Music – Page 170 – PowerPop… An Eclectic Collection of Pop Culture

Beatles – Don’t Let Me Down

This song was the B side to Get Back. This song was credited to John and Paul but it’s a clear John song that he wrote directly to Yoko. Don’t Let Me Down should have been on the Let It Be album in my opinion. It would have made it a stronger album but Phil Spector decided to took it out.

This one is one of my favorite late Lennon Beatle songs. I liked the time signature change in this song. All measures are in 4/4 time except for the eighth measure, which is in 5/4, the extra beat needed in order to fit in John’s first verse lyric “Nobody ever loved my like she…”

The song peaked at #35 in the Billboard 100 in 1969. It’s a powerful and sincere love song by John.

Billy Preston, who The Beatles met when he was on tour with Little Richard in 1962, played keyboards on this track. Preston was one of the few outside musicians (excluding members of orchestras) to play on any Beatles song.

George Harrison brought Preston in to play on the sessions. It was a smart move by George. Not only did Preston bring his talents in the mix but his presence helped smooth the tensions the band had at the time. He did the same thing on the White Album sessions by bringing Eric Clapton in to play on While My Guitar Gently Weeps.

From Songfacts

John Lennon dedicated this song to Yoko Ono. It was the first song he wrote for Yoko, whom he married on March 20, 1969.

This was one of the songs The Beatles played at their impromptu rooftop concert in 1969. The concept of the album was The Beatles performing new songs for a live audience, with film footage of their rehearsals used to make a documentary TV special. George Harrison didn’t like the idea, and when things got tense during recording, he left the sessions and returned only after they agreed to cancel the live performance. The Beatles were still under contract to make another movie, so they decided to use the rehearsal footage as their last movie, Let It Be. In order to end the movie, they needed a big scene, so they went to the roof of Apple Records and started playing. John Lennon forgot some of the words to this song while the Beatles were playing their rooftop concert.

When Apple Records remixed the album Let It Be and released it in 2003 as Let It Be… Naked, this was included. An alternate take was used. It was the only song on the new album that did not appear on the original.

Lennon asked Ringo to crash his cymbals loudly to “give me the courage to come in screaming.”

Billy Corgan’s band Zwan covered this. They rearranged the entire song so only the melody was the same. They added a guitar solo at the end. Others artists to cover the song include Randy Crawford, Crown of Thorns, Dylan & Clark, Garbage, Gene, Marcia Griffiths, Taylor Hicks, Julian Lennon, Annie Lennox, Maroon 5, Matchbox Twenty, The Persuasions, Phoebe Snow, Stereophonics and Paul Weller. >>

Garbage lead singer Shirley Manson is from Edinburgh, and in 1999 they played this song at the opening of the newly-elected Scottish Parliament, which was celebrating autonomy after 300 years of British rule.

Don’t Let Me Down

Don’t let me down, don’t let me down
Don’t let me down, don’t let me down

Nobody ever loved me like she does
Oh, she does, yeah, she does
And if somebody loved me like she do me
Oh, she do me, yes, she does

Don’t let me down, don’t let me down
Don’t let me down, don’t let me down

I’m in love for the first time
Don’t you know it’s gonna last
It’s a love that lasts forever
It’s a love that had no past

Don’t let me down, don’t let me down
Don’t let me down, don’t let me down

And from the first time that she really done me
Oh, she done me, she done me good
I guess nobody ever really done me
Oh, she done me, she done me good

Don’t let me down, don’t let me down
Don’t let me down

Led Zeppelin – Traveling Riverside Blues

This was on their last album Coda after John Bonham died in 1980. Coda was released in 1982 and peaked at #6 in the Billboard Album Charts in 1983.

Led Zeppelin first played this for a BBC session in 1969, but the song was never released on an album. It was placed on the Box Set in 1990, and it was also made a bonus track on the Coda album for the Complete Studio Recordings.

This was written and originally recorded by blues great Robert Johnson. Led Zeppelin borrowed heavily from American blues music…some would say “borrowed” is too kind of word… but they did introduce some of that music to new fans.

From Songfacts

Jimmy Page used a 12-string acoustic guitar to play this song.

In the third verse, it sounds like Robert Plant mistakenly sings “My baby geen bone” instead of ‘My baby been gone.”

The lyric, “I’ve had no lovin’ since my baby been gone” came from B.B. King’s “Woke Up This Morning (My Baby Was Gone).”

To get the fast bass beats, John Bonham used “triplets” on the bass drum – he would use the tip of his toe.

Traveling Riverside Blues

Asked sweet mama, Let me be her kid
She said, “You might get hurt if you don’t keep it hid”

Well I know my baby, If I see her in the dark
I said I know my rider, If I see her in the dark

Now, I goin’ to Rosedale, Take my rider by my side
Still barrelhouse, If it’s on the riverside, yeah
I know my baby, Lord, I said, “is really sloppy drunk”
I know my mama, Lord, a brownskin, but she ain’t no plum

See my baby, tell her, Tell her hurry home
Had no lovin’, since my baby been gone
See my baby, Tell hurry on home
I ain’t had, Lord, my right mind, Since my rider’s been gone

Hey, she promises, She’s my rider
I wanna tell you, She’s my rider
I know you’re mine, She’s my rider
She ain’t but sixteen, But she’s my rider

I’m goin’ to Rosedale, Take my rider by side
Anybody argue with me man, I’ll keep them satisfied
Well, see my baby, tell her, Tell her the shape I’m in
Ain’t had no lovin’, Lord, since you know when

Spoken: Why don’t you come into my kitchen

She’s a kindhearted lady. She studies evil all the time
She’s a kindhearted woman. She studies evil all the time

Squeeze my lemon ’til the juice runs down my leg
Squeeze it so hard, I’ll fall right out of bed
Squeeze my lemon, ’til the juice runs down my leg

Spoken: I wonder if you know what I’m talkin’ about

Oh, but the way that you squeeze it girl
I swear I’m gonna fall right out of bed

She’s a good rider
She’s my kindhearted lady
I’m gonna take my rider by my side
I said her front teeth are lined with gold
She’s gotta mortgage on my body, got a lien on my soul
She’s my brownskin sugar plum…

The Velvet Underground – Sweet Jane

This song was probably the first song that made me aware of The Velvet Underground. This song was on the album Loaded. Lou Reed wrote this song and the album was an attempt to write more of a commercial album.

This was Reed’s attempt at writing a hit for the Velvet Underground, who were highly influential, but commercially doomed. Loaded was the band’s last album, and the title was a reference to the record company mandate that the album be “Loaded with hits.”

The album was released on November 15, 1970. Loaded was ranked 110 on Rolling Stone‘s list of the 500 greatest albums of all time.

From Songfacts

The Velvet Underground leader Lou Reed wrote this song as a surreal look at the life of a rock star. Reed included the song in his live sets; it appeared on his album Live at Max’s Kansas City in 1972 and on another live album, Rock n Roll Animal, in 1974. The version on Rock n Roll Animal, which was recorded at a New York show on December 21, 1973, features the twin-guitar work of Steven Hunter and Dick Wagner, who Reed employed to rock out his songs on tour.

Released as a single, this live version of the song heralded a new sound for Reed, one he quickly abandoned when he fired Hunter and Wagner at the end of the tour and disavowed the album. Reed released his intentionally awful Metal Machine Music album the following year, while his bygone guitarists joined Alice Cooper on tour, with Wagner becoming Cooper’s songwriting partner. In our interview with Dick Wagner, he explained: “He claims that he didn’t like the Rock n’ Roll Animal album, but at the time he sure loved it. A lot of the songs were from the Velvet Underground days, and I wanted to take them out of that placid performance of the songs and make it more for the concert stage and the stadiums, so I did some majestic arranging with some of the songs – that’s what I do. Within the context of the band and how to deliver the songs, it really worked. I guess Lou doesn’t really like it that much, but that’s kind of a lie.”

There was a great deal of acrimony during recording of the album, and Reed left before it was finished. In his absence, “Sweet Jane” was edited down, with a wistful coda removed from the song. This angered Reed, who told Rolling Stone magazine that if he knew they were going to press on with the album, “I would have stayed with them and showed them what to do.” The full version of the song can be heard on the album Live at Max’s Kansas City, recorded in 1969.

This song appears on the album 1969: The Velvet Underground Live, which was released in 1974. This is the double album with the famous gatefold revealing a leggy model in sparkling go-go boots and hot pants showing some can, on a vibrant green background; very sought-after by today’s VU collectors. There, “Sweet Jane” has a significantly different chord progression and lyrics; it was still a work-in-progress.
Captured on the bootleg recording of Lou Reed’s last night performing live with The Velvet Underground, which happened through the tail end of the Loaded sessions, is one Jim Carroll. As told in The Velvet Underground: An Illustrated History of a Walk on the Wild Side, Carroll can be heard ordering a Pernod and discussing the drug Tuinal. Carroll would later write The Basketball Diaries.

Reed did a parody version on his 1979 album Live – Take No Prisoners.

The original lyrics were, “Jane in her corset, Jack is in his vest, and me I’m in a rock n’ roll band.” Lou changed them to “Jack is in a corset, Jane is in a vest” to portray the wackiness of rock stars.

Mott the Hoople covered this on their All the Young Dudes album, which was also produced by David Bowie – Reed fully endorsed this cover and even did a reference vocal to help them out. Another version Reed liked was the one recorded by Brownsville Station on their 1973 album Yeah!.

Other notable covers of this song include versions by Cowboy Junkies, 2 Nice Girls, Phish, The Kooks, Gang of Four, and the Red Hot Chili Peppers. Reed himself appeared with Metallica (Metallica!) on October 25, 2009 at Madison Square Garden in New York City to perform “Sweet Jane” at the concert to celebrate the 25th Anniversary of the Rock and Roll Hall of Fame.

Q Magazine rated “Sweet Jane” at #18 on its list of 100 Greatest Guitar Tracks, and Guitar World rated it at #81 on its list of the 100 Greatest Guitar Solos, while Rolling Stone ranked it #335 on their list of the 500 Greatest Songs of All Time.

Sweet Jane

Standin’ on a corner
Suitcase in my hand
Jack’s in his car, says to Jane, who’s in her vest,
And me, I’m in a rock n’ roll band.
Ridin’ in a Stutz Bearcat, Jim
You know,those were different times
All the poets studied rows of verse,
And those the ladies rolled their eyes

Sweet Jane, sweet Jane, sweet Jane

Now, Jack, he is a banker
And Jane, she is a clerk
And the both of them are saving up their moneys
And when they come home from work
Sittin’ by the fire
The radio does play
The classical music there, Jim
The march of the wooden soldiers
All you protest kids
You can hear Jack say, get ready, ah

Sweet Jane, come on baby,sweet Jane, oh-oh-a,sweet Jane

Some people, they like to go out dancing
And other peoples, they have to work. Just watch me now
And there’s even some evil mothers
Well they’re gonna tell you that everything is just dirt
Y’know that, women, never really faint
And that villains always blink their eyes, woo
And that, y’know, children are the only ones who blush
And that, life is, just to die
And, everyone who ever had a heart, oh
That wouldn’t turn around and break it
And anyone who ever played a part, whoa
And wouldn’t turn around and hate it

Sweet Jane! Whoa-oh-oh! Sweet Jane! Sweet Jane Sweet Jane

Heavenly wine and roses
Seem to whisper to her when he smiles
Heavenly wine and roses
Seem to whisper to her, hey when she smiles

Lala, lala,lala, lala, lala, lala, lala,lala

Sweet Jane
Sweet Jane
Sweet Jane
Sweet Jane
Sweet Jane

Stevie Wonder – For Once In My Life

Great song by Stevie Wonder. It peaked at #2 in the Billboard 100 in 1968.

This was written by the Motown songwriters Ron Miller and Orlando Murden and was originally recorded in 1966 by a singer named Jean DuShon, who was signed to Chess records.

Other versions of this song to this point were long, drawn-out ballads. Stevie Wonder was the first to pick up the tempo and use an upbeat arrangement. Wonder’s version, however, sat in the Motown vaults for nearly a year before Gordy finally released it in 1968. This became the hit record and definitive version of the song.

From Songfacts

Miller had DuShon record the song as a demo but liked her version so much that he thought she should sing it. Record company politics ensued as Berry Gordy, the head of Motown, was not pleased with one of his songwriters’ compositions going to other labels. He made sure to have his artists record the song, and the first to do so was Barbara McNair, who performed it later in 1966 on a TV special and released it on her album Here I Am that year. The next Motown act to record it was The Temptations, who released it in 1967 on their album In a Mellow Mood.

The song is about finding that special someone who gives you a feeling of boundless happiness. Wonder was just 17 when he first recorded it.

Ron Miller wrote a few more Motown favorites, including “Heaven Help Us All,” “Yester-Me, Yester-You,” “Yesterday” and “A Place In The Sun” for Stevie Wonder, and “Touch Me In The Morning” for Diana Ross. He also reworked “I’ve Never Been To Me” into a hit for Charlene.

The Temptations version featured lead vocals by Paul Williams. It became the showcase song for Williams at their live shows.

Frank Sinatra and Tony Bennett both recorded this song, with Bennett’s version hitting the Hot 100 at #91 – one year before Stevie Wonder charted with it. Bennett often sang it in concert, and in 2006 he performed a slow version with Stevie Wonder for his album Duets: An American Classic. This version won a Grammy for Best Pop Collaboration with Vocals. At the awards ceremony, Wonder dedicated the Grammy to his mother, who died in 2006. Bennett then thanked his sponsor – Target department stores.

British singer-songwriter Emeli Sande recorded this for the Hulu miniseries Four Weddings and a Funeral. Other versions have also been used in these TV shows:

Happy Endings (“Brothas and Sisters” – 2013)
Glee (“Wonder-ful” – 2013) by Kevin McHale
Fringe (“Brown Betty” – 2010; “6B” – 2011)
The West Wing (“Welcome To Wherever You Are” – 2006)
The King Of Queens (“Sold-Y Locks” – 2006)
Boston Legal (“Breast In Show” – 2006)
Entourage (“Exodus” – 2005)
The Nanny (“The Wedding” – 2008)
Good Times (“That’s Entertainment, Evans Style” – 1978)

Joe Cocker – Feelin’ Alright

Dave Mason wrote this song and recorded it with Traffic in 1968. Included on their self-titled second album, it was released as a single but it didn’t hit the charts in America and didn’t place at all in the UK.

The following year, Joe Cocker recorded what has become the most popular version of the song, peaking at #33 in Billboard 100 in 1972 with a more upbeat rendition. He included it in his set at Woodstock.

Joe Cocker did great covers of songs. Many of Cocker’s hits were covers, including “With A Little Help From My Friends,” “The Letter,” and “You Are So Beautiful.” He made a career out of soulful interpretations of other people’s songs. When Paul McCartney wrote “She Came In Through the Bathroom Window” he gave it to Joe Cocker to record.

From Songfacts

This is one of those songs where the title belies the meaning. The singer is tormented by a breakup and asking “Are you feeling alright,” with the retort, “I’m not feelin’ too good myself.”

In our interview with Dave Mason, he explained: “It’s just a song about a girl. It’s just another relationship gone bad.”

Dave Mason wrote this song with the title “Not Feelin’ Too Good Myself,” which is more accurate in terms of the song’s meaning, but less marketable. The original Traffic version of the song, filled with the corresponding melancholy, was issued as “Feelin’ Alright?” – the question mark providing a vital clue to the content. Joe Cocker’s version scrapped the punctuation and was issued as “Feeling Alright,” which is how it was listed on most subsequent covers.

This song was written while Dave Mason was visiting the Greek island of Hydra. “I was trying to write the simplest thing I could come up with,” he told us. “Two chords was it.”

Mason had left the band when he wrote the song (he split before their first album was released), but when he returned to New York after his time in Hydra, he ran into his bandmates, who were working on the group’s second album. They reached an accord, and Mason came back into the fold, contributing this song and “You Can All Join In,” as well as “Vagabond Virgin,” which he wrote with the band’s drummer Jim Capaldi.

Soon after the album was released in October 1968, Mason once again left the band, and a month later they broke up, with Winwood forming Blind Faith. In 1969, a third Traffic album called Last Exit was cobbled together from live recordings and unused studio tracks.

Traffic lead singer Steve Winwood played on Joe Cocker’s With A Little Help From My Friends album, but not on his cover of this song, which was on the tracklist. Cocker’s version featured the ace Los Angeles bass player Carol Kaye, Paul Humphrey on drums, Artie Butler on piano, and percussion from David Cohen and Laudir de Oliveira.

A distinguishing feature of Cocker’s cover is the female backing vocals, which were comprised of three of the most powerful Soul singers of the era: Brenda Holloway, Merry Clayton and Patrice Holloway. Clayton can also be heard on the Rolling Stones’ “Gimme Shelter.”

At least 45 different acts have recorded this song. Mongo Santamaria took it to #96 US in 1969, and Grand Funk Railroad made #54 with their 1971 version. Other artists to record it include Three Dog Night, Lou Rawls, the 5th Dimension, Rare Earth, Gladys Knight & the Pips, Paul Weller, the Jackson 5, Maceo Parker and Isaac Hayes.

In 1976, Cocker performed this on Saturday Night Live. John Belushi joined him on stage doing his famous impersonation of Cocker’s spastic stage movements. Cocker didn’t know Belushi was going to come on stage, but wondered what was going on when John asked him before the show what he would be wearing during the performance.

The song found a good home on the various FM rock formats of the early ’70s, and Joe Cocker’s version later became a classic rock staple. In 1972, after Grand Funk Railroad charted with the song, Cocker’s was re-released, this time making #33 US.

Billy Gibbons and Dusty Hill of ZZ Top, Keith Richards, Kid Rock, Tom Petty, Jackson Browne, Jeff Lynne, Steve Winwood, and music director Paul Shaffer performed this at the 2004 Rock and Roll Hall of Fame induction ceremony.

The Jackson 5 performed part of this song on a 1971 TV special hosted by Diana Ross. Nine years later, Michael Jackson sang on Dave Mason’s track “Save Me.”

Feelin’ Alright

Seems I got to have a change of scene
‘Cause every night I have the strangest dreams
Imprisoned by the way it could have been
Left here on my own or so it seems
I got to leave before I start to scream
But someone’s locked the door and took the key

You feelin’ alright?
I’m not feelin’ too good myself
Well, you feelin’ alright?
I’m not feelin’ too good myself

Boy you sure took me for one big ride
Even now I sit and wonder why
And when I think of you I start myself to cry out
I just can’t waste my time, I must keep dry
Gotta stop believin’ in all your lies
‘Cause there’s too much to do before I die, hey

You feelin’ alright?
I’m not feelin’ too good myself
You feelin’ alright?
I’m not feelin’ too good

Don’t get too lost in all I say
Though at the time I really felt that way
But that was then, and now you know it’s today
I can’t get off, I guess I’m here to stay
‘Til someone comes along and takes my place, yeah
With a different name, oh, and a different face

You feelin’ alright?
I’m not feelin’ too good myself
Yeah, not feeling too good myself
Oh, woah, I’m not, well I’m not feeling good myself
You can turn away, feeling, almighty I’m not feeling too good myself

Cream – Crossroads

The solo Eric plays in this song is phenomenal. It is a live version and he pulls notes out of the air and sounds as fresh now as when I first heard it. After Cream, Eric never played the same way again.

This was originally recorded by the blues musician Robert Johnson in the 1930s. According to legend, Johnson went to the crossroads and made a deal with the Devil, giving up his soul in exchange for the ability to play the blues. The story originates from an interview with the blues singer Son House, who explained how Johnson went from being a terrible guitar player to a very good one in a very short period of time. Over the years, the story grew into the tale of Johnson selling his soul to the Devil.

Cream’s version is a compilation of parts of two Johnson songs: “Crossroads Blues” and “Traveling Riverside Blues.” The song was on the album Wheels of Fire which peaked at #1 in the Billboard Album Charts in 1968. Crossroads peaked at #28 in the Billboard 100.

When I first learned the bass to this song…at least kinda close to what Jack Bruce played…I knew I accomplished a lot.

From Songfacts

Johnson fueled the legend on his track “Me And The Devil Blues,” where he sings about his meeting with Satan himself. In that song, Johnson explains that as part of his deal with the Devil, the Prince Of Darkness would harvest all of Robert’s “Childrens” at the age of 27, which is exactly how old he was when he died in 1938. A spooky correlation is the number of music stars who have died at age 27. Some members of the “27 Club” include Jimi Hendrix, Janis Joplin, Jim Morrison, Ron “Pigpen” McKernan, Al Wilson (Canned Heat), Brian Jones (The Rolling Stones) and Kurt Cobain. (Thanks to music historians Dwight Rounds and Ed Parker for their help with this.)

Inside the gatefold of the 2-disk LP Wheels Of Fire, the song listings for Sides 3 (including “Crossroads”) and 4 are misleadingly subheaded, “Live at the Fillmore.” Same with Disk 2 of the 2-CD versions.

“Crossroads” was recorded at the Winterland Ballroom, also in San Francisco. Just one of the four live songs on these two LP sides, “Toad,” was actually recorded at the Fillmore, but the Fillmore name had a lot more marketing appeal. “Crossroads” was recorded at Winterland on March 10, 1968, a Sunday, during the first of the two Cream shows that night. “Crossroads” immediately followed “Spoonful” in the performance, whereas on the album, “Crossroads” comes right before “Spoonful.”

The version on the album was not edited down, although the booklet for the Crossroads boxed set implies that it was. Eric Clapton didn’t like to talk about the song and has said it was an inferior performance because the trio got the time disjointed a bit in Eric’s third solo chorus – that is, the first chorus (instrumental “verse”) of his second solo. So, he never really praised that performance.

When pressed on the length and editing issues, he might say something along the vague lines of he supposed it was originally longer, because the Cream usually played it longer live.

At the end of the song, Jack Bruce announces, “Eric Clapton, please,” over Eric’s saying, “Thank you” (both said simultaneously). Eric follows up by saying (probably turning toward Jack), “Kerfuffle.” This is British English for “foul-up,” referring to the time disjoint back in mid-song.

Clapton played this on a Gibson SG, a solid-body guitar that had been psychedelically painted.

Clapton recorded this song two years earlier in a greatly different form – slower, less urban, Steve Winwood singing, plus a harmonica – though he still gave credit to Robert Johnson.

In March 1966 he was still with John Mayall & the Bluesbreakers, but he went to do a one-off studio session with, among others, Jack Bruce (bass) and Stevie Winwood (vocals and keys). This group called themselves The Powerhouse, and “Cross Roads” (note space) was one of three songs they recorded. This was the version, appearing on an album with various artists called What’s Shakin’, that was heard by a young Duane Allman in mid-1966. With his early band The Allman Joys, Duane (with his brother Gregg on vocals) recorded a ragged version of “Cross Roads” soon after What’s Shakin’ was released, and about two years before the Cream version was released. The Allman Joys’ version might have been pretty ragged, but in spirit it actually anticipated the Cream’s smoking version, rather than the Powerhouse’s take.

Lynyrd Skynyrd recorded this for their One More From The Road live album. In most ways it is like the Cream’s arrangement, but the guitar solos are pretty much different, though they refer to Eric’s solo in a few phrases.

Fusion bassist Jeff Berlin did a version on the 1986 album Pump It!. It had additional parts – especially an intro and an outro – but was otherwise similar to the Cream’s arrangement. Berlin played Eric’s solos somewhat note for note, only on bass.

Eddie Van Halen has also covered the song, and Rush (another trio of musicians) covered this on their album Feedback. John Mayer covered the song on his 2009 album, Battle Studies. >>

Clapton named his 1988 greatest hits compilation Crossroads after this song. In 2004, he released a blues album called Me And Mr. Johnson, the title a reference to Robert Johnson.

Cream played this in 1993 when they reunited for their induction into the Rock and Roll Hall of Fame.

“Crossroads” is the name of Clapton’s rehab center in Antigua. Clapton battled depression and drug addiction in the ’70s.

In Clapton: The Autobiography, Eric talks about Robert Johnson’s fingerpicking style that had him “simultaneously playing a disjointed bass line on the low strings, rhythm on the middle strings, and lead on the treble strings while singing at the same time.” Johnson’s sound was very hard to re-create, and it often sounded like more than one guitarist was playing. >>

This song had a profound effect on Geddy Lee of Rush, who told Rolling Stone: “Seeing Jack Bruce roam wildly up and down the neck of his Gibson EB3 in concert made me not want to play bass, but to play bass in a rock trio.”

Crossroads

I went down to the crossroads, fell down on my knees
I went down to the crossroads, fell down on my knees
Asked the Lord above for mercy, “Save me if you please”

I went down to the crossroads, tried to flag a ride
I went down to the crossroads, tried to flag a ride
Nobody seemed to know me, everybody passed me by

I’m going down to Rosedale, take my rider by my side
I’m going down to Rosedale, take my rider by my side
You can still barrel house, baby, on the riverside

You can run, you can run, tell my friend-boy Willie Brown
You can run, you can run, tell my friend-boy Willie Brown
And I’m standing at the crossroads, believe I’m sinking down

Neil Young – Long May You Run

Always a favorite Neil Young song of mine. This was the title song on the joint album by Neil Young and Stephen Stills. Stills and Young wrote separately for the album, which Stephen contributing four songs, and Young adding five, including the title track.

It was going to be a Crosby, Stills, Nash, and Young album but Crosby and Nash to leave for a while for commitments. Stills and Young scrubbed the tapes clean of any contributions made by their bandmates and resolved to keep the album a Stills-Young release. It would end up being credited to the Stills-Young Band.

Stills and Young toured on the album but after a few dates…Neil Young abruptly left the tour and sent a telegram to Stills…“Dear Stephen, funny how some things that start spontaneously end that way. Eat a peach. Neil.”

The song did chart in the UK at #71 in 1976.

From Songfacts

Neil’s beloved Pontiac hearse, “Mort” (a.k.a. “Mortimer Hearseburg”), was the inspiration for this song. Neil drove “Mort” from Toronto to Los Angeles, where he met Stephen Stills and formed Buffalo Springfield.

Neil was in Canada driving to Sudbury when ‘Mort’ broke down in Blind River, June 1965. (Which is contradictory to the lyrics; “well it was back in Blind River, in 1962, when I last saw you alive”).

In 1976, Stephen Stills and Neil Young formed The Stills-Young Band and released an album called Long May You Run, which turned out to be somewhat ironic when the collaboration quickly stalled.

Stills is a longtime collaborator of Neil’s, having worked with him first in Buffalo Springfield and then in Crosby, Stills, Nash & Young. However, they had a falling out only nine days into the Long May You Run tour. Young decided to abandon the project, leaving Stills with a mere telegram to explain his departure. It read: “Dear Stephen, funny how some things that start spontaneously end that way. Eat a peach. Neil.”

In addition to Young’s compilation album Decade this also appears on his 1993 album Unplugged.

The last ever Tonight Show with Conan O’Brien on Friday January 22, 2010 finished in style when O’Brien’s final musical guest, Neil Young, performed this song in what appeared to be a poke at NBC. O’Brien had been asked to move his slot to 12:05 a.m., and the TV host refused to move his show to such a late hour, and instead negotiated a $45 million exit deal.

Neil Young performed this song at the Closing Ceremonies of the 2010 Vancouver Winter Olympic Games to a rousing ovation of Canadian audience members.

Long May You Run

We’ve been through some things together
With trunks of memories still to come
We found things to do in stormy weather
Long may you run.

Long may you run.
Long may you run.
Although these changes have come
With your chrome heart shining in the sun
Long may you run.

Well, it was back in Blind River in 1962
When I last saw you alive
But we missed that shift on the long decline
Long may you run.

Long may you run.
Long may you run.
Although these changes have come
With your chrome heart shining in the sun
Long may you run.

Maybe The Beach Boys have got you now
With those waves singing “Caroline”
Rollin’ down that empty ocean road
Gettin’ to the surf on time.

Long may you run.
Long may you run.
Although these changes have come
With your chrome heart shining in the sun
Long may you run.

Doors – L.A. Woman

I’m not a huge Doors fan but I do like some of their songs…this one I really like.

This song was the title track to the Door’s last album with Jim Morrison released in April 1971. The remaining members released two more albums, Other Voices and Full Circle, which both sold poorly.

The Doors performed this live only once, in Dallas at the State Fair Music Hall on December 11, 1970. The only live recording of this is on the bootleg If It Ain’t One Thing, It’s Another. The band wanted to bring more musicians along to simulate the studio sound, but Morrison died before they could launch the tour.

This song wasn’t released as a single. The album peaked at #9 in the Billboard Album Charts in 1971.

Keyboardist Ray Manzarek: “A song about driving madly down the LA freeway – either heading into LA or going out on the 405 up to San Francisco. You’re a beatnik on the road, like Kerouac and Neal Cassady, barreling down the freeway as fast as you can go.”

From Songfacts

“Mr. Mojo Risin'” is an anagram for “Jim Morrison.” He repeats the phrase at the end of the song faster and faster to simulate orgasm. Early blues musicians often referred to their “Mojo,” like in the Muddy Waters song “Got My Mojo Working.”

A mojo is a Hoodoo charm, usually a bag filled with items like roots, lodestone, rattlesnake rattles, alligator teeth, charms, coins – whatever does the trick. Different bags would be used for different purposes: If the bag were red, it would be a mojo for love and you would have to put a personal item, such as hair or bit of clothing in order for the mojo to work. If the mojo were made out of a black bag it would be for death. Many white listeners, including Jim Morrison, thought mojo meant sexual energy, and that is how it’s usually interpreted today, in part due to Austin Powers movies.

Morrison recorded his vocals in the studio bathroom to get a fuller sound. He spent a lot of time in there anyway because of all the beer he drank during the sessions.

The Doors needed extra musicians to record this. Jerry Sheff (famous for his work with Elvis Presley) was brought in to play bass, Marc Benno to play guitar. Sheff and Benno were going to tour with the band, but Morrison’s death canceled those plans.

Morrison got the idea for the “City of Night” lyric from John Rechy’s 1963 book of the same name. The book describes a sordid world of sexual perversion, which Morrison translated to Los Angeles.

They put this together in the studio and recorded it live with no overdubs. It came together surprisingly well. Guitarist Robby Krieger has called it “the quintessential Doors song.”

The first line, “Well, I did a little down about an hour ago,” is a reference to a barbituate, specifically Rorer 714.

Billy Idol covered this on his 1990 album Charmed Life, his version hitting #52 in the US. Idol was in the 1991 Oliver Stone movie The Doors, but had to take a smaller role because of a 1990 motorcycle accident that limited his mobility.

At a press conference to promote the album, Idol explained that he had been playing “L.A. Woman” for years and was a big fan of the song. He would often use it to audition new band members.

The Doors produced this album with Bruce Botnick. Paul Rothchild, who produced their first five albums, did not want to work on this because he didn’t like the songs. He produced an album for Janis Joplin instead.

In 2000, the surviving members of the Doors taped a VH1 Storytellers episode with guest vocalists filling in for Morrison. Perry Farrell, formerly of Jane’s Addiction, sang on this.

Doors drummer John Densmore said in the The Story of L.A. Woman documentary: “The metaphor for the city as a woman is brilliant: cops in cars, never saw a woman so alone – great stuff. It’s metaphoric, the physicality of the town and thinking of her and how we need to take care of her, it’s my hometown.”

Ray Manzarek put his UCLA film studies to use when he made a video for this song that was issued on a collection of Doors material called R-Evolution in 1985. To make the video, Manzarek combined archive footage of the band with new material he shot in Venice Beach, California. The actress Krista Errickson stars as the “LA Woman”; the male lead is John Doe of the band X – Manzarek produced their first four albums and directed two of their videos.

L.A. Woman

Well, I just got into town about an hour ago
Took a look around, see which way the wind blow
Where the little girls in their Hollywood bungalows

Are you a lucky little lady in the city of light
Or just another lost angel, city of night
City of night, city of night, city of night, woo, c’mon

L.A. woman, L.A. woman
L.A. woman Sunday afternoon
L.A. woman Sunday afternoon
L.A. woman Sunday afternoon
Drive through your suburbs
Into your blues, into your blues, yeah
Into your blue-blue blues
Into your blues, ohh, yeah

I see your hair is burnin’
Hills are filled with fire
If they say I never loved you
You know they are a liar
Drivin’ down your freeways
Midnight alleys roam
Cops in cars, the topless bars
Never saw a woman
So alone, so alone
So alone, so alone

Motel money murder madness
Let’s change the mood from glad to sadness

Mister mojo risin’, mister mojo risin’
Mister mojo risin’, mister mojo risin’
Got to keep on risin’
Mister mojo risin’, mister mojo risin’
Mojo risin’, gotta mojo risin’
Mister mojo risin’, gotta keep on risin’
Risin’, risin’
Gone risin’, risin’
I’m gone risin’, risin’
I gotta risin’, risin’
Well, risin’, risin’
I gotta, wooo, yeah, risin’
Woah, ohh yeah

Well, I just got into town about an hour ago
Took a look around, see which way the wind blow
Where the little girls in their Hollywood bungalows

Are you a lucky little lady in the city of light
Or just another lost angel, city of night
City of night, city of night, city of night, woah, c’mon

L.A. woman, L.A. woman
L.A. woman, your my woman
Little L.A. woman, little L.A. woman
L.A. L.A. woman woman
L.A. woman c’mon

Nazareth – Hair Of The Dog

I’ve been listening to arena rock in the last few days…in short doses it’s alright.

I saw this band in 1982 and they were loud. What I remember most is in the middle of this song..singer Dan McCafferty came out and played bagpipes. That was the first time I ever heard bagpipes live…and like the rest of the band…they were very loud. The studio version doesn’t have them in it but they did sound great live.

It was on the album Hair of the Dog and it peaked at #17 in the Billboard album charts in 1975.

This song is what I call an angry song. When I would cruise in my teens and I wanted to feel a rush of emotion…I would turn this song up and drive along. It has a fun guitar riff in this song…a variation of the Day Tripper riff. The chorus is hard to miss also.

From Songfacts

This song is about a charming and manipulative woman who can get guys to acquiesce to her every need. The singer is letting her know that she has met her match in him, and she won’t be able to push him around.

“Hair Of The Dog” does not appear in the lyrics. The logical title would be “Son Of A Bitch,” but it would be tough to get airplay with a song of that name. “Hair Of The Dog” comes from the phrase “Hair of the dog that bit you,” which some people consider a hangover cure, meaning that if you wake up in pain after drinking lots of beer the night before, a beer will help cure you.

In the US, this was used in a TV commercial for Dodge.

Girls Aloud sampled this on their UK hit “Sexy! No No No.”

Artist to cover this song include Guns N’ Roses, Warrant and The Michael Schenker Group.

A bagpipe version…around the time that I saw them.

Hair of the Dog

Heartbreaker, soul shaker
I’ve been told about you
Steamroller, midnight shoulder
What they been saying’ must be true

Red hot mama, down light charmer
Time’s come to pay your dues

Now you’re messin’ with a
(A son of a bitch) now you’re messin’ with a son of a bitch
Now you’re messin’ with a
(A son of a bitch) now you’re messin’ with a son of a bitch

Talking jiving poison ivy
You ain’t gonna cling to me
Man taker bone faker
I ain’t so blind I can’t see

Red-hot mama, down light charmer
Time’s come to pay your dues

Now you’re messin’ with a
(A son of a bitch) now you’re messin’ with a son of a bitch
Now you’re messin’ with a
(A son of a bitch) now you’re messin’ with a son of a bitch

Now you’re messin’ with a
(A son of a bitch) now you’re messin’ with a son of a bitch

Lovin’ Spoonful – Daydream

Nice easy going laid back song by the Lovin’ Spoonful. John Sebastian wrote this song and he was influenced by “Baby Love” by the Supremes.

A good song by the Lovin’ Spoonful who had a string of hits in the sixties. They had a short window…1966-1969 but they had 14 songs in the Billboard 100. 1 number one and 7 top ten hits. This song peaked at #2 in 1966 in the Billboard 100, #1 in New Zealand, #2 in the UK, and #1 in Canada.

Lovin’ Spoonful played “jug band” music and like the Rascals, they were more of a singles band than an album band.

John Sebastian on Daydream: “We had no way of knowing what a nice long shelf life some of that material was gonna have. At the time, we were certainly aiming only for the next few months. That’s really what we were trying for, a Top Ten record right now, right then. Everything else is unexpected.”

From Songfacts

This song started The whole New Vaudeville Bandwagon in the late 1960s of which Sgt. Pepper was the most well-known example. This song influenced the Beatles, as John Lennon’s jukebox included both this and “Do You Believe In Magic?.” This song was a major influence on Paul McCartney’s Beatles composition “Good Day Sunshine.”

Films and TV shows to include this classic as part of their soundtrack include 1989 film Field of Dreams, the pilot episode of the TV series Men of a Certain Age, 1994 film The War, the “John Lennon’s Jukebox” episode of the TV series The South Bank Show, 1967’s Poor Cow, and 1970 film Summer in the City.

One of our research team members ranted about something involving the Grim Reaper frolicking to this song in a TV commercial. Yes, that’s a Jeep Cherokee commercial with the Grim Reaper enjoying a relaxing day off to the tune of The Lovin’ Spoonful’s “Daydream”, and anybody else suffering from the same fits of half-remembered nostalgia can now see it at that link and rest in peace, at last.

How authentic is the Baby Boomer street-cred of Lovin’ Spoonful lead John Sebastian? So much so that he was born in 1944 in Greenwich Village, New York, and his tie-dyed denim jacket is on display at the Rock and Roll Hall of Fame, since they were inducted into it in 2000.

More trivia: John Sebastian is the godson of actress Vivian Vance, who played Ethel Mertz in the classic TV series I Love Lucy.

Other artists to cover this song include: Chet Atkins, David Cassidy, Art Garfunkel (on the album named Daydream – Songs from a Parent to a Child), Rick Nelson, The Sweet, and The Sandpipers.

Daydream

What a day for a daydream
What a day for a daydreamin’ boy
And I’m lost in a daydream
Dreamin’ ‘bout my bundle of joy
And even if time ain’t really on my side
It’s one of those days for takin’ a walk outside
I’m blowin’ the day to take a walk in the sun
And fall on my face on somebody’s new mowed lawn

I’ve been havin’ a sweet dream
I been dreamin’ since I woke up today
It’s starrin’ me and my sweet dream
‘Cause she’s the one that makes me feel this way

And even if time has passing me by a lot
I couldn’t care less about the dues you say I got
Tomorrow I’ll pay the dues for droppin’ my load
A pie in your face for bein’ a sleepy bulltoad

And you can be sure that if you’re feelin’ right
A daydream will last along into the night
Tomorrow at breakfast you may pick up your ears
Or you may be daydreamin’ for a thousand years

What a day for a daydream
Custom made for a daydreamin’ boy
And now I’m lost in a daydream
Dreamin ‘bout my bundle of joy

The Cascades – Rhythm of the Rain

My older cousin had given me this single but it skipped so much I replaced it. When I was 5 or 6 I had a fascination with this song. I’m not sure why I liked it so much… but I bought the single in Donelson…a town near Nashville with my mom. The song has a nice pop melody.

The song peaked at #3 in the Billboard 100 in 1963. This was the band’s only top ten hit. They had a total of 5 songs crack the Billboard 100.

This was recorded at Gold Star Studios in Los Angeles, which is where Phil Spector produced many of his hits. Some of the elite west coast studio musicians played on this song, including the legendary session drummer Hal Blaine and guitarist Glen Campbell.

It was written by The Cascades lead singer John Gummoe: “I wrote ‘Rhythm of the Rain’ over a period of time, but the lyrics began while I was serving in the U.S. Navy aboard the U.S.S. Jason AR8. I was standing a mid-watch on the bridge while we were underway to Japan. We were sailing up in the north pacific and it was raining heavily and the seas were tossing.”

The title came to me first and I liked the ‘ring’ of it, the way it flowed, and that night I wrote down most of the lyrics. It was like the rain was talking. It was later on that I sat down at a piano and was fooling around with the black keys and started playing a sequence from E flat down to F sharp, well, if you do it you’ll see it’s the melody that is now stuck in the heads of millions of people around the world. Later on, when we did a demo on the song, that great little ding ding thing that goes FC-FC, DA, DA came to be. The great arranger Perry Botkin Jr. enhanced that little hook and it was producer Barry De Vorzon who came up with the idea of opening the song with that famous burst of thunder.”

From Songfacts

Hundreds of artists have covered this song, including Lawrence Welk, Bobby Darin, Dan Fogelberg, Jan & Dean, Neil Sedaka and Jerry Jeff Walker. A huge worldwide hit, BMI named “Rhythm of the Rain” the 9th most performed song of the 20th century.

The Cascades next singles, “Shy Girl” and “Last Leaf,” failed to chart, and Gummoe left the band in 1967, because he was “mainly just tired of being on the road and our career was going downhill instead of up.”

Gummoe: “Most of the guys though were together on into the mid ’70s. We then reformed for a one night reunion at the Greek theater in Los Angeles in 1995. Next was in 2004 when I was contacted by Danee Samonte (AKA Steve O’Neal) a DJ and promoter in Manila. I contacted Gabe Lapano and Tony Grasso who had at different times been members of the group and we then did four tours of The Philippines which also included a gig in Maylaysia and a gig in Japan. We are blessed by our popularity in The Philippines and we love the Philippine people. We’ve met Gloria, the president and have been to Imelda’s mansion for a party which she threw for us two years ago. We meet mayors, congressmen and other government dignitaries on a regular basis when we are there.”

Gummoe: “A few years ago, I was asked to be a part of a great book that was put together by the legendary Graham Nash. It’s called Off the Record and it contains stories about many famous songs and famous songwriters. The book includes CDs with live interviews with each of the featured songwriters. In conjunction with this, I was asked to do an original piece of art using my song and that is included in the book. In the last four years, I’ve been to Asia on four occasions for concert tours, mainly in The Philippine Islands. During this period, The Cascades and I have done a couple of new CDs which are available on itunes for download. One CD is called All the Way to Yesterday and the other is called We’ve still Got the Magic.” (Thanks to John for the stories. Learn more at rhythmoftherain.com, where you can hear different versions of this song. John adds that his email address is on the site and he’s always happy to hear from the fans around the world.)

Former Neighbours actor and late 1980s teen pop star, Jason Donovan, had a #9 in the UK in 1990 with his cover.

Rhythm of the Rain

Listen to the rhythm of the falling rain
Telling me just what a fool I’ve been
I wish that it would go and let me cry in vain
And let me be alone again

The only girl I care about has gone away
Looking for a brand new start
But little does she know that when she left that day
Along with her she took my heart

Rain please tell me now does that seem fair
For her to steal my heart away when she don’t care?
I can’t love another when my hearts somewhere far away

The only girl I care about has gone away
Looking for a brand new start
But little does she know that when she left that day
Along with her she took my heart

Rain won’t you tell her that I love her so
Please ask the sun to set her heart aglow
Rain in her heart and let the love we knew start to grow

Listen to the rhythm of the falling rain
Telling me just what a fool I’ve been
I wish that it would go and let me cry in vain
And let me be alone again

Oh, listen to the falling rain
Pitter patter, pitter patter
Oh, oh, oh, listen to the falling rain
Pitter patter, pitter patter

One Froggy Evening

Steven Spielberg called this cartoon short “the Citizen Kane of animated shorts.” It was written by Michael Maltese and directed by Chuck Jones.

This is my favorite cartoon short. The short story is told without dialog…just singing in parts.

If you want to teach someone about Greed… watch this short. Instead of appreciating what he had…he wasn’t happy unless he could make money off of the frog.

The story is great. A 1955 construction worker is on a demolition site and pries open a box from 1892 found in the cornerstone of the building. Out of the box comes an old frog that climbs to the lid. The frog looks up at the construction worker and suddenly pulls up a top hat and coattails and starts singing “Hello my Honey, Hello my Baby…” and continues with the song.

The worker then starts dreaming of a theater marque with the picture of the frog…”He Sings”, “Talks”, and “Dances” with a picture of the frog.

He rents a theater and presents his frog to the audience. Right before the crowd settles in with the curtain down…the Frog starts singing and dancing away but stops the instant the curtain rises. The audience boos and throws vegetables.

That is his dilemma. The frog will only sing for this one guy. Not for paying crowds, not talent agents, ONLY HIM. Slowly he is driven mad, not so much by the frog but by his own failed plans with the frog. Failing to recognize the special gift he has, he sees the building going up and sticks the frog back into the cornerstone. Years pass, and when the laser demolition-man is vaporizing the building with his 21st-century technology, what does he find? Our friend the singing frog. The space suited construction worker from 2056 starts dreaming of the money he can make from the frog… And so the cycle continues.

Standells – Dirty Water

This was a pretty big hit when it was released in 1966, reaching #11 in the Billboard 100. It didn’t gain its mystique until 50 years later when the Boston sports teams adopted it. The Boston Red Sox were the first to use it, playing it after home wins in 1997.

The Celtics basketball team and Bruins hockey team followed suit, making it the song most associated with Boston sports, and thus the city as a whole.

The Standells were an LA garage band… the song was written by their producer, Ed Cobb, a Californian who was once a member of The Four Preps and wrote the song “Tainted Love” recorded by the soul singer Gloria Jones in 1964. Cobb wrote “Dirty Water” on a visit to Boston that turned ugly. “I was with a girl,” he told Blitz magazine. “Two guys tried to mug us, but they ran away. So when I got back to the hotel, I wrote the song.”

From Songfacts

The “Dirty Water” is the notoriously polluted Charles River in Boston, which had become a receptacle for industrial waste. But the song comes off as a celebration of Boston, not an ecological warning:

I love that dirty water
Boston, you’re my home

It may be dirty, but it’s their home and they love it anyway.

The song has become a Boston anthem and a source of pride for the city, but it was written and performed by guys from Los Angeles who didn’t have any good tidings toward the city.

The guy in the song is happy to live in this gritty city among the “fuggers and thieves.” After all, it’s his home.

The line, “Frustrated women have to be in by 12 o’clock” refers to the curfew observed by Boston University co-eds at the time.

Standell’s drummer Dick Dodd, who was once on The Mickey Mouse Club (he claimed to have bought his first snare drum from fellow Mouseketeer Annette Funicello for $20), handled lead vocals on this track. His spoken lines and interjections (“I’m gonna tell you a story…” “Have you heard about the Strangler?”) he made up in the studio.

The Standells hit #43 with their follow-up, “Sometimes Good Guys Don’t Wear White,” but never got any higher on the chart and broke up in 1968. Variations of the group appeared in the ’80s, and when “Dirty Water” became a Boston favorite in the ’00s, they became more visible, showing up to perform the song at sporting events and corporate functions. Dick Dodd, who sang lead on the track, died in 2013.

This song is now considered a classic of the garage rock genre. Garage rock is an undervalued genre of rock. It starts with late ’50s/early ’60s bands like The Wailers, The Kingsmen, The Trashmen (“Surfin’ Bird”), and The Standells. It continues through The Shondells, Shadows of Knight, ? & the Mysterians (“96 Tears”), and Patti Smith. And it comes all the way up to the present time with The Strokes, The White Stripes, The Von Bondies, and The Detroit Cobras. Other genres spun out from garage rock, including surf rock, indie, proto-punk (Hello, Velvet Underground!), and punk rock.

The Standells were pretty happinin’ by 1966 standards. They made appearances in 1960s B-list films such as Get Yourself a College Girl and Riot on Sunset Strip. But that’s not their greatest credit – that would be an appearance in the TV series The Munsters, episode #26 “Far Out Munsters!” In it, The Standells appear as themselves and offer to pay the Munster family a handsome sum to use their house as a recording studio for a week. The Munster family goes to stay at a hotel, but gets homesick for 1313 Mockingbird Lane and comes back early, only to find The Standells throwing a wild party.

This was used in the 2015 episode of The Last Man on Earth, “Alive in Tucson.” It has also appeared in these films:

Fever Pitch (2005)
Stateside (2004)
The Secret Life of Girls (1999)
Edtv (1999)
Celtic Pride (1996)

To enhance the Boston theme, a snippet of “Dirty Water” plays in the 2020 Hyundai Sonata Super Bowl commercial, “Smaht Pahk,” where Chris Evans, Rachel Dratch and John Krasinski revert to their Boston accents as Krasinski shows them how to pahk the cah.

Dirty Water

I’m gonna tell you a story
I’m gonna tell you about my town
I’m gonna tell you a big fat story, baby
Aw, it’s all about my town

Yeah, down by the river
Down by the banks of the river Charles
(Aw, that’s what’s happenin’ baby)
That’s where you’ll find me
Along with lovers, muggers, and thieves
(Aw, but they’re cool people)

Well I love that dirty water
Oh, Boston, you’re my home
(Oh, you’re the number one place)

Frustrated women (I mean they’re frustrated)
Have to be in by twelve o’clock (oh, that’s a shame)
But I’m wishin’ and a-hopin’, oh
That just once those doors weren’t locked
(I like to save time for my baby to walk around)

Well I love that dirty water
Oh, Boston, you’re my home (oh, yeah)

Because I love that dirty water
Oh, Boston, you’re my home (oh, yeah)

Well, I love that dirty water (I love it, baby)
I love that dirty water (I love Boston)
I love that dirty water (Have you heard about the strangler?)
I love that dirty water (I’m the man, I’m the man)
I love that dirty water (Ow)
I love that dirty water (Come on, come on)

Lindisfarne – Meet Me On The Corner

This has turned into one of my favorite songs since I heard 10 years ago or so.

I originally blogged this when I had around 3 followers two years ago…so I apologize to you three for the repeat!

It’s a feel-good, quirky song with bright harmonies. It was released in 1971 and went to number 5 in the UK…kinda like the Bee Gees go folk.

The song was written by Lindisfarne member Rod Clements and sung by Ray Jackson. The mandolin solo in Maggie May by Rod Stewart was played by Ray Jackson. On the “Every Picture Tells A Story”album liner notes, it is stated that “The mandolin is played by the mandolin player in Lindisfarne. The name slips my mind.”

Meet Me On The Corner

Hey mister dream seller
Where have you been.
Tell me have you dreams I can see?
I came along, just to bring you this song,
Can you spare one dream for me?

You wont have met me,
And you’ll soon forget.
So don’t mind me tugging at your sleeve.
I’m asking you,
If I can fix a rendezvous,
For your dreams are all I believe.

[Chorus]
Meet me on the corner,
When the lights are coming on,
And I’ll be there.
I promise I’ll be there.
Down the empty streets,
We’ll disappear into the dawn,
If you have dreams enough to share.

Lay down your bundles,
Of rags and reminders,
And spread your wears on the ground.
Well I’ve got time,
If you’re dealing mine,
I’m just hanging around.

[Chorus]

Hey mister dream seller,
Where have you been.
Tell me have you dreams I can see?
I came along, just to bring you this song,
Can you spare one dream for me?

Chicago – Saturday In The Park

Chicago’s main songwriter, Robert Lamm, wrote this song. Lamm and Peter Cetera sang lead on the track. Robert Lamm based the melody of this song on “You Won’t See Me” by The Beatles, something he openly admitted.

The piano riff, in the beginning, hooks you right away. The song peaked at #3 in the Billboard 100 and #2 in Canada in 1972.

Robert Lamm: It was written as I was looking at footage from a film I shot in Central Park, over a couple of years, back in the early ‘70s. I shot this film and somewhere down the line I edited it into some kind of a narrative, and as I watched the film I jotted down some ideas based on what I was seeing and had experienced. And it was really kind of that peace and love thing that happened in Central Park and in many parks all over the world, perhaps on a Saturday, where people just relax and enjoy each other’s presence, and the activities we observe and the feelings we get from feeling a part of a day like that.

From Songfacts

Like most Chicago singles, this didn’t chart in the UK. In America, however, it was their biggest chart hit to that point and also their first gold single, which at the time meant selling more than a million copies (“25 Or 6 To 4” somehow was never certified gold).

This song contains some of the most famous nonsense singing in rock: after Robert Lamm sings the line, “Singing Italian songs,” he sings some made up words approximating the Italian language.

In the 2000 Adam Sandler film Little Nicky, this song was used for comedic effect when it was played backwards to show that it contains satanic messages.

Other movies to use the song include The Spirit of ’76 (1990) and My Girl (1991). TV series to feature the song include The Sopranos (2002), My Name Is Earl (2005) and Fringe (2011).

Chicago and Robin Thicke performed part of this song at the 2014 Grammy Awards in a medley of Chicago’s hits leading into Thicke’s song “Blurred Lines.” The occasion: Chicago’s first album entering the Grammy Hall of Fame.

Saturday In The Park

Saturday in the park,
I think it was the Fourth of July
Saturday in the park,
I think it was the Fourth of July

People dancing, people laughing
A man selling ice cream
Singing Italian songs
Everybody is another
Can you dig it (yes, I can)
And I’ve been waiting such a long time
For Saturday

Another day in the park
I think it was the Fourth of July
Another day in the park
I think it was the Fourth of July

People talking, really smiling
A man playing guitar
And singing for us all
Will you help him change the world
Can you dig it (yes, I can)
And I’ve been waiting such a long time
For today

Slow motion riders fly the colors of the day
A bronze man still can tell stories his own way
Listen children all is not lost, all is not lost, oh no, no

Funny days in the park
Every day’s the Fourth of July
Funny days in the park
Every day’s the Fourth of July

People reaching, people touching
A real celebration
Waiting for us all
If we want it, really want it
Can you dig it (yes, I can)
And I’ve been waiting such a long time
For the day, yeah yeah

Hoo hoo oh
Hmm hmmm
Hmm hmmm