Firefall – Cinderella

An unfortunate true-to-life song by Firefall. I was at my friend Dave’s site a few days ago and he featured one of their bigger hits. I like their big hits so I enjoyed Dave’s post but this is the song I think of when I think of Firefall. It’s a dark song that I remember well because my sister had the single.

This song peaked at #34 on the Billboard 100. Some of the band members were from other bands. Drummer Michael Clarke was from the Byrds, Jock Bartley played with Gram Parsons, and Rick Roberts was formerly with the Flying Burrito Brothers. Cinderella was released in 1977.

It was written by Firefall’s guitarist and vocalist Larry Burnett, the song stands out for its unfortunate realistic tone. This wasn’t the recipe for a hit song but was a hit. It was on their self-titled debut album released in 1976 which also included You Are The Woman.

Dave said this in his Just Remember I Love You post: They’d had one prior top 10 hit in “You Are The Woman” the year before and one more sizable hit the following year with “Strange Way.“, which was written mainly by Atlantic Records producer Tom Dowd. Thanks, Dave!

Larry Burnett: “I certainly didn’t have a wife or a girlfriend who was pregnant and I was working my butt off trying to support us. None of that was going on. But it was certainly happening around me in other people’s lives.”

According to the interview below…Larry wrote it when he was 16 years old and in high school but he didn’t live it.

Cinderella

Last December I met a girl
She took a likin’ to me
Said she loved me
But she didn’t know the meaning of the word

She imagined love to be grand
Me holdin’ her hand and
Whisperin’ sweet things and
Cooin’ softly like a song bird

Then one mornin’ she came to me
With a tear in her eye and a
Sigh on her breath Lord she said
“Hon I’m heavy with child”

I said “god damn girl can’t you see
That I’m breakin’my back
Just tryin’ to keep my head above water
And it’s turnin’ me wild”

Cinderella can’t you see
Don’t want your company
You better leave this mornin’ leave today
Take your love and your child away

Rockin’ chair on the front porch
I’m thinkin’ about all the things that I did
As a young man
Now that I’m old

I remember her and the boy
Did he have all the toys and the joys
That a young man should have
Before he gets too old

Cinderella couldn’t you see
Didn’t want your company
Shoulda left that mornin’ left that day
Took your love and your child away

Temptations – My Girl

I was driving my 1966 Mustang back in 1983 and I had a cassette tape player with a tape I made. This song and Cloud 9 was on it and it went with me everywhere. Later on, while going through breakups with girlfriends…the Temptation songs were with me all the way.

It was written and produced by Smokey Robinson and Ronald White (both members of The Miracles), and the song became a breakthrough for The Temptations and Motown Records. Smoky supposedly wrote the song for his wife Claudette. It was written for David Ruffin’s voice and it worked perfectly. They had some hits before this one but none were #1 in the Billboard 100 and R&B charts. 

The recording featured the one and only Funk Brothers, Motown’s house band, who laid down the smooth, soulful track like always. The song’s most memorable musical features are James Jamerson’s bassline and Robert White’s guitar riff…I would throw in David Ruffin as well. It’s a simple riff but sometimes simple is the best…it sticks with you. The song peaked at #1 on the Billboard 100, #1 on the Billboard R&B Charts, #6 in Canada, and #43 in the UK in 1964-65.

The song has been used in countless films, TV shows, and commercials. It’s one of the most well-known songs of the 20th century. In 2017, it was selected for preservation in the National Recording Registry by the Library of Congress for being “culturally, historically, or artistically significant.”

My Girl

I’ve got sunshine, on a cloudy dayWhen it’s cold outside, I’ve got the month of May (ooh)I guess you’d sayWhat can make me feel this way?

My girl, my girl, my girlTalkin’ ’bout my girl, my girl

I’ve got so much honey, the bees envy meI’ve got a sweeter song, than the birds in the treesWell, I guess you’d sayWhat can make me feel this way?

My girl, my girl, my girlTalkin’ ’bout my girl, my girl

Ooh, oohHey-hey-hey, hey-hey-heyOoh, ooh, yeah

I don’t need no money (ooh), fortune, or fameI’ve got all the riches, baby (ooh) one man can claimWell, I guess you’d sayWhat can make me feel this way?

My girl, my girl, my girlTalkin’ ’bout my girl, my girl(Talkin’ ’bout my girl)

I’ve got sunshine on a cloudy day (whoa, whoa) with my girlI’ve even got the month of May, with my girl (talkin’ ’bout my girl)Talkin’ ’bout, talkin’ ’bout, talkin’ ’bout my girl (ooh)Ooh, my girl (talkin’ ’bout my girl)That’s all I can talk about is my girl (ooh)Why don’t you believe she’s all my girl? (Talkin’ ’bout my girl)

Searchers – Needles and Pins

This song to me is a pre-power pop song. You have the jangle, harmonies, and the melodic touches throughout it. It inspired later artists, including The Byrds and Tom Petty, with its chiming guitars.

Jack Nitzsche and Sonny Bono wrote this song. Nitzsche was a producer who worked on a lot of movies. Bono married Cher, but before he was known as her husband, he was a record producer who made a name for himself working with Larry Williams on songs like “Bony Maronie” and “Dizzy Miss Lizzie.” Jackie DeShannon first recorded the song in early 1963. Her version stalled out on the charts because it didn’t get play in the US then.

This song peaked at #13 in the Billboard 100, #1 in the UK, and #14 in Canada in 1964. Great song and the first time I really noticed it was when Tom Petty did a live cover of it.

The Searchers heard British performer Cliff Bennett sing this at the Star Club in Hamburg, Germany and wanted it to be their next single. Two 6-string guitars are playing in unison in the intro – it sounds like a 12-string guitar because an engineer accidentally left the echo switch on but liked the result.

Many artists have covered Needles and Pins, including Tom Petty and the Heartbreakers with Stevie Nicks, Smokey, Ramones, and many more.

Needles and Pins

I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they’d go away
But still they’d begin, needles and pins
Because of all my pride, the tears I gotta hide

Hey I thought I was smart, I’d won her heart
Didn’t think I’d do, but now I see
She’s worse to him than me, let her go ahead
Take his love instead, and one day she will see
Just how to say please, and get down on her knees
Hey that’s how it begins, she’ll feel those needles and pins
A-hurtin’ her, a-hurtin’ her

Why can’t I stop and tell myself I’m wrong, I’m wrong, so wrong
Why can’t I stand up and tell myself I’m strong

Because I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they’d go away
But still they’d begin needles and pins
Because of all my pride, the tears I gotta hide

Oh needles and pins, needles and pins, needles and pins

Favorite Beatle

Dave at A Sound Day invited me to write a post in his series Turntable Talk. He wanted to know either our favorite Beatle or someone close to them. I picked the only choice I could.

Ever since I was 8 years old I was always drawn to the long-haired guy with those round glasses on the album cover. When I heard his songs and heard about his personality, I knew he was The Beatle I looked forward to in interviews and songs.

On the surface the reasons are many. The man’s voice was one of the best rock voices I’ve ever heard. I favored his voice over McCartney, Harrison, and Starr. He probably could write better rock songs than the other Beatles and he also had a great sense of melody that could keep up with Paul and at times surpass him on ballads. Yes, he could be witty, sharp, and downright hateful at times. A little about his childhood will say a lot.

His childhood was tragic in many ways, but he wasn’t poor. He was the most middle-class out of all of the Beatles. He was abandoned by his father and then his mother gave him to her sister and brother-in-law to raise. John drew close to his aunt and uncle, especially his Uncle George. They were building a strong bond but when John was 14 Uncle George died suddenly at age 52.

He then just had his Aunt Mimi, and she was very strict…and strict didn’t go well with Lennon at that time or anytime. Uncle George was friendly with John while the black or white Mimi didn’t stand for anything out of line. Lennon’s mother came back in his life when John was 16. He got to know her more and they visited each other. As soon as they were getting close in 1958, she was hit by a car by an off-duty policeman walking back home from Mimi’s house.

Later on, one of his best friends was Stuart Sutcliffe who played bass for the Beatles and was one of the best artists in Liverpool at the time. Stuart would stay close to John even when he quit The Beatles. Stuart would die at 21 years old when John was 21. He felt like when people got close to him they would die or be abandoned. This can help explain the rude and crude Lennon of the sixties. By the seventies, he seemed to be much calmer and more relaxed. By many fans’ accounts…he was the most fan-friendly out of all of them. There are multiple stories of him inviting fans into his home talking to them and showing them around.

The main reason though…I just think his songwriting was the most powerful out of them all. Yes, Paul was the most successful after The Beatles, but you are only as strong as your weakest album tracks. That is where John had Paul beat, to me anyway. It’s not all about hits. Songs like Working Class Hero, God, Gimme Some Truth, and I Know (I Know) were better than many of his and Paul’s hits. John was the leader, the muscle, and the architect of The Beatles.

Otis Clay – That’s How It Is (When You’re In Love)

I always liked the late sixties and early seventies soul and R&B…this one fits the bill.

Otis Clay, born in Mississippi and raised in Chicago, started his career in gospel music before transitioning to soul music in the mid-sixties. His move into soul followed a trend among gospel artists of that era, like Aretha Franklin and Sam Cooke, who carried over the powerful vocal styles to soul music.

In 1957, Otis Clay sang with several gospel groups, including the Golden Jubilaires, the Blue Jays, and the Pilgrim Harmonizers. However, it was with the Gospel Songbirds that he made his first recording in 1964, Jesus, I Love to Call His Name. Shortly after its release, Clay accepted an offer to join the renowned Sensational Nightingales, with whom he toured until mid-1965. He then decided to cross over into the R&B genre and signed with the One-derful label. “That’s How It Is (When You’re in Love)” took Clay onto the R&B charts in 1967.

The follow-up, Lasting Love, was also a hit, but Clay’s contract was sold to Cotillion Records as One-derful faced bankruptcy. His releases there included She’s About A Mover and Do Right Woman—Do Right Man (both of which were recorded at Muscle Shoals), as well as a searing version of Pouring Water On A Drowning Man.

The song peaked at 131 on the Billboard 100 and #34 on the Billboard R&B Chart in 1967.

His version of Pouring Water On A Drowning Man. He does a great version but my favorite version is by James Carr.

That’s How It Is

Please, somebody take your hand and slap some sense into me
Open my eyes, ’cause I’m too blind to see
I’ve got this woman and she’s messin’ my mind around
She knows that I love her, but still she’s tryin’ to put me down
I know I’m just a fool, someone she can use
But I can’t help myself, ooh, I can’t help myself

Ooh, now listen baby, I know I’m just your fool
But I love you, and for you I’ll break every rule
Now I’ve broken hearts before of the ones that love me
But now I’m in love, too, place no one above you
The Lord knows I love you, always thinkin’ of you
But I can’t help myself, I can’t help myself

Ooh no, please don’t look down on me
Because I’m weak. When you’re in love, it’s easy to be
I know I’m being abused
Misused and confused
But that’s how it is when you’re in love

That’s how it is now
I know that’s how it is now
When you love someone that don’t love you
Oh yeah, keep on being abused
Misused and confused
But that’s how it is when you’re in love

Make you feel so fine, yeah now
All right, oh yeah, keep on being abused
Keep on being misused
But that’s how it is
It ain’t a doggone thing you can do
No, now, oh no
Got to keep on holdin’ on, yeah

Mouse and the Traps – You’re Gonna Miss Me

I want to thank Aphoristic Album Reviews for featuring this band in his Nuggets series. I loved the song he posted so I found a few more that I like from this band. I am guilty of having too much trivia in my head, but I never heard of this band, not in reading about obscure bands or their music. I like their music and the sound of their lead singer. I would have liked them no matter what just because of that name. 

Mouse and the Traps is an American garage rock band from Tyler, Texas, active mainly during the 1960s. They gained a cult following for their gritty sound that represented garage rock well. The band is best known for their 1966 hit single, A Public Execution, which is really Dylanesque plus some Byrds thrown in. 

They began their career releasing “A Public Execution” under the name of Mouse. That was the nickname of their lead singer Ronnie “Mouse” Weiss.  Their second single in 1966 was called Maid of Sugar-Maid of Spice and they added “And the Traps.” They have had different members through the years but a constant from their original lineup is Ronnie Weiss, Dave Stanley, and Ken (Nardo) Murray. 

Much like Phil from Notes From The Cactus Patch did in the 1960s…Mouse and the Traps toured around Texas, especially Dallas. They toured around the state feverishly, playing clubs, colleges, parties, and even proms. There were occasional touring dates out of Texas, but, for the most part, they remained a very popular regional band. 

They have released a bunch of singles and a few collection albums that were released in 1982, 1995, 1997, and 2009. They finally released an album in 2020 called Walking In Dylan’s Shoes. In 1972 they were added to Lenny Kayes Nuggets compilation album of different garage bands. 

Graham from Aphoristic Album Reviews wrote: Mouse and the Traps surely hold the record for the longest gap between a debut single and a debut album. ‘A Public Execution’ was released in 1966 (although it was credited solely to their frontman). Their debut album, Walking in Dylan’s Shoes, was released in December 2020.

Mouse and the Traps - Walking In Dylans Shoes

I’ve listened to their 2020 Dylan cover album Walking In Dylan’s Shoes and I have to admit…it’s really good! 

The song I picked, You’re Gonna Miss Me, is off of their Lost Sessions Album released in 2009. I’m not sure which era it’s from although because of the quality…I would guess the 80s or 90s. They were together off and on in the 1960s – 2020.  I’m also posting the song that Graham did with Maid of Sugar-Maid of Spice (1966) along with You’re Gonna Miss Me (?). 

I’m also going to post Mouse and the Traps Lost Sessions album…give a listen to a few of them…they are awesome! Hit The Bricks and Bottom Line got my attention right away. 

 

 

Kris Kristofferson – Sunday Mornin’ Comin’ Down

I first heard Kristofferson as a kid with Why Me on the radio during the seventies. I also remember him on SNL with his then-wife Rita Coolidge. You could tell Kris had been having some fun but it sounded good. Then I found Janis Joplin’s Me and Bobby McGee and I found out that Kris wrote that song…I became a fan. Plus he was one of the Outlaws in country music that I really liked. 

In the sixties, Kris was working as a janitor in Nashville while living in a run-down tenant house. He was also a janitor at Columbia Records at the same time. This might seem normal for a songwriter who was trying to make a mark but the man had something else as well. He was a Rhodes Scholar who studied at Oxford University earning a master’s degree in English language. He also served as a captain in the U.S. Army, where he became a helicopter pilot, in addition to having completed U.S. Army Ranger School. The guy was highly talented and very smart.

He befriended Johnny’s wife, June Carter. June liked Kristofferson, and would often sneak demo tapes of his songs in her purse to bring home to Johnny. At night, she’d play the tapes for him in their bedroom above Old Hickory Lake in Tennessee. Every night Cash would listen and throw them out the bedroom window into the lake below. 

There are many stories about how Johnny got the song…but this is the version that Johnny told. At the time, Kristofferson was also working part-time as a helicopter pilot for the Army Reserve. On a routine flight training mission, Kristofferson veered off his course and headed for Cash’s home. After landing the chopper on Cash’s lawn, he walked up to the home with the demo of “Sunday Morning Coming Down” in hand. Cash said he heard the chopper land and walked out to find Kristofferson walking up to him.

“As I approached, out stepped Kris Kristofferson, with a beer in one hand and a tape in the other,” Cash said. “I stopped, dumbfounded. He grabbed my hand, put the tape in it, grinned and got back into the helicopter and was gone, a bit wobbly, but almost straight up, then out high above the lake where all his songs lay on the bottom. He disappeared through the clouds. I looked at the tape of “Sunday Morning Coming Down” and “Me And Bobby McGee.”

The first version of this song was not by Johnny Cash. Ray Stevens did the first version of the song. Ray’s version peaked at #55 on the Country Charts in 1969. Johnny Cash did the most successful version releasing it in 1970. The song peaked at #1 on the Billboard Country Charts, #1 on the Canada Country Charts, and #30 in Canada on the RPM charts. 

Kris passed away on September 28, 2024. 

Sunday Mornin’ Comin’Down

Well I woke up Sunday morning,
With no way to hold my head, that didn’t hurt
And the beer I had for breakfast,
Wasn’t bad so I had one more, for dessert
Then I fumbled through my closet,
For my clothes and found my cleanest dirty shirt
And I shaved my face and combed my hair,
And stumbled down the stairs to meet the day

I’d smoked my brain the night before on cigarettes and songs
That I’d been pickin’
But I lit my first, and watched a small kid cussin’ at a can
That he was kickin’
Then I crossed the empty street and caught the Sunday smell
Of someone fryin’chickin
And it took me back to somethin’ that I had lost somehow,
Somewhere along the way

[Chorus]
On the Sunday morning sidewalk, wishin’ Lord that I was stoned
Cause there is something in a Sunday, makes a body feel alone
And there is nothing short of die’n, half a lonesome as the sound
On the sleepin’ city sidewalks, Sunday morning coming down

In the park I saw a daddy,
With ‘w(?)’ laughin’ little girl who he was swingin’
And I stopped beside a Sunday school,
And listened to a song that they were singin’
Then I headed back for home and somewhere far away
A lonely bell was ringin’
And it echoed through the canyons like the disappearing dreams
Of yesterday

[Chorus]
On the Sunday morning sidewalk, wishing Lord that I was stoned
Cause there is something in a Sunday, make a body feel alone
And there is nothing short of die’n, half a lonesome as the sound
On the sleepin’ city sidewalks, Sunday morning coming do

Greg Kihn – Roadrunner

This song has a little of everything. Great crunchy guitar sound and an incredible bass that starts carrying the song in the middle. I love the harmonies on “Radio On” and he goes into what sounds like a slight ad-lib that I love. When you listen to it…listen to the complete song…it changes in the middle and it rocks. It’s very loose but that bass keeps it glued together. 

I first heard of Greg Kihn in 1981 when The Breakup Song (The Don’t Write ‘Em) was released. This was a power pop dream song. It was catchy, had some good guitar, and was immediately catchy. I just assumed the guy just came out with this on his debut album. I was totally wrong about that. He looked like a guy that would live next door to you but he had some great songs that weren’t heard. CB sent me this song and I had to looked twice at Greg Kihn…I never realized he had so many good songs. 

Kihn wasn’t just a musician either. He was also a novelist and disc jockey. He was born in Baltimore Maryland and stayed there until he was 23 and he moved to San Francisco to check out their music scene. He had regular jobs starting out but also formed a band and played in clubs. The guy released an album a year from 1976 to 1986. He would go on to release 12 more after that…he was very prolific.

He was first on the 1976 compilation album of many bands called Beserkley Chartbusters Vol. 1 with the songs All The Right Reasons and Mood Mood Number. The last track mentioned is very Nick Lowe sounding and I really like it. After that, he released his self-titled debut album in 1976. He kept releasing albums…in 1977 with Greg Kihn Again, Next of Kihn came in 1978 and was his first album that charted. It charted at #145 on the Billboard Album Charts. In 1979 it was With A Naked Eye that peaked at #114, and in 1980 Glass House Rock that charted at #167.

The next album, RocKihnRoll would do much better thanks to The Breakup Song. That album peaked at #32 and the song peaked at #15. He had his most successful release in 1983 with the album Kihnspiracy which peaked at #15 and the smash single Jeopardy which peaked at #2. His albums were a mix of original and cover songs. He covered Springsteen (Rendezvous and For You), Buddy Holly, Curtis Mayfield, and many more. Kihn was a good songwriter as well.

This song was written by Jonathan Richman of the band Modern Lovers. Their version was released in 1976. I like the Modern Lovers version but it doesn’t have the kick Greg puts into this song. This song was on Greg Kihn’s 1979 album With The Naked Eye

I’m going to post a bonus song…Kihn covering For Your Love live…

Roadrunner

one, two, three, four, five, six
Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop ‘n’ Shop
With the radio on
I’m in love with the modern world
I’m in love with the modern girls
Massachusetts when it’s late at night
I got the radio on
Just like the roadrunner

Said welcome to the spirit of 1956
Patient in the bushes next to ’57
Well the highway was my girlfriend cause I went by so quick
Suburban trees were out there it felt like heaven
So I said
And I say roadrunner once
Roadrunner twice
We’re in love with rock & roll so lets be out all night

(Radio On!)
I got the AM
(Radio On!)
I got the modern sound rock and roll
(Radio On!)
I got the power I got the magic now
(Radio On!)
Fifty thousand watts of power now
(Radio On!)
Going faster miles an hour, Lets Go

(Bass carries the song here)

Alright
Can’t you hear out in Cleveland now?
USA when it’s late at night
Out on Route 128 down by the power lines
It’s so exciting at midnight
It’s cold here in the dark
I might explode nowhere near
I feel in touch with the modern world
I feel in touch because

(Radio On!)
I’m in love with the AM
(Radio On!)
Cause I’m feeling so alone at night
(Radio On!)
I got the power I got the magic now
(Radio On!)
Fifty thousand watts of power now
(Radio On!)
I’m alone in the cold of night
(Radio On!)
I feel in touch I feel alive I feel alone I fell so alive, alive in love
(Radio On!)
I’m in love with rock n roll
(Radio On!)
I got the, I got the, I got the
(Radio On!)

Matthew Sweet – Girlfriend

When I first heard this song I thought of Jimi Hendrix a little with the intro and then it dissolved into one of the best power pop songs of the 1990s.  The song has a little of everything… noisy guitar, loud drums but with a pop melody. Just like I thought with Lone Justice and some others…I just knew he would be cranking out hits for the rest of his career. He has cranked out some great songs but not many hits…but that is ok.

Great power pop song by Matthew Sweet. The song reached #4 on the US Alternative Chart in 1991. This was the title cut-off of his 3rd album…it was Sweet’s breakthrough album.

The song and the album were written during a bad period in Sweet’s life, following his divorce. The themes of longing, heartache, and new beginnings pervade the lyrics, reflecting his personal struggles and growth.

The video featured scenes from the 1980s anime Space Adventure Cobra, which caught viewers’ attention and became famous in its own right. The success of Girlfriend helped establish Matthew Sweet as a power pop alternative figure in the 1990s.

A trivia question…who is that girl on the album cover? I know it because I watched a certain older show recently.

Here is some sad news about Sweet right now from https://variety.com/2024/music/news/matthew-sweet-stroke-tour-gofundme-1236187225/

Singer-songwriter Matthew Sweet suffered a debilitating stroke while on tour in mid-October, it was revealed on Tuesday, when a representative for his management company posted a fundraising appeal on GoFundMe to support his recovery.

Sweet had been out on tour opening for the group Hanson when he was stricken in Toronto Oct. 12, in advance of a date that was to have taken place there the following night.

Catherine Lyons, who represents Sweet at Russell Carter Artist Management, posted the GoFundMe on Tuesday afternoon, with a stated goal of raising $250,000 for the rocker’s medical care. The effort got off to a good start. As of 6 p.m. PT Tuesday, about 770 individuals had contributed almost $50,000, and by 8 p.m., it was up to $85,000 from 1,400 donors.

Girlfriend

I wanna love somebody
I hear you need somebody to love
Oh, I wanna love somebody
I hear you’re looking for someone to love

‘Cause you need to
Be back in the arms of a good friend
And I need to
Be back in the arms of a girlfriend

I didn’t know nobody
And then I saw you coming my way
Oh, I didn’t know nobody
And then I saw you coming my way

Don’t you need to
Be back in the arms of a good friend?
Oh, ’cause, honey, believe me
I’d sure love to call you my girlfriend

Alright

Don’t you need to
Be back in the arms of a good friend?
Oh, ’cause, honey, believe me
I’d sure love to call you my girlfriend

‘Cause you got a good thing going, baby
You only need somebody to love
Oh, you got a good thing going
You’re only looking for someone to love

‘Cause you need to
Get back in the arms of a good friend

And I’m never gonna set you free
No, I’m never gonna set you free

Ride – Chelsea Girl

I just found this band a while back when I heard Twisterella, a great power pop song.

This song is one of the early tracks by the British shoegaze band Ride, from their debut EP titled Ride, which was released in January 1990. It reached #71 on the UK singles chart. The song helped establish Ride as a pioneer in the shoegaze genre, which combines elements of power pop, post-punk, and rock. The band consists of Mark Gardener (vocals, guitar), Andy Bell (vocals, guitar), Steve Queralt (bass), and Loz Colbert (drums).

Ride was formed in 1988 in Oxford by school friends Andy Bell and Mark Gardener, before recruiting drummer Loz Colbert at the Oxfordshire School of Art & Design and local bassist Steve Queralt.

They broke up in 1996 because of differences between Andy Bell and Mark Gardener. Gardener wanted to go forward in a more dance style of music…Bell didn’t but both wanted to go more contemporary style. Bassist Steve Queralt said: The band had two future directions open to them, and they chose the wrong option.

They reunited in 2014 and released their first album in 21 years in 2017.

Chelsea Girl

Take me for a rideAway from places we had knownIf I stay around, I’ll just remember I’m aloneThere’s someone in my memory making me move onWhat was grey and hazy, is black and white, now I have gone

Drive me up to LondonNow it’s got too dark to seeMy waiting is over, there’s no visitor for meNever let me talk to youDestroy the frozen pastIt’s a different time, now things are moving much too fast

Float by today, now it’s turning to greyRaining my doubtsLet my thoughts slip awayYou must have something andWhat it is, I don’t knowYou must have something ’cause I can’t let you go

Bruce Springsteen – Growin’ Up

But when they said, “Sit down” I stood up

I’ve been thinking of the Kinks marathon we did and the next one will be on this man…Bruce Springsteen. I’ll wait til after the new year to give everyone a rest.

When I heard this song I could relate because I lived parts of this song while growing up. The rebellion and the misadventures of the teen years resonated with me. But when they said, “Sit down” I stood up and sounded like Max in high school. The album leans that way as well and that was probably the reason I connected with Greetings From Ashbury Park right away. This song is one of my many favorites on the album. He captures teen rebellion perfectly with lyrics that ping pong everywhere.

The song was on his debut album Greetings From Ashbury Park, which happens to be my favorite Springsteen album. It was released back in 1973. Springsteen was signed to Columbia Records in 1972, largely thanks to the efforts of legendary talent scout John Hammond, who had previously discovered artists like Bob Dylan, Billie Holiday, and Aretha Franklin. Hammond was blown away by Springsteen’s songwriting and performance and decided to sign him. He played his songs that ended up on this debut album.

The album received some great reviews from critics, but it wasn’t an immediate commercial success. However, the album grew in stature over time, especially after other artists began covering its songs. Manfred Mann’s Earth Band covered “Blinded by the Light,” which became a No. 1 hit in 1977, bringing more attention to Springsteen’s early work.

Bruce Springsteen: “I come from a boardwalk town where everything is tinged with just a bit of fraud. So am I. In 1972 I wasn’t any race-car drivin’ rebel, I wasn’t any corner street punk, I was a guitar player on the streets of Asbury Park, but I held four clean aces: I had youth, I had a decade of hardcore bar-band experience, I have a great group of musicians and friends who really knew my playing style, and I have a magic trick. Now, I’m here tonight to provide proof of life to that ever-elusive, never completely believable, particularly these days, us. That’s my magic trick. And like all good magic tricks, it begins with a setup.”

Growing Up

Well, I stood stone-like at midnight
Suspended in my masquerade
And I combed my hair, it was just right
And commanded the night brigade
I was open to pain and crossed by the rain
And I walked on a crooked crutch
I strolled all alone through a fallout zone
And came out with my soul untouched
I hid in the clouded wrath of the crowd
But when they said, “Sit down” I stood up
Ooh, growin’ up

The flag of piracy flew from my mast
My sails were set wing to wing
I had a jukebox graduate for a first mate
She couldn’t sail but she sure could sing
And I pushed B-52 and bombed them with the blues
With my gear set stubborn on standing
I broke all the rules, strafed my old high school
Never once gave thought to landing
I hid in the clouded warmth of the crowd
But when they said, “Come down” I threw up
Ooh, growin’ up

Work it back now

I took month-long vacations in the stratosphere
And you know it’s really hard to hold your breath
I swear I lost everything I ever loved or feared
I was the cosmic kid in full costume dress
But my feet they finally took root in the earth
But I got me a nice little place in the stars
And I swear I found the key to the universe
In the engine of an old parked car
I hid in the mother breast of the crowd
When they said, “Pull down” I pulled up
Ooh, growin’ up
Ooh, growin’ up

Nick Lowe – So It Goes

I always liked Nick Lowe and his brand of power pop. I first heard of him with Cruel To Be Kind and then Rockpile who I wish would have made more albums as Rockpile. When I started to blog, Brinsley Schwarz came on my radar and I really then realized how talented this guy is.

This was Lowe’s first solo single following the split of the pub rock band, Brinsley Schwarz. It was also the first single released on Stiff Records, a label formed by the music managers, Dave Robinson and Andrew Jakeman. The single bore the catalog number BUY 1, establishing Stiff Records as a pioneering label in the UK punk and new wave scenes.

Although So It Goes failed to chart, it still earned a profit for the young Stiff Records. It was on the American album Pure Pop For Now People.  The album in the UK was called Jesus of Cool. It peaked at #127 on the Billboard 100 in 1978.

Lowe got the title from a recurring line (So It Goes) in Kurt Vonnegut’s 1969 novel,  The Slaughterhouse-Five. It is used every time a death occurs in the book. Steve Goulding (drums) and Nick Lowe were the only two musicians on this song.  Lowe and Jake Riviera produced the album.

Nick Lowe: “It’s not my favorite, it’s a bit too much like Steely Dan. I think I must have got it from something they’d done.”

So It Goes

Remember on night the kid cut off his right arm
In a fit to save a bit of power
He got fifty thousand watts
In a big acoustic tower
Security’s so tight tonight
Oh they’re ready for a tussle
Gotta keep your backstage passes
‘Cause your promoter had the muscle

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

In the tall buildings
Sit the head of our nations
Worthy men from Spain and Siam
All day discussions with the Russians
But they still went ahead
And vetoed the plan
Now up jumped the U.S. representative
He’s the one with the tired eyes
747 for the midnight condition
Flyin’ back from a peace keepin’ mission

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

In the air there’s absolution
In the wake of a snaky Persian
On his arm there’s a skin tight vision
Wonder why she admires she is hissin’

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

But where it’s goin’ no one knows
But where it’s goin’ no one knows
But where it’s goin’ no one knows

Detroit Cobras – Ain’t It A Shame

CB sent this band to me and they are raw and powerful with a unique singer. I really love garage type bands. Bands like this were big in the sixties and turned toward punk in the 70s. They made a comeback in the 80s against the synth based mainstream at the time. The alternative rock scene was born which I liked more than the then top 40 with The Replacements, REM, The Dead Kennedys, and more.

The hardest part about this post was picking out which song to highlight. The album I’ve listened to is The Detroit Cobras: The Original Recordings which rocks. All of their covers are loud raw and catchy like garage rock is. I loved how they picked the songs they covered. Songs that went under the radar when they were originally released.

This song…not to be confused with Ain’t That A Shame was originally recorded by Question Mark and The Mysterians. The song was written by their drummer Robert Martinez and released in 1969.

The Detroit Cobras were known for their reinterpretations of classic R&B, rock, and soul songs. Guess where they are from? They emerged in the mid-1990s and added to the garage rock revival movement of that era. They came out of the same Detroit scene as the White Stripes did.

The band was formed in 1994 by guitarist Steve Shaw and drummer Jeff Meier but lead vocalist Rachel Nagy and guitarist Mary Ramirez would become the core of the band. The Cobras set themselves apart by reimagining lesser-known songs from the 1950s and 1960s rather than writing their own original material.

Lemon Pipers – Green Tambourine

When I first started to blog, mostly all I did was older hits and pop culture. I then started to experiment with album cuts and they seemed to go over pretty well. I’m surprised that I never blogged this song at the beginning. I’ve always liked it… it’s a mixture of pop, bubblegum, and a little psychedelia. What stuck out to me is the sitar…which I love to hear.

Bubblegum has a bad name but there is good bubblegum and I do like some of it. I never cared for The 1910 Fruitgum Company and The Ohio Express but some I did like. Crazy Elephant’s Gimme Gimme Good Loving and songs like that…I’ve always been fond of.

The Lemon Pipers were formed in 1966 in Oxford, Ohio, by students from Miami University. The band played harder psychedelic and blues rock. Buddah Records had different ideas. They pushed The Lemon Pipers into more bubblegum-type music. The tension between the record company and The Lemon Pipers eventually broke the band up in 1969.

You could probably consider The Lemon Pipers a one-hit wonder. They had some other charting songs but none in the top 40 on the Billboard 100 except the song Rice Is Nice which peaked at #6 in New Zealand.

This song did well here and everywhere. It peaked at #1 on the Billboard 100, #3 in Canada, #3 in New Zealand, and #7 in the UK in 1967. The song has appeared in various films and television shows and made its place as a symbol of 1960s pop culture.

Green Tambourine

Drop your silver in my tambourine
Help a poor man fill a pretty dream
Give me pennies, I’ll take anything
Now listen while I play
My green tambourine

Watch the jingle jangle start to shine
Reflections of the music that is mine
When you toss a coin, you’ll hear it sing
Now listen while I play
My green tambourine

Drop a dime before I walk away
Any song you want, I’ll gladly play
Money feeds my music machine
Now listen while I play
My green tambourine

Listen and I’ll play

The Cavern

Thanks to Dave from A Sound Day for publishing this post on October 25, 2024. It was part of his Turntable Talk: Our guest columnists are invited to go on a magical musical road trip and visit any musical location they want to – past or present – and see it in all its glory. 

I would love to go to the Cavern. The Beatles would not have to be there for me to enjoy its dark wet walls. They have built a new one but it’s not the same location of the original. That is great for the tourists but what’s the point? I would love to go back to 1957 – 1972 to walk into the cavern. Just to feel the history inside of that place. The Beatles were not the only big name to play there as you will see. A small cellar club that would be known around the world…including a small town in Tennessee.

The original Cavern Club was founded on January 16, 1957, by Alan Sytner. Sytner was inspired by jazz clubs he had visited in Paris such as the Le Caveau de la Huchette. The Cavern Club was initially a jazz club, with early performances focusing on traditional jazz and skiffle, a blend of folk and jazz. No rock and roll or blue jeans were allowed in the club. Ringo Starr debuted there on July 31, 1957, playing drums in the Eddie Clayton Skiffle Group. John Lennon would appear there on August 7, 1957, with the Quarrymen Skiffle Group. That year Big Bill Broonzy played there along with jazz great Ronnie Scott. In 1959 Sonny Terry and Brownie McGhee played there as well.

In the early 1960s, rock ‘n’ roll became popular in Liverpool, with skiffle bands embracing electric guitars and rhythm. The Beatles made their first appearance on February 9, 1961. They performed there 292 times between 1961-1963. Brian Epstein ran a record store called NEMS and when a teen asked for My Bonnie by Tony Sheridan and The Beatles…Brian wanted to find it. He was told that The Beatles played at the Cavern so on November 9, 1961, Brian walked down the steps in the Cavern to discover The Beatles’ playing.

In less than a year he had them sign an EMI contract and Ringo replaced Pete Best in August of 1962. A year later on August 3, 1963, the Beatles played their last show there…they had outgrown the Cavern and had to start touring nationally. After The Beatles left, other bands came there to play in Liverpool. The Cavern became a hotspot for other British acts, including The Rolling Stones, The Who, The Kinks, Queen, The Yardbirds, Black Sabbath, Elton John, and The Hollies.

Paul McCartney didn’t forget the place. In 1968 he and Linda went back to visit the Cavern. The band Curiosity Shop was rehearsing, and Paul decided to join them by helping on the drums. Before getting on stage with the band Paul got behind the piano in the lounge and performed a solo performance of Hey Jude.

After struggling with financial issues, the original club was closed in 1973 due to the construction of a railway ventilation shaft. Much of the original Cavern was demolished, though some bricks were saved. A lot of the Cavern was filled in by rubble. In the early eighties architect David Backhouse said that the plans to excavate and re-open the Cavern Club in its original form would not be possible for structural reasons. Tests had revealed the arches of the old cellar had been too badly damaged during the demolition of the ground floor of the Cavern Club and the warehouses above.

There is a new Cavern as I said at the beginning and if I make it over there yes, I will see it but it would not be the same as seeing the real deal. That got me thinking…is that stage still there just covered with rubble from 1973?  Dave, Obbverse, Randy, Keith, John, and Christian…grab a shovel and meet me there now!