Freddie had the bare bones of the song, even the composite harmonies, written on telephone books and bits of paper, so it was quite hard to keep track of what was going on.” Kutner and Leigh’s book also states that, the recording included 180 overdubs, the operatic parts took over 70 hours to complete and the piano Freddie played was the same one used by Paul McCartney on “Hey Jude.”
Ironically, the song that knocked this off the #1 chart position in the UK was “Mama Mia” by Abba. The words “Mama mia” are repeated in this in the line “Oh mama mia, mama mia, mama mia let me go.” >>
The story told in this song is remarkably similar to that in Albert Camus’ book The Stranger. Both tell of a young man who kills, and not only can he not explain why he did it, he can’t even articulate any feelings about it. >>
You can make the case that the song title is actually a parody, and a clever one at that. There is a rhapsody by the composer Franz Liszt called “Hungarian Rhapsody,” and “Bohemia” is a kingdom that is near Hungary and was part of the Austro-Hungarian Empire. Furthermore, “Bohemian” is an adjective for something unusual or against convention, and the song is just that.
So, “Bohemian Rhapsody” could be a clever title that not only parodies a famous work but also describes the song. In a nod to the Liszt composition, Queen would go on to release a live DVD/CD package in 2012 titled “Hungarian Rhapsody,” featuring their famous shows behind the Iron Curtain in Budapest on the Magic tour in 1986.
This song was covered by Constantine M. (featuring the cast of We Will Rock You) and also by The Flaming Lips for the 2005 Queen Tribute album Killer Queen. Another popular cover is by Grey DeLisle, who did it as an acoustic ballad for her album Iron Flowers.
Queen fans, and also Brian May, often colloquially refer to the song as “Bo Rhap” (or “Bo Rap”).
The name “Bohemian Rhapsody” makes many appearances in popular culture:
Session 14 of the popular anime series Cowboy Bebop is named “Bohemian Rhapsody.”
The Jones Soda Company has a drink named “Bohemian Raspberry” in honor of this song.
In one of the episodes of the TV miniseries Dinotopia, a character cheats on a poem project by using the first part of the song as his entire project. The inhabitants, having never heard the song before, are amazed at the sound of it.
Neil Gaiman and Terry Pratchett used some of the lyrics in their book Good Omens. The main character (Crowley) plays it in his car all the time. They also refer to other Queen songs, but mostly “Bohemian Rhapsody.”
The Mexican group Molotov sampled the chorus for their Spanish-language rap version of this song called “Rap, Soda and Bohemias.” It appears on their 1998 album Molomix.
In 2009, The Muppets Studio released a video featuring the Muppets performing this song. It was first web video for The Muppets, and it was extremely popular: the video was viewed over 7 million times the first week it was up. The furry ones changed the song a bit, omitting the lyrics that begin, “Mama, just killed a man” with Animal screaming “Mama!”
In an interview with Q magazine March 2011, Roger Taylor was asked if this seemed like a peculiar song when Mercury first suggested it? He replied: “No, I loved it. The first bit that he played to me was the verse. ‘Mama, just killed a man, dah-dah-la-dah-daah, gun against his…’ All that. I thought, ‘That’s great, that’s a hit.’ It was, in my head, a simpler entity then; I didn’t know it was going to have a wall of mock Gilbert and Sullivan stuff, you know, some of which was written on the fly. Freddie would write these huge blocks of mass harmonies in the backs of phone books.”
The song is one of Freddie Mercury’s great mysteries – according to everyone in the band, only he knew truly how it would come together, and according to some sources, its genesis could have come many years earlier. Chris Smith, the keyboard player in Mercury’s first band Smile, claimed that Freddie would play several piano compositions at rehearsals, including one called “The Cowboy Song,” which started with the line, “mama, just killed a man.”
In sharp contrast to the rest of the song’s recording and composition, Brian May’s signature solo before the opera section was recorded on only one track, with no overdubbing. He stated that he wanted to play “a little tune that would be a counterpart to the main melody; I didn’t just want to play the melody.”
It is one of his finest examples of creating a solo in his mind before playing it on guitar; something he did many times throughout Queen’s career. His reasoning was always that “the fingers tend to be predictable unless being led by the brain.”
Weird Al Yankovic took the entire song and sung it to a polka tune, called simply “Bohemian Polka,” which is on his 1993 album Alapalooza. >>
Panic! At The Disco covered the song in 2016 for the Suicide Squad soundtrack, having previously played Queen’s epic tune during their live shows. Frontman Brendon Urie told Beats 1’s Zane Lowe:
“I know right that’s a monster to tackle but it was so much fun. I love that song so much. We’ve been playing it live for a few years and it just made so much sense to try it.
It really just gave me a bigger respect for how that song was written. I mean the song was there, all the pieces were there. It was just figuring out each harmony piece by piece. But man, what a monster of a vocal song. It’s so crazy there’s just like thirty-four vocals stacked on top of each other. It’s incredible. I know right that’s a monster to tackle but it was so much fun. I love that song so much. We’ve been playing it live for a few years and it just made so much sense to try it.”
Panic! at the Disco’s cover peaked at #64 on the Hot 100. It was the fourth version to reach the chart following Queen’s original, The Braids from the High School High movie soundtrack (#42, 1996), and the Cast of Glee (#84, 2010).
In the 2018 film Bohemian Rhapsody, Rami Malek stars as Freddie Mercury. In May, the trailer was released, showing some scenes where the song is discussed, including a part where they record “the operatic section.” There is also this exchange:
Record company executive: “It goes on forever! It’s six bloody minutes!”
Mercury: “I pity your wife if you think six minutes is forever.”
That record company executive is played by Mike Myers, who revived the song in Wayne’s World.
The song made its third visit to the top 40 of the Hot 100 in November 2018 when it zoomed in at #33 following the release of the Bohemian Rhapsody soundtrack. , something only Prince has done before, with “1999.”
Thanks to the film Bohemian Rhapsody, Queen had a big role at the 2019 Oscars ceremony. The band (with Adam Lambert on vocals) opened the show, performing “We Will Rock You” and “We Are The Champions”; Mike Myers and Dana Carvey introduced a tribute to the film with their scene from Wayne’s World. The film was nominated for five awards, winning four: Leading Actor (Rami Malek), Film Editing, Sound Editing and Sound Mixing. It lost Best Picture to Green Book.
Bohemian Rhapsody
Is this the real life? Is this just fantasy? Caught in a landslide No escape from reality Open your eyes Look up to the skies and see I’m just a poor boy, I need no sympathy Because I’m easy come, easy go A little high, little low Anyway the wind blows, doesn’t really matter to me, to me
Mama, just killed a man Put a gun against his head Pulled my trigger, now he’s dead Mama, life had just begun But now I’ve gone and thrown it all away Mama, ooh Didn’t mean to make you cry If I’m not back again this time tomorrow Carry on, carry on, as if nothing really matters
Too late, my time has come Sends shivers down my spine Body’s aching all the time Goodbye everybody I’ve got to go Gotta leave you all behind and face the truth Mama, ooh (anyway the wind blows) I don’t want to die I sometimes wish I’d never been born at all
I see a little silhouetto of a man Scaramouch, scaramouch will you do the fandango Thunderbolt and lightning very very frightening me Gallileo, Gallileo Gallileo, Gallileo Gallileo Figaro, magnifico
I’m just a poor boy and nobody loves me He’s just a poor boy from a poor family Spare him his life from this monstrosity
Easy come easy go, will you let me go Bismillah! No we will not let you go, let him go Bismillah! We will not let you go, let him go Bismillah! We will not let you go, let me go Will not let you go, let me go (never) Never, never, never, never, never let me go No, no, no, no, no, no, no Oh mama mia, mama mia, mama mia let me go Beelzebub has a devil put aside for me For me For me
So you think you can stone me and spit in my eye So you think you can love me and leave me to die Oh, baby, can’t do this to me, baby Just gotta get out, just gotta get right outta here
Ooh yeah, ooh yeah
Nothing really matters Anyone can see Nothing really matters nothing really matters to me
This song is a masterpiece from the intro rock guitar riff to the beautiful piano coda. The piano section would have made a great song itself.
This song was inspired by one of the most famous muses in rock and roll. Her name is Pattie Boyd and she was George Harrison’s wife at the time…but that didn’t stop Clapton who was and remained friends with George.
The lyrics are based on the book by Persian poet Nizami, Layla and Majnun, about a man in love with a woman who cannot have her because her parents object.
Pattie divorced Harrison in 1977 and married Clapton in 1979 during a concert stop in Tucson, Arizona. Harrison was not bitter about the divorce and attended Clapton’s wedding party months later with fellow Beatles Ringo Starr and Paul McCartney.
At the end of the song, Duane Allman produced the “crying bird” sound with his guitar while Clapton played acoustic. It was a tribute to Charlie Parker, a jazz legend known as “bird.” Duane also came up with the famous guitar riff and played lead with Clapton. The riff was based on one Albert King played on his song “As The Years Go Passing By,” but sped up.
An edited version was released as a single in 1971. it ran 2:43 and flopped on the charts. The full version was released a year later and became one of the most famous songs in rock history. Allman’s death in a motorcycle accident in October 1971 helped renew interest in the song.
Pattie Boyd:“We met secretly at a flat in South Kensington. Eric Clapton had asked me to come because he wanted me to listen to a new number he had written. He switched on the tape machine, turned up the volume and played me the most powerful, moving song I had ever heard. It was Layla, about a man who falls hopelessly in love with a woman who loves him but is unavailable. He played it to me two or three times, all the while watching my face intently for my reaction. My first thought was: ‘Oh God, everyone’s going to know this is about me.’
Bobby Whitlock: “I was there when they were supposedly sneaking around. You don’t sneak very well when you’re a world figure. He was all hot on Pattie and I was dating her sister. They had this thing going on that supposedly was behind George’s back. Well, George didn’t really care. He said, ‘You can have her.’ That kind of defuses it when Eric says, ‘I’m taking your wife’ and he says, ‘Take her.’ They got married and evidently, she wasn’t what he wanted after all. The hunt was better than the kill. That happens, but apparently Pattie is real happy now with some guy who’s not a guitar player. Good for her and good for Eric for moving on with his life. George got on with his life, that’s for sure.”
The song had an interesting chart history. It was released in 1970 and it peaked at #51 in the Billboard 100 in 1971… then in 1972 it peaked at #10 in the Billboard 100, #9 in Canada and #7 in the UK.
Clapton performed a slow, acoustic version for an MTV Unplugged concert in 1992. It was released as a single and made #12 in the US, getting lots of airplay radio stations. This version also won a Grammy for Best Rock Song.
From Songfacts
This song is about George Harrison’s wife, Pattie. She and Clapton began living together in 1974 and married in 1979. Clapton and Harrison remained good friends, with George playing at their wedding along with Paul McCartney and Ringo Starr. Clapton left her for actress Lory Del Santo (with whom he had his son, Conor) in 1985. In an article published in The Guardian December 13, 2008, Pattie said: “I wasn’t so happy when Eric wrote ‘Layla,’ while I was still married to George. I felt I was being exposed. I was amazed and thrilled at the song – it was so passionate and devastatingly dramatic – but I wanted to hang on to my marriage. Eric made this public declaration of love. I resisted his attentions for a long time – I didn’t want to leave my husband. But obviously when things got so excruciatingly bad for George and me it was the end of our relationship. We both had to move on. Layla was based on a book by a 12th-century Persian poet called Nizami about a man who is in love with an unobtainable woman. The song was fantastically painful and beautiful. After I married Eric we were invited out for an evening and he was sitting round playing his guitar while I was trying on dresses upstairs. I was taking so long and I was panicking about my hair, my clothes, everything, and I came downstairs expecting him to really berate me but he said, ‘Listen to this!’ In the time I had taken to get ready he had written “Wonderful Tonight.”
I was a bit more hurt when Eric wrote Old Love (1989). The end of a relationship is a sad enough thing, but to then have Eric writing about it as well. It makes me more sad, I think, because I can’t answer back.”
Allman ended up playing on the album through good timing and a mutual admiration between he and Clapton. Tom Dowd was producing the Allman Brothers’ album Idlewild South at Criteria Studios in Miami when he got the call that Clapton would like to book time with his new band. Duane was a huge fan of Clapton, and when the Allman Brothers played a show in Miami on August 26, 1970, it was when Derek and the Dominos were recording with Dowd at Criteria. Duane called to see if he could stop by after the gig, and Clapton decided to bring his band to the show. At the show, Duane froze up when he saw Clapton near the stage, but the admiration was mutual, and Clapton arranged for Duane to keep coming by and help with the album. Duane would fly in between Allman Brothers shows, and after recording a few songs with Derek and the Dominos, he worked with them on “Layla” the final day of the recording sessions: September 9th.
Clapton went into a drug-filled depression when the single tanked in 1971. He couldn’t understand why it wasn’t a hit. The record company did very little to advertise the album, figuring any project with Clapton would get plenty of publicity. It eventually did, and the record company made out very well.
Derek and the Dominos formed after Eric Clapton, Bobby Whitlock, Carl Radle and Jim Gordon worked on George Harrison’s first post-Beatles album, All Things Must Pass. They got together at Clapton’s house in England and started writing songs and playing small clubs. Bobby Whitlock explained in his Songfacts interview: “We toured all over England. We did a club tour, and no ticket was over a pound. It was all word of mouth. We played the Speakeasy in London and The Marquee Club, then we played some really funky places up in Nottingham and Plymouth and Bornmouth – we went all over Great Britain. Here we were, these so called “big rock stars,” and we were playing these funky places that would hold like 200 people. Of course, people were jam packed and spilling out on the streets and stuff. It was pretty wild, it was a great time. We did this one tour, we rode around in Eric’s Mercedes. We were all crammed in one car. The second time we went out in Great Britain, we upscaled it. We played small concert venues – Royal Albert Hall and places like that. We went down to Miami, recorded the Layla album and went on tour in the United States. We preceded the record for the most part. All Things Must Pass Came Out, it was a big record, “My Sweet Lord” was #1. We were on the road in the United States, George was playing all over. We were all over the radio with our playing with George, and the album Layla – nobody could get it.”
The group did a lot of drugs while they were recording the album – there’s even a picture as part of the album art of Duane making a phone call, which Whitlock says was to score drugs from Georgia. While drugs led to a lot of problems down the line for the band and most of their members, it didn’t hurt their performance on the album – Clapton even said that the drugs may have helped the recording process.
I was married to Eric’s close friend, George Harrison, but Eric had been making his desire for me clear for months. I felt uncomfortable that he was pushing me in a direction in which I wasn’t certain I wanted to go. But with the realization that I had inspired such passion and creativity, the song got the better of me. I could resist no longer.”
Clapton’s affair with Patti Harrison wasn’t a big concern with the band. Says Whitlock, “It was nobody’s business. They were adults making adult, life-altering decisions.”
The piano piece at the end was edited on a few weeks later. Drummer Jim Gordon came up with it as a solo project and had to be convinced to use it on “Layla.” Gordon was one of the most successful session drummers of the late 1960s and early 1970s, playing on many classic albums of the time. Sadly, in the mid 1970s, severe psychological problems began to manifest in Gordon’s behavior. He complained of hearing voices, especially the voice of his mother. By the late ’70s, Gordon’s mental difficulties – later diagnosed as acute paranoid schizophrenia – had ruined his musical career. In 1983, Gordon brutally murdered his own mother using a claw hammer. The insanity defense having been narrowed in California, Gordon was convicted of second-degree murder in 1984 and sentenced to 16 years to life. If he ever gets out of jail, Gordon will have lots of money waiting for him as a result of his songwriting credit on this track.
The piano at the end has become a cultural touchstone. It was used to great effect at the end of the movie Goodfellas, and radio stations almost always play the version with the piano. At the time, not everyone liked it. Whitlock told us, “I hated it. The original ‘Layla’ didn’t have a piano part. When we did the song, we didn’t have a piano part in mind. Jim was playing it, and Eric said, ‘What about that – that’s good.’ Jim’s not a piano player. He plays so straight – everything is right on the money. They wanted me to give it some feel, so Jim recorded it, I recorded it, Tom Dowd mixed them together. It’s two different takes.”
In 1985, Eric Clapton played this at Live Aid, a benefit concert for famine relief. Phil Collins played drums during his set.
Andy Summers from The Police named his daughter Layla.
Two years after Duane Allman died, Lynyrd Skynyrd released their debut album containing “Free Bird,” a song they often dedicated to Allman in concert. Like “Layla,” “Free Bird” is powered by a lengthy instrumental passage that evokes the bird flying free. That one was also truncated for single release in an edit that sucks the marrow from its bones.
The band broke up when they tried to record a second album. Clapton and Gordon had a falling out in the studio, which ended the sessions and marked the end of the band. Says Whitlock, “Eric says it was drugs and paranoia. It was just a lot of everything. We were road weary. We did 50-something dates in as many days in the United States. I would wake up and not even know where I was. They didn’t expect us to live very long anyway. We surprised them, at least a couple of us did – Eric and myself. That was it.” Carl Radle died of heroin-related kidney failure in 1980. (For more on Derek and the Dominos, check out our full Bobby Whitlock interview)
As a tribute to Jimi Hendrix, Derek and the Dominos recorded a version of his “Little Wing” the same day. Hendrix died nine days later.
Jim Gordon’s then-girlfriend Rita Coolidge claimed in her memoir Delta Lady, that she wrote the song’s piano coda. The singer-songwriter maintained that it came from a track called “Time (Don’t Get In Our Way)” written by her and Gordon. “We played the song for Eric Clapton in England. I remember sitting at the piano in Olympic Studios while Eric listened to me play it,” she recalled. “Jim and I left a cassette of the demo, hoping of course that he might cover it.”
A year later, having split up with Gordon, Coolidge heard “Layla” for the first time. “I was infuriated,” she remembered. “What they had clearly done was take the song Jim and I had written, jettisoned the lyrics and tacked it to the end of Eric’s song. It was almost the same.”
Layla
What’ll you do when you get lonely And nobody’s waiting by your side? You’ve been running and hiding much too long. You know it’s just your foolish pride.
Layla, you’ve got me on my knees. Layla, I’m begging, darling please. Layla, darling won’t you ease my worried mind.
I tried to give you consolation When your old man had let you down. Like a fool, I fell in love with you, Turned my whole world upside down.
Layla, you’ve got me on my knees. Layla, I’m begging, darling please. Layla, darling won’t you ease my worried mind.
Let’s make the best of the situation Before I finally go insane. Please don’t say I’ll never find a way And tell me all my love’s in vain.
Layla, you’ve got me on my knees. Layla, I’m begging, darling please. Layla, darling won’t you ease my worried mind.
Layla, you’ve got me on my knees. Layla, I’m begging, darling please. Layla, darling won’t you ease my worried mind.
This week I will cover some songs that I have avoided because everyone has heard them so many times but…they are considered some of the best ever…
Meet The New Boss, Same as the Old Boss
As rock songs go…it doesn’t get any better than this one.
This is one of my favorite rock songs of all time. I wrote a review of Who’s Next and I included this with it about Won’t Get Fooled Again: This is the best concert song I’ve witnessed on film or live in person. It has drama, action, suspense, and aggression… just as much as any movie. Every member of the band is at the top of their game. You have Pete’s thick power chords, John Entwistle’s rolling bass lines, Keith Moon’s controlled chaos, and Roger holding it down and keeping it grounded.
The song is always exciting to hear and out of all the songs in this week’s posts…this is one I never get tired of…
Roger Daltrey’s scream is considered one of the best on any rock song. It was quite convincing…so convincing that the rest of the band, lunching nearby, thought Daltrey was brawling with the engineer.
Pete Townshend: “It is not precisely a song that decries revolution – it suggests that we will indeed fight in the streets – but that revolution, like all action can have results we cannot predict. Don’t expect to see what you expect to see. Expect nothing and you might gain everything.” Townsend then goes on to explain that the song was simply ”Meant to let politicians and revolutionaries alike know that what lay in the center of my life was not for sale, and could not be co-opted into any obvious cause.”
The song peaked at #15 in the Billboard 100, #9 in the UK, and #7 in Canada in 1971.
Pete Townshend wrote this as part of his “Lifehouse” project. He wanted to release a film about a futuristic world where the people are enslaved… but saved by a rock concert. Pete couldn’t get enough support to finish the project, but most of the songs he wrote were used on the Who’s Next album.
From Songfacts
Pete Townshend wrote this song about a revolution. In the first verse, there is an uprising. In the middle, they overthrow those in power, but in the end, the new regime becomes just like the old one (“Meet the new boss, same as the old boss”). Townshend felt revolution was pointless because whoever takes over is destined to become corrupt. In Townshend: A Career Biography, Pete explained that the song was antiestablishment, but that “revolution is not going to change anything in the long run, and people are going to get hurt.”
The synthesizer represents the revolution. It builds at the beginning when the uprising starts, and comes back at the end when a new revolution is brewing.
The title never appears in the lyric, which goes:
I’ll get on my knees and pray We don’t get fooled again
The album version runs 8:30. The single was shortened to 3:35 so radio stations would play it.
Daltrey was unhappy about the editing. He recalled to Uncut magazine: “I hated it when they chopped it down. I used to say ‘F–k it, put it out as eight minutes’, but there’d always be some excuse about not fitting it on or some technical thing at the pressing plant.”
“After that we started to lose interest in singles because they’d cut them to bits,” Daltrey added. “We thought, ‘What’s the point? Our music’s evolved past the three-minute barrier and if they can’t accommodate that we’re just gonna have to live on albums.'”
In a 1985 “My Generation” radio special, Pete Townshend said he wrote the song as a message to the supposedly “new breed” of politicians who came around in the early ’70s.
This is the last song on the album. It was also the last song they played at their concerts for many years.
This was one of the first times a synthesizer was used in the rhythm track. When they played this live, they had to play the synthesizer part off tape.
Townshend (from Rolling Stone magazine): “It’s interesting it’s been taken up in an anthemic sense when in fact it’s such a cautionary piece.”
Pete Townshend lived on Eel Pie Island in Richmond, London, when he wrote this song. There was an active commune on the Island at the time situated in what used to be a hotel. According to Townshend, this commune was an influence on the song. “There was like a love affair going on between me an them,” he said. “They dug me because I was like a figurehead in a group, and I dug them because I could see what was going on over there. At one point there was an amazing scene where the commune was really working, but then the acid started flowing and I got on the end of some psychotic conversations.”
The Woodstock festival was an influence on this song. Most songs inspired by Woodstock follow the peace and love narrative, but Pete Townshend had a very different take.
The Who played Day 2 of Woodstock, going on at the ludicrous hour of 5 a.m. During their set, the activist Abbie Hoffman came on stage unannounced and commandeered the microphone. Townshend may or may not have belted him with his guitar, but he certainly did not want to provide a platform for any cause. “I wrote ‘Won’t Get Fooled Again’ as a reaction to all that – ‘Leave me out of it: I don’t think you lot would be any better than the other lot!,'” he explained to Creem in 1982.
In the same interview, he shared his thoughts on the festival crowd: “All those hippies wandering about thinking the world was going to be different from that day. As a cynical English arsehole I walked through it all and felt like spitting on the lot of them, and shaking them and trying to make them realize that nothing had changed and nothing was going to change.”
This song was played by the remaining members of the band at “The Concert for New York City,” a fundraising concert in the wake of the devastating attacks on September 11, 2001. Daltrey omitted the last line of the song: “Meet the new boss, Same as the old boss.”
Part of this song is used in the opening sequence of the CBS TV series CSI: Miami, which launched in 2002. This was the first spin-off from CSI: Crime Scene Investigation, which went on the air in 2000 with “Who Are You?” as the theme song. Every subsequent CSI featured a song by The Who: CSI: NY used “Baba O’Riley,” and CSI: Cyber went with “I Can See For Miles.”
Roger Daltrey could sing “My Generation” for five decades without complaint, but not this one. “That’s the only song I’m bloody bored s–tless with,” he told Rolling Stone in 2018.
In The Simpsons episode “A Tale of Two Springfields,” Homer forms “New Springfield” and gets The Who to play there. Pete Townshend blasts the wall between old and new Springfield by blasting the guitar riff from this song. >>
Pete Townshend refused Michael Moore permission to use this song in his 2004 anti-George W. Bush documentary, Fahrenheit 9/11, citing the left wing filmaker as a “bully.”
This was used in commercials for the 2000 Nissan Maxima. Some people considered this the biggest sellout in rock, but The Who made lots of money in the deal. The same year, Nissan used The Who’s “Baba O’Reily” in an ad for their Pathfinder.
DJs like to play this as their last song before leaving a particular radio station because of the line “meet the new boss, same as the old boss” – a snub directed at station management because they might not be leaving on the friendliest terms.
This was played in Super Bowl XLI (2007) as the Indianapolis Colts came out of the locker room. The Colts won the game.
Won’t Get Fooled Again
We’ll be fighting in the streets With our children at our feet And the morals that they worship will be gone And the men who spurred us on Sit in judgment of all wrong They decide and the shotgun sings the song
I’ll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I’ll get on my knees and pray We don’t get fooled again
The change, it had to come We knew it all along We were liberated from the fold, that’s all And the world looks just the same And history ain’t changed Cause the banners, they are flown in the next war
I’ll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I’ll get on my knees and pray We don’t get fooled again No, no!
I’ll move myself and my family aside If we happen to be left half alive I’ll get all my papers and smile at the sky Though I know that the hypnotized never lie Do ya?
There’s nothing in the streets Looks any different to me And the slogans are replaced, by-the-bye And the parting on the left Are now parting on the right And the beards have all grown longer overnight
I’ll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I’ll get on my knees and pray We don’t get fooled again Don’t get fooled again No, no!
Bruce Springsteen wrote this and gave it to filmmaker Paul Schrader for his 1987 movie starring Michael J. Fox and Joan Jett as a brother and sister who lead a garage band.
Michael J. Fox and Joan Jett performed this in the movie. The song was released as a single credited to “The Barbusters” the name of the group in the film. The song is a duet with Fox and Jett, but the single was just Jett accompanied by her band, The Blackhearts.
Benmont Tench of Tom Petty and the Heartbreakers played Hammond organ on this song. Light Of Day peaked at #33 in the Billboard 100 in 1987. From Songfacts
This is one of Springsteen’s live favorites. He often performs an inspirational extended version, preaching lines like “I can not offer you eternal life, but I can offer you life right now.”
Bruce performed this at a 1992 concert for MTV. Part of their “Unplugged” series, Springsteen insisted on playing electric and calling it “Plugged.” The set was released as an album in England.
The title was used as the name of a benefit concert Springsteen played at The Stone Pony, a small club in New Jersey, in 2000. Proceeds went to The Parkinson’s Disease Foundation. Michael J. Fox, who starred in the movie Light Of Day, has Parkinson’s.
Springsteen performed this with Joan Jett at two benefit concerts in New Jersey in 2001. Proceeds from the shows went to victims of the September 11 attacks.
In 2000, the Light of Day foundation was formed, taking its name from this song. Music impresario Bob Benjamin started the foundation after he was diagnosed with Parkinson’s disease, with proceeds going toward the search for a cure. Benjamin organized a series of concerts to raise money, which proved very successful. Springsteen has performed at many of these events to lend his support.
Light Of Day
Well I’ve been out of the woods for six days and nights now Well I’m a little hot wired, but I’m feeling alright I got some money in my pocket and a long lean ride I got to make it down to Galveston by Saturday night, now
Well I’m a little down under, but I’m feeling O.K. Got a little lost along the way
I’m just around the corner to the light of day Well, I’m just around the corner to the light of day
Been driving five hundred miles, got five hundred to go, yeah I got rock and roll music on the radio I got a brother on a rig just off the gulf coast He says the girls down there, well they’re really the most, man
Well I’m a little down under, but I’m feeling O.K. I got a little lost along the way
Just around the corner to the light of day Just around the corner to the light of day I’m just around the corner to the light of day I’m just around the corner to the light of day
Well I got thrown out of work on the Kokomo Don’t ask me what I’m doing, I don’t know I hope he wasn’t joking when he wrote me that letter Things can’t get any worse, they got to get better
Well I’m a little down under, but I’m feeling O.K. I got a little lost along the way
I’m just around the corner to the light of day Just around the corner to the light of day Just around the corner to the light of day Just around the corner to the light of day
I’ve been listening to the Syd Barrett era of Pink Floyd and ran across this one. You can hear the later Pink Floyd in this.
This was Pink Floyd’s debut single in 1967.
Syd Barrett wrote this about a true story….a cross-dresser who he called “Arnold Layne” who used to steal bras and panties from clotheslines in Cambridge, England. Barrett lived near Roger Waters growing up. Their mothers both lost underwear to Arnold Layne.
Of course Radio London banned this song, since it was about a man who steals women’s undergarments. Surprisingly BBC played it,saying they either didn’t have a problem with this particular subject matter or didn’t understand it…probably the latter.
The song peaked at #20 in the UK in 1967.
In the promotional materials to accompany the single, the band’s record company, EMI, wrote: “Pink Floyd does not know what people mean by psychedelic pop and are not trying to cause hallucinatory effects on their audience.”
The promotional black-and-white music video displayed the band with Syd Barrett. It shows Pink Floyd goofing around with a mannequin on the beach in East Wittering, West Sussex, England in late February 1967 ahead of the song’s release the following month.
Roger Waters: ‘Both my mother and Syd’s mother had students as lodgers because there was a girl’s college up the road so there was constantly great lines of bras and knickers on our washing lines.’ In one curious incident, the bras and knickers that hung on the washing lines in the Barrett’s garden proved irresistible to a local underwear fetishist. This character, whom Barrett would later immortalize in song as Arnold Layne, made off with many of poor nursing students’ undergarments, presumably to indulge his fantasies. ‘Arnold or whoever he was, had bits and pieces off our washing lines. They never caught him. He stopped doing it after a bit, when things got too hot for him.’ ‘I was in Cambridge at the time I started to write the song,’ Syd Barrett told *Melody Maker*. ‘I pinched the line about “moonshine washing line” from Roger because he had an enormous washing line in the back garden of his house. Then I thought “Arnold must have a hobby” and it went on from there. Arnold Layne just happened to dig dressing up in women’s clothing.’
From Songfacts
The group was set to make their Top Of The Pops debut with a performance of this song in April 1967, but were dropped when it fell three places on the UK chart that week. They first appeared on the show July 6, performing “See Emily Play.”
Barrett was the group leader and an excellent songwriter, but he did a lot of drugs and lost his mind over the next year, becoming England’s first high-profile acid casualty. He was kicked out of the band the next year, replaced by David Gilmour.
Before the band came out at their shows in the late ’80s, this played while video of Pink Floyd in 1967 was shown on the giant screens.
This had a blues sound the band was known for. Pink Floyd’s name originated from Syd Barrett. His two favorite blues artists, Pink Anderson and Floyd Council, appeared to him in what he referred to as a “vision,” giving Syd the idea for the name.
The song made an unexpected appearance in the live sets of Pink Floyd guitarist David Gilmour during his 2006 tour promoting his solo album, On an Island. Later in the year, two live recordings of the song, from Gilmour’s On an Island shows at the Royal Albert Hall were released as a live single, which peaked at #19 on the UK singles chart. One version had guest vocals by David Bowie, the other by Floyd’s Richard Wright.
Arnold Layne
Arnold Layne Had a strange hobby Collecting clothes Moonshine washing line They suit him fine
On the wall Hung a tall mirror Distorted view See through baby blue He done it, oh, Arnold Layne It’s not the same, It takes two to know Two to know Two to know Two to know Why can’t you see?
Arnold Layne Arnold Layne Arnold Layne, Arnold Layne
Now he’s caught A nasty sort of person They gave him time Doors bang, chain gang He hates it Oh, Arnold Layne It’s not the same It takes two to know Two to know Two to know Two to know Why can’t you see?
Chrissie Hynde wrote this with Tom Kelly and Billy Steinberg. “I’ll Stand by You” was released as the second single from the 1994 album Last of the Independents. It’s a beautiful song that has been covered a few times.
The song peaked at #16 in the Billboard 100, #12 Canada, and #10 in the UK.
For Hynde, working with outside songwriters was different, as she was used to writing on her own. It ended up a very positive experience that led to more collaborations.
Chrissie had said she was uncomfortable about having such a hit but felt better after Noel Gallagher say “he wished he’d written it.”
Chrissie Hynde: “When I did that song, I thought, Urgh this is s–t. But then I played it for a couple of girls who weren’t in the business and by the end of it they were both in tears. I said, OK, put it out.”
From Songfacts
“Tom and I never had a publisher, we both published ourselves. Jason Dauman was somebody who, for a commission, was willing to provide some of the service that a publisher would. He once said to me, ‘Who would you like to collaborate with?’ and it was sort of an annoyance to me. I didn’t take him all that seriously, but almost facetiously I said, ‘Prince, Bruce Springsteen and Chrissie Hynde.
I said those names because they were three of my favorite songwriters and he sort of took it seriously. He went off and I just thought, ‘Well I got rid of him, didn’t I.’ Then a little while later he called me up and he said, ‘Chrissie Hynde wants to write with you and Tom,’ and I thought, ‘Right.’ So anyway, I get a phone call and this woman said, ‘Billy, this is Chrissie Hynde,’ and I thought somebody was playing with me or something. I couldn’t imagine it, but then in a minute it was quite clear that Chrissie was on the other end of the telephone.
Chrissie is a very complicated person, a very no-nonsense person especially when she doesn’t know you. She was a little intimidating on the phone. The butterflies in my stomach were fluttering so much I could barely speak because I love The Pretenders. She said she’d like to get together and write some songs with Tom and me, and I went, ‘Woo Hoo!’ She came to Los Angeles and she was so determined. She said, ‘I want to write a hit.’ Over a period of about two weeks Tom and I wrote a handful of songs with her. The first one we wrote together was called ‘Love Colors Everything.’ Then we wrote ‘Night In My Veins’ which was also a hit single, and we wrote ‘977,’ ‘Hollywood Perfume’ and ‘I’ll Stand By You.'”
Ben E. King’s song “Stand By Me” was a big influence on this.
Steinberg: “‘I’ll Stand By You,’ like the other hits that Tom and I wrote, started out as a lyric that I had in a notebook. I had the title and the chorus lyric. Chrissie is a very, very strong songwriter in her own right. She’s very ruthless, she would get out her pen or her pencil and I remember I was fascinated the way she would write in the notebook because she wouldn’t write on the lines. I use a Mont Blanc fountain pen and I tend to write kind of neatly. She would just scribble across pages. Very few lines would fit on a page and they wouldn’t stay on the line. I remember she would just take a pen and she would cross out any lines I had written that she didn’t like, and usually the lines that she didn’t like would be ones that were too tender or too poetic. She would toughen up stuff I’d written. On ‘I’ll Stand By You’ she added lines and changed lines.”
This was written based on the piano. Tom Kelly played the piano on the record.
Steinberg: “I remember when we wrote it I felt two things: I felt one, we had written a hit song and I felt two, a little sheepish that we had written something a little soft, a little generic for The Pretenders. Whereas ‘Night In My Veins’ really felt like a great Pretenders rocker, ‘I’ll Stand By You’ felt a little generic. I know that Chrissie felt that way too to some extent. I don’t think she really entirely embraced it to begin with, but she certainly does now because when she plays it live, it’s one of the songs that gets the strongest response. It’s done really well for her and for us.” (Check out our Billy Steinberg interview.)
This song has returned to both the UK and US charts with different cover versions. In 2004 Girls Aloud achieved their second UK #1 with their version recorded for the annual BBC Children In Need charity telethon. Girl Aloud Sarah Harding explained in 1000 UK #1 Hits by Jon Kutner & Spencer Leigh that the fivesome “were drawn to the lyrics straight away, we’ve all been in situations where we have needed someone or been there for someone.”
In 2007, Carrie Underwood achieved the highest chart entry by an Idol contestant for a song never performed on the show in competition when her version debuted in the Hot 100 at #6. Her record was later taken by David Archuleta, whose single “Crush” flew straight into the US singles chart at #2.
She added that this song was “really a cold-blooded attempt to write something to get on the radio.”
Other artists to cover this song include Rod Stewart (on his 2006 album Still the Same… Great Rock Classics of Our Time), and Shakira, who released it as a charity single for Hope for Haiti in 2010 to help with earthquake relief. In 2009, the Cast of Glee took the song back to the charts, reaching #73.
Hynde, a resident of England, didn’t know about the Rod Stewart or Carrie Underwood covers until we told her about them.
This was used in a 2013 commercial for Progressive Insurance where their spokesperson, Flo, sings the ballad. As with all songs written by Chrissie Hynde, PETA had to approve the use and royalties from it were sent to the organization.
I’ll Stand By You
Oh, why you look so sad? Tears are in your eyes Come on and come to me now Don’t be ashamed to cry Let me see you through
‘Cause I’ve seen the dark side too When the night falls on you You don’t know what to do Nothing you confess Could make me love you less
I’ll stand by you I’ll stand by you Won’t let nobody hurt you I’ll stand by you
So if you’re mad, get mad Don’t hold it all inside Come on and talk to me now Hey, what you got to hide? I get angry too
Well I’m a lot like you When you’re standing at the crossroads And don’t know which path to choose Let me come along ‘Cause even if you’re wrong
I’ll stand by you I’ll stand by you Won’t let nobody hurt you I’ll stand by you Take me in, into your darkest hour And I’ll never desert you I’ll stand by you
And when When the night falls on you, baby You’re feeling all alone You won’t be on your own
I’ll stand by you I’ll stand by you Won’t let nobody hurt you
I’ll stand by you Take me in, into your darkest hour And I’ll never desert you I’ll stand by you I’ll stand by you Won’t let nobody hurt you I’ll stand by you Won’t let nobody hurt you I’ll stand by you, won’t let nobody hurt you Take me in, into your darkest hour And I’ll never desert you I’ll stand by you
If you want great power pop pick up a Big Star album…take your pick between their three original albums.
This song was on Radio City released in 1974…their second album and follow up to their debut…Big Star #1 Record. Although Chris Bell had quit the band after the release of #1 Record…Andy Hummel (bass player) stated that Chris Bell came back and helped with this song and O My Soul but received no credit.
Back of a Car slowly builds into a great song. The album got some better reviews than the first but Stax again could not distribute their album…so only around 20,000 copies were sold at the time.
Alex Chilton laid down great guitar for this song. Jody Stephens’ drums fills through the song are busy but adds to the over all sound.
Back Of A Car
Sitting in the back of a car
Music so loud can’t tell a thing
Thinking ’bout what to say
I can’t find the lines
You know I love you a lot
I just don’t know, should I not?
Waiting for a brighter day
I can’t find a way
I’ll go on and on with you
Like to fall and lie with you
I love you, too
Wo wo wo
Baby, I’m too afraid
I just don’t know if it’s okay
Trying to get away
From everything
Why don’t you take me home
It’s gone too far inside this car
I know I’ll feel a whole lot more
When I get alone
I’ll go on and on with you
Like to fall and lie with you
I love you, too
Wo wo wo
Sitting in the back of a car
Music so loud can’t tell a thing
Thinking ’bout what to say
I can’t find the lines
The main reason I like ZZ Top is the tone that Billy Gibbons gets on his guitar…especially in the 1970s. The song is on Degüello released in 1979 and the album peaked at #24 in the Billboard Album charts. The song peaked at #89 in the Billboard 100 in 1980.
The inspiration for this song came when ZZ Top would tour in cars. When they stopped at gas stations they would see cardboard displays of cheap sunglasses. They ended up buying a lot and throwing them into the crowd.
The band wrote the song on a trip to Austin, Texas as they were passing La Grange. He came up with lyrics to all three verses in the span of 20 miles.
Billy Gibbons: “The hip trip for us was to throw them into the audience as an offering. We ran out and we couldn’t get any more. So we now have to make to do with Sanford Hutton’s creations out of New York. The Ray Ban Wayfarer was the original cheap sunglasses. You could buy a pair for six bucks originally. I saw a catalog from 1959, and by then they were up to eight bucks. We had to take a bad rap from an optometrist who said ‘Don’t wear ZZ Top’s cheap sunglasses. They’re bad for your eyes.’ There was an optometrists’ convention in Hawaii and there was a huge poster – this woman with a pointing finger saying, ‘Don’t wear cheap sunglasses.’ I suppose I’ll have to agree. There is a cutoff point where optical considerations must be taken into account. At that point in time, they are not intended to be used for negotiating the entire afternoon.”
Songfacts
ZZ Top took some time off after their 1976 album Tejas. When they returned to action in 1979, punk rock had emerged, emboldening the band to cut loose, with less concern about what FM radio might play. That attitude led to songs like “Manic Mechanic” and “Cheap Sunglasses.”
The band also came back with a new look: Billy Gibbons and Dusty Hill had their long, flowing beards for the first time with the album. Gibbons and Hill claim they didn’t consult each other before growing them.
Billy Gibbons played the main guitar line through a 200-watt Marshall Major amp with a blown tube, which gave him the “bulbous, rotund sound.” He told Guitar World: “There’s also a little bit of digital delay for that Bo Diddley impersonation at the tail out, and a Maestro ring modulator, which produces the strange tag to each verse. It appears three times, and it’s a pretty funny sound. That is one insane effect put to good use.”
Cheap Sunglasses
When you get up in the morning and the light is hurt your head The first thing you do when you get up out of bed Is hit that streets a-runnin’ and try to beat the masses And go get yourself some cheap sunglasses Oh yeah, oh yeah, oh yeah
Spied a little thing and I followed her all night In a funky fine Levis and her sweater’s kind of tight She had a west coast strut that was as sweet as molasses But what really knocked me out was her cheap sunglasses Oh yeah, oh yeah, oh yeah
Now go out and get yourself some big black frames With the glass so dark they won’t even know your name And the choice is up to you cause they come in two classes Rhinestone shades or cheap sunglasses Oh yeah, oh yeah, oh yeah
This synth driven song was a memorable one from the In Through The Out Door album. It’s not your usual love song. It’s about Robert Plant’s son Karac who died in 1977 from a stomach virus when he was 5 years old. Robert has said “It was paying tribute to the joy that he gave us as a family.”
Some Zeppelin fans didn’t like this album as much. I have always liked the album but I don’t consider it their best or worse. Like with Who songs…the drums here are a stand out.
John Bonham and Jimmy Page didn’t take to the song too well. They thought it was a little too soft for Zeppelin. Page said it was fine on the album but he would not have wanted to go in that direction in the future.
Robert and John Paul Jones wrote this song.
Robert Plant:“In Through The Out Door wasn’t the greatest thing in the world, but at least we were trying to vary what we were doing, for our own integrity’s sake,” “Of all the (Led Zeppelin) records, it’s interesting but a bit sanitized because we hadn’t been in the clamor and chaos for a long time. In ’77, when I lost my boy, I didn’t really want to go swinging around- ‘Hey hey mama say the way you move’ didn’t really have a great deal of import anymore.”
From Songfacts
Zeppelin vocalist Robert Plant and bass player John Paul Jones wrote this. The band had drifted apart, with guitarist Jimmy Page and drummer John Bonham hanging out together and rarely showing up on time for recording sessions. As a result, many of the songs on In Through The Out Door were put together by Plant and Jones, with Page and Bonham adding their parts late at night.
This changes key on the last chorus.
You don’t hear much synthesizer in Led Zeppelin’s canon, but “All My Love” contains a synth solo played by John Paul Jones. In Through The Out Door was recorded at Polar Studios in Stockholm, which was owned by Abba. Benny Andersson of Abba had a Yamaha GX-1 synth in the studio that Jones used on the track.
This was only played live during Led Zeppelin’s 1980 tour of Germany.
Robert Plant had another son, Logan, in 1979 before In Through The Out Door was released. He has talked about how his images of Logan and Karac sometimes blur together, with his joy for Logan’s life tempered by the pain of Karac’s death. Plant’s 1993 solo track “I Believe” is also about Karac.
All My Love
Should I fall out of love, my fire in the light To chase a feather in the wind Within the glow that weaves a cloak of delight There moves a thread that has no end
For many hours and days that pass ever soon The tides have caused the flame to dim At last the arm is straight, the hand to the loom Is this to end or just begin?
All of my love, all of my love All of my love to you, oh
All of my love, all of my love, oh All of my love to you
The cup is raised, the toast is made yet again One voice is clear above the din Proud Arianne one word, my will to sustain For me, the cloth once more to spin, oh
All of my love, all of my love, oh All of my love to you
All of my love, all of my love, yes All of my love to you
Yours is the cloth, mine is the hand that sews time His is the force that lies within Ours is the fire, all the warmth we can find He is a feather in the wind, oh
All of my love, all of my love, oh All of my love to you
All of my love, ooh yes, all of my love to you now All of my love, all of my love All of my love, love, sometimes, sometimes
Sometimes, sometimes, oh love Hey, hey, hey Hey, hey, hey Ooh yeah, it’s all my love
All of my love, all of my love, to you now
All of my love, all of my love all of my love to, to you, you, you, yeah I get a little bit lonely
This is from our favorite Canadian Neil Young. It surprised me that this was released in 1989. I remember it the most in the 90s.
This was inspired by the political changes going on at the time, and was highly critical of the George Bush Sr. Some of the lyrics mock Bush’s campaign speeches: “We got 1,000 points of light, for the homeless man,” “We got a kinder, gentler machine gun hand.”
Rocking In A Free World was written in February 1989, as Neil Young toured the Pacific Northwest. Iran’s Ayatollah Khomeni had just issued a fatwa ordering Muslims to kill Salman Rushdie because of his controversial novel The Satanic Verses and Russia had recently withdrawn its forces from Afghanistan.
Pearl Jam have performed this song from time to time with Young, who they said that Neil is their musical mentor. The first time they performed it together was at the 1993 MTV Video Music Awards, where the “Jermey” video won four awards. Young came on as a surprise guest.
Pearl Jam has used this as the closing song in many of their concerts. The band played several times at Young’s Bridge School concerts.
The song peaked at #2 in the Mainstream Rock Chart and #39 in Canada. The song is rated number 216 on Rolling Stone’s 500 Greatest Songs of All Time.
From Songfacts
This was released a few months before the fall of the Berlin Wall. It became kind of an anthem for the event as freedom spread through Eastern Europe.
Meanwhile Young and his guitarist Frank “Poncho” Sampedro, were musing on global events as they traveled to Portland.
“There was supposed to have been a cultural exchange between Russia and United States,” Sampedro recalled to Mojo in a 2018 interview. “Russia was getting Neil Young and Crazy Horse and we were getting the Russian ballet! All of a sudden, whoever was promoting the deal, a guy in Russia, took the money and split. We were all bummed, and I looked at him and said, ‘Man I guess we’re just gonna have to keep on rockin in the free world. He said, ‘Well, Poncho, that’s a good line. I’m gonna use that, if you don’t mind.'”
“So we checked into the hotel in Portland,” the guitarist continued. “And we needed a song. We needed a rocker. We’d written some songs and they were good but we didn’t have a real rocker. I said, ‘Look man, tonight, get in your room, think about all this stuff that’s going down – the Ayatollah, all the stuff in Afghanistan, all these wars breaking out, all the problems in America… “Keep On rockin in the free world,” you got that: put something together man, let’s have a song!’ And the next morning, we got on the bus to leave and he says, ‘OK, I did it!'”
Young used members of his former backing group The Bluenotes to record this.
Young and Pearl Jam proved a great fit, as both eschew convention when it comes to music and promotion, catering instead to their ardent fan bases. The MTV appearance was an anomaly – Pearl Jam didn’t make another video for five years. In 1995, they collaborated on Young’s 1995 album Mirror Ball.
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Young performed this at the 7th annual Bridge School benefit in 1993 with all the artists involved joining Young on stage to close the show. Young put on the concert for the school, which serves children with special needs, every year until 2017.
.Neil Young played with Pearl Jam on 1995’s Merkinball, a 2-song EP that featured the songs “I Got ID” on one side and “The Long Road” on the other. Merkinball was a case of Young returning the favor to Pearl Jam. They had served as his “backing band” on his 1995 album Mirrorball. Contractual stipulations prevented Mirrorball from being credited to both artists and recognized as the collaborative effort it actually was (The name “Pearl Jam” was not legally allowed to appear on either the album’s cover or within its liner notes). “I Got ID” and “Long Road” were actually recorded during the Mirrorball sessions.
The song is on occasion used as a pro-America anthem, which ignores many of the ironic overtones of the lyrics. While the chorus does seem to celebrate the United States, it’s juxtaposed with grim verses which paint a haunting portrait of life in modern America – the song is sometimes interpreted as a critique of the “keep on rocking in the free world” sentiment that US citizens use to ignore global problems that don’t concern them.
Much like his seminal “My My, Hey Hey”/”Hey Hey, My My” counterparts, the widely known version of “Rockin’ In The Free World” is a loud, electric reprise of a stripped-down acoustic version that opens the Freedom album.
Rolling Stone rated this #216 on their 500 Greatest Songs of All Time list.
Young is very particular about where his songs are used. He authorized this one for the 2004 Michael Moore documentary Fahrenheit 9/11, and also for the 2015 film The Big Short, which tells the story of the rapacious financial workers who caused the 2008 recession. It also appears in the video game Guitar Hero: Warriors of Rock.
The track was used in Donald Trump’s announcement that he will run as a Republican candidate for the 2016 presidency. Young, a longtime supporter of Bernie Sanders, said that the mogul was not authorized to use the song.
Trump’s campaign responded by saying it did pay to use Neil Young’s tune at the presidential announcement, but won’t use Young’s music at any future events. “Through a licensing agreement with ASCAP, Mr. Trump’s campaign paid for and obtained the legal right to use Neil Young’s recording of ‘Rockin’ In The Free World,'” the statement read. “Nevertheless, there are plenty of other songs to choose from. Despite Neil’s differing political views, Mr. Trump likes him very much.”
Trump later hit back, posting a photo of him and Young shaking hands, and explaining that Young asked him for financing on an audio deal and invited Trump to a concert. In a Tweet, Trump called Young a “total hypocrite,” adding, “‘Rockin’ In The Free World’ was just one of 10 songs used as background music. Didn’t love it anyway.”
Rocking In A Free World
There’s colors on the street Red, white and blue People shufflin’ their feet People sleepin’ in their shoes But there’s a warnin’ sign on the road ahead There’s a lot of people sayin’ we’d be better off dead Don’t feel like Satan, but I am to them So I try to forget it, any way I can.
Keep on rockin’ in the free world, Keep on rockin’ in the free world Keep on rockin’ in the free world, Keep on rockin’ in the free world.
I see a woman in the night With a baby in her hand Under an old street light Near a garbage can Now she puts the kid away, and she’s gone to get a hit She hates her life, and what she’s done to it There’s one more kid that will never go to school Never get to fall in love, never get to be cool.
Keep on rockin’ in the free world, Keep on rockin’ in the free world Keep on rockin’ in the free world, Keep on rockin’ in the free world.
We got a thousand points of light For the homeless man We got a kinder, gentler, Machine gun hand We got department stores and toilet paper Got styrofoam boxes for the ozone layer Got a man of the people, says keep hope alive Got fuel to burn, got roads to drive.
Keep on rockin’ in the free world, Keep on rockin’ in the free world Keep on rockin’ in the free world, Keep on rockin’ in the free world.
Go ego trip’n again tonight Tell the same lies they work all right
Back in 1991, I was going out a lot and I really related to this song. I had the cassette of Whenever We Wanted by Mellencamp and it contained a few hits. This one was a minor hit but the one that I wore out.
It peaked at #36 in the Billboard 100 but was a bigger hit in Canada where it peaked at #8 in 1991. It did make it to #1 on the Mainstream Rock charts.
This album contained Get A Leg Up, Now More Than Ever, Last Chance, and Love and Happiness.
Whenever We Wanted peaked at #17 in the Billboard Album Charts, #8 in Canada, #39 in the UK, and #40 in New Zealand.
Again Tonight
Run in circles again tonight Hump the moon again tonight Gonna wear my dancin’ shoes out tonight Gonna have myself a big time again tonight
[Chorus:] Again tonight Again tonight Again tonight
Girl’s got lightning Underneath her skirt Boys try to touch it For whatever it’s worth In the morning She’s just gonna be hurt She wonders is it worth it again tonight
[Chorus]
Gonna catch that cloud tonight Nine, cloud nine Gonna try and catch that cloud tonight Nine, cloud nine Again tonight
Can you hold me baby again, again tonight Can you sing Can you dance baby Can you sing Can you hold me again tonight Baby can you sing
Go ego trip’n again tonight Tell the same lies they work all right Gonna wear my dancin’ shoes out tonight Probably make a fool of myself again tonight
Beggars Banquet and Between the Buttons were the first two Rolling Stone albums I owned not counting Hot Rocks, the greatest hits collection. I played this album to death. As with most Stones albums you get what you get…rock, blues, and a little country thrown in the mix. I got this album when I was 12 and it opened my eyes wide to the Stones…much more than a collection of their hits would ever do.
This was the first album to start the stretch of 5 albums (Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main Street, and Goats Head Soup) that helped make the Stones what they are today. In 1967 after failing to live up to Sgt Pepper with Their Satanic MajestiesRequest (although I do like that album) they came back retooled with a new producer Jimmy Miller.
The Stones got back to doing what they do best…playing the blues…although with a different sound than Little Red Rooster. A weary Brian Jones was still in the band at this time and contributed to all but two songs…but it’s mostly Keith on guitar. Brian, because of the state he was in, was used more as a touch-up artist…filling in some holes with sitar, tambura, guitar, blues harp, and mellotron.
This album is not considered up there with Sticky Fingers or Exile On Main Street but I have the strongest connection to it. I’ve always related Beggars Banquet to the White Album. They were both released in 1968 and both were raw and honest. No studio trickery to either…a big departure from the psychedelic era of 1967.
I don’t think Jimmy Miller gets enough credit for their sound. That is not a knock against the Stones but the Miller produced albums are special.
The Jumping Jack Flash single (also Miller produced) was released in May of 1968 to signal a change was coming and this album followed on December 6, 1968.
Beggars Banquet was delayed for months because of the album cover. The original cover (which is now used) had a dirty toilet covered with graffiti. The photo was taken by Barry Feinstein in a tiny bathroom at a Porsche repair shop above Hollywood Blvd. and Cahuenga Blvd.
Mick and Keith were given crayons to add more graffiti for the back credits. Their record companies for America and the UK would not approve the cover. The Stones finally relented and released a plain “invitation” white cover…which is the cover I owned.
Now for the songs. Sympathy for the Devil and Street Fighting Man are the two most well-known songs off the album. Sympathy for the Devil is perhaps the Stones’ best-written song and with a samba beat that touches on voodoo. Street Fighting Man is maybe the most powerful song they ever wrote. “Well now what can a poor boy do except to sing for a rock n’ roll band?”
Those two songs are classics but this album is a great collection of 10 songs. Prodigal Son has always been a favorite of mine. They really do the old blues well in this one. It’s a song written by Robert Wilkins, a reverend who recorded Delta Blues in the 1920s and 1930s.
No Expectations…Brian Jones’ slide guitar in this is great…it sets the mood for this song. Mick has said it was Brian’s last great contribution to the Stones. One of the best album cuts from the Stones.
Stray Cat Blues…Mick sounds so ominous in this track. The guitar is absolutely filthy as well. I feel the need for a shower after I listen to it. This song would not fly today. It’s raunchy and sleazy…but a great album cut. I hear the click-clack of your feet on the stairs I know you’re no scare-eyed honey
My other favorite songs are Factory Girl, Salt of the Earth, and Jigsaw Puzzle.
The album peaked at #5 in the Billboard Album Charts, #3 in the UK, and #3 in Canada in 1969.
Looks like I have brought the first Stones album to our respective islands. If you get an urge to dance around a fire singing “whoo, whoo… whoo, whoo“…come on over and I’ll drop the needle on the vinyl and shake some maracas.
Suite: Judy Blue Eyes is an epic song. It has four distinct sections that are woven together with an acoustic and those harmonies holding it all together.
The last verse is in Spanish and is about Cuba. It was sung in Spanish because Stephen Stills didn’t want it easily understood since it had little to do with the theme of the song.
Here’s the translation: “How nice it will (or would) be to take you to Cuba The queen of the Caribbean Sea I only want to visit you there And how sad that I can’t, damn!”
Stills put that part in simply because the song had gone on forever and he didn’t want it to just lay there at the end.
The song peaked at #21 in the Billboard 100 and #11 in Canada in 1969.
Graham Nash: “When Stephen Stills first played me this song, I wondered what planet he was from,”
Stephen Stills: “It started out as a long narrative poem about my relationship with Judy Collins. It poured out of me over many months and filled several notebooks. I had a hell of a time getting the music to fit. I was left with all these pieces of song and I said, ‘Let’s sing them together and call it a suite,’ because they were all about the same thing and they led up to the same point.”
From Songfacts
This runs 7:22. The single is three minutes shorter then the album version. Many FM radio stations played the album cut.
The title is a play on words. “Suite” is a reference to a part of a classical composition, but it can also be interpreted as “Sweet.”
This wasn’t their first single, or even their biggest, but certainly one of Crosby, Stills & Nash’s most well-known songs. It established the harmony style that would be the group’s trademark for years to come
This opened Crosby, Stills and Nash’s set at Woodstock in 1969. The event ran long, so they didn’t go on stage until 3 a.m. the third night (The Who set a precedent by going on at 5 a.m. the night before). They played 16 songs in their set, the first nine acoustic and the last seven electric. Those who left to get to work Monday morning not only missed Crosby, Stills and Nash, but didn’t see Jimi Hendrix close out the festival.
Crosby, Stills and Nash played this at Live Aid in 1985. Organized by Bob Geldof, Live Aid was a benefit for famine relief in Africa. Crosby, Stills and Nash also played “Teach Your Children” and “Southern Cross.”
Nash Stephen Stills spoke to Rolling Stone magazine about this song: “It was the beginnings of three different songs that suddenly fell together as one. Actually on the demo the middle part is not exactly how they would play. Half of it is it just falls off in its own – but we actually split it in half, and they got started singing and boom, there it went. Once it all was there then we just kept adding parts. When I wrote it I used cardboard shirt-blocking, you know those things from the cleaner’s – ’cause they were harder to lose than pieces of paper and they didn’t crumple up. I could line them up on music stands and they’d stand up.”
Nash revealed to Rolling Stone that of the CS&N trio, Stills was the only to play on this song. All three contributed vocals. Nash was impressed when he heard it.
Judy Collins recalled to Mojo magazine the effect this song had on her after Stills played it in her hotel room. She said: “He sang me Suite Judy Blue Eyes and, you know, broken hearts are a very good inspiration – and I just caved in and I suppose I made promises I couldn’t keep. We both had personal struggles.” Collins’ battle was with alcohol.
Suite Judy Blue Eyes
It’s getting to the point where I’m no fun anymore I am sorry Sometimes it hurts so badly I must cry out loud I am lonely I am yours, you are mine, you are what you are You make it hard Remember what we’ve said and done and felt about each other Oh, babe have mercy Don’t let the past remind us of what we are not now I am not dreaming I am yours, you are mine, you are what you are You make it hard
Oh, oh, oh, oh, oh Tearing yourself away from me now you are free And I am crying This does not mean I don’t love you I do that’s forever Yes and for always I am yours, you are mine, you are what you are You make it hard Something inside is telling me that I’ve got your secret Are you still listening? Fear is the lock and laughter the key to your heart And I love you I am yours, you are mine, you are what you are You make it hard And you make it hard And you make it hard And you make it hard
Friday evening Sunday in the afternoon What have you got to lose? Tuesday morning Please be gone I’m tired of you What have you got to lose? Can I tell it like it is? (Help me I’m sufferin’) Listen to me baby It’s my heart that’s a sufferin’ it’s a dyin’ (Help me I’m dyin’) And that’s what I have to lose (To lose) I’ve got an answer I’m going to fly away What have I got to lose? Will you come see me Thursdays and Saturdays? What have you got to lose?
Chestnut brown canary Ruby throated sparrow Sing a song, don’t be long Thrill me to the marrow
Voices of the angels Ring around the moonlight Asking me said she so free How can you catch the sparrow?
Lacy lilting lady Losing love lamenting Change my life, make it right Be my lady
Que linda me la traiga Cuba La reina de la Mar Caribe Cielo sol no tiene sangreahi Y que triste que no puedo vaya oh va, oh va
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