Climax Blues Band – Couldn’t Get It Right

I remember this song from when I was growing up. The Climax Blues Band had been playing since the late 60s, more of a blues-rock outfit at first (the name sort of gives that away). But by 1976, when they cut Gold Plated, the band shifted gears. Paul Carrack-style keyboards, funky guitars, and a dance-floor beat crept in. The result was this song, and it was a perfect slice of transatlantic pop.

This wasn’t supposed to be the single. The label wanted a hit, the band knocked this one together, and boom: lightning in a bottle. Climax Blues Band never really matched the success of Couldn’t Get It Right again, but that hardly matters. One song like this that still plays on classic rock radio and quietly fills dance floors decades later.

They scored with this song in 1976, which peaked at #3 on the Billboard 100, #8 in Canada, and #10 in the UK. Their other big hit was “I Love You,” released in 1979. A version of this band is still playing today.

From Songfacts.

This song is a great example of the dual vocal technique The Climax Blues Band was known for. Holt explains: “Colin Cooper used to sing the lead – the low vocal, and I used to sing an octave higher. And then, because 4 of us sang in the band, we used to harmonize. The fact that we had the dual singing the same line but with an octave split made the sound very unique, and it’s still very unique today. Whenever people use it I think it’s great. That was one of our trademarks, we just used to sing together in unison.”

Couldn’t Get It Right

Time was drifting
This rocker got to roll
So I hit the road and made my getaway
Restless feeling, really got a hold
I started searching for a better way

But I kept on looking for a sign
In the middle of the night
But I couldn’t see the light
No, I couldn’t see the light
I kept on looking for a way
To take me through the night
I couldn’t get it right
I couldn’t get it right

LA fever made me feel alright
But I must admit it got the best of me
Getting down, so deep I could have drowned
Now, I can’t get back the way I used to be

But I kept on looking for a sign
In the middle of the night
But I couldn’t see the light
No, I couldn’t see the light
I kept on looking for a way
To take me through the night
I couldn’t get it right
I couldn’t get it right

New York City took me with the tide
And I nearly died from hospitality
Left me stranded, took away my pride
Just another no account fatality

I kept on looking for a sign
In the middle of the night
But I couldn’t see the light
No, I couldn’t see the light
I kept on looking for a way
To take me through the night
I couldn’t get it right
I couldn’t get it right

I kept on looking for a sign
In the middle of the night
But I couldn’t see the light
No, I couldn’t see the light
I kept on looking for a way
To take me through the night
I couldn’t get it right
I couldn’t get it right

I kept on looking for a sign
In the middle of the night
But I couldn’t see the light
No, I couldn’t see the light
I kept on looking for a way
To take me through the night
I couldn’t get it right
I couldn’t get it right

Billy Preston – Will It Go Round In Circles

Billy Preston and Bruce Fisher wrote this song as well as “Nothing from Nothing” and You Are So Beautiful. Will It Go Around In Circles peaked at #1 in the Billboard and #1 in Canada. Billy Preston played with the biggest names including The Beatles and The Rolling Stones. When he was a teenager he played keyboards in Little Richard’s band and met The Beatles while they were still playing in Hamburg.

During the difficult recording of Let It Be George Harrison invited Billy to play with The Beatles and it eased the tensions with the group somewhat and Billy contributed to the album and movie.

He toured with the Stones in the seventies also.

 

From Songfacts.

This was borne out of a joke Preston made to his songwriting partner, Bruce Fisher, about having a song but no melody. The comment inspired the opening refrain, “I got a song that ain’t got no melody, I’m gonna sing it to my friends,” and set up similar proclamations, such as having a story with no moral and having a dance with no steps.

The song’s success allowed Fisher to finally quit his job in the mailroom at NBC in Burbank, California. He went on to collaborate with Preston on his next #1, “Nothing From Nothing,” and the Joe Cocker hit “You Are So Beautiful.”

Will It Go Round In Circles

I’ve got a song, I ain’t got no melody
I’ma gonna sing it to my friends
I’ve got a song, I ain’t got no melody
I’ma gonna sing it to my friends

Will it go round in circles?
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

I’ve got a story, ain’t got no moral
Let the bad guy win every once in a while
I’ve got a story, ain’t got no moral
Let the bad guy win every once in a while

Will it go round in circles?
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

I’ve got a dance, I ain’t got no steps, no
I’m gonna let the music move me around
I’ve got a dance, I ain’t got no steps
I’m gonna let the music move me around

Will it go round in circles?
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

Well
Well
Well
Well

Will it go round in circles?
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

I’ve got a song, I ain’t got no melody
I’ma gonna sing it to my friends
I’ve got a song, I ain’t got no melody
I’ma gonna sing it to my friends

Will it go round in circles?
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

Go round in circles
Will it fly high like a bird up in the sky?
Will it go round in circles?
Will it fly high like a bird up in the sky?

Dodgers vs. Red Sox

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.

Should be a good series.

 

America – Lonely People

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.

From Songfacts.

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

Jim Croce – Operator (That’s Not the Way It Feels)

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

Maria Muldaur – Midnight at the Oasis

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”

 

From Songfacts.

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

 

Lynyrd Skynyrd – 41 Years Ago

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.

https://www.rollingstone.com/music/music-features/remembering-lynyrd-skynyrds-deadly-1977-plane-crash-2-195371/

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Nena – 99 Luftballons

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.

From Songfacts.

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.

https://en.wikipedia.org/wiki/99_Luftballons

Below are both versions

99 Luftballoons

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 “Blind Owl” Wilson

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.”

– Alan C. Wilson, 1970

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Dolly Parton – Jolene

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 HITS 54 TOP 10 HITS 107 SONGS IN THE CHARTS

From Songfacts.

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

Jolene, Jolene

 

The 50’s Revival in the 1970’s

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.

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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.

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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.

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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.

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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.

The 1972 London Rock and Roll Show

Phantom 309

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 abuckAnd things didn’t work out, I was down on my luckGot tired a-roamin’ and bummin’ aroundSo I started thumbin’ back East, toward my home town.

Made a lot of miles, the first two daysAnd I figured I’d be home in week, if my luck held out this wayBut, the third night I got stranded, way out of townAt a cold, lonely crossroads, rain was pourin’ down.

I was hungry and freezin’, done caught a chillWhen the lights of a big semi topped the hill Lord, I sure was glad to hear them air brakes come onAnd I climbed in that cab, where I knew it’d be warm.

At the wheel sit a big man, he weighed about two-tenHe stuck out his hand and said with a grin“Big Joe’s the name”, I told him mineAnd he said: “The name of my rig is Phantom 309.”

I asked him why he called his rig such a nameHe said: “Son, this old Mack can put ’em all to shameThere ain’t a driver, or a rig, a-runnin’ any lineAin’t seen nothin’ but taillights from Phantom 309.”

Well, we rode and talked the better part of the nightWhen the lights of a truck stop came in sightHe 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 lowAnd said: “Have yourself a cup on old Big Joe.”When Joe and his rig roared out in the nightIn nothin’ flat, he was clean out of sight.

Well, I went inside and ordered me a cupTold the waiter Big Joe was settin’ me upAw!, you coulda heard a pin drop, it got deathly quietAnd the waiter’s face turned kinda white.

Well, did I say something wrong? I said with a halfway grinHe said: “Naw, this happens every now and thenEver’ driver in here knows Big JoeBut son, let me tell you what happened about ten years ago.

At the crossroads tonight, where you flagged him downThere was a bus load of kids, comin’ from townAnd they were right in the middle, when Big Joe topped the hillIt could have been slaughter, but he turned his wheel.

Well, Joe lost control, went into a skid And gave his life to save that bunch-a kidsAnd there at that crossroads, was the end of the lineFor Big Joe and Phantom 309

But, every now and then, some hiker’ll come byAnd like you, Big Joe’ll give ’em a rideHere, have another cup and forget about the dimeKeep it as a souvenir, from Big Joe and Phantom 309!”

Brewer & Shipley – One Toke Over the Line…and another version

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.

From Songfacts.

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

Love Grows (Where My Rosemary Goes)

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

Arlo Guthrie – City of New Orleans

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