It’s been 102 years since these organizations met in the World Series. Back then it was the Red Sox…with Babe Ruth against the Robins. In my lifetime they came close to meeting in 1978.
I’ve waited a long time for this, 40 years to witness the Dodgers play the Red Sox in the World Series. As a kid, I always loved to see Fenway Park on television with its vision of green and know that Babe Ruth once played there along with other greats. The team I love, The Dodgers, were winning their division in 1978 and I thought instead of playing the Yankees I could see the Dodgers play in Fenway. This was before Interleague entered the picture.
In 1978 The Red Sox had a commanding lead in the American League East division. They led the Yankees by 14 games in July I thought for sure the Sox had it. The teams ended up tied on the last day and it came down to a playoff game between the Sox and Yankees. The Yankees ended up winning the game and the American League pennant with the help of the famous Bucky Dent homer.
Now I’ll finally get to see it 40 years later in the World Series. Win or lose I’m looking forward to this World Series. Instead of Cey, Garvey, Lopes vs Lynn, Rice, and Yaz it will be Bellinger, Puig, Turner, and Kershaw against Betts, Bradley Jr., Martinez, and Sale.
Maybe my favorite America song along with Sister Golden Hair. It peaked at #5 in the Billboard 100 and #16 in Canada in 1975. The song was a positive response to the Beatles Eleanor Rigby’s “All the lonely people: where do they all come from…where do they all belong”(according to wiki). Both songs were produced by George Martin.
Famed Beatles producer George Martin helmed this song along with the rest of the album in London. Peek recalled to Circus: “Gerry (Beckley) had been in England, and we’d talked about using George Martin as our producer. He’s such a hot arranger, thinking about all the stuff he’s done. There were several other people we wanted to use, but that idea sort of flashed and George was available. Gerry had a house outside of London where we knew we could rehearse.”
The trio met with George Martin in Los Angeles, at the offices of America’s managers, Geffen-Roberts. Peek remembered with a laugh: “The first thing he did was take his shirt, sweater and shoes off. He said it was too hot in L.A. He put everyone at ease, and we just got along well from the first second. He has a very musical mind, and as we began working we bounced ideas off of him quite a bit, with things like vocal arrangements and guitar parts. It was an amazing experience working for a mind-producer.”
Lonely People This is for all the lonely people Thinking that life has passed them by Don’t give up until you drink from the silver cup And ride that highway in the sky
This is for all the single people Thinking that love has left them dry Don’t give up until you drink from the silver cup You never know until you try
Well, I’m on my way Yes, I’m back to stay Well, I’m on my way back home (Hit it)
This is for all the lonely people Thinking that life has passed them by Don’t give up until you drink from the silver cup And never take you down or never give you up You never know until you try
This is one of the first songs I remember hearing. I’ve always liked the song and it remains my favorite of Jim Croce. It peaked at #17 in the Billboard 100 and #11 in Canada. Jim’s songs were about everyday people. Jim and Maury Muehleisen guitars blended perfectly with each other.
Jim Croce quote about Operator
“I got the idea for writing “Operator” by standing outside of the PX waiting to use one of the outdoor phones. There wasn’t a phone booth; it was just stuck up on the side of the building and there were about 200 guys in each line waiting to make a phone call back home to see if theirÔDear John’ letter was true, and with their raincoat over their heads covering the telephone and everything, and it really seemed that so many people were going through the same experience, going through the same kind of change, and to see this happen especially on something like the telephone and talking to a long-distance operator-this kinda registered. And when I got out of theArmy I was working in a bar where there was a telephone directly behind where I was playing and I couldn’t help but be disturbed by it all the time, and I noticed that the same kind of thing was going’ on. People checkin’ up on somebody or finding out who was Ð what was goin’ on, but always talking to the operator. And I decided that I would write a song about it. But I didn’t really start getting the idea for the song itself, the real outline of it until I was doing the construction work after I got out of the music business the first time, and I started carrying a cassette machine in the truck. I started ÔOperator’ on the way back, one afternoon, just singin’ into a cassette machine. But it’s-it’s one of those songs that kinda comes out of experiences that you watch for a long time, just to see if they’re really valid. I kinda like to write songs about things that a lot of people have experience with because it really makes the songs communicate.”
Operator
Operator, well could you help me place this call? See, the number on the matchbook is old and faded She’s living in L.A. with my best old ex-friend Ray A guy she said she knew well and sometimes hated
Isn’t that the way they say it goes? Well, let’s forget all that And give me the number if you can find it So I can call just to tell ’em I’m fine and to show I’ve overcome the blow, I’ve learned to take it well I only wish my words could just convince myself That it just wasn’t real, but that’s not the way it feels
Operator, well could you help me place this call? Well, I can’t read the number that you just gave me There’s something in my eyes, you know it happens every time I think about a love that I thought would save me
Isn’t that the way they say it goes? Well, let’s forget all that And give me the number if you can find it So I can call just to tell ’em I’m fine and to show I’ve overcome the blow, I’ve learned to take it well I only wish my words could just convince myself That it just wasn’t real, but that’s not the way it feels No, no, no, no that’s not the way it feels
Operator, well let’s forget about this call There’s no one there I really wanted to talk to Thank you for your time, ah, you’ve been so much more than kind And you can keep the dime
Isn’t that the way they say it goes? Well, let’s forget all that And give me the number if you can find it So I can call just to tell ’em I’m fine and to show I’ve overcome the blow, I’ve learned to take it well I only wish my words could just convince myself That it just wasn’t real, but that’s not the way it feels
It took years for me to appreciate this song but I do now. Her voice is incredible on it. Critics and other rock stars loved this song at the time. It peaked at #6 in the Billboard 100, #21 in the UK, and #2 in Canada in 1974.
AllMusic reviewer Matthew Greenwald describes the song as “so sensual and evocative that it was probably one of the most replayed records of the era and also may be responsible for the most pregnancies from a record during the mid-’70s”
A hit song can become a burden to a singer if she is sick of the song yet still expected to perform it night after night. So how does Muldaur feel about constantly performing this song? She told us: “I still do enjoy singing it. And you know why? Because number one, it was a very hip-ly written song. A lot of the jazz artists have covered it because it’s very well constructed. Imagine my plight if my big hit had been ‘Wild Thing‘ by the Troggs, a really dumb three-chord song. But it’s a song that’s so well constructed that an artist can improvise on it night after night. So that’s reason number one, it’s a cool song.
Reason number two is I love the look of the faces of the audience when the band strikes that number up, when the band goes into the intro of that number. Because apparently, from all the stories that have been told to me when I meet my fans after the show to sign my CD, that song was the soundtrack to many a love-and-lust affair, and if I had been
writing down all the stories of what people tell me they were doing or were inspired to do because of that song, or as that song was playing, I could have written quite the little x-rated book. So when I start that song, people’s faces light up and I see very happy, maybe slightly x-rated memories flitting across their faces. And so that’s worth more than any Grammy nomination or award – to hear first hand from your fans, from hundreds and hundreds of fans, how a piece of music I didn’t even write, but that I selected and recorded and just put out there in the airwaves, just had such a happy impact on people’s lives. What a gift is that?”
Midnight at the Oasis
Midnight at the oasis Send your camel to bed Shadows painting our faces Traces of romance in our heads Heaven’s holding a half-moon Shining just for us Let’s slip off to a sand dune, real soon And kick up a little dust Come on, Cactus is our friend He’ll point out the way Come on, till the evening ends Till the evening ends You don’t have to answer There’s no need to speak I’ll be your belly dancer, prancer And you can be my sheik
I know your Daddy’s a sultan A nomad known to all With fifty girls to attend him, they all send him Jump at his beck and call But you won’t need no harem, honey When I’m by your side And you won’t need no camel, no no When I take you for a ride Come on, Cactus is our friend He’ll point out the way Come on, till the evening ends Till the evening ends Midnight at the oasis Send your camel to bed Got shadows painting our faces And traces of romance in our heads
It’s been 41 years since Lynyrd Skynyrd’s plane crashed in a swamp in Gillsburg, Mississippi. The band had just released the album “Street Survivors” and it was probably their best well-rounded album. With new guitarist Steve Gaines, they were primed for commercial success but on October 20, 1977, they lost singer-songwriter Ronnie Van Zant, guitarist Steve Gaines, backup singer Cassie Gaines, and road manager Dean Kilpatrick. The plane crash also claimed the lives of pilot Walter McCreary and co-pilot William Gray Jr.
A year earlier Steve Gaines joined the band and he was pushing them in directions they never had gone. Listening to “Street Survivors” you can hear his influence with songs I Never Dreamed and I Know A Little. Steve was a super talented guitarist, songwriter, and singer and I have to wonder where his career would have gone.
On this tour, they were headlining and moving up in status after years of touring as mostly an opening band.
Below is a good Rolling Stone article on the crash. The song below that is “I Never Dreamed,” a song heavily influenced by Gaines.
This song was all over the place in 1984. Both the English and German versions were played and I liked the German version better…I thought it just flowed better than the English version. When I heard “Captain Kirk” I knew I liked it.
The German version went to #2 in the Billboard 100. The English version went to #1 in the UK and #1 in Canada.
This was released in Germany, where Nena was from. Their record company had no intention of releasing it in America until a disc jockey at radio station KROQ in Los Angeles found a copy and started playing it. They recorded an English version (the original words are in German, and yes, “Captain Kirk” in German is still “Captain Kirk”) with the title translated as “99 Red Balloons” and released it in the US, where it was a big hit.
Nena’s guitarist, Carlo Karges, got the idea for the song after watching balloons being released at a Rolling Stones concert in West Berlin. He wrote the lyrics and Nena’s keyboard player Uwe Fahrenkrog-Petersen wrote the music.
Do you have some time to myself
then I sing a song for you
99 balloons
on their way to the horizon
you might think g’rad me
Then I sing a song for you
99 balloons
And this does not come from something like
99 balloons
on their way to the horizon was
thought to be for space-based UFOs So
a General
‘Ne squadron sent an
alert after that if that were the case.
There were
only 99 air balloons
99 jet aviators
Everyone was a great warrior considered
themselves Captain Kirk
Es gave a big fireworks
The neighbors have not gathered
And you felt the same turned on
It shot on the horizon
On 99 Balloons
99 Minister of War
Match and jerry Can
for the clever people
Witterten already fat loot
Riefen, war and power
man, who would have thought
That it comes once
Because of 99 Balloons
Because 99 Balloons
99 balloons
99 years of war left
no room for victors
war minister’s no more
And no jet planes
Today I pull my laps
See the world in ruins
Have found a balloon
think of you and let him fly
Ninety-Nine Red Balloons
You and I in a little toy shop Buy a bag of balloons with the money we’ve got Set them free at the break of dawn ‘Til one by one they were gone Back at base bugs in the software Flash the message: “something’s out there!” Floating in the summer sky Ninety-nine red balloons go by
Ninety-nine red balloons Floating in the summer sky Panic bells, it’s red alert There’s something here from somewhere else The war machine springs to life Opens up one eager eye Focusing it on the sky Where ninety-nine red balloons go by
Ninety-nine Decision Street Ninety-nine ministers meet To worry, worry, super scurry Call the troops out in a hurry This is what we’ve waited for This is it, boys, this is war The president is on the line As ninety-nine red balloons go by
Ninety-nine knights of the air Ride super high-tech jet fighters Everyone’s a Super Hero Everyone’s a Captain Kirk With orders to identify To clarify and classify Scramble in the summer sky Ninety-nine red balloons go by
As ninety-nine red balloons go by
Ninety-nine dreams I have had In every one a red balloon It’s all over and I’m standing pretty In this dust that was a city If I could find a souvenir Just to prove the world was here And here is a red balloon I think of you, and let it go
Alan Wilson is a forgotten figure who was a gifted musician. He died in 1970 under strange circumstances outdoors in a sleeping bag near his band’s lead singer’s (Bob Hite) house. He was dead at the age of 27. Jimi Hendrix would die in a couple of weeks and Janis Joplin would follow a month later…all of them were age 27.
Alan grew up in Boston, Massachusetts where he became a music major at Boston University. He was a frequent player at the Cambridge coffeehouse folk-blues circuit. Alan ended up a blues scholar. He had a massive collection of old blues records and was a walking encyclopedia of the blues. Wilson’s nickname, “Blind Owl,” was bestowed upon him by friend John Fahey during a road trip in 1965 from Boston to Los Angeles and was a reference to the extra-thick lenses Wilson wore.
Alan moved to Los Angeles and met Bob “The Bear” Hite and in 1965 started Canned Heat. The group decided to take their name from “Canned Heat Blues,” an obscure 1928 track by bluesman Tommy Johnson that described the drug high achieved through drinking the household product Sterno.
In 1967, after appearing at the Monterey Pop Festival, Canned Heat signed to Liberty Records. They made a self-titled album that year and it peaked at #76 on the Billboard Charts. In 1968 they released “Boogie with Canned Heat” which made it to number 16. They followed that album with “Living the Blues”(#18) and in 1969 released album Hallelujah(#37).
Their appearance at Woodstock raised their stock higher. They had two hit singles both sung by Alan Wilson, Going Up Country (1968 ) and On The Road Again (1969). Alan wasn’t the lead singer of Canned Heat but he sang the two best-known singles by them. They were both written by him and based off old blues songs. His unusual voice came from him trying to mimic the voice of old blues singers.
He was very intelligent, awkward, suffered from depression and was not a prototypical rock star. Alan was a serious environmentalist trying to save the Redwood trees. He would sleep outside often to be alone with nature. Alan Wilson was a superb slide guitar and harmonica player. John Lee Hooker said that Wilson was “the greatest harmonica player who ever lived.”
He was a big fan of Eddie James House, Jr. who was was better known as “Son House,” the great blues artist who had retired. He not only retired but was an alcoholic and had not played guitar in years and could not remember his old songs and slide parts from the 20s and 30s.Son House is said to have tutored Robert Johnson. John Hammond asked Alan Wilson to teach the 63-year-old Son House how to play like Son House again. Wilson knew his old records and licks and taught them to Son House who relearned them. House was later signed to a contract.
It gave Son House a career again and he kept playing till he retired again in 1974 after being rediscovered by a new generation. You can hear them both together on the Son House album John the Revelator: The 1970 London Sessions.
Alan died on September 3, 1970. No one knows if it was a suicide or an accidental overdose of Seconal.
Canned Heat continues to this day but they were never as successful after Alan passed away.
For a complete look at Alan Wilson go here to http://www.blindowl.net/index.html
it’s a great site. Below is an essay he wrote in 1970 about the Redwoods.
“Grim Harvest”
“The redwoods of California are the tallest living things on earth, nearly the oldest, and among the most beautiful to boot. They dominated the woods of the northern hemi-sphere in the time of the dinosaurs, a time when no mammal, flower, or blade of grass had yet appeared on earth. The Ice Age nearly exterminated them – of the once vast redwood forest only a remnant was spared by the immense glaciers which covered most of Europe, Asia, and North America in the not-too-distant evolutionary past.
Walking through this forest is an experience unique on earth. Here the sun’s rays are intercepted three hundred feet and more above the ground and are broken into tiny shimmering beams which descend among the towering pillars to play, at length, on the forest floor. Fern and wildflower bathe in the soft glow of a thousand muted spotlights which flicker on and off as the trees’ upper boughs sway majestically in a gentle wind.
2.000.000 acres of virgin redwood forest greeted the white man’s civilization as he completed his sweep of North America. In the last 100 years 1,800,000 acres of these have been logged, and of the remaining 200,000 only 75,000 are presently safe from devastation in state and national parks. At a time when these parks campsites must be reserved months in advance, the remaining 125,000 acres are being “harvested” (as the lumber-men put it), for uses which other trees could fulfill.
At the current rate of “harvest,” these remaining acres will be cleared within the next ten years.”
This great artist has crossed genres and is loved by many for her singing, songwriting, acting, honesty, and just being Dolly. The song peaked at #60 on Billboard’s 100, #1 on the Hot Country Song Chart and #84 in Canada in 1974.
I’ve talked to people who have met her and know her. I hear the same stories on how nice and generous she is with her time. In the Country Charts Dolly has had 25 NO. 1 HITS54 TOP 10 HITS107 SONGS IN THE CHARTS
Dolly Parton has disclosed in several interviews that the song was also inspired by a red-headed bank clerk who flirted with her husband Carl Dean around the time they were newly married. Recalling the origins of her hit tune during her performance at Glastonbury 2014, she said:
“Now, some of you may or may not know that that song was loosely based on a little bit of truth. I wrote that years ago when my husband was spending a little more time with Jolene than I thought he should be.
I put a stop to that. I got rid of that redhead woman in a hurry.
I want you folks to know, though, that something good can come from anything. Had it not been for that woman I would never have written ‘Jolene’ and I wouldn’t have made all that money, so thank you, Jolene.”
Some of the many artists who have covered this: The White Stripes, Reba McEntire, Olivia Newton-John and 10,000 Maniacs
Jolene Jolene, Jolene, Jolene, Jolene, I’m begging of you: please don’t take my man Jolene, Jolene, Jolene, Jolene, Please don’t take him just because you can
Your beauty is beyond compare With flaming locks of auburn hair With ivory skin and eyes of emerald green
Your smile is like a breath of spring Your voice is soft like summer rain And I cannot compete with you, Jolene
He talks about you in his sleep There’s nothing I can do to keep From crying when he calls your name, Jolene
And I can easily understand How you could easily take my man But you don’t know what he means to me, Jolene
Jolene, Jolene, Jolene, Jolene, I’m begging of you: please don’t take my man Jolene, Jolene, Jolene, Jolene, Please don’t take him just because you can
You could have your choice of men But I could never love again He’s the only one for me, Jolene
I had to have this talk with you My happiness depends on you And whatever you decide to do, Jolene
Jolene, Jolene, Jolene, Jolene, I’m begging of you: please don’t take my man Jolene, Jolene, Jolene, Jolene, Please don’t take him even though you can
When the Beatles arrived in 1964, the short hair and car hops of the fifties were going away. The sixties in some ways liberated people from the fifties for better or worse. The crew-cuts and simple times were giving way to Vietnam and the social unrest of the sixties.
Slowly as the sixties started to come to a close the fifties started to peak in again.
In the late sixties, Sha Na Na started their act and even toured with well-known acts. Fats Domino, Little Richard, Jerry Lee Lewis’s popularity grew and Elvis started to make music again instead of soundtracks with his 1968 comeback special. In 1971 a disc jockey name Jerry Osborne started an “oldies” format on FM radio in Phoenix, Arizona and it was successful and other emulated it around the country.
In 1972 “Grease” a musical that took place in 1959 debuted on Broadway. In 1973 George Lucas came out with American Graffiti and boom really started. The soundtrack to American Graffiti peaked at #10 in the Billboard 100 in 1973. Happy Days debuted the following year and fifties music was gaining in popularity.
A spin-off from Happy Days Laverne and Shirley, also set in the fifties, was a huge success and still is syndication to this day. In 1974 the 50s era movie The Lords of Flatbush with the pre-Rocky Sylvester Stallone and Henry Winkler of Happy Days.
In 1977 Sha Na Na started a variety show…Unfortunately I remember this…
In 1978, two big fifties era movies were released. Grease and American Hot Wax which featured performances by Chuck Berry, Jerry Lee Lewis, and Screamin’ Jay Hawkins. Styles seem to recycle every 20 years or so but in the 1970s the fifties revival was really strong. Maybe it was a want for a more simpler time.
I never thought I would ever post a trucker song, but here I am, posting a trucker song! It was one of the first singles I remember playing as a child. When I was a kid, this story scared me to death. There’s something about a good ghost story that never leaves you, especially when it’s told in a Southern drawl through the crackle of a CB radio. This Red Sovine song is one of those perfect country songs that is Americana, part Twilight Zone, and part 1960s country storytelling at its finest.
An eerie monologue about a hitchhiker picked up by a kind-hearted trucker named Big Joe. The kid hops out at a truck stop, orders a cup of coffee, and the waitress gives him the shocker: Big Joe died ten years ago, crashing his rig to save a school bus full of children. The twist lands like a punchline from beyond the grave. “Son, you just met Big Joe and the Phantom 309.” 4-year-old Max got goosebumps every time.
How this record was in my house when I was 4 is a mystery to me. My dad had Merle Haggard music, and my mom had Elvis albums, and my sister would never have this. Not one of them was into trucking songs…but there it was all the same. It was released in 1967… The song peaked at #9 on the Country Charts.
It inspired covers by artists from Tom Waits to the punkabilly of Mojo Nixon. Even Pee-wee’s Big Adventure tipped a hat to it when Pee-wee hitched a ride with “Large Marge.” That alone belongs in the Twilight Zone.
Phantom 309
I was out on the West Coast, tryin’ to make a buck And things didn’t work out, I was down on my luck Got tired a-roamin’ and bummin’ around So I started thumbin’ back East, toward my home town.
Made a lot of miles, the first two days And I figured I’d be home in week, if my luck held out this way But, the third night I got stranded, way out of town At a cold, lonely crossroads, rain was pourin’ down.
I was hungry and freezin’, done caught a chill When the lights of a big semi topped the hill Lord, I sure was glad to hear them air brakes come on And I climbed in that cab, where I knew it’d be warm.
At the wheel sit a big man, he weighed about two-ten He stuck out his hand and said with a grin “Big Joe’s the name”, I told him mine And he said: “The name of my rig is Phantom 309.”
I asked him why he called his rig such a name He said: “Son, this old Mack can put ’em all to shame There ain’t a driver, or a rig, a-runnin’ any line Ain’t seen nothin’ but taillights from Phantom 309.”
Well, we rode and talked the better part of the night When the lights of a truck stop came in sight He said: “I’m sorry son, this is as far as you go ‘Cause, I gotta make a turn, just on up the road.”
Well, he tossed me a dime as he pulled her in low And said: “Have yourself a cup on old Big Joe.” When Joe and his rig roared out in the night In nothin’ flat, he was clean out of sight.
Well, I went inside and ordered me a cup Told the waiter Big Joe was settin’ me up Aw!, you coulda heard a pin drop, it got deathly quiet And the waiter’s face turned kinda white.
Well, did I say something wrong? I said with a halfway grin He said: “Naw, this happens every now and then Ever’ driver in here knows Big Joe But son, let me tell you what happened about ten years ago.
At the crossroads tonight, where you flagged him down There was a bus load of kids, comin’ from town And they were right in the middle, when Big Joe topped the hill It could have been slaughter, but he turned his wheel.
Well, Joe lost control, went into a skid A nd gave his life to save that bunch-a kids And there at that crossroads, was the end of the line For Big Joe and Phantom 309
But, every now and then, some hiker’ll come by And like you, Big Joe’ll give ’em a ride Here, have another cup and forget about the dime Keep it as a souvenir, from Big Joe and Phantom 309!”
This is a catchy counterculture song by Brewer and Shipley. It was released in 1970 and it peaked at #10 in the Billboard 100 and was their only top 40 hit.
This song was performed on the Lawrence Welk Show sung by Welk Musical Family singers on his weekly television show. In 1971, singers Gail Farrell and Dick Dale performed “One Toke Over the Line” on the show. And after the song, Welk is seen on camera saying, “There you heard a modern spiritual by Gail and Dale.”
Lawrence liked to have popular songs performed on is show…I don’t think he got the full meaning of this one.
The incident that sparked this song happened at the Vanguard in Kansas City, Missouri. The band was playing the show because, in seeking to escape the LA music scene, they started a tour of their Midwest homelands. Shipley reports that he was given a block of hash and told to take two hits. He ignored the advice and instead took three. Shipley recounts in The Vinyl Dialogues, “I go out of the dressing room – I’m also a banjo player, but I didn’t have one, so I was playing my guitar – and Michael (Brewer) came in and I said, ‘Jesus, Michael, I’m one toke over the line.’ And to be perfect honest, I don’t remember if Michael was with me when I took that hit or not. I remember it as ‘not’; I think Michael remembers it as ‘yes.’ And he started to sing to what I was playing, and I chimed in and boom, we had the line.”
Brewer also remembers the occasion. “I just cracked up,” he said. “I thought it was hysterical. And right on the spot, we just started singing, ‘One toke over the line, sweet Jesus,’ and that was about it; then we went onstage.”
Brewer and Shipley…below is the Lawrence Welk version
The Lawrence Welk Show
One toke over the line sweet Jesus One toke over the line Sittin’ downtown in a railway station One toke over the line
Awaitin’ for the train that goes home, sweet Mary Hopin’ that the train is on time Sittin’ downtown in a railway station One toke over the line
Whoooo do you love, I hope it’s me I’ve bin a changin’, as you can plainly see I felt the joy and I learned about the pain that my momma said If I should choose to make a part of me, surely strike me dead Now I’m one toke over the line sweet Jesus One toke over the line Sittin’ downtown in a railway station One toke over the line I’m waitin’ for the train that goes home sweet Mary Hopin’ that the train is on time Sittin’ downtown in a railway station One toke over the line
I bin away a country mile Now I’m returnin’ showin’ off a smile I met all the girls and loved myself a few Ended by surprise like everything else I’ve been through It opened up my eyes and now I’m One toke over the line sweet Jesus One toke over the line Sittin’ downtown in a railway station Don’t you just know I waitin’ for the train that goes home sweet Mary Hopin’ that the train is on time Sittin’ downtown in a railway station One toke over the line
Don’t you just know I waitin’ for the train that goes home sweet Mary Hopin’ that the train is on time Sittin’ downtown in a railway station One toke over the line
I want to be One toke over the line sweet Jesus One toke over the line Sittin’ downtown in a railway station One toke over the line Don’t you just know I waitin’ for the train that goes home sweet Mary Hopin’ that the train is on time Sittin’ downtown in a railway station One toke over the line Sittin’ downtown in a railway station One toke over line One toke, one toke over the line
This song came out in 1970 and was performed by Edison Lighthouse who was not a working band but an English studio group with Tony Burrows singing. This is bubblegum music but I do like it. In 1970 this song peaked at #5 on the Billboard 100, #3 in Canada and #1 in the UK.
Freedy Johnston also covered this song in 2001 and I like his version just as much or more as the original. The song didn’t chart but did get some airplay.. I have it under the original.
Love Grows (Where My Rosemary Goes)
She ain’t got no money Her clothes are kinda funny Her hair is kinda wild and free Oh, but Love grows where my Rosemary goes And nobody knows like me
She talks kinda lazy And people say she she’s crazy And her life’s a mystery Oh, but Love grows where my Rosemary goes And nobody knows like me
There’s something about her hand holding mine It’s a feeling that’s fine And I just gotta say She’s really got a magical spell And it’s working so well That I can’t get away
I’m a lucky fella And I’ve just got to tell her That I love her endlessly Because Love grows where my Rosemary goes And nobody knows like me
There’s something about her hand holding mine It’s a feeling that’s fine And I just gotta say She’s really got a magical spell And it’s working so well That I can’t get away
I’m a lucky fella And I’ve just got to tell her That I love her endlessly Because Love grows where my Rosemary goes And nobody knows like me
Fadeout: It keeps growing every place she’s been And nobody knows like me
If you’ve met her, you’ll never forget her And nobody knows like me
La la la- believe it when you’ve seen it Nobody knows like me
If I could meet any performer I wanted to…Arlo would be one of them. He seems like the most laid back guy in the world. His father was the great singer-songwriter, Woody Guthrie. Arlo wrote some very good songs but he didn’t write this one. City of New Orleans was written by Steve Goodman. Steve did a great job writing this song. Its structure and imagery are fantastic.
Arlo released this in 1972 and it peaked at #18 in the Billboard 100 and #11 in Canada.
Arlo said he ignored his mother’s advice. She said if he wanted to play music that was fine…but learn something else as a fallback. He said if he would have learned something else, in the hard times he would have done something else instead of music.
“I’ve quoted my dad a lot of over the years. One of my favorite things he said is: ‘It’s better to fail at being yourself than to succeed at being somebody else’.”
From Songfacts about the writer Steve Goodman
Goodman wrote the lyrics on a sketch pad after his wife fell asleep on the Illinois Central train, where they were going to visit his wife’s grandmother. Goodman wrote about what he saw looking out the windows of the train and playing cards in the club car. Everything in the song actually happened on the ride.
After he returned home, Goodman heard that the train was scheduled to be decommissioned due to lack of passengers. He was encouraged to use this song to save the train, so he retouched the lyrics and released it on his first album in 1971.
The City of New Orleans
Riding on the City of New Orleans Illinois Central Monday morning rail Fifteen cars and fifteen restless riders Three conductors and twenty-five sacks of mail All along the southbound odyssey The train pulls out at Kankakee Rolls along past houses, farms and fields Passin’ trains that have no names Freight yards full of old black men And the graveyards of the rusted automobiles
Good morning America how are you? Don’t you know me I’m your native son I’m the train they call The City of New Orleans I’ll be gone five hundred miles when the day is done
Dealin’ cards with the old men in the club car Penny a point ain’t no one keepin’ score Won’t you pass the paper bag that holds the bottle Feel the wheels rumblin’ ‘neath the floor And the sons of Pullman porters And the sons of engineers Ride their father’s magic carpets made of steam Mothers with their babes asleep Are rockin’ to the gentle beat And the rhythm of the rails is all they dream
Good morning America how are you? Don’t you know me I’m your native son I’m the train they call The City of New Orleans I’ll be gone five hundred miles when the day is done
Nighttime on The City of New Orleans Changing cars in Memphis, Tennessee Half way home, we’ll be there by morning Through the Mississippi darkness Rolling down to the sea And all the towns and people seem To fade into a bad dream And the steel rails still ain’t heard the news The conductor sings his song again The passengers will please refrain This train’s got the disappearing railroad blues
Good night, America, how are you? Don’t you know me I’m your native son I’m the train they call The City of New Orleans I’ll be gone five hundred miles when the day is done
This was a very enjoyable song by Dexy’s Midnight Runners. It was very different than what was on the radio at the time. It was released in 1982 and peaked at #1 in the Billboard 100, #1 in the UK Charts, and #2 in Canada. The song was written by lead singer Kevin Rowland.
I really thought this band would score another hit but they ended up a one hit wonder…one thing that didn’t help was when they were opening up for David Bowie in France, Kevin Rowland called Bowie a bad copy of Bryan Ferry and later he told the British press: “We only agreed to the show because France is an important market for us – not because I have any respect for Bowie”… Not a smart thing to do.
This song is based on a true story. Eileen was a girl that Kevin Rowland grew up with. Their relationship became romantic when the pair were 13, and according to Rowland, it turned sexual a year or two later.
Rowland was raised Catholic and served as an altar boy in church. Sex was a taboo subject, and considered “dirty” – something that fascinated him. When he wrote this song, Rowland was expressing the feelings of that adolescent enjoying his first sexual relationship and dreaming of being free from the strictures of a buttoned-down society:
You in that dress
My thoughts I confess
Verge on dirty
The song describes the thin line between love and lust.
“Come On Eileen”
Come on Eileen
Come on Eileen
Poor old Johnnie Ray Sounded sad upon the radio But he moved a million hearts in mono Our mothers cried Sang along Who’d blame them?
You’ve grown (you’re grown up) So grown (so grown up). Now I must say more than ever
Come on Eileen
Too-ra-loo-ra, too-ra-loo-rye, aye And we can sing just like our fathers
Come on Eileen Oh, I swear (what he means) At this moment you mean everything You in that dress My thoughts I confess Verge on dirty Oh, come on Eileen
Come on Eileen
These people ’round here Wear beaten-down eyes sunk in smoke-dried faces They’re so resigned to what their fate is
But not us (no, never) No, not us (no, never) We are far too young and clever Remember
Too-ra-loo-ra, too-ra-loo-rye, aye Eileen I’ll hum this tune forever
Come on Eileen Oh, I swear what (what he means) Ah, come on let’s take off everything Pretty red dress Eileen (tell him yes) Ah, come on let’s Ah, come on Eileen
Pretty red dress Eileen (tell him yes) Ah, come on let’s Ah, come on Eileen, please
Come on Eileen, too-loo-rye-aye Come on Eileen, too-loo-rye-aye Now you’re all grown Now you have shown Oh, Eileen
Say, come on Eileen These things they are real And I know how you feel Now I must say more than ever Things ’round here have changed
I say, too-ra-loo-ra, too-ra-loo-rye-aye
Come on Eileen Oh, I swear (what he means) At this moment you mean everything You in that dress, My thoughts I confess Verge on dirty Ah, come on Eileen
Ah, come on Eileen Oh, I swear (what he means) At this moment you mean everything You in that dress, My thoughts I confess Well, they’re dirty Come on Eileen
I usually don’t post novelty songs, but I grew up with this one. It still makes me laugh to this day and contains one of my favorite lines,Take a trip and never leave the farm.
This song made me laugh as a kid. It’s about as corny as you can get but fun all the same. Jim Stafford had some novelty hits. His prime was 1973-1974. I had in my possession (from my sister) three of his hits. The Wildwood Weed, Swamp Witch, and his biggest hit, “Spiders and Snakes.”
It was a left-field slice of Southern-fried pop comedy that somehow crashed the charts in the middle of an era dominated by singer-songwriters and serious rock men. Now let’s be clear: “Wildwood Weed” isn’t a song so much as a story, a little slice of country funk narrated by a hayseed philosopher who sounds like he might’ve just rolled off the porch with a mason jar in hand. Over a shuffling, easygoing country-blues vamp, Stafford drawls out the tale of two good ol’ boys who discover a mysterious plant growing in the fields. They dry it, smoke it, and before long they’re laughing, dancing, and finding themselves “sittin’ on that sack of seeds.”
Jim has a sense of humor.
It didn’t take a genius to know what Wildwood Weed was about but the first time I heard it as an eight-year-old, an older neighbor had to tell me about it. It peaked at #7 on the Billboard charts. It actually made it to #57 on the country charts, which surprises me, knowing how conservative country was at that time.
Wildwood Weed
Jim Stafford
The wildwood flower grew wild on the farm, And we never knowed what it was called. Some said it was a flower and some said it was weed, I never gave it much thought …… One day I was out there talking to my brother, Reached down for a weed to chew on, Things got fuzzy and things got blurry, And then everything was gone! Didn’t know what happened, But I knew it beat the hell out of sniffin’ burlap.
I come to and my brother was there, And he said, What’s wrong with your eyes? I said, I don’t know, I was chewing on a weed. He said, Let me give it a try. We spent the rest of that day and most of that night, Trying to find my brother, Bill. Caught up with him, ’bout six o’clock the next morning, Naked, swinging on the wind mill! He said he flew up there. I had to fly up there and bring him down, He was about half crazy …..
The very next day we picked a bunch of them weeds, And put ’em in the sun to dry. Then we mashed ’em up and chopped ’em up, And put ’em in the corncob pipe. Smokin’ that wildwood flower got to be a habit, We didn’t see no harm. We thought it was kind of handy, Take a trip and never leave the farm!
All good things gotta come to an end, And it’s the same with the wildwood weed. One day this feller from Washington came by, And he spied it and turned white as a sheet. Then they dug and they burned, And they burned and they dug, And they killed all our cute little weeds. Then they drove away, We just smiled and waved ………. Sittin’ there on that sack of seeds!