Jimi Hendrix – Hey Joe

“Hey Joe” was written by a singer named Billy Roberts, who was part of the Greenwich Village folk scene in the early ’60s. This was Billy’s most well-known song.

This is the song that started it all for Hendrix. After being discharged from the US Army in 1962, he worked as a backing musician for The Isley Brothers and Little Richard, and in 1966 performed under the name Jimmy James in the group Jimmy James and the Blue Flames. Hendrix introduced “Hey Joe” to the band and added it to their setlist. During a show at the Greenwich Village club Cafe Wha?, Chas Chandler of The Animals was in the audience, and he knew instantly that Hendrix was the man to record the song.

This is one of the few Hendrix tracks with female backing vocals. They were performed by a popular trio called the Breakaways (Jean Hawker, Margot Newman, and Vicki Brown), who were brought in by producer Chas Chandler.

The song peaked at #6 in the UK Charts in 1966.

From Songfacts

 The song is structured as a conversation between two men, with “Joe” explaining to the other that he caught his woman cheating and plans to kill her. They talk again, and Joe explains that he did indeed shoot her, and is headed to Mexico.

Billy Roberts copyrighted this song in 1962, but never released it (he issued just one album, Thoughts Of California in 1975). In 1966, several artists covered the song, including a Los Angeles band called The Leaves (their lead singer was bassist Jim Pons, who joined The Turtles just before they recorded their Happy Together album), whose version was a minor hit, reaching #31 in the US. Arthur Lee’s group Love also recorded it that year, as did The Byrds, whose singer David Crosby had been performing the song since 1965. These were all uptempo renditions.

The slow version that inspired Hendrix to record this came from a folk singer named Tim Rose, who played it in a slow arrangement on his 1967 debut album and issued it as a single late in 1966. Rose was a popular singer/songwriter for a short time in the Greenwich Village scene, but quickly faded into obscurity before a small comeback in the ’90s. He died in 2002 at age 62.

Chandler convinced Hendrix to join him in London, and he became Jimi’s producer and manager. Teaming Hendrix with Noel Redding and Mitch Mitchell, Chandler had the group – known as The Jimi Hendrix Experience – record “Hey Joe,” and released it as a single in the UK in December 1966. It climbed to #6 in February 1967, as Hendrix developed a reputation as an electrifying performer and wildly innovative guitarist.

America was a tougher nut to crack – when the song was released there in April, it went nowhere.

The song incorporates many elements of blues music, including a F-C-G-D-A chord progression and a story about infidelity and murder. This led many to believe it was a much older (possibly traditional) song, but it was an original composition.

Hendrix played this live for the first time at the 1967 Monterey Pop Festival. It was the first time the group performed in America.

This was released in Britain with the flip side “Stone Free,” which was the first song Hendrix wrote for The Jimi Hendrix Experience.

The song was released in the UK on the Polydor label in a one-single deal. Hendrix then signed to the Track label, which was set up by Kit Lambert, producer for The Who.

Dick Rowe of Decca Records turned down Hendrix for a deal, unimpressed with both “Hey Joe” and “Stone Free.” Rowe also turned away the Beatles four years earlier.

The Hendrix version omits the first verse, where Joe buys the gun:

Hey Joe, where you goin’ with that money in your hand?
Chasin’ my woman, she run off with another man
Goin downtown, buy me a .44

In the original (and most versions pre-Hendrix), Joe also kills his wife’s lover when he catches them in bed together.

This was the last song performed at Woodstock in 1969. The festival was scheduled to end at midnight on Sunday, August 17 (the third day), but it ran long and Hendrix didn’t go on until Monday around 9 a.m. There weren’t many attendees left, but Hendrix delivered a legendary performance.

While Jimi’s version is by far the most famous, “Hey Joe” has been recorded by over 1000 artists. In America, three versions charted:

The Leaves (#31, 1966)
Cher (#94, 1967)
Wilson Pickett (#59, 1969)

Hendrix is the only artist to chart with the song in the UK, although a completely different song called “Hey Joe” was a #1 hit there for Frankie Laine in 1963.

Some of the notable covers include:
Shadows of Knight (1966)
Music Machine (1966)
The Mothers Of Invention (1967)
Deep Purple (1967)
King Curtis (1968)
Roy Buchanan (1973)
Patti Smith (1974)
Soft Cell (1983)
Nick Cave & The Bad Seeds (1986)
The Offspring (1991)
Eddie Murphy (1993 – yes, the comedian)
Walter Trout (2000)
Popa Chubby (2001)
Robert Plant (2002)
Brad Mehldau Trio (2012)

The liner notes for Are You Experienced? say this song is “A blues arrangement of an old cowboy song that’s about 100 years old.” >>

The phrase “Hey Joe” is something men in the Philippines often shout when they see an American. Ted Lerner wrote a book about his experiences there called Hey, Joe: A Slice Of The City-An American In Manilla.

In an early demo version, Hendrix is caught off guard by the sound of his voice in the headphones, and can be heard on the recording saying, “Oh, Goddamn!” Then telling Chas Chandler in the booth, “Hey, make the voice a little lower and the band a little louder.” Hendrix was always insecure about his vocal talents, but thought if Dylan could swing it, so could he.

6,346 guitarists played “Hey Joe” simultaneously in the town of Wroclaw, Poland on May 1, 2009, breaking a world record for most guitarists playing a single song.

The BBC apologized after “Hey Joe” was played following a report on the Oscar Pistorius trial, following the disabled athlete’s shooting of his model girlfriend Reeva Steenkamp. (The song includes the lines: “Hey Joe, where you going with that gun in your hand? I’m going out to shoot my old lady, you know I caught her messing around with another man.”)

This was one of five bonus tracks added to the album Are You Experienced? when it was re-released in 1997. The only song on the album not written by Hendrix, it is credited to Billy Roberts.

Not much is known about the song’s writer Billy Roberts, who apparently got in a car accident in the ’90s that left him impaired. Royalties from this song go to him through the publisher Third Palm Music.

This was used in the 1994 movie Forrest Gump when Forrest starts a fight at a Black Panthers gathering, but the song wasn’t included on the official soundtrack.

Hey Joe

Hey Joe, where you goin’ with that gun in your hand?
Hey Joe, I said where you goin’ with that gun in your hand?
Alright.
I’m goin down to shoot my old lady

You know I caught her messin’ ’round with another man.
I’m goin’ down to shoot my old lady
You know I caught her messin’ ’round with another man.

And that ain’t too cool.
(Ah-backing vocal on each line)
Uh, hey Joe, I heard you shot your woman down
You shot her down now.

Uh, hey Joe, I heard you shot you old lady down
You shot her down to the ground. Yeah!
Yes, I did, I shot her

You know I caught her messin’ ’round
Messin’ ’round town.
Uh, yes I did, I shot her
You know I caught my old lady messin’ ’round town.

And I gave her the gun and I shot her!
Alright
(Ah! Hey Joe)
Shoot her one more time again, baby!
Yeah.
(Hey Joe!)
Ah, dig it!
Ah! Ah!
(Joe where you gonna go?)
Oh, alright.
Hey Joe, said now
(Hey)
uh, where you gonna run to now, where you gonna run to?
Yeah.
(where you gonna go?)
Hey Joe, I said
(Hey)
where you goin’ to run
to now, where you, where you gonna go?
(Joe!)
Well, dig it!
I’m goin’ way down south, way down south
(Hey)
way down south to Mexico way! Alright!
(Joe)
I’m goin’ way down south
(Hey, Joe)
way down where I can be free!
(where you gonna…)
Ain’t no one gonna find me babe!
(…go?)
Ain’t no hangman gonna
(Hey, Joe)
he ain’t gonna put a rope around me!
(Joe where you gonna.)
You better belive it right now!
(…go?)
I gotta go now!
Hey, hey, hey Joe
(Hey Joe)
you better run on down!
(where you gonna…)
Goodbye everybody. Ow!
(…go?)
Hey, hey Joe, what’d I say
(Hey… Joe)
run on down.
(where you gonna go?

 

The Byrds – Lover of the Bayou

This version of the Byrds gets ignored but they had some great musicians in the band. Roger Mcguinn, the great guitarist Clarence White and equally great bass player Skip Battin.

Tom Petty’s band Mudcrutch also covered this song in 2008. Mudcrutch formed in 1970 and broke up in 1975. After the initial break-up, band members Tom Petty, Mike Campbell, and Benmont Tench went on to form Tom Petty and the Heartbreakers.

Lover of the Bayou” was originally written by Roger McGuinn and Jacques Levy. Jacques Levy was a songwriter and theater director, who collaborated with McGuinn in 1969 with an interest in making a Broadway musical. While the musical never saw production, several of the songs survived as Byrds’ songs.

Personally, I like the live version by The Byrds the best but I included The Byrds studio version, Mudcrutch, and The Byrds live version.

From Songfacts

If the lyrics sound like they’re full of Freudian symbolism (“I learned the key to the master look; I learned to float in the water clock.”), that might be because song co-writer Jacques Levy was also a clinical psychologist! Levy also directed the off-Broadway erotic (and all-nude) revue Oh! Calcutta!.

The original Byrds’ version of this song may be found on disk two of the album The Essential Byrds, released in 2003. It was originally on their untitled album, along with “Chestnut Mare”, “All the Things” and “Just a Season”, also from the would-be musical.

If a stage musical sounds unlikely, McGuinn had even bigger plans beyond that to produce a science-fiction film which would have been named Ecology 70 and would have starred ex-Byrd Gram Parsons and ex-Mamas And The Papas Michelle Phillips, as a couple of “hippies in space.” This was a more common idea in the late ’60s and early ’70s than you might think – witness the 1974 John Carpenter film Dark Star.

Lover of the Bayou

Catfish pie in gris gris bag
I’m the lover of the bayou
Pack your doorstep with a half wet rag
I’m the lover of the bayou
I was raised and swam with the crocodile
Snake-eye taught me the Mojo style
Sucked and weaned on chicken bile
I’m the lover of the bayou

I learned the key to the master lock
Learned to float in the water clock
Learned to capture the lightning shock
I’m the lover of the bayou
And I got cat’s an’ teeth and hair for sale
I’m the lover of the bayou
And there are zombies on your tail
I’m the lover of the bayou

I cooked a bat in a gumbo pan
I drank the blood from a rusty can
Turned me into the Hunger Man
I’m the lover of the bayou, yeah.

Aretha Franklin – Think

Aretha equals greatness. I always think of the Blues Brothers movie this was featured in years after it was released. Franklin wrote this with Teddy White, who was her husband and manager. In the song, Aretha sings about freedom and respect for women.

The song peaked at #7 in the Billboard 100 and #26 in the UK in 1968.

When I’m asked who my favorite female singers are…Aretha always comes up. Her soul had soul. She could take a mediocre song and make it great. I’ve heard her do songs such as “You Light Up My Life” and put life and soul in them.

From Songfacts

Jerry Wexler, who worked with Franklin on many of her hit songs, produced this track at the Atlantic Records recording studios in New York. Members of the Muscle Shoals rhythm section played at the session.

This song was released on May 2, 1968, less than a month after the assassination of Martin Luther King, Jr. on April 4. Franklin’s family was close to King, and Aretha attended his funeral. The song’s insistant refrain of “freedom” evoked one of King’s famous quotes: “Free at last, free at last, thank God almighty we are free at last.”

Franklin performed this in the 1980 movie The Blues Brothers starring Dan Aykroyd and John Belushi. The Blues Brothers themselves also recorded the song, which was released as the B-side of their 1989 UK single “Everybody Needs Somebody To Love.”

This was Franklin’s sixth #1 single on the R&B chart.

Leading up to the 2018 midterm elections in America, Levi’s used this in a commercial encouraging people to vote. The spot mostly used the “freedom” part of the song.

Think

You better think (think)
Think about what you’re trying to do to me
Think (think, think)
Let your mind go, let yourself be free

Let’s go back, let’s go back
Let’s go way on, way back when
I didn’t even know you
You couldn’t have been too much more than ten (just a child)
I ain’t no psychiatrist, I ain’t no doctor with degrees
But, it don’t take too much high IQ’s
To see what you’re doing to me

You better think (think)
Think about what you’re trying to do to me
Yeah, think (think, think)
Let your mind go, let yourself be free

Oh, freedom (freedom), freedom (freedom)
Oh, freedom, yeah, freedom
Freedom (freedom), oh oh freedom (freedom)
Freedom, oh freedom

Hey, think about it, think about it

There ain’t nothing you could ask
I could answer you but I won’t (I won’t)
But I was gonna change, but I’m not
If you keep doing things I don’t

You better think (think)
Think about what you’re trying to do to me
Think (think)
Let your mind go, let yourself be free

People walking around everyday
Playing games, taking scores
Trying to make other people lose their minds
Ah, be careful you don’t lose yours, oh

Think (think)
Think about what you’re trying to do to me, ooh
Think (think)
Let your mind go, let yourself be free

You need me (need me)
And I need you (don’t you know)
Without eachother there ain’t nothing people can do, oh

Think about it, baby (What are you trying to do me)
Yeah, oh baby, think about it now, yeah
(Think about, forgiveness, dream about forgiveness)
To the ball, forgiveness
Think about it baby
To the ball, forgiveness
To the ball, forgiveness

The Like – Wishing He Was Dead

This is a not so subtle song to a wandering boyfriend. I like the retro video and sound.

The Like was an alternative rock band from Los Angeles, California. Its final lineup consisted of Z Berg (vocals and guitar), Tennessee Thomas (drums), Laena Geronimo (bass), and Annie Monroe (organ). The band released three extended plays (EPs) and two studio albums.

This song was on their 2010 album Release Me.

Thelike releaseme.jpg

Here is a partial interview of Tennessee Thomas the drummer.

First things first: Tell us what musical inspirations are behind the new album?
Tennessee: “The vocals were inspired by the Girl Groups of the ’60s [buy the Rhino Girl-group box-set “Girl Group Sounds Lost & Found: One Kiss Can Lead To Another” NOW!]. The  music was inspired by the great British Invasion beat-combos [Beatles, Stones, Kinks, The Who] and Motown and the Wrecking Crew. The songwriting was inspired by the Women of the Brill Building: Carole King, Ellie Greenwich, and Lesley Gore and Jackie de Shannon!

 

Wishing He Was Dead

If I could kick his head in, fickle little boyfriend, I’d be satisfied
If I could smack some sense into his senses, I might feel alright

‘Cause I spent the weekend, waiting all alone
For that rat to come back home
When all the while, he was with somebody new
And now that I know, his hours are few

‘Cause I just can’t forgive and forget
When I’m through with him
He will be wishing he was dead
‘Cause I know what he’s been up to
And I know that he’s been untrue
When I am through with he
He will be wishing he was dead

If I could snap that neck, that broken record trainwreck
I might feel okay
If he could speak the truth or just say sorry
That would be the day

But he made me crazy, thinking I was wrong
That he wasn’t cheatin’ all along
When I gave him everything that I could give
Now he’s gonna wish he’d never lived

‘Cause I just can’t forgive and forget
When I’m through with him
He will be wishing he was dead
‘Cause I know what he’s been up to
And I know that he’s been untrue
When I am through with he
He will be wishing he was dead

And what can I do
And what can I say
To make it untrue
To take this pain away

‘Cause I just can’t forgive and forget
When I’m through with him
He will be wishing he was dead
‘Cause I know what he’s been up to
And I know that he’s been untrue
When I am through with he
He will be wishing he was dead

Temptations – Cloud Nine

This was written by Motown writers Norman Whitfield and Barrett Strong, who had written earlier Temptations hits “Ain’t Too Proud To Beg” and “Just My Imagination.” Love the bass in this song.

This was a new sound for The Temptations. It was psychedelic soul-funk similar to Sly & the Family Stone, rather than the earlier smooth Soul they were known for. The song peaked at #6 in the Billboard 100 in 1969.

The Temptations all together had 4 number 1 hits, 15 Top Ten hits, and 53 songs in the Billboard 100.

This was the first Motown song to win a Grammy. It won for Best Rhythm & Blues Performance By A Duo Or Group, Vocal Or Instrumental in 1968.

From Songfacts

 

This was the first Temptations song recorded with new lead singer Dennis Edwards. David Ruffin, their original leader, was fired after he missed a gig. Ruffin became very difficult to work with when Motown refused to bill the group as “David Ruffin and The Temptations,” as they had done with “Diana Ross and The Supremes.”

The lyrics could be interpreted to be about drugs, which would go against The Temptations clean-cut image. They knew Whitfield and Strong didn’t do drugs, however, so they didn’t have a problem with the lyrics.

This was the first Motown song to use a wah-wah pedal. A white guitarist named Dennis Coffey brought it to a Motown workshop and played it for Whitfield while he was arranging this song. Whitfield loved the way it worked and had Coffey join the Motown house band when they recorded the track.

Whitfield used Coffey on many more sessions, including the seminal track “War.” Coffey, who had a hit on his own with “Scorpio,” considers his work on “Cloud Nine” some of his best. “It’s kicking major ass,” he told Songfacts. “That groove was so funky it’s amazing.”

Whitfield and Strong wrote this shortly after the songwriting team of Holland/Dozier/Holland left Motown. Holland/Dozier/Holland wrote many of the hits for the label, so it was a big boost for Motown when Whitfield and Strong stepped up and wrote another hit.

The week after this was released, Motown head Berry Gordy released Marvin Gaye’s version of “Heard It Through The Grapevine,” which until then he refused to release because he did not think it was a hit.

Cloud Nine

Oh ho, ho ho ho, ooh, hoo
Childhood part of my life, it wasn’t very pretty
You see, I was born and raised in the slums of the city
It was a one room shack that slept ten other children besides me
We hardly had enough food or room to sleep
It was hard times
Needed something to ease my troubled mind
Listen, my father didn’t know the meaning of work
He disrespected mama, and treated us like dirt
I left home, seekin’ a job that I never did find
Depressed and downhearted I took to cloud nine
I’m doin’ fine, up here on cloud nine
Listen one more time I’m doin’ fine, up here on cloud nine
Folks down there tell me
They say, give yourself a chance son, don’t let life pass you by
But the world of reality is a rat race where only the strongest survive
It’s a dog eat dog world, and that ain’t no lie
Listen, it ain’t even safe no more to walk the streets at night
I’m doin’ fine, on cloud nine
Let me tell you about cloud nine

Cloud nine, you can be what you wanna be
(Cloud nine) you ain’t got no responsibility
And ev’ry man, ev’ry man is free
(Cloud nine) and you’re a million miles from reality
I wanna say I love the life I live
And I’m gonna live the life I love up here on cloud nine
I, I, I, I, I, I I’m riding high
On cloud nine, you’re as free as a bird in flight
(Cloud nine) there’s no diff’rence between day and night
(Cloud nine) it’s a world of love and harmony
(Cloud nine) you’re a million miles from reality

Cloud nine, you can be what you wanna be
Cloud nine you ain’t got no responsibility
Cloud nine, and ev’ry man in this world is free
(Cloud nine) and you’re a million miles from reality
(Cloud nine) you can be what you wanna be

Bring It On Home: Peter Grant, Led Zeppelin, and Beyond–The Story of Rock’s Greatest Manager… by Mark Blake

I had a business trip this past week driving a car for at least 10 hours to and from Atlanta and finished up this audiobook about the legendary manager Peter Grant. I have read one book about Grant by Chris Welch but I like this one better. Both of Grant’s kids were interviewed by author Mark Blake and they gave a perspective and info that has never been shared.

Grant had been a van driver, bouncer, stagehand, wrestler, and Don Arden’s assistant. He was 6’3″ and at one time over 300lbs… He road managed the tough and a little crazy Gene Vincent, Little Richard, Bo Diddley, and The Animals before he took over the Yardbirds which then turned into Led Zeppelin.

Grant changed the music business across the board. The promoters would enjoy a 60/40 split and better until Grant. He changed it all to 90/10 split with the artists actually getting the windfall instead of the promoters. His saying was 10 percent of Zeppelin was better than nothing. Now it is an industry-standard. The one other manager that I have read about is Brian Epstein who managed the Beatles. Grant and Epstein were complete opposites except for one thing. There was nothing they would not do for their respective bands. They were both loyal and trustworthy with the band’s finances unlike other band’s managers at the time. That is where the comparison ends.

Grant indeed was loyal to a fault…but he did business by suggestion and intimidation. Pouring water in bootleggers tape recorders, smashing film cameras by fans at concerts, and threating anyone that got in Zeppelin’s way or anyone who might be getting something they shouldn’t. He added to their already dark reputation. He started a Zeppelin label in the mid-seventies called Swan Song and signed Bad Company. He became their co-manager and traveled with them when Zeppelin wasn’t touring. He was even asked by Queen in 1975 if he could manage them…he turned them down because he didn’t have the time.

After Bonham died it became close to impossible to get him on the phone. His drug intake, already heavy, escalated during the early eighties. He did eventually get clean, lose weight, and turn into a living legend and he tried to be an English gentleman.

The book moves at a good pace and it goes over the hype and myths that Grant and Page built for Zeppelin.

If you are a Zeppelin fan or a fan of rock in the seventies it’s a good read. Although Grant could be tough, intimidating, and frankly scary at times…he did have a soft side for his family and of course…Led Zeppelin. I would give it 4.5 stars.

I did learn a new name for a certain drug… “Peruvian Marching Powder”

 

Velvet Crush – Hold Me Up —-Powerpop Friday

This song released in 1994 was on the album Teenage Symphonies to God. It has everything you would want out of a power pop song. They got the name of the album from something Brian Wilson said… “I’m writing a teenage symphony to God,”

The  Velvet Crush formed in Rhode Island in 1989, although vocalist/bassist Paul Chastain and drummer Ric Menck first met and began performing together in Champaign, Illinois. There Menck founded his own small label, Picture Book, on which he and Chastain recorded solo material as well as singles under various group names like the Springfields, Choo Choo Train, the Paint Set, and Bag-O-Shells.

The band broke up in 1996 but re-formed in 1998 and has continued to record, releasing their most recent album in 2004. Vocalist/bassist Paul Chastain and drummer Ric Menck are the band’s core members and they share singing and songwriting duties. Their debut album In the Presence of Greatness was produced by Matthew Sweet,

Hold Me Up

Dead on the phone
One is too alone
Suffer as the days
Linger on and on
Miles and miles away
Hold me up when I’m gone
Hold me up when I’m gone

Time down the road
Nothing much to show
Suffer as the days
Linger on and on
Miles and miles away
You hold me up when I’m gone
Hold me up when I’m gone

Touching down and out of sight
And being found to be alright

Life on the phone
Wasted space at home
Suffer as the days
Linger on and on
Miles and miles away
You hold me up when I’m gone
Hold me up when I’m gone
You hold me up when I’m gone

 

 

 

 

 

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

 

The Byrds – So You Want To Be A Rock ‘n’ Roll Star —-Powerpop Friday

This song peaked at #29 in 1967 in the Billboard 100. This is the first hit song to use a variation of the term “rock star” in the title. Rock had been around since about 1955, but the term “rock star” didn’t get talked about until the ’70s, when it became a way to describe the most glamorous and intriguing artists.

The song was written by Roger McGuinn and Chris Hillman. It was written asa tongue-in-cheek look on fame and the pop music industry.

Tom Petty & the Heartbreakers often covered this song. Petty was a huge fan of The Byrds, and also loved a good cautionary rock star tale.

From Songfacts

Many interpreted it as a swipe at the success of manufactured rock bands like The Monkees, but Roger McGuinn has confirmed that he and Chris Hillman were not writing about The Monkees, but instead the whole music business.

Even after the term became ubiquitous, it was rarely used in song titles; the Dutch pop group Champagne hit #83 with “Rock And Roll Star” in 1977, but it wasn’t until 2007, when the rock era had long since ended, that songs with that title in the term began to proliferate. That year brought us:

“Party Like A Rock Star” – Shop Boyz (#2)
“Rockstar” – Nickelback (#6)
“Do It Just Like A Rockstar” – Freak Nasty (#45)
“Rock Star” – Hannah Montana (#81)

It was mostly hip-hop acts that used the term from then on, notably Rihanna with “Rockstar 101” and Post Malone with “Rockstar.”

The recording was dubbed with the sound of screaming girls, taped at a Byrds show in Bournemouth, England during the band’s 1965 UK tour.

South African jazz musician Hugh Masekela contributed the clarion trumpet solo.

 

So You Want To Be A Rock ‘n’ Roll Star

So you want to be a rock and roll star?
Then listen now to what I say
Just get an electric guitar
Then take some time

And learn how to play
And with your hair swung right
And your pants too tight
It’s gonna be all right

Then it’s time to go downtown
Where the agent man won’t let you down
Sell your soul to the company
Who are waiting there to sell plastic ware

And in a week or two
If you make the charts
The girls’ll tear you apart
The price you paid for your riches and fame

Was it all a strange game?
You’re a little insane
The money, the fame, and the public acclaim
Don’t forget who you are

You’re a rock and roll star
La, la, la, la, la, la, la

Led Zeppelin – Tangerine

This song and Hey Hey What Can I Do are my top two favorite Zeppelin songs.

Jimmy Page wrote this and first recorded it when he was still with The Yardbirds. I’ve read where Yardbirds singer Keith Relf wrote some of the lyrics originally and was given some of the credit but the record company turned it down for release. Later on, Jimmy would use it on the 3rd Zeppelin album with his lyrics.

This was the last Zeppelin song Page wrote without any input from Robert Plant. It’s also the only track on Led Zeppelin III for which Plant didn’t write the lyrics.

At the time the album got mixed reviews from critics and fans alike. Many fans wanted the same heavy albums as the first two. This album had a mix and they perfected it on their next album.

This was used at the end of the 2000 movie Almost Famous in a scene where a bus drives away…I thought the song was brilliant in that scene in the movie.

From Songfacts

Robert Plant would sometimes introduce this at concerts by saying: “This song is for our families and friends and people we’ve been close to. It’s a song of love at its most innocent stages.”

Jimmy Page played a pedal steel guitar on this track. He told Guitar Player magazine in 1977: “On the first LP there’s a pedal steel. I had never played steel before, but I just picked it up. There’s a lot of things I do first time around that I haven’t done before. In fact, I hadn’t touched a pedal steel from the first album to the third. It’s a bit of a pinch really from the things that Chuck Berry did. Nevertheless, it fits. I use pedal steel in ‘Your Time Is Gonna Come.’ It sounds like a slide or something. It’s more out of tune on the first album because I hadn’t got a kit to put it together.”

Why does this song fade to silence a few seconds in? Jimmy Page explained when previewing the song for Melody Maker in 1970: “That’s commonly known as a false start. It was a tempo guide, and it seemed like a good idea to leave it in – at the time. I was trying to keep the tempo down a bit. I’m not so sure now it was a good idea. Everybody asks what the hell is going on.”

Led Zeppelin played this during acoustic sets on their early tours.

This was the second Zeppelin song named after a fruit. “The Lemon Song” was the first.

According to Jimmy Page, this song was dedicated to Jackie DeShannon, who was his girlfriend when he wrote the song. DeShannon, a member of the Songwriting Hall of Fame, had hits as a singer with “What the World Needs Now Is Love” and “Put a Little Love in Your Heart.”

This was recorded on April 4, 1968 at one of the last studio sessions for The Yardbirds, under the title “Knowing That I’m Losing You.” This first version performed by The Yardbirds, featured music almost identical to “Tangerine” by Led Zeppelin, but with different lyrics (vocals by Keith Relf), and was never officially released. It was supposed to be included on the Cumular Limit compilation (which was released in 2000), together with other materials from the same sessions, but interestingly enough, Page vetoed the release of the song. Since then, the version from The Yardbirds has leaked onto the internet, and Page has been accused of ripping off a Yardbirds composition, simply changing the majority of the lyrics (probably initially written by Keith Relf) in order to avoid any problem with the other members of his previous group. This would explain his veto against the release of the original song. It is not easy to ascertain the above, as the remaining members of The Yardbirds haven’t spoken about the subject so far.

 

Tangerine

Measuring a summer’s day, I only finds it slips away to grey
The hours, they bring me pain

Tangerine, Tangerine, living reflection from a dream
I was her love, she was my queen, and now a thousand years between

Thinking how it used to be
Does she still remember times like these?
To think of us again?
And I do

Tangerine, Tangerine, living reflection from a dream
I was her love, she was my queen, and now a thousand years between

Cat Stevens – Moonshadow

I bought Teaser and the Firecat because I enjoyed Steven’s album Tea For The Tillerman so much. I wasn’t disappointed…this was the first song I connected with on the album.

The song peaked at #30 in the Billboard 100 in 1971. The album peaked at #2 the same year.

Cat Stevens on the song: ” “I was on a holiday in Spain. I was a kid from the West End (of London) – bright lights, et cetera. I never got to see the moon on its own in the dark, there were always streetlamps. So there I was on the edge of the water on a beautiful night with the moon glowing, and suddenly I looked down and saw my shadow. I thought that was so cool, I’d never seen it before.”

He wrote part of the story of an animated short film that featured this very song. It was shown at the Fantastic Animation Festival in 1977. It begins with a still of the two characters from the “Teaser and the Firecat” album cover who then come to life.

 

From Songfacts

Stevens wrote this about finding hope in any situation. Be present and joyful. See life as it is, right now, and don’t compare it to others’ lives, or other times in your life. Every moment in life is rich and unique; whether we are aware of it or not, we are always leaping and hopping on a moonshadow – the inescapable present moment. If we are wrapped up in our whirlpools of worry and concern about what could be, or what has been, we are missing the richness of life as it is.

In the bridge of the song, Stevens seems to be speaking of faith, indicating clearly that, although he is experiencing this ecstasy in the present, despite all the losses and suffering of existence, it is the light that has found him, and not the other way around. He is surrendering to a power greater than himself – the “faithful light.” 

Stevens, now known as Yusuf Islam, considers this his favorite of his old songs. It’s one of the songs that convinced him to release a Greatest Hits record of his work as Cat Stevens. He felt its uplifting message could help people.

Director John Landis wanted to use this song in his 1981 horror comedy An American Werewolf in London. The film featured a number of songs with “moon” in the title (“Moon Dance”, “Blue Moon”, etc.) but Stevens, who had recently converted to Islam, refused permission because he did not like the subject matter of the film. 

Stevens has in recent years called this song the “Optimist’s anthem.” 

This song was used for a “Teaser And The Firecat” animation. The cover of the album came to life as the boy and cat ride on the moon while this song plays. It can be found on the Cat Stevens – Majikat (Earth Tour 1976) DVD. 

Artists to record this song include LaBelle, Roger Whittaker and Mandy Moore.

Moonshadow

Oh, I’m bein’ followed by a moonshadow, moon shadow, moonshadow
Leapin and hoppin’ on a moonshadow, moonshadow, moonshadow

And if I ever lose my hands, lose my plough, lose my land
Oh if I ever lose my hands, Oh if I won’t have to work no more

And if I ever lose my eyes, if my colours all run dry
Yes if I ever lose my eyes, Oh if I won’t have to cry no more

Oh, I’m bein’ followed by a moonshadow, moon shadow, moonshadow
Leapin and hoppin’ on a moonshadow, moonshadow, moonshadow

And if I ever lose my legs, I won’t moan, and I won’t beg
Yes if I ever lose my legs, Oh if I won’t have to walk no more

And if I ever lose my mouth, all my teeth, north and south
Yes if I ever lose my mouth, Oh if I won’t have to talk

Did it take long to find me? I asked the faithful light
Did it take long to find me? And are you gonna stay the night

Moonshadow, moonshadow, moonshadow, moonshadow

Bruce Springsteen – Rosalita (Come Out Tonight)

Well, tell him this is his last chance to get his daughter in a fine romance, Because a record company, Rosie, just gave me a big advance… That is a liberating lyric and sold the song to me.

After appearing on the covers of Time and Newsweek in October 1975, Springsteen sometimes changed the words to “Tell your papa I ain’t no freak, ’cause I got my picture on the cover of Time and Newsweek” when he performed it live.

I’ve seen Bruce do this song live and it is special. It’s one of the best live songs I’ve ever heard along with The Who’s Won’t Get Fooled Again. The song is exciting as he pleads with Rosie and calls out the nicknames of their friends.

The song was his second album The Wild, The Innocent And The E Street Shuffle peaked at #59 in the Billboard Album charts in 1975.

From Songfacts

This is Springsteen’s musical autobiography. After touring relentlessly around the Jersey Shore, he finally signed a record deal and got some money. Springsteen called the song, “A kiss-off to everybody who counted you out, put you down, or decided you weren’t good enough.”

Springsteen considers this the best love song he ever wrote, which he would often declare before performing it. It’s proof that a love song does not have to be slow or sappy.

This is one of Springsteen’s most popular live songs, and a dependable capper. It was the last song before the encore at most of his shows from 1973-1984; in 1999 during his E Street Band reunion tour, Springsteen played 15 sold out shows at the Continental Airlines Arena (later known as the Izod centre) and he used this song to close out the final show of the stand. This became very popular in England when British TV aired a clip of Springsteen performing this at a concert in Phoenix in 1978.

The live film clip of this is the closest thing Springsteen had to a music video until he started making them in 1984, starting with “Dancing In The Dark.”

The first time Springsteen performed this song was at a concert at Joe’s Place in Boston on January 5, 1974.

This was one of the first songs to showcase Clarence Clemons on sax. With his bright suits and imposing size, he quickly became the most popular member of the E Street Band.

The audience always went crazy when Springsteen sang: “The record company, Rosie, just gave me a big advance.” He got a $25,000 advance from Columbia Records when he signed his first record deal, proving to his father and others who doubted him that he did have a real job.

Springsteen never liked his nickname “The Boss,” and sometimes sang: “You can call me Lieutenant, Rosie, but don’t ever call me Boss.”

Springsteen wrote this to be a live show-stopper. He was inspired by the soul revues in the ’60s where the artists would pour all their energy into their final song, and just when it seemed to be over, keep playing. He knew his audience would remember this when he played it.

According to Diane Lozito, who was Springsteen’s girlfriend around the time he was writing this song, he got the title from the name of her grandmother, Rose (“Rose Lozito” “Rosalita”).

Rosalita (Come Out Tonight)

Spread out now Rosie, doctor come cut loose her mama’s reins
You know playin’ blind man’s bluff is a little baby’s game
You pick up little dynamite, I’ll pick up little gun
And together we’re gonna go out tonight and make that highway run
You don’t have to call me lieutenant, Rosie, and I don’t want to be your son
The only lover I’m ever gonna need’s your soft, sweet, little girl’s tongue
And Rosie, you’re the one

Dynamite’s in the belfry, baby, playin’ with the bats
Little gun’s downtown in front of Woolworth’s tryin’ out his attitude on all the cats
Papa’s on the corner, waitin’ for the bus
Mama, she’s home in the window, waitin’ up for us
She’ll be there in that chair when they wrestle her upstairs, ’cause you know we ain’t gonna come
I ain’t here on business, baby, I’m only here for fun
And Rosie, you’re the one

Rosalita, jump a little higher
Senorita, come sit by my fire
I just want to be your lover, ain’t no liar
Rosalita, you’re my stone desire

Jack the Rabbit and Weak Knee Willie, don’t you know they’re gonna be there
Ah Sloppy Sue and Big Bone Billy, they’ll be coming up for air
We’re gonna play some pool, skip some school
Act real cool, stay out all night, it’s gonna feel alright
So Rosie, come out tonight, little baby, come out tonight
Windows are for cheaters, chimneys for the poor
Oh, closets are for hangers, winners use the door
So use it, Rosie, that’s what it’s there for

Rosalita, jump a little higher
Senorita, come sit by my fire
I just want to be your lover, ain’t no liar
Rosalita, you’re my stone desire, alright

Now, I know your mama, she don’t like me, ’cause I play in a rock and roll band
And I know your daddy, he don’t dig me, but he never did understand
Your papa lowered the boom, he locked you in your room, I’m comin’ to lend a hand
I’m comin’ to liberate you, confiscate you, I want to be your man
Someday we’ll look back on this and it will all seem funny
But now you’re sad, your mama’s mad
And your papa says he knows that I don’t have any money
Oh, your papa says he knows that I don’t have any money
Oh, so your daddy says he knows that I don’t have any money
Well, tell him this is his last chance to get his daughter in a fine romance
Because a record company, Rosie, just gave me a big advance

And my tires were slashed and I almost crashed, but the Lord had mercy
And my machine, she’s a dud, out stuck in the mud somewhere in the swamps of Jersey
Well, hold on tight, stay up all night, ’cause Rosie, I’m comin’ on strong
By the time we meet the morning light, I will hold you in my arms
I know a pretty little place in Southern California, down San Diego way
There’s a little cafe, where they play guitars all night and all day
You can hear them in the back room strummin’
So hold tight, baby, ’cause don’t you know daddy’s comin’
Everybody sing

Rosalita, jump a little higher
Senorita, come sit by my fire
I just want to be your lover, ain’t no liar
Rosalita, you’re my stone desire

Hey hey hey hey
Hey hey hey hey
Hey hey hey hey
Hey hey hey hey

John Lennon – (Just Like) Starting Over

Yesterday I posted a Wings song so today I’ll even it up with John.

Great song but every time I hear it…it’s December 1980 again and I’m watching news stories about Lennon’s death. Double Fantasy was a strong comeback album for John…a little more Yoko than I would have liked but a good album all the same.

When it was released Ringo had said John Lennon sounds like Elvis at the beginning of this song…then he said no…he doesn’t sound like Elvis…he is Elvis. John Lennon himself said: “All through the taping of ‘Starting Over,’ I was calling what I was doing ‘Elvis Orbison.’ It’s like Dylan doing Nashville Skyline, except I don’t have any Nashville, being from Liverpool. So I go back to the records I know – Elvis and Roy Orbison and Gene Vincent and Jerry Lee Lewis.”

The song peaked at #1 in the Billboard 100, #1 in the UK, #1 in Canada and #2 in New Zealand.

From Songfacts

This song embodied the sense of renewal in Lennon and Yoko’s professional and personal lives during the writing and recording of Double Fantasy. “It was kinda obvious what ‘Starting Over’ was about,” said journalist David Sheff, who did the last major interview with Lennon, to Mojo. “He’d been untrusting of Yoko, she’d been untrusting of him, all that kind of stuff. But in that one song was this incredible optimism and joy.”

This was released in the United States October 27, 1980, which was the same day Mark David Chapman bought the gun he would use to kill Lennon on December 8. “Starting Over,” which came out in the UK on October 24, was Lennon’s first release since 1975. The Double Fantasy album was issued on November 17.

Lennon wrote this while vacationing in Bermuda earlier in the year.

Despite being the first single in five years from one of the most famous musicians on the planet, this song took a while to catch on. In America, it entered the Hot 100 on November 1, 1980 at #38 and made a slow but steady climb up the chart. Here’s the progression:

Nov. 8: #32
Nov. 15: #10
Nov. 22: #9
Nov. 29: #8
Dec. 6: #6
Dec. 13: #4
Dec. 20: #3
Dec. 27: #1

When Lennon was killed, fans quickly scooped up the single along with lots of other Lennon material, but it took a few weeks for the chart to reflect these sales. When it hit #1, it stayed there for five weeks.

This was recorded at The Power Station in New York City. Musicians included Tony Levin on bass, Earl Slick on guitar, and Andy Newmark on drums.

Double Fantasy was released on David Geffen’s record label, DGC. Many labels were competing for the album, but Geffen impressed Lennon when he wrote directly to Yoko and agreed to release it without hearing it first. All of Lennon’s previous albums were released on The Beatles’ label, Apple.

John and Yoko were considering doing a tour when this was climbing the charts.

This was one of the last songs recorded for the album. Lennon was not sure he should record it, but his producer and session musicians convinced him it would be a hit. It became the first single from Double Fantasy.

The day this was released, Yoko Ono hired a skywriter to write “Happy Birthday” above New York.

The copy of Double Fantasy that Mark Chapman asked Lennon to autograph might be the most valuable record in the world. The record, which figured in the court case, not only has Lennon’s autograph but also boasts Chapman’s fingerprints on the cover. In 2003, the record was sold for £525,000 but its value has since rocketed.

(Just Like) Starting Over

Our life together
Is so precious together
We have grown, we have grown
Although our love is still special
Let’s take a chance and fly away
Somewhere alone

It’s been too long since we took the time
No-one’s to blame, I know time flies so quickly
But when I see you darling
It’s like we both are falling in love again
It’ll be just like starting over
Starting over

Everyday we used to make it love
Why can’t we be making love nice and easy
It’s time to spread our wings and fly
Don’t let another day go by my love
It’ll be just like starting over
Starting over

Why don’t we take off alone
Take a trip somewhere far, far away
We’ll be together all alone again
Like we used to in the early days
Well, well, well darling

It’s been too long since we took the time
No-one’s to blame, I know time flies so quickly
But when I see you darling
It’s like we both are falling in love again
It’ll be just like starting over
Starting over

Our life together
Is so precious together
We have grown, we have grown
Although our love still is special
Let’s take a chance and fly away somewhere

(Over and over and over)

Starting over (over and over and over)

(And over and over and over)

(Over and over and over)

(And over and over and over)

Paul McCartney & Wings – Medicine Jar

This was the first song recorded by Paul McCartney’s group Wings to feature another member on all lead vocals. It is an anti-drug song sung by lead guitarist Jimmy McCulloch (ex-Thunderclap Newman). Colin Allen, who was the drummer in the band Stone The Crows with McCulloch, wrote the lyrics, and McCulloch wrote the music.

Jimmy McCulloch was a guitar prodigy… He was playing in a band called The Jaygars when he was 11. He was in the band One In A Million supporting The Who when he was 14 and in the band Thunderclap Newman in 1969 when he was 16. He went on to play with John Mayall (Mayall knew how to pick guitar players) and Stone the Crows… He then went to play with Paul McCartney and Wings in 1974. He gave Paul’s songs an edge and I wish he would have stayed in Wings longer.

He left Wings to play with the reformed Small Faces in 1977.  In 1979 he sadly died of heart failure due to morphine and alcohol poisoning. You have to wonder how much more Jimmy could have achieved if he would have lived.

The version I’m most familiar with is the live version from Wings Over America. The song was originally on the Venus and Mars album. Venus and Mars peaked at #1 in 1975 in the Billboard Album Charts and Wings Over America peaked at #1 in 1977.

 

Medicine Jar

What’s wrong with you?
I wish, I knew
You say, time will tell
I hope that’s true

There’s more to life than blues and reds
I say, I know how you feel
Now your friends are dead

Dead on your feet, you won’t get far
If you keep on sticking your hand
In the medicine jar

Now don’t give up
Whatever you do
You say, time will tell
I hope that’s true

If you go down and lose your head
I say, I know how you feel
Now your friends are dead

Dead on your feet, you won’t get far
If you keep on sticking your hand
In the medicine jar

I said, “Dead on your feet, you won’t get far
If you keep on sticking your hand
In the medicine jar”

Check it

What can I do?
I can’t let go
You say, time will heal
But very slow

So don’t forget the things you said
I say, I know how you feel
Now your friends are dead

Dead on your feet, you won’t get far
If you keep on sticking your hand
In the medicine jar

Dead on your feet, you won’t get far
If you keep on sticking your hand
In the medicine jar

Medicine jar
Medicine jar
Medicine jar
Medicine jar
Medicine jar
Medicine jar
Medicine jar

Medicine jar
Medicine jar
Medicine jar
Medicine jar
Medicine jar
Medicine jar

Kinks – Victoria

I asked my son Friday night…What are you listening to? He told me Victoria by the Kinks… so Victoria it will be.

Victoria was written for Arthur (Or The Decline And Fall Of The British Empire), a soundtrack to a British TV play on which Ray Davies collaborated with dramatist and screenwriter Julian Mitchell. The program was canceled at the last minute when the producer was unable to secure financial backing and has never been produced. However, Davies’ music was still recorded by the Kinks and released as a concept album.

The album peaked at #105 in the Billboard 100 in 1969. The song Victoria peaked at #62 in the Billboard 100 and #33 in the UK in 1970. It was the band’s first release to reach the chart since their Top 20 hit “Sunny Afternoon” in 1966.

 

From Songfacts

“Victoria” is a typically satirical Ray Davies song, containing many of his themes from his late ’60s material such as English nostalgia and the little people. It finds him fusing the image of the historical 19th Century UK queen and the grim realities of her downtrodden subjects’ life during her reign with the British rule of its Empire, which had reached its peak in Queen Victoria’s reign.

Musically, “Victoria” finds Ray Davies balancing the nostalgic music hall and rock sides of his songwriting. While the track is centered on a thumping rock electric blues guitar riff, the triumphant “Land of hope and gloria” bridge enhances the remainder of the song.

Commercially, “Victoria” represented a relative return of form for The Kinks. In the US, the song was chosen as the lead single from Arthur. It peaked at #62 on the Billboard Hot 100.

“Victoria” was released as the album’s third single in the UK, and was the only one to chart, reaching #33.

A cover version by The Fall was the Manchester band’s second UK Top 40 hit in 1988 peaking at #35.

Victoria

Long ago life was clean
Sex was bad, called obscene
And the rich were so mean
Stately homes for the Lords
Croquet lawns, village greens
Victoria was my queen
Victoria, Victoria, Victoria, ‘toria

I was born, lucky me
In a land that I love
Though I am poor, I am free
When I grow I shall fight
For this land I shall die
Let her sun never set
Victoria, Victoria, Victoria, ‘toria
Victoria, Victoria, Victoria, ‘toria

Land of hope and gloria
Land of my Victoria
Land of hope and gloria
Land of my Victoria
Victoria, ‘toria
Victoria, Victoria, Victoria, ‘toria

Canada to India
Australia to Cornwall
Singapore to Hong Kong
From the West to the East
From to the rich to the poor
Victoria loved them all

Victoria, Victoria, Victoria, ‘toria
Victoria, Victoria, Victoria

When Giants Walked The Earth…. by Mick Wall

I read this book about Led Zeppelin over a year ago…and recently while waiting for a Beatles book to get released I  went through it again. The book is much better than The Hammer Of The Gods released in the 80s. There are many things in this book that I didn’t know. Overall I liked it…but..

Mick Wall would do these interludes that are supposed to be some kind of interior monologue by the protagonists (but in second person). The book is well researched and he would be going along great and then all of a sudden he would try to get into each member’s head and have a monologue (in cockney many times) on what they were thinking at that moment…I don’t care how much you researched someone you do not know what they were thinking at that time.

He would sprinkle these monologues out so it’s not like they are the entire book but it was totally unnecessary to me…and it was annoying.

Here is a small example of a Jimmy Page interlude…and “G” is Led Zeppelin’s manager Peter Grant.  Now it’s down to just the two of you, Jimmy and G. And of course, the name, for what it’s still worth: the Yardbirds. Or maybe the New Yardbirds – G’s suggestion. That way, at least, it won’t be like starting again from scratch, he says. Not entirely, anyway. And you can still get paying gigs. Keep the wolf from the door until you can come up with something better. That’s the plan anyway, this long, rainy summer of 1968…

From 1968 to 1980 Led Zeppelin were together and left a giant legacy and myth behind. The book is solid and I found out many things I didn’t already know. I am a fan of some of their music…the less indulgent side of them anyway. I’m not the person who wants to listen to a 25-minute live version of No Quarter.

The author does go in-depth about Page’s infatuation of black magic and the dark image of the band. He also goes into the songwriting and about how they got the sound they did…so he covers the personalities, the music, and events that happened.

Things were going great for them until 1975 when Robert Plant was in a car wreck with his family and from that point on everything started to go downhill. This book covers everything you would want and it covers what happened after John Bonham died. They did think about regrouping many times through the decades but it was always Robert who had doubts…and after what he went through I cannot blame him. His wife was almost killed in the car wreck and Plant’s leg was badly hurt…then when he recovered his young son (Karac) died of a stomach virus and 3 years later Bonham died.

After Zeppelin unlike Plant and Jones, Jimmy Page didn’t adjust as well to life without the band. The book was written in 2009 and he does cover the O2 Arena reunion.

If you are a Led Zeppelin fan or a fan of classic rock through the seventies…this is a good book. Out of five stars, I would give it 3.75 out of 5 for the information it gives…without the monologues, I would consider a 5.