Music – Page 42 – PowerPop… An Eclectic Collection of Pop Culture

Hacienda Brothers – Cowboys To Girls

I got an email from CB and he was listening to these guys. I started looking them up and thought I had seen this title before. It was a hit for a soul band called The Intruders in the sixties.

They are a band I’ve listened to for the past couple of weeks. I haven’t found a bad cut. They have a soul-sounding country…two genres I never thought about mixing. The guitar player Dave Gonzalez plays a Danelectro guitar I talked about a few posts back with the Southern Culture on the Skids band. It can give you a sharp twangy sound. A different kind of twangy than a Telecaster. The singer Chris Gaffney had such a soulful voice…his voice ties everything together and makes it work.

I’m going to post the song Cowboys to Girls…but also another song just to give you a different take from them. The song is South of Lonesome which has that twangy Danelectro in the background. It reminds me of the Flying Burrito Brothers.

Chris Gaffney and Dave Gonzalez first met in the early 2000s. Gaffney was already an established artist with a background in country and roots music. He was in a band called Cold Hard Facts and toured with Dave Alvin…formly of The Blasters. While Gonzalez was known for his work with The Paladins, a roots rock band. They bonded over their shared love for classic country music and influences such as Merle Haggard, Buck Owens, and the Bakersfield sound.

They were together from 2002 through 2008. They released 4 albums and their last album came out in 2008 called Arizona Motel. Gaffney passed away during the making of the last album and they finished and released it. They were a cool mixture of country, soul, and rock influences, that some critics described as “western soul.”

The song Cowboys to Girls by The Intruders peaked at #6 on the Billboard 100 in 1967. The song was written by the legendary Kenny Gamble and Leon Huff.

Cowboys To Girls

Cowboys to girlsI remember when I used to play shoot ’em up(Shoot ’em up, bang, bang baby)I remember when I chased the girls and beat ’em upBut I was young and didn’t understandBut now I’m a grown up manI know girls are made for kissingNever knew what I was missingNow my life is not the sameMy whole world has been rearrangedI went from (cowboy to girls)Oh yes I did(Cowboys to girls)

I remember when I used to see you jumping rope(Jumping rope up and down baby)And I remember when you got your first baby coachBut you were young and didn’t understandNow you’re a woman and I’m a manAnd it’s me that you’re kissingAin’t it fun reminiscingNow our lives are not the sameOur whole world has been rearranged

You went from (pretty dolls to boys)Oh yes you didAnd I went from (cowboys to girls)Oh yes I didAnd it’s me that you’re kissingAin’t it fun reminiscingAnd my life life is not the sameThis whole world has been rearrangedI went from (cowboys to girls)Oh yes I didYou went from (pretty dolls to boys)Oh yes I didI went from (cowboys to girls)

…

Guadalcanal Diary – Always Saturday

I found this band in 2019 when I was covering alternative bands from the 80s. So many great bands from that era that never made it to the mainstream. It is a shame that these bands didn’t have a larger audience. They had many songs that were better than what the mainstream was providing. Some of the alternative bands of 2024 sound like their 1980s predecessors.

These bands didn’t get the 1980s production memos. They sounded different from their mainstream counterparts and added a sixties jangle with a much smaller production. It’s not as easy to date them…the music was a little more timeless.

This band came from Marietta, Georgia, a suburb of Atlanta, but they were often billed as being from Athens, Georgia, and were lumped in with the other Athens acts like REM. They were a college Alternative Band.

I blogged about this band years back. Watusi Rodeo and Trail Of Tears off their debut album Walking In The Shadow of the Big Man. I would recommend that album to anyone for catchy songs and good lyrics. It is one of the best debut albums I’ve listened to.

Still in high school, singer/guitarists Murray Attaway and Jeff Walls became musical partners when they joined the punk band Strictly American. Electing to strike out on their own, they formed the Emergency Broadcast System (I love that name!). Walls was teaching Rhett Crowe bass at the time and she was asked to join the band. Crowe accepted the offer and quickly suggested a name change to Guadalcanal Diary (based on the 1940s movie).

The band formed in 1981 and disbanded in 1989. They reformed in 1997 but never recorded any new material. After going on hiatus in 2000, Guadalcanal Diary temporarily reunited for a second time in 2011 for Athfest, where they celebrated their 30th anniversary.

They released this song in 1989. It was on the album Flip Flop. The song was written by Murray Attaway & Jeff Walls. The song charted at #7 on the Billboard Alternative Chart in 1989. It stayed around for 10 weeks on the chart. It was their most successful and remembered song.

Though Guadalcanal Diary never achieved the same level of commercial success as some of their peers, they left a lasting impact on the alternative rock scene of the 1980s.

The Chicago Tribune on the album Flip Flop – Terrific mainstream rock, a shade quirkier than John Mellencamp or Tom Petty but no less deserving of Top 40 status.

The Los Angeles Times: “One of the most underrated, overlooked and inaccurately compared to R.E.M. bands around doesn’t offer much to change that on its fourth album.”

The Northwest Florida Daily News: Artsy rock ‘n’ roll that doesn’t stray too far from homespun melodies and twangy guitars.

Always Saturday

Waterfall pavement shimmering
Sunshine washes everything
A basket of light, I am trusting
To water the lawn is a wondrous thing

If I could have it this way I know I’d
I’d wanna live where it’s like today
I’d wanna live where it’s always this way
I wanna live where it’s always Saturday

A chorus of laughter fills the air
Everyone’s going everywhere
So many choices it’s not fair
I hop in the car and I just sit there

I don’t need, need to think about how much I
I wanna live where it’s all the same
I wanna live where it’s all just like today
I wanna live where it’s always Saturday
In the shops are shining things

I can I can see them glittering
I wish that I could buy them all
I wish I lived in a shopping mall

Shady back yard afternoon
Summer clothes and tennis shoes
When the light begins to fade
A porch swing creaks with lemonade

A shower of whispers glow and bloom
Late night movie fills the room
Streetlights twinkling like dew
I close my eyes, it ends too soon

All in dreams, I can dream now oh how I
I wanna live where it’s like today
I wanna live where it’s always this way
I wanna live where it’s always Saturday

…

Replacements – Alex Chilton

I never travel far, without a little Big Star

The Replacements are up there to me with the Beatles, Who, Kinks, Badfinger, Big Star, and The Stones. I wrote this for Dave’s site last year when he wrote a post about Hüsker Dü for my site. It’s catchy, great lyrics, and one of my favorite songs of the 1980s.

The Replacement’s tribute song about Big Star and Box Tops lead singer, Alex Chilton. The song was off the album Please To Meet Me.

It was 1985 and the Replacements had a gig at CBGB’s. This was not an ordinary gig though. Their reputation as a great live band had grown and in the audience were a lot of record company representatives. They knew this and refused to play the game. They spotted Gene Simmons coming in the door and The Mats played a terrible version of the KISS song Black Diamond…Simmons got out very quickly. The band followed up with an X-rated version of the “Ballad of Jed Clampett,” then whistled their way through the theme from The Andy Griffith Show before finally leaving the stage.

The Replacements and Alex Chilton shared a booking agent named Frank Riley. He watched the Replacements at CBGBs doing an absolutely self-sabotaging drunk set. Chilton had a grin plastered on his face. After the show, both Jesperson (manager) and Chilton were waiting to get paid by CBGB owner Hilly Kristal. Jesperson offered to buy breakfast the next morning. Chilton accepted.

The next morning Jesperson stopped by Westerberg’s room to remind him of the day’s interview schedule. Still sleepy and hungover, Westerberg asked where Peter was going. When he found out, Paul shot out of bed, threw on his clothes, and tagged along.

Paul did not impress easily, but he was very impressed with Alex Chilton. They took a taxi to the Gem Spa newsstand on Second Avenue and St. Mark’s Place. “He was standing by a trash can with a bag full of matches,” said Westerberg. “He was playing a game . . . pretending, ‘I’m Alex the Weirdo.’ I sucked up to it, and played the role.”

While eating breakfast…Chilton leaned over to Jesperson. “Man, I gotta tell you I thought they were great last night,” he said. “I’d love to work in the studio with them someday.” He did get to work with the band later on and played on “Can’t Hardly Wait.” The band avoided the awkwardness of playing “Alex Chilton” whenever Chilton was around.

This was around 1985 and Seymour Stein signed them up to Sire Records. They released their 4th album, Tim. For the first time, they were on a major label. Chilton was going to produce Tim but the negotiations fell through. He did help out on their next album recorded in his hometown.

The Replacements recorded their fifth album Pleased To Meet Me in Memphis at Ardent Studios in 1986, the same studio as Big Star. The man behind the board was Jim Dickinson, who produced the storied third Big Star album. It was probably their most radio-accessible album.

The record company loved the song but wanted the band to change the title and theme to a more famous person. The song was credited to Paul Westerberg, drummer Chris Mars, and bass player Tommy Stinson.

Per Wiki: Kory Grow of Rolling Stone called the song one of the two “all-time classics” from Pleased to Meet Me, the other being “Can’t Hardly Wait.” Kristine McKenna of Los Angeles Times was similarly glowing in her praise of the song, writing, “It’s hard to think of a more deserving pop hero [than Chilton], and if Pleased achieved nothing more than to revive interest in the criminally underrated Chilton it would justify its existence.”

Paul Westerberg: “It’s one of those where melody and chord changes were there and the lyrics changed over the course of six months or so. By the time we were down in Memphis we had already met Alex and I steered it toward him. Of course it was as the legend goes ‘George from Outer Space’ was the first working title, but that just didn’t grab it quite as well. I just thought it would be fun to write a song about a living person and we’ve been through this, Al and I, and I sort of regret the albatross that it’s came with… I was certainly trying to like, I guess, hip the outside world on who this guy might be publicly, but he didn’t need that. It would kind of hurt if he was always known as Alex Chilton of that song.”

Alex Chilton

If he was from Venus, would he feed us with a spoon?
If he was from Mars, wouldn’t that be cool?
Standing right on campus, would he stamp us in a file?
Hangin’ down in Memphis all the while.

Children by the million sing for Alex Chilton when he comes ’round
They sing I’m in love. What’s that song? I’m in love with that song.

Cerebral rape and pillage in a village of his choice.
Invisible man who can sing in a visible voice.
Feeling like a hundred bucks, exchanging good lucks face to face.
Checkin’ his stash by the trash at St. Mark’s place.

Children by the million sing for Alex Chilton when he comes ’round
They sing “I’m in love. What’s that song? I’m in love with that song.”

I never travel far, without a little Big Star

Runnin’ ’round the house, Mickey Mouse and the Tarot cards.
Falling asleep with a flop pop video on.
If he was from Venus, would he meet us on the moon?
If he died in Memphis, then that’d be cool, babe.

Children by the million sing for Alex Chilton when he comes ’round
They sing “I’m in love. What’s that song? I’m in love with that song.

I’m in love. What’s that song? I’m in love with that song.

Lemon Twigs – In My Head

Back in 1972, The Lemon Twigs opened up for Badfinger and Big Star. I’ve read that it was considered one of the best power pop concerts ever.

Well…I’m sorry readers…I just lied…The Lemon Twigs were not even born at that time…but if they jumped in a time machine…they could easily walk right in and open for those bands. They sound and look 1970s power popish to the core.

I just picked an “older” (from 2023!) song by random because I haven’t heard anything from them that I don’t like. They were formed by brothers Brian and Michael D’Addario. They grew up in Long Island, New York, and were exposed to music from an early age through their family, who are also musicians.

They had great influences. The brothers were influenced by their father’s record collection, which included classic rock artists like The Beatles, The Beach Boys, and The Kinks. They began playing music together as children, experimenting with various instruments and songwriting.

Michael got into acting when he was 4 years old. Here is his IMDB profile. Michael was born in 1998 and Brian was born in 1997. They started to play music when they were 6 and 8 years old. They released their first album (a cassette tape) when in 2015. Their debut album came out in 2016 called Do Hollywood. The album got positive reviews from critics. Together they have 6 albums out. The last one just came out called A Dream Is All We Know.

This song was on the Everything Harmony album released in 2023. The song is credited to The Lemon Twigs. That is the smartest thing to do for the band. REM did that and unlike many other bands…getting writing credits is not a problem. I first heard about them a while back. A commenter commented on a power pop track I had and mentioned The Lemon Twigs. Jeff and Christian have brought them up recently also.

In My Head

In my head, in my headI am different in my headI am someone else insteadIn my head, in my head

In my mind, in my mindThere is sadness all the timeAnd I keep the things I findIn my mind, in my mind

And never do I share these things with anyoneThe feeling is cold and I’m afraidStrangers passing, mm

In my dream, in my dreamThere are symbols that repeat (symbols that repeat)There are copies in the street (again and again)In my dream, in my dream (again and again)(Again and again)

And never do I share these things with anyoneThe feeling is cold and I’m afraidStrangers passing, mm

And I am done, even goneFeeling nothing, feeling numbFeeling nice, made of neon shining iceStrangers passing, mm

Ooh, ooh, oohOoh, ooh, ooh, ooh, ooh, ooh (ooh, ooh, ooh, ooh, ooh, ooh)La-la-la, la la laLa-la-la, la la la laLa-la-la, la la la laLa-la-la, la la la

La-la-la, la la laLa-la-la, la la la laLa-la-la, la la la laLa-la-la, la la la

Sam Cooke – You Send Me

You don’t hear voices like this every day. The soulful voice the man had was breathtaking.

The songwriting credit for the song has Charles “LC” Cooke, who was Cooke’s brother. Some say he was mistakenly credited and that Sam Cooke wrote it. It’s also said that Sam Cooke wrote the song but gave the credit to his brother because he didn’t want his publisher to get profits off the song. That is the story I believe. This song is credited to Sam Cooke with The Bumps Blackwell Orchestra.

*The song peaked at #1 on the Billboard 100, #1 on the R&B Charts, and #29 in the UK in 1957. Sam Cooke is one of the artists that you have to think…what could have been if he hadn’t had such a tragic death at such a young age… Not that he didn’t have a very successful career to that point. He had 20 Top Ten Hits, 29 Top 40 Hits, and 4 Number 1 hits in the R&B Charts.

In the Billboard 100, he had 34 songs in the top 100 and 4 top ten hits. He died when he was only 33 years old. I would suggest reading All Things Thriller’s post about Sam Cooke’s death.

*I looked up the chart position for this song. In Wiki and a Billboard database, it has number 1. I go to Billboard’s site and it doesn’t list the song as even charting… which is crazy. From what I’ve read…the charts changed that year in Billboard…maybe that was part of this. The B side was Summertime.

Art Garfunkel: “I must have sung ‘You Send Me’ to myself walking up and down stairwells at least a thousand times. It was on the charts right when I was having my first little success with Paul Simon as Tom and Jerry. I was just a kid, calling on radio stations for promotional purposes, and all I heard was ‘You Send Me.’ Sam was great to sing along with. He was my hero.”

You Send Me

Darling, you send me
I know you send me
Darling, you send me
Honest, you do, honest, you do
Honest, you do, whoa

You thrill me
I know you, you, you thrill me
Darling, you, you, you, you thrill me
Honest, you do

At first I thought it was infatuation
But, woo, it’s lasted so long
Now I find myself wanting
To marry you and take you home, whoa

You, you, you, you send me
I know you send me
I know you send me
Honest you do

Whoa-oh-oh, whenever I’m with you
I know, I know, I know when I’m near you
Mm hmm, mmm hmm, honest, you do, honest, you do
Whoa-oh-oh, I know-oh-oh-oh

I know, I know, I know, when you hold me
Whoa, whenever you kiss me
Mm hmm, mm hmm, honest you do

At first I thought it was infatuation
But, woo, it’s lasted so long
Now I find myself wanting
To marry you and take you home

I know, I know, I know you send me
I know you send me
Whoa, you, you, you, you send me
Honest you do

…

Johnny Otis – Willie and the Hand Jive

I believe I first heard this by Eric Clapton in the late seventies when I was a kid. I always liked the song but this version is great as well. It’s the cool rhythm that draws me in. One of the best and most copied rhythms in rock.

In some circles, Otis was known as “the godfather of rhythm and blues.” He was a multi-talented musician, known primarily as a drummer, vibraphonist, pianist, singer, and composer. He led his own band, the Johnny Otis Orchestra, which played a significant role in the development of West Coast rhythm and blues.

He earned that title. He helped in discovering and promoting such musicians as Etta James, Big Mama Thornton, and Jackie Wilson. Otis was a white musician who immersed himself in black music and culture. He was accepted in that community and became an advocate for racial integration and civil rights. Otis was also a popular radio DJ, hosting shows that showcased rhythm and blues music and spreading the word of that genre.

Johnny wrote this song and released it in 1958. It peaked at #1 on the Billboard R&B Charts and #9 on the Billboard 100. It’s one of the most catchy rhythms in rock and roll next to the Bo Diddley rhythm or Who Do You Love…it very well could be called a variation of Bo Diddley.

When he played this live his audience would mimic a dance and clap they had to the song. Some had said that the song was about masturbation…something that Johnny Otis denied until he passed away in 2012 at the age of 90. I think some people spend their lives trying to find something controversial in everything. I guess I’m guilty of it at times.

According to secondhandsongs.com there are 69 versions of this song. Artists that covered the song include Cliff Richard, The Crickets, Sonny Burgess, The Gentrys, The Tremeloes, New Riders of the Purple Sage, Fleetwood Mac, Eric Clapton, George Thorogood, and I’ve heard The Grateful Dead do it live on a few clips I’ve seen.

Willie and the Hand Jive

I know a cat named Way-Out WillieHe got a cool little chick named Rockin’ BillieDo you walk and stroll with Susie QAnd do that crazy hand jive too?

Papa told Willie “you’ll ruin my homeYou and that hand jive has got to go”Willie said “papa, don’t put me downBeen doin’ that hand jive all over town”

Hand jive, hand jiveHand jive, doin’ that crazy hand jive

Mama, mama, look at uncle Joe, look at himHe’s doin’ that hand jive with sister FloEven gave baby sister a dime, hey, heySaid “do that hand jive one more time”

Well, a doctor and a lawyer and a indian chiefThey all dig that crazy beatWay-Out Willie gave them all a treat, yeahWhen he did the hand jive with his feet

Hand jive, hand jiveHand jive, doin’ that crazy hand jive, hey, heyCome on, sugar, yeah!

Well, Willie and Billie got married last fallThey had a little Willie Junior and that ain’t allYou know that baby got greatness and it’s plain to see, hey, heyDoin’ that hand jive on T.V., come on

Hand jive, hand jive(Why don’t you) hand jive, doin’ that crazy hand jive

Hey, hey, wellYeah, yeah

…

Thin Lizzy – Bad Reputation

Happy Mother’s Day!

What a groundbreaking band Thin Lizzy was at the time. You had a black Irish singer, Phil Lynott, who reminded people of Van Morrison singing and a little of Springsteen in some of his writing…all in a harder rock format. Thin Lizzy revolutionized the dual synchronized guitar attack. Other bands that did the same in the future would use Thin Lizzy as a how-to guide.

The dual guitar is on display here…one playing lead and the other playing the same lead an octave higher. Other bands had two and sometimes three guitarists but they usually didn’t play in unison like Thin Lizzy. It made for a different sound. Now you can use a guitar effect to get close to that on one guitar. Brian May would do it with Queen at times on recordings.

The song was written by Brian Downey, Scott Gorham, and Phil Lynott. It was on the album Bad Reputation released in 1977. The album peaked at #4 in the UK, #39 on the Billboard Album Charts, and #44 in Canada. The album sold very well and went gold.

The song was not a hit but it was played on FM radio stations at the time. It’s one of the songs they are remembered by like Whiskey In A Jar, The Boys Are Back In Town, Jailbreak, and my personal favorite The Cowboy Song.

The members of Thin Lizzy were bassist and singer Phil Lynott, Drummer Brian Downey, guitarist Brian Robertson, and guitarist Scott Gorham. Gary Moore was a member for a few months and also Them’s keyboardist Erix Wrixon but Moore and Wrixon didn’t stay long.

Scott Gorham: “Well, I had the riff down. Phil came up and he says, ‘We need to do an off-time thing with this.’ He started to work with Brian Downey on that, and that’s when they came up with this strange timing that you don’t usually associate with Thin Lizzy. I listened to that and went, ‘Man, that is so fu–ing cool, it’s unbelievable,’ and I jumped in on it. Then it kind of developed itself from there.”

“‘Bad Reputation’ was one of those songs that came together really quickly, as soon as we had that off-timing tagline come in, everything just fell into place, all the harmony guitar work and all that, the lead guitar thing. Phil’s idea from it, from the riff itself, he just thought, you know, something along the lines of, ‘Man, this could give us a really bad reputation. That’s it. That’s what we’re going to call this song.’ And he started writing this song called ‘Bad Reputation.'”

Bad Reputation

You’ve got a bad reputationThat’s the word out on the townIt gives a certain fascinationBut it can only bring you down

You better turn yourself aroundTurn yourself aroundTurn it upside downTurn yourself around

You had bad breaks, well, that’s tough luckYou play too hard, too much rough stuffYou’re too sly, so coldThat bad reputation has made you old

Turn yourself aroundTurn yourself aroundTurn it upside downTurn yourself around

…

Tim Buckley – Buzzin’ Fly

I first heard Tim Buckley on, of all things, The Monkees television show. As a kid I remember hearing how great his voice was. I was around 7 so I had no clue who he was. Here is that clip that I saw around 1974. The first time I saw Frank Zappa was on the Monkees as well. At the end of the Monkee’s second and final season, they had almost full control and they used it as much as possible to promote artists they liked.

Buzzin’ Fly was released in 1969 on the Happy Sad album. On this album, he was transitioning from his earlier folk sound to a more jazz-influenced and experimental style. The album was produced by former Lovin’ Spoonful members Zal Yanovsky and Jerry Yester.

This was released at the height of his popularity. The album peaked at #81 on the Billboard Album Charts in 1969. When he started experimenting and moving away from his folk sound it upset some of his long-time fans. After this album, his popularity decreased because he moved toward a jazz feel.

This song was written before the other songs on the album. Buzzin’ Fly was written around 1966. It was performed with his high school band Harlequin 3, with bassist Jim Fielder and later lyricist, Larry Beckett.

The song became one of the most requested songs in concert that he had at the time. Gregg Allman called Tim Buckley and wanted to do an album with him in 1975 and Buckley agreed…but the world would lose Tim Buckley after an overdose in June of 1975 at age 28.

Buzzin’ Fly

Just like a buzzin’ flyI come into your lifeNow I float awayLike honey in the sunWas it right or wrongI couldn’t sing that song anyway

Oh, but darlin’Now I rememberHow the sun shown downAnd how it warmed your prayin’ smileWhen all the love was there

You’re the one I talk aboutYou’re the one I think aboutEverywhere I goAnd sometimes honeyIn the mornin’Lord, I miss you so

That’s how I know I found a homeThat’s how I know I found a home

Oh, hear the mountains singingLord, I can hear them ringing, darlin’,Out your nameAnd tell me if you knowJust how the river flowsDown to the sea

Now I wanna knowEverything about youI wanna knowEverything about you

What makes ya smileWhat makes ya wildWhat makes ya love me this wayDarlin’ I wanna knowDarlin’ I wanna know

You’re the one I talk aboutYou’re the one I think aboutEverywhere I goAnd sometimes honeyIn the mornin’Lord, I miss you so

That’s how I know I found a homeThat’s how I know I found a home

A-walkin’ hand in handAnd all along the sandA seabird knew your nameHe knew your love was growin’Lord, I think it knows it’s flowin’Thru you and me

Ah, tell me darlin’When I should leave you,Ah, tell me darlin’I don’t want to grieve you…

Just like a buzzin’ flyI come into your lifeNow I float awayLike honey in the sunWas it right or wrongI couldn’t sing that song anyway

Oh, but darlin’Now I rememberHow the sun shown downAnd how it warmed your prayin’ smileWhen all the love was there

You’re the one I talk aboutYou’re the one I think aboutEverywhere I goAnd sometimes honeyIn the mornin’Lord, I miss you so…

…

Lightnin’ Hopkins – Shotgun Blues

You know I’m gonna shoot my woman
Cause she’s foolin’ around with too many men

Before I start this I want to thank Randy from Mostly Music Covers. While writing this up the song title I had was “Bring Me My Shotgun” but I couldn’t find the album it was on. I’m a babe in the woods with blues…so I asked Randy and Shotgun Blues was recorded in 1948. As far as I can tell he did re-record many of his songs and this one around 1960. I’ll include the earlier version of Shotgun Blues and the 1960 version named Bring Me My Shotgun..at least for this post. He would change up the lyrics in some versions. What made it confusing was that he changed the way he did the vocals a little as well… again thank you, Randy.

I’m sitting with headphones on listening to Lightnin’ Hopkins and it’s like he is in the room with me. I’ve never posted anything about him before but I wanted to clear that up today.

He was born in Texas and He grew up in a musical family and learned the blues from his older cousin, country blues legend Blind Lemon Jefferson. Jefferson and Hopkins started to play together at church gatherings. Hopkins started performing in the 1920s and 1930s in the local Texas blues scene. By the mid-30s Hopkins was sent to a prison farm but the reason is unknown. He described working on a road gang and being shackled to his bunk at night.

In the mid-1940s he was teamed with a Houston piano player named Wilson “Thunder” Smith. They were known as Thunder an’ Lightnin’ and they had a local hit named Katie May with Aladdin Records. Hopkins would record with many different labels throughout the rest of his life. The Folk-Blues revival was stirring in 1959, and Folkways producer Sam Charters persuaded Lightning (with the help of a bottle of gin!) to record 10 tracks in the shabby room where he had been living in Houston. I have one of them below called “Hopkins Sky Hop.” Bring Me My Shotgun was released in 1960.

He started to get popular, especially with the British white soon-to-be musicians. He worked the College and club circuit, toured Europe with the Folk/Blues Festival, and starred at the Newport Folk Festival in 1965. He found an appreciative new audience of rock fans who heard this great guitarist who lived the blues.

He later headlined over the Jefferson Airplane and he played with the Grateful Dead a few times. He recorded dozens of albums through the 60s and 70s. He finally left us in 1982.

Bring Me My Shotgun

Woah, go bring me my shotgun
Oh I’m gonna start shootin’ again
Go bring me my shotgun
You know I just got to start shootin’ again
You know I’m gonna shoot my woman
Cause she’s foolin’ around with too many men

Yes bring me my shotgun
Yes man and a pocket full of shells
Yes go bring me my shotgun
Yes man and a pocket full of shells
Yeah you know I’m gonna kill that woman
I’m gonna throw her in that old deep dug well
Hide her from everybody they won’t know where she at

That woman said Lightnin’ you can’t shoot me
She said now you is dead of tryin’
I don’t take a day off for nobody
She said Lightnin’ you can’t shoot me
She said yes and you dare to try
I said the only reason I don’t shoot you little woman
My double barrel shotgun, it just won’t fire

…

Tom Robinson Band – Up Against The Wall

High wire fencing on the playgroundHigh rise housing all aroundHigh rise prices on the high streetHigh time to pull it all down

I’ve heard of this band…Dave posted something before but I never listened to a lot of their songs. CB sent me a link and off I went. The Tom Robinson Band was a British rock band formed in 1976. The band was named after its frontman, Tom Robinson, a singer-songwriter and bassist. Their music was influenced by punk rock and new wave, and they were associated with the punk scene in London during the late 1970s.

Truth is…I could have picked MANY songs but this one talked to me. It’s fairly well known and since I always like to pick a song that would ring a bell for the first song of an artist I never posted before…I picked this one. He did have a top 10 hit in the UK in 1977 with 2-4-6-8 Motorway. More than punk or new wave…he reminds me a lot of Springsteen, Joplin, and Phil Lynott…spitting out words like his life depended on it. You can see, feel, and hear the intensity as he sings. These are the kind of artists that I like… the ones that give you everything they have. Robinson not only gave everything but is a hell of a writer on top of that.

He often addressed political and social issues, including themes of anti-racism, LGBT rights, and other causes. Tom Robinson himself was openly gay in the 1970s, and this was reflected in his music, making him an important figure in that community at the time.

This song was inspired by actual events, particularly the “Battle of Lewisham” in 1977, where anti-fascist protesters clashed with members of the National Front during a march. The song captures the tension and conflict between protesters and police.

This song was on his album Power in the Darkness album released in 1977. Robinson and Roy Butterfield wrote this song. The album peaked at #4 in the UK and #144 on the Billboard Album Charts. One note about the album which I think is brilliant. They included a stencil much like the album cover but with a warning…”This stencil is not meant for spraying on public property!!!”

The song peaked at #33 in the UK in 1978.

Up Against The Wall

Darkhaired dangerous schoolkidsVicious, suspicious sixteenJet-black blazers at the bus stopSullen, unhealthy and meanTeenage guerillas on the tarmacFighting in the middle of the roadSupercharged FS1Es on the asphaltThe kids are coming in from the cold

Look out, listen can you hear itPanic in the County HallLook out, listen can you hear itWhitehall, up against a wallUp against the wall…

High wire fencing on the playgroundHigh rise housing all aroundHigh rise prices on the high streetHigh time to pull it all downWhite boys kicking in a windowStraight girls watching where they goneNever trust a copper in a crime carJust whose side are you on?

Look out, listen can you hear itPanic in the County HallLook out, listen can you hear itWhitehall, up against a wallUp against the wall…Against the wall

Consternation in BrixtonRioting in Notting Hill GateFascists marching on the high streetCarving up the welfare stateOperator get me the hotlineFather can you hear me at all?Telephone kiosk out of orderSpraycan writing on the wall

Look out, listen can you hear itPanic in the County HallLook out, listen can you hear itWhitehall, up against a wallLook out, listen can you hear itPanic in the County HallLook out, listen can you hear itWhitehall, up against a wallUp against the wallUp against the wall

Beatles new Let It Be video

Apple has released a clean version of the Let It Be film. Today they dropped a new video of the song Let It Be. I have had this movie since the 80s but you could only get a terrible quality version. This video shows how clear it will be as in The Get Back film a few years ago.

My only complaint is I wish the Let It Be version would have included George’s distorted solo.

This is the video of the title song they just released today.

Here is a comparison

Here is the trailer

The short Featurette

…

Great Buildings – Hold On To Something

I had never heard of this band but I like this song. You probably have heard of the song that two of the members made when this band was over.

Danny Wilde and Phil Solem originally met each other at a party, where they bonded over a stack of David Bowie, Brian Eno, Roxy Music, and Cheap Trick records. At the time, Solem and Wilde were just 20. Solem was performing around Los Angeles with a power pop band called Loose Change. Wilde was playing in a power-pop band The Quick. When the Quick dissolved, Wilde and his Quick bandmate, bassist Ian Ainsworth, formed Great Buildings and recruited Solem to join, adding vocals and guitar work that created

In the early eighties, they were the LA band with the best shot at Top 40 radio. From the start, the band kept a relatively low profile on the local club circuit and got their big break with Columbia and released their album Apart From The Crowd in 1981.

Well Apart From The Crowd was ignored by radio programmers and the public in general. You would think right after The Knack had exploded on the scene…these guys would get some play…but that didn’t happen. Hold On To Something is pure power pop and a good bit of ear candy. It sounds very radio-friendly.

After Great Buildings broke up, members Danny Wilde and Phil Solem, started The Rembrandts and would make considerable waves around the globe with their hit (and Friends theme song) “I’ll Be There For You,” while Ainsworth would make a name for himself as a producer.

Phil Solem: “Our m.o. is to only put out things that have a timeless kind of quality to it, that isn’t going to be time-stamped in some era,” Solem says. “And, so far, our records have done pretty well with that.”

Hold On To Something

Late night, the house is empty still
Wish I could hold you close to me
No right to leave me here this way
I thought love was here to stay tonight
Tonight

Hold on, hold on
Just hold on to something
Hold on, hold on
Hold on, hold on
Just hold on to something
Hold on, hold on

Ha!

Pressure, so you refuse to share
And you forget to care at all
Something, something besides just you
And no matter if it’s true tonight
Tonight

Hold on, hold on
Just hold on to something
Hold on, hold on
Hold on, hold on
Just hold on to something
Hold on, hold on

You might also like
…And The Light Goes On
Great Buildings
…And The Light Goes On
Great Buildings
Cupid (Twin Version)

I’ve got to deny myself once
Just ignore the fronts that keep me from you
Oh, you
Oh

Hold on, hold on
Just hold on to something
Hold on, hold on
Hold on, hold on
Just hold on to something
Hold on, hold on

Hold on, hold on
Baby, you just gotta hold on
Hold on, hold on
Well, hold on
Well, hold on, hold on
Baby, baby, baby, hold on
Hold on, hold on, hold on
Yeah!

Hold on, hold on (H

…

Peter and Gordon – Woman

When I first saw the Michael Myers character Austin Powers I automatically thought of Peter Asher. I learned about them in the 80s while listening to an oldies channel at where I used to work. Peter and Gordon were Peter Asher and Gordon Waller.

The first song I remember hearing and liking from them was I Go To Pieces. They were part of the British Invasion to come in after The Beatles. Peter Asher had a secret weapon. His sister was going out with Paul McCartney and McCartney was living at the Ashers at this time in a room beside Peters.

McCartney first gave the duo a song called A World Without Love that John Lennon rejected because of the first line he didn’t like (Please lock me away). The record was huge… it peaked at #1 in the US, Canada, New Zealand, and the UK in 1964. Paul wrote “World Without Love,” Nobody I Know,” “I Don’t Want To See You Again,” and “Woman” for the group. Woman though was different than the others.

Paul didn’t want the Lennon/McCartney name on this song. People were saying they were only hits because of who wrote the song. Peter and Gordon were told they were only jumping on the Beatle bandwagon. When this song was released it first got credited to A. Smith and then Bernard Webb. The song was rising up the charts but only after two weeks, it was traced back to Lennon and McCartney’s publishing company Northern Songs so it was exposed.

The song was a hit regardless peaking at #14 on the Billboard 100, #1 in Canada, #28 in the UK, and #7 in New Zealand in 1966. The duo would have other hits not written by McCartney like I Go To Pieces and Lady Godiva. They had a longer career than I first thought. Their success lasted until 1967 but not before they amassed 10 top 40 hits in America alone.

Peter Asher would later become head of A&R for Apple Records in 1968. He signed, produced, and managed James Taylor. After Allen Klein destroyed what was left of Apple Records, Asher packed up and moved to California. He took James Taylor with him and produced him through the seventies. He also picked up another artist and produced her…Linda Rondstadt. He also produced albums by J. D. Souther, Andrew Gold, and Bonnie Raitt. He also worked with Cher and 10,000 Mainiacs.

He became Senior Vice-President, of Sony Music Entertainment in 1995 and held that job until 2002 when he went back to artist management. .

Peter and Gordon reunited in 2005 and played concerts when they had time. They did this up until Gordon’s death in 2009 of a heart attack. Peter would go on to Sirus Radio doing a Beatle show on their Beatles channel called “From Me To You. ”

He also wrote a book on The Beatles called The Beatles From A to Zed. I just read it and it is really good. It’s not a biography on the Beatles or any dirt though…it’s a fun book and he goes through the alphabet and names Beatles songs, places, things, and etc corresponding to whatever letter he is on.

Woman

Woman, do you love me?
Woman, if you need me then
Believe me I need you
To be my woman

And should you ask me how I’m doing?
What shall I say? Things are okay
But I know that they’re not
And I still may have lost you

Woman, do you love me?
Woman, if you need me then
Believe me I need you
To be my woman

I guess you’ll take your time and tell me
When we’re alone, love will come home
I would give up my world
If you’ll say that my girl is my woman

I’ve got plenty of time (I’ve got plenty of time)
Time just to get through it
Once again you’ll be mine (once again you’ll be mine)
I still think we can do it
And you know how much I love you

Woman, don’t forsake me
Woman, if you take me then
Believe me I’ll take you
To be my woman

Monkees – She

As a 6-year-old I watched the Monkees show in re-runs intently dreaming of one day forming a band and living all together. Most of that dream came true except the all living together…which we probably wouldn’t still like each other if that had happened. This song was popular with me because I remember the TV show and liked this song. The Monkees had their own MTV before MTV…their show would not only play videos of hits but album cuts as this was…and it’s a good one.

This song was written and produced by Tommy Boyce and Bobby Hart with lead vocals by Mickey Dolenz. He had one of the best pop voices in the sixties. “She” was on The Monkees’ second album More of the Monkees. This album was the last one they would not have much control over. The album was released without the band’s knowledge. They discovered it while they were in Cleveland, Ohio on tour. They were not happy at all. This album’s release was the key moment that started Mike Nesmith’s fight for control.

After the album was released Nesmith and the others met with Don Kirshner (the show and music creator). They met him in the Beverly Hills Hotel and Nesmith punched a hole in the wall and told Kirshner and his lawyer…“That could have been your face!” After that Nesmith was told to read his contract so Nesmith did the only thing he could do to break free from the control…he threatened to quit.

Kirshner refused to allow them to play instruments on their records, hiring seasoned studio musicians instead…although Nesmith and Tork did get to play some instruments on their first two albums. After Nesmith threatened to quit…the executives took notice. They dropped Kirshner from The Monkees completely. After he was dismissed from the Monkees…he created the Archies…because he said “I want a band that won’t talk back.”

Four months after More of the Monkees was released…The Monkees released their album Headquarters in May of 1967. This time they were in control and played their own instruments with no Kirshner to be found.

More of the Monkees peaked at #1 on the Billboard 100, in Canada, and The UK in 1967. Their first album with them playing everything…Headquarters peaked at #1 on the Billboard 100, #1 in Canada, and #2 in the UK. It tops some people’s Monkee album lists.

By the way…their next album after Headquarters, again playing most of the instruments themselves Pisces, Aquarius, Capricorn & Jones Ltd. also peaked at #1 on the Billboard 100 in 1967. So for those who are keeping score…that is three #1 albums released in 1967.

Here are quotes about the Rock and Roll Hall of Fame by each member of the Monkees.

Peter Tork: [Wenner] doesn’t care what the rules are and just operates how he sees fit. It is an abuse of power. I don’t know whether the Monkees belong in the Hall of Fame, but it’s pretty clear that we’re not in there because of a personal whim. Jann seems to have taken it harder than everyone else, and now, 40 years later, everybody says, ‘What’s the big deal? Everybody else does it.’ [Uses studio artists or backing bands.] Nobody cares now except him. He feels his moral judgment in 1967 and 1968 is supposed to serve in 2007.

Michael Nesmith: “I can see the HOF (Hall of Fame) is a private enterprise. It seems to operate as a business, and the inductees are there by some action of the owners of the Enterprise. The inductees appear to be chosen at the owner’s pleasure. This seems proper to me. It is their business in any case. It does not seem to me that the HOF carries a public mandate, nor should it be compelled to conform to one.”

Davy Jones: “I’m not as wealthy as some entertainers, but I work hard, and I think the best is yet to come. I know I’m never going to make the Rock and Roll Hall of Fame, but maybe there’s something else for me in show business. I’ve been given a talent—however big or little—that has given me many opportunities. I’ve got to try to use it the best way I can. A lot of people go days without having someone hug them or shake their hand. I get that all the time.”

Micky Dolenz: “As far as the Rock & Roll Hall of Fame I’ve never been one to chase awards or anything like that; it’s never been very important to me. I was very proud to win an Emmy for The Monkees, having come out of television as a kid. When we won the Emmy for best TV show in ’66 or ’67 that was a huge feather in my cap. But I’ve never chased that kind of stuff. I’ve never done a project and thought, ‘What do I do here to win an award?’ Specifically as far as the Rock & Roll Hall of Fame I’ve been very flattered that the fans and people have championed the Monkees. Very flattered and honored that they do. If you know anything about the organization, and I’ve done charity work for the foundation, the Hall of Fame is a private club.”

She

She, she told me that she loved me,
And like a fool I believed her from the start.
She, she said she’d never hurt me,
But then she turned around and broke my heart

Why am I standing here,
Missing her and wishing she were here.
She only did me wrong;
I’m better off alone.

She, she devoured all my sweet love,
Took all I had and then she fed me dirt.
She, she laughed while I was cryin’.
It was such a joke to see the way it hurt.

Why am I standing here,
Missing her and wishing she were here.
She only did me wrong;
I’m better off alone.

And now I know just why she
Keeps me hangin’ ’round.
She needs someone to walk on,
So her feet don’t touch the ground.
But I love her,
I need her,
I want her.
Yea! Yea! Yea! Yea! Yea! Yea! She!

[Instrumental]

Why am I standing here,
Missing her and wishing she were here.
She only did me wrong now;
I’m better off alone.

Why am I missing her?
I should be kissing her.

Van Morrison – Tupelo Honey Album

I don’t do many album reviews because frankly…I think other people do them better but sometimes I cannot resist…and this is one of them.

When I was 18 or so, I ordered exports from Tower Records because you could not just go to many record stores in America and buy a Them album in the eighties.

I bought the “Backtracking” album which was a compilation of Them. His voice blew me away. That is when I looked in the Van Morrison section for the albums I could buy there. The first album I bought…just by chance…was Tupelo Honey. Compared to the raw intense Them songs…this was a totally different ballgame. The songs’ production values and sophistication were in a new league.

Personally, I really like this album. I thought it was a great introduction to his catalog. Is it his best? No, it’s not, but for a beginner Van fan, it was a great introduction album. The songs on Tupelo Honey are very radio-friendly. After this album I bought Moondance, His Band and Street Choir, Veendon Fleece, etc…the 8 albums up to Wavelength. After that, I started on the 80’s catalog.

He made this album in 1971 when he moved to Northern California with his wife Janet Planet who was from that area. He originally wanted to make a country album. Soon that idea was dropped and he worked with Ted Templeton as producer. He used a lot of unused songs that he had.

The opening track Wild Night has an irresistible hook and is one of Van’s best-known songs. The title track may be my favorite Van Morrison song period. The only song that I would skip when I got the album, and still do, is I Wanna Roo You. In Moonshine Whiskey and some other songs, you can hear some of the country album he was going to make.

Another favorite on the album is Old Old Woodstock and he puts you there with his lyrics and the feel of the song. You’re My Woman was a song for Janet Planet and I’ve always liked that one.

The album peaked at #27 on the Billboard Album Charts and #32 in Canada in 1971.

Again, this is not Van’s best album but it got me into his solo career. It’s a great-sounding album and one of Van’s most commercial. I would highly recommend this to anyone wanting to explore Van the Man’s catalog.

Tracklist

Wild Night
(Straight to Your Heart) Like a Cannonball
Old Old Woodstock
Starting a New Life
You’re My Woman
Tupelo Honey
I Wanna Roo You (Scottish Derivative)
When That Evening Sun Goes Down
Moonshine Whiskey

I could not find the complete album on Spotify so I found it all grouped together on YouTube with this link…

Tupelo Honey

You can take all the tea in China
Put it in a big brown bag for me
Sail right around the seven oceans
Drop it straight into the deep blue sea
She’s as sweet as tupelo honey
She’s an angel of the first degree
She’s as sweet as tupelo honey
Just like honey from the bee

You can’t stop us on the road to freedom
You can’t keep us ’cause our eyes can see
Men with insight, men in granite
Knights in armor bent on chivalry
She’s as sweet as tupelo honey
She’s an angel of the first degree
She’s as sweet as tupelo honey
Just like honey from the bee

You can’t stop us on the road to freedom
You can’t stop us ’cause our eyes can see
Men with insight, men in granite
Knights in armor intent on chivalry
She’s as sweet as tupelo honey
She’s an angel of the first degree
She’s as sweet as tupelo honey
Just like honey from the bee

You know she’s alright
You know she’s alright with me
She’s alright, she’s alright (she’s an angel)

You can take all the tea in China
Put it in a big brown bag for me
Sail it right around the seven oceans
Drop it smack dab in the middle of the deep blue sea
Because she’s as sweet as tupelo honey
She’s an angel of the first degree
She’s as sweet as tupelo honey
Just like honey from the bee

She’s as sweet as tupelo honey
She’s an angel of the first degree
She’s as sweet as tupelo honey
Just like the honey, baby, from the bee
She’s my baby, you know she’s alright…..