Israel Nash Gripka – Pray For Rain

I would do it all over again
Just to see your hair dancing in the sea of Eastern wind

Around two years ago, fellow blogger Obbverse brought up this song and artist and I’ve listened to him ever since.  It’s so refreshing to hear this newer Americana. I really like this artist. His voice is gritty and on point. Check his album out also if you have the time.

Israel Nash

Originally from Missouri, Nash moved to New York City in 2006. He performed in clubs on the Lower East Side such as The Living Room and Rockwood Music Hall. In 2009, he independently released his debut solo album, New York Town, which was recorded at The Magic Shop in New York’s Soho neighborhood. He usually goes by just Israel Nash now.

You can hear his influences of the ’60s and ’70s with artists like Creedence Clearwater Revival, the Band, and Crosby, Stills & Nash. He is a hard-working artist. Since 2009 he has 7 studio albums, 2 live, and 5 EPs. His last one called Ozarker was released in 2023. He has maintained a dedicated following and continues to tour and record music.

On getting more popular in Europe. “I remember a night after a show in Amsterdam, my wife was sitting on the bed in a hotel room counting the money we made that night and it came out to $1,700. She says, ‘Maybe you can make a living at this!’ That was an awesome moment. Since then, it was a growing thing in Europe. Playing there gave me a lot of confidence because we played a ton of shows.”

Israel Nash: “I grew up in little churches that were in the middle of nowhere in Missouri, so having the woods and being outside has been part of me since I was a kid,” I also saw community––just this sense of people needing something, somebody, to look forward to. That was church for them, and that’s okay. I don’t really feel like there is just one right thing to look forward to. As a musician, I think that’s what I’ve found, too––something for people to look forward to, a reason to come together. No matter what changes in my career, that is my anchor: the need people have.”

*I transcribed the lyrics so there are probably mistakes…but I can safely say…they are the only printed lyrics to this song on the internet as far as I could find. *

Pray For Rain

The city’s lit up like the Fourth of July
The children playing in the street
I’m laying in the bed next to you
Just trying to get some sleep

Dont you know I will need the rest
Need a pocket full of cash
I’m tired of working my hands to the bone
And I can barely pay the rent

Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain

Until you miss the mid-western sun
It’s half as big but it’s twice as warm
My heart is not a thousand miles away
But I can’t look you in the face
And tell you I don’t miss those days
Cause no one knows what tomorrow brings
The bed of roses or some shattered dream
I would do it all over again
Just to see your hair dancing in the sea of Eastern wind

Cause it’s a hard road ahead
And it’s the price we pay
So pray for me
And won’t you pray for rain

Seeing if your dreams come true
Clouds may follow us
Some might say this bird has flown
But I don’t think it has
Lord I know it can

Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain

Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain

Cause it’s a hard road ahead
and it’s the price we pay
So pray for me
And won’t you pray for rain

Tommy Tutone – 867-5309 / Jenny

I never knew this in the 1980s but the singer is not Tommy Tutone…that is the band’s name. They were led by Tommy Heath and Jim Keller and originally called themselves Tommy and the Two-Tones.

If you were listening to the radio in the eighties you remember this song. A great little power pop song that gave you a phone number you could not forget. The song peaked at #4 on the Billboard 100 and #2 in Canada in 1982. After it became a hit I started to think about the poor souls who had that number under different area codes. It changed their lives…

Mrs. Lorene Burns, an Alabama householder formerly at +1-205-867-5309; she changed her number in 1982: When we’d first get calls at 2 or 3 in the morning, my husband would answer the phone. He can’t hear too well. They’d ask for Jenny, and he’d say “Jimmy doesn’t live here anymore.” … Tommy Tutone was the one who had the record. I’d like to get hold of his neck and choke him.

The song, released in late 1981, initially gained popularity on the American West Coast in January 1982… many who had the number soon abandoned it because of unwanted calls.

Asking telephone companies to trace the calls was of no use, as Charles and Maurine Shambarger (then in West Akron, Ohio at +1-216-867-5309) learned when Ohio Bell explained “We don’t know what to make of this. The calls are coming from all over the place.” A little over a month later, they disconnected the number and the phone became silent.

Jim Keller, the lead guitarist of the band, claims that Jenny was a girl he knew and that some friends wrote her number on the wall of a men’s room as a prank. Keller says he called her and they dated for some time. Yet Alex Call, who co-wrote the song with Jim Keller, claims there was never any Jenny and that 867-5309 came to him “out of the ether.” They are lucky no one got to them and…get hold of his neck and choke him.

Alex Call: “Despite all the mythology to the contrary, I actually just came up with the ‘Jenny,’ and the telephone number and the music and all that just sitting in my backyard. There was no Jenny. I don’t know where the number came from, I was just trying to write a 4-chord rock song and it just kind of came out.

This was back in 1981 when I wrote it, and I had at the time a little squirrel-powered 4-track in this industrial yard in California, and I went up there and made a tape of it. I had the guitar lick, I had the name and number, but I didn’t know what the song was about. This buddy of mine, Jim Keller, who’s the co-writer, was the lead guitar player in Tommy Tutone. He stopped by that afternoon and he said, ‘Al, it’s a girl’s number on a bathroom wall,’ and we had a good laugh. I said, ‘That’s exactly right, that’s exactly what it is.’

I had the thing recorded. I had the name and number, and they were in the same spots, ‘Jenny… 867-5309.’ I had all that going, but I had a blind spot in the creative process, I didn’t realize it would be a girl’s number on a bathroom wall. When Jim showed up, we wrote the verses in 15 or 20 minutes, they were just obvious. It was just a fun thing, we never thought it would get cut. In fact, even after Tommy Tutone made the record and ‘867-5309’ got on the air, it really didn’t have a lot of promotion to begin with, but it was one of those songs that got a lot of requests and stayed on the charts. It was on the charts for 40 weeks.”

867-5309 / Jenny

Jenny Jenny who can I turn to
You give me something I can hold on to
I know you’ll think I’m like the others before
Who saw your name and number on the wall

Jenny I’ve got your number
I need to make you mine
Jenny don’t change your number

Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine
Jenny jenny you’re the girl for me
You don’t know me but you make me so happy
I tried to call you before but I lost my nerve
I tried my imagination but I was disturbed

Jenny I’ve got your number
I need to make you mine
Jenny don’t change your number
Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine

I got it (i got it) I got it
I got your number on the wall
I got it (i got it) I got it
For a good time, for a good time call

Jenny don’t change your number
I need to make you mine
Jenny I’ve called your number

Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine

Jenny Jenny who can I turn to (eight six seven five three oh nine)
For the price of a dime I can always turn to you (eight six seven five three oh nine)

Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine
Eight six seven five three oh nine (five three oh nine)
Eight six seven five three oh nine
Eight six seven five three oh nine (five three oh nine)
Eight six seven five three oh nine (five three oh nine)

Fanny – Charity Ball

Bonnie Raitt: Fanny was the first all woman rock band that could really play and get some credibility within the musician community. 

When people think of female rock bands, this band doesn’t come up much but should. The usual suspects are the Go-Go’s, Bangles, and Runaways because they had more commercial success. The Runaways had more after they broke up.

Out of those three bands, The Runaways resembled more of a “rock band” but the talent level wasn’t up to these ladies. The other two had their moments but were mostly top-40 pop-rock bands…nothing wrong with that. There have been a few all-female rock bands (not enough) but this one…to me is the most talented one I’ve heard. They were not a “girl group”…they were a full-fledged rock band.

Fanny was formed in the late sixties in Sacramento by two Filipina sisters, Jean and June Millington. Fanny would be the first all-female band to release an album on a major label (their self-titled debut, on Reprise, 1970) and land four singles on the Billboard Hot 100 and two in the top 40. The band played blues, rock, and some pop.

David Bowie, who wrote the band a fan letter in the early 1970s – and two decades later in a Rolling Stone interview was still talking about how criminally overlooked they were. Bowie said: “They’re as important as anybody else who’s ever been, ever; it just wasn’t their time, revivify Fanny. And I will feel that my work is done.”

They never got that one big hit single to break them to the masses. They had a few songs with a pop flavor that really should have made it such as All Mine… that would get my vote. Fanny broke up in 1975, reunited in 2018, and released an album titled Fanny Walked the Earth. I simply adore these women because they could rock.

The album Charity Ball peaked at #150 on the Billboard Album Charts. The title cut peaked at #40 on the Billboard Album Charts in 1971.

They have a documentary out called Fanny: The Right To Rock

Joe Elliott: “I had no idea who they were, but this four minutes of music, and I was hooked.”

Kathy Valentine: They made 5 records.  The Go Gos get a lot of attention for what we did and we only made 3 records. 

Earl Slick: It’s always the ones that start it gets f**ked

Charity Ball

Dance, ooh, stand, oohMove to charity ballDance, ooh, stand, oohMove to charity ball

Get the musicians readyGet them good and hot, good and hot, wooStand and deliverGive ’em everything you’ve gotYou got my number

Charity ballOoh, stand, oohMove to charity ballDance, ooh, stand, oohMove to charity ball

Come on and grab a partnerWe’re gonna roll ’till the break of dawnAnd I need youI need youI need youOh, charity ball

Oh yeah, now I’m ready (I wanna be there)Yes, I’m ready (I wanna be there)Oh, I’m ready (I wanna be there)Charity ball

Oh, I’m ready (I wanna be there)(I wanna be there)(I wanna be there)

Max Picks … Songs From 1993

1993

It took me a while to find all of these but I’m very happy with this list for 1993. We only have 2 more to go until 1995 and the end.

Tom Petty – Mary Jane’s Last Dance

I like the rawness of the song and the lyrics are fun. Tom was making his second solo album Wildflowers but the record company wanted a couple of tracks to go on the greatest hits album. Mary Jane’s Last Dance is one of  Tom’s most successful songs. This would be the last song Stan Lynch played drums on for the Heartbreakers.

To tell you the truth…I always thought the title was Last Dance of Mary Jane.

Petty made some strange videos, and this was no exception. Tom plays a mortician who takes home a corpse played by Kim Basinger. When he gets her home, he puts her in a wedding dress and dances with her. Then he puts her in a pickup truck and throws her into the ocean, and she opens her eyes as she sinks. It won Best Male Video at the MTV Video Music Awards.

Counting Crows – Mr. Jones

In 1993 I was living at my studio apartment. I woke up one morning and heard this song coming from my radio. I immediately thought it was a new Van Morrison song. I was all excited and I loved the track. Earlier that week I had been at band practice and everyone was saying how a band called The Counting Crows was good but they were being hyped. I wasn’t reading Rolling Stone at this point so I had no clue. I later found out this was them and I liked what I heard.

The band was really good though and the lead singer Adam Duritz, could write and sing well. They were big for a few years and then faded.

Lenny Kravitz – Are You Going My Way

Love the guitar riff, the vibe, and the artist. To my surprise, this was not released as a single in the US, but in 1995 a live version was used as the B-side of Kravitz’ “Rock And Roll Is Dead” single.

I first learned of Lenny Kravitz in 1989 with Let Love Rule which is probably my favorite song by him. I like this one because it’s aggressive and right in your face.  The song was released in 1993.

The song is about Jesus Christ, whom Lenny referred to as “the ultimate rock star.” It’s about how God gives choice to man about where to turn.

Sheryl Crow – All I Wanna Do

I was an instant fan when I first heard Sheryl Crow. During the nineties, there were many pop-oriented females that I listened to (Sarah Mclaughlin is one)…and ones that I didn’t at all (her last name rhymes with “tears” “beers” “fears”) but Sheryl was different. She was more in the rock and roll genre. I saw her open up for the Rolling Stones at Vanderbilt’s Stadium and she sounded great.

I have always liked her lyrics…she has fun with them and always kept them interesting.

Israel Kamakawiwo’ole – Over The Rainbow /  What A Wonderful World

We all know this song from The Wizard of Oz but this is a great version in its own right. I first heard this song in Life On Mars and will never forget it. Israel (IZ) fits “What a Wonderful World” in this and it is fantastic.

Hawaiian musician Israel Kamakawiwo’ole recorded this in a medley with “What a Wonderful World” for his 1993 album Facing Forward. This version was used in the films Finding Forrester, Meet Joe Black, Life on Mars and 50 First Dates as well as on the television show ER.

Joyce Green

I want to thank Dave for posting this for Turntable Talk a few weeks ago.

When I heard Joyce Green for the first time in 2021, I was blown away. I was thinking…how in the hell was this woman not huge in the 50s and early 60s? She made possibly my favorite ever rockabilly song.

I hesitated writing about Green because what you will hear on this post is her total discography and it wasn’t a hit. I sure wish she had been given a chance. Finding Black Cadillac was like finding a treasure to me.

She was born in 1940 and started to sing with her brothers in church in the 1950s. They eventually formed a trio and began singing at parties and picnics. The big change for Joyce was when Elvis came along. She knew exactly what she wanted to do after that.

She started on radio in 1957 on a station in Arkansas with a musician named Jimmy Douglas. Douglas eventually talked Green’s parents into allowing the 17-year-old to play in bars with one of her brothers with her. She was the only female rocker in Arkansas at the time. After that she started to tour more of the state and get recognized. She met up with Arlen Vaden who had produced records for different artists.

In 1959, Joyce and her sister Doris wrote the song Black Cadillac. She played the song for Arlen Vaden who arranged a recording session for her at KLCN in Blytheville, Arkansas. Joyce sang and played rhythm guitar on the record which included the song Tomorrow on the A-side and Black Cadillac on the B-side. I can’t believe this was a B side.

This was her only release ever…the single Tomorrow/Black Cadillac in 1959.

The song Tomorrow is a cookie cutter 1950s song, but Black Cadillac blows the roof off the joint. Joyce was only 19 and she didn’t play around in this song. She not only sings this song…she owns it, and you don’t want on Joyce’s bad side. Her voice is electric. It’s a downright shame she didn’t do much more. The quality is great.

Wanda Jackson was hitting at this time with hits. Green should have been along with her because she had talent, and that voice is as strong as you can get.

When I heard this, I thought I died and went to rockabilly heaven. A man named Tommy Holder is playing guitar and does he ever. This wasn’t a hit but it’s a treasure to find. Joyce embarked on a promotional tour with Carl Perkins to support the record. The record was never a hit and Joyce did not record again until the 1970s. These later recordings were lost in a fire… so this is it. As far as I can see…Joyce is still alive in Arkansas.

Joyce Green: “I visited the radio stations and did some stage shows with Carl Perkins and other artists. We’d also do country fairs. I believe I could have been a successful recording artist if I could have gotten the breaks I needed.”

Black Cadillac

I caught you cheatin’ and runnin’ roundAnd now I’m gonna put you in a hole in the groundI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

Now, I’m gonna bump you offGonna tell you the reason whyYou’re worth more to me dead, daddyThan you is aliveI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’m gonna buy me a pistolA great big forty-fiveI’m gonna bring you back baby, dead not aliveI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’ll hire a black CadillacTo drive you to your graveI’m gonna be there babyThrow that mud in your faceI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’ll wear a black mink coatA diamond ring on my handI’m gonna put you under groundI’ll find myself another manI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

Creedence Clearwater Revival – Don’t Look Now (It Ain’t You or Me)

All together…Creedence Clearwater Revival had 65 total songs. It seems like more but that was it. Their recording career spanned from 1967 to 1972. They had 7 studio albums in that span which is incredible.

I looked back at photos of them during that time. They looked like a garage band that could have lived next door to you. They don’t look like what they really were…the hottest American band. You see pictures of The Beatles, Stones, Led Zeppelin, and The Who back then and there is a certain gloss about them…not with CCR. CCR didn’t look larger than life…they looked like our blue-collar neighbors from down the street. That is one of the reasons that I still like them so much.

From 1968 to 1972 they were constants in the charts. They didn’t take months to make an album…they just reeled them off. They pulled off a Beatles trick by having hit singles and critically acclaimed albums. That is not easy to do.

There is an anomaly about them that is puzzling. Their songs have become standards but never had a number 1 song. Well did I say never? It took 50 years but that was finally broken in 2021…they peaked at #1 in the US Rock Digital Sales and also the Canadian Digital Sales for Have You Ever Seen The Rain.

I have no conspiracy theory about them not having a number 1 in their time but personally, I always thought that being on Fantasy Records had something to do with it. If they would have been with Capitol, Columbia, or any other major record label…I believe that would have helped. Those labels had the money for huge advertising and had a connection to DJs and other clients to help. Don’t get me wrong… Fantasy Owner Saul Zaentz was making a lot of money but when it came to the band…he did not like letting it go. That contributed to the short career of CCR.

Creedence Clearwater Revival - Willy and the Poor Boys

Anyway back to this song. It was on the great album Willy and the Poor Boys released in 1969.  The album had the well-known hits Fortunate Son, Down On The Corner, The Midnight Special, and the fan favorite It Came Out of the Sky. The album peaked at #3 on the Billboard Album Charts, #2 in Canada, and #10 in the UK.

I would have loved to see these guys live. I want to thank one blogger named Jeff from Eclectic Music Lover for sharing his story of seeing Creedence live…that was his first concert. I will always be jealous of that. My first concert came years later and was REO…not a comparison there.

John Fogerty:  “There were things going on in the country that upset me, but having grown up in the ‘hippie’ generation, there were a lot of things about my own generation that upset me as well. The song ‘Don’t Look Now’ was trying to address that. It wasn’t that I was a fence rider, it was just that some stuff was getting out of hand.”

Who will take the coal from the mine?Who will take the salt from the earth?Who’ll take a leaf and grow it to a tree?Don’t look now, it ain’t you or me.

Who will work the field with his hands?Who will put his back to the plough?Who’ll take the mountain and give it to the sea?Don’t look now, it ain’t you or me.

Don’t look now, someone’s done your starvin’;Don’t look now, someone’s done your prayin’ too.

Who will make the shoes for your feet?Who will make the clothes that you wear?Who’ll take the promise that you don’t have to keep?Don’t look now, it ain’t you or me.

Don’t look now, someone’s done your starvin’;Don’t look now, someone’s done your prayin’ too.

Who will take the coal from the mines?Who will take the salt from the earth?Who’ll take the promise that you don’t have to keep?Don’t look now, it ain’t you or me

Rockpile – Fool Too Long

Happy April Fools Day!

Fool Too Long is a song from the 1980 album Seconds of Pleasure. The song was written by Nick Lowe, who was one of the key songwriters and vocalists in Rockpile. It’s a catchy rock tune with elements of power pop and new wave with the underlying old rock sound.

Nick Lowe (lead vocals, bass), Dave Edmunds (lead vocals, guitar), Billy Bremner (backing vocals, guitar), and Terry Williams (drums)— had been writing, recording, and playing live together for years before they released just one album at least under the Rockpile name.

One of the reasons they only recorded one album is record label issues. Rockpile was signed to different labels in different regions, with Dave Edmunds signed to Swan Song Records (co-owned by Led Zeppelin) in the United States and Nick Lowe signed to Columbia Records in the UK. These label differences complicated the band’s recording and promotional efforts. They actually recorded more but on other people’s records. They were the backing band for Dave Edmunds’s Tracks On Wax 4, side one of a Mickey Jupp album, and more.

Before the band recorded Seconds of Pleasure, the name “Rockpile” had already been used as the title of an album by Dave Edmunds that he released in 1970. Edmunds subsequently toured as “Dave Edmunds and Rockpile,” with a band that included Williams on drums. However, the group became known as Rockpile didn’t form until Lowe and Edmunds began recording together in the mid-1970s.

The album peaked at #27 on the Billboard 100, #29 in Canada, and #34 in the UK in 1980.

Fool Too Long

I should have realised babe a long time ago
When you told me that you loved me but you didn′t any more
You ran around with anyone all behind my back
You asked me to forgive you I went and took you back

Well I thought you learned your lesson then
But now I see it happen again
And I’ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

I should have seen the signs babe the writing on the wall
When all those other guys started coming round to call
You told me that you changed but that was just a lie
When you said I was your only I was just another guy

Well if I’m the one who pays the rent
I gotta have one hundred percent
Cos I′ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

Everly Brothers – (Till) I Kissed You

I bought a compilation album in 1985 with songs like Bend Me, Shape Me, Crimson and Clover, and All I Have To Do Is Dream. Since then, I’ve been a huge Everly Brothers fan.

They did not rock like Chuck Berry, early Elvis, Little Richard, or Buddy Holly. They were different…their two voices made one complete whole voice. Their inspiration goes down the line to The Hollies, Beatles, Stones, and many of the British Invasion Bands. Keith Richards called Don Everly was one of the finest rhythm guitar players he ever heard.

(Till)I Kissed You is a catchy tune with catchy guitar riffs and the signature harmonies that the Everly Brothers were known for. Don Everly wrote this song while touring Australia. He said he wrote it about every girl he met on the tour…but especially about a girl named Lillian.

This recording features two great musicians. Chet Atkins is on guitar with Jerry Allison on drums. They were one of the pioneering acts in country rock. The Everly Brothers are members of the Rock and Roll and Country Music Halls of Fame. Though the brothers had a strained personal relationship, they didn’t speak for ten years at one point, but they managed to chart 35 top 100 singles.

The song peaked at #4 on the Billboard 100, #8 on the Billboard Country Charts, #3 in Canada, #2 in the UK, and #22 on the Billboard R&B Charts in 1959.

Don Everly:  “I wrote it about a girl I met on that trip, her name was Lillian, and she was very, very inspirational. I was married, but… you know.”

(Till) I Kissed You

Never felt like this until I kissed you
How did I exist until I kissed you
Never had you on my mind
Now you’re there all the time
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

Things have really changed since I kissed you, uh-huh
My life’s not the same now that I kissed you, oh yeah
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

You don’t realize what you do to me
And I didn’t realize what a kiss could be
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

You don’t realize what you do to me
And I didn’t realize what a kiss could be
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

I kissed you, uh-huh
I kissed you, oh yeah
I kissed you, uh-huh

Circus Maximus – Wind

I blog because I like to talk to everyone about the artists I and they featured that day. Sometimes, the conversations go elsewhere and not long ago I happened to catch a conversation between CB and Phil from the Cactus Patch. They mentioned Circus Maximus which featured Jerry Jeff Walker. I pay attention to all the conversations, even if they don’t involve me, and pick up some good songs that way.

I started to listen to their music. I liked their debut album which has intricate musical arrangements that border a free-form type of music. It flows like jazz and dips into psychedelic. It also has a little of The Guess Who in it.  It’s a piece of music from the psychedelic rock era that fits into the landscape of the 1960s. Their members included Jerry Jeff Walker, Bob Bruno, David Scherstrom, Gary White, and Peter Troutner.

Jerry Jeff Walker was probably the most famous to come out of the band. In the early 1970s, Walker relocated to Austin, Texas, where he became part of the burgeoning outlaw country music scene. He helped define that genre. He was part of the Texas songwriters such as Willie Nelson, Guy Clark, and Townes Van Zandt. You know his most famous song very well, Mr Bojangles. That song was made popular by the Nitty Gritty Dirt Band.

While Circus Maximus did not achieve mainstream commercial success, they gained a cult following within the psychedelic rock scene of the late 1960s. The song is called Wind, which was on their debut album released in 1967. The album was played on the progressive FM radio stations.

Wind

You say that once knew for sure
But now you’re walkin’ into shore to wonder*
The more you learn the less you know
The more you move the more you go to nowhere*
You ask a bird as she flies by
Just where she’s at she says, where the wind blows*
Ask her by that what she means
She says she doesn’t know
But as she flew away she seemed to say

Chorus:

The wind is love is the wind
Wind is my love
Who knows the wind
Who knows my love
Where blows the wind
The wind is my love
You say you staggered to your room
Sleep by day and plot by noon
Your conscious plight
Pack your dreams, you move away
Decide to eat and live by day
And leave the night
City sun blinks in your eyes
You shade your face and realize
a lonely crowd
Then at once you feel the smile
And then the ice warm air moves by
She says the breeze provokes her sigh
Chorus

You say you found another spring
Another joy or human thing
Called lovers
You play your role as a comedy
Refreshing well the tradgedy
Your living
Lovers shore, or so you say
Like the wind love blew away
But as she left she seemed to say

Chorus

Animals – See See Rider

Many have covered this song and I’ve known many versions. It’s been covered over 100 times. I first knew this song by Elvis but I love the Animals version.

The biggest difference between the Animals and The Beatles, Stones, Kinks, and The Who was that the Animals didn’t write many of their early songs. They kept looking at the Brill Building for songs. In this instance, they took an old blues song and breathed new life into it, creating a powerful recording that would become emblematic of their sound.

One of the earliest recorded versions of “See See Rider” was by Ma Rainey, one of the pioneering figures of blues music. Rainey’s recording, released in 1925, helped popularize the song and establish it as a blues standard. The writing credit on this song is Lena Arent and Ma Rainey.

Ma RaineyMa Rainey’s influence extended beyond her music… she was also a trailblazer for African American artists in the music industry. As one of the first African American women to record blues music. she was a vaudeville star in the early 1900s.  In 1923, she started recording for Paramount Records. Earlier he took Bessie Smith under her wing and helped her. She was one of the first female blues artists to find a wide audience.

The C.C. Rider, also known as See See Rider or Easy Rider, is a blues cliché for the sexual partner, although originally it referred to the guitar hung on the back of the traveling bluesman. An easy rider was also known as an unfaithful boyfriend.

The song peaked at #1 in Canada and #10 on the Billboard 100 in 1966.

Over the years, “See See Rider” has been covered by many artists from various genres, including Elvis Presley, Chuck Berry, and Janis Joplin. Per Secondhandsongs… it has been covered 450 times.

See See Rider

Oh see, see see rider girl see what you’ve doneOh oh, see see rider see what you’ve done nowYou’ve gone away and left me and nowAnd now the blues they come oh yes they do

Oh well I’m goin’ goin’ away baby and I won’t be back till fallOh yes I am goin’ away baby and I won’t be back till fallIf I get me a good lookin’ woman no no no I won’t be back at all oh rightNow see see rider I love you yes I do and there isn’t one thing darlingI would not do for you you know I want you see seeI need you by my side see see rider oh keep me satisfied

Oh he had see see rider see see riderSee see rider see see rider see riderSee see rider you keep on a ridin’, keep on a ridin’Here it comes baby look outBeat it all right don’t lose it now come on, come on, yeah

Here she comes she’s oh rightShe’s so fine she’s all mineSee see come on Jenny dig a ride now, hey

Well I’m goin’, goin’ away baby and I won’t be back till fallYes, I’m goin’, goin’ away baby and I won’t be back till fallIf I find me a good lookin’ woman no no no I won’t be back at allAnd that’s the truth baby listen I’m goin’ all rightSomebody told me somebody told meI jump catch on I leave it oh right oh right ah

Townes Van Zandt – Lungs

I’m learning more about Townes Van Zandt and you don’t have to search for great songwriting in his catalog. Just pull up any song and it’s usually a winner.  This is another song that makes songwriters sigh. Sunset diamonds roll across my memory and Clouds roll by and hide the tears I’m crying It’s so original and it’s like a great artist painting a masterpiece.

This song was on his self-titled 3rd album released in 1969. It was recorded at Bradley’s Barn in Nashville in July of 1969.

Townes Van Zandt 1969 Townes

Bradley’s Barn deserves its own post. It was owned by Owen Bradley and he recorded so many well-known artists such as Buddy Holly, Gene Vincent, Kitty Wells, Patsy Cline, Brenda Lee, Loretta Lynn, Lenny Dee, and Conway Twitty to name a few.

Steve Earle points out in a quote that Townes had walking pneumonia in New York and wrote this song based on that. Some sources say he got part of it when he was younger and he went through insulin shock therapy for manic depression. In that “treatment,” you would be shocked and have injections of insulin to put you in a coma daily. He lost much of his long-term memory from this treatment.

He came out of that far from cured. He had a fatalistic view of the world and holes in his memory. It very well could have caused some of his substance abuse and depression problems afterward.

It’s also said to be about coal miners, specifically about pneumoconiosis commonly known as Black Lung Disease.

Secondhandsongs has 22 versions of the song including the original.

Steve Earle: I’ve done it for a very, very long time and it’s one of my favorite Townes songs. The story I heard was that he was in New York and he had pneumonia, literally, just got walkin’ pneumonia. He was literally sick with a respiratory ailment. It’s literal past the poetic decimal point.   He was a bad-ass. The difference between Townes and Bob Dylan is, and this makes Townes a lot more radical to me in some ways, is Dylan was really heavily influenced by the same kinds of music, but lyrically he was influenced more by modern French poets and the Beats. Whereas Townes was much more influenced by old-school, conventional lyric poets like Robert Frost and Walt Whitman. And it’s cool, it’s where a lot of the uniqueness of his voice comes from. ‘Cause it is Lightnin’ Hopkins against Robert Frost, and it’s pretty startling.

Lungs

Well, won’t you lend your lungs to me?
Mine are collapsing
Plant my feet and bitterly breathe
Up the time that’s passing.
Breath I’ll take and breath I’ll give
Pray the day ain’t poison
Stand among the ones that live
In lonely indecision.

Fingers walk the darkness down
Mind is on the midnight
Gather up the gold you’ve found
You fool, it’s only moonlight.
If you try to take it home
Your hands will turn to butter
You better leave this dream alone
Try to find another.

Salvation sat and crossed herself
Called the devil partner
Wisdom burned upon a shelf
Who’ll kill the raging cancer
Seal the river at it’s mouth
Take the water prisoner
Fill the sky with screams and cries
Bathe in fiery answers

Jesus was an only son
And love his only concept
Strangers cry in foreign tongues
And dirty up the doorstep
And I for one, and you for two
Ain’t got the time for outside
Just keep your injured looks to you
We’ll tell the world we tried

Yardbirds – Shapes of Things

This is the Yardbirds… Jeff Beck edition. Great song that peaked at #11 in the Billboard 100, #3 in the UK, and #7 in Canada in 1966. Beck’s guitar solo in this song is fantastic as he uses distortion, sustain, feedback, and some Eastern influence. This was shortly before Jimmy Page joined the group.

The band recorded this song at Chess Studio in Chicago, their first time there. Chris Dreja said it’s one of the best songs they ever made. Shapes of Things was about the state of the UK during the Vietnam War, so it was an anti-war song according to the band. The song was written by Jim McCarty, Keith Relf, and Paul Samwell-Smith.

The band is best known now because of the great guitarists that were in the band. Eric Clapton joined the band in 1963, but soon quit to concentrate on the blues with Cream.

Jeff Beck replaced him in 1965, and then Jimmy Page joined in 1966 on bass. He soon switched to guitar, and the band had Page and Beck together.

Later, Beck walked out of the band, leaving only Page. The Yardbirds broke up, but Jimmy Page kept the name and played under “The New Yardbirds” with his new bandmates Robert Plant, John Paul Jones, and drummer John Bonham, who would change their name to Led Zeppelin.

Jeff Beck liked the song so much that he used it on arguably his best album Truth. He was able to control feedback and use it to enhance the song. The song is often considered a precursor to the heavier, more experimental rock sound that would emerge in the late 1960s and early 1970s.

Jeff Beck: “The way they worked was completely off the cuff: We’d jam, Keith would rush off and write some lyrics in the toilet, it was exactly like that. After four verses, let’s go into this raga thing. I kept changing guitar sounds all the way through. So we did two or three takes of my guitars and blended them all together. But the solo on “Shapes Of Things” was pretty honest until that feedback note that comes in over it. If nothing else, that was the best single.”

Bassist Paul Samwell-Smith: I wrote it in a bar in Chicago. I just lifted part of a Dave Brubeck fugue to a marching beat. It’s a sort of protest song.

Jim McCarty: “With ‘The Shapes of Things’ I came up with a marching type of rhythm that I tried to make interesting. And at the end of each line we’d build up like we used to do with some of our stage stuff – the rave ups. And then the bass riff came on top of that. And the bass riff was loosely based on a Dave Brubeck song, sort of a jazz song, around a doo doo doo doo doo doo, and then the chords came over that. The chords were very basic, came between the two tones, I think G and F, and then resolving it in D, each verse. And then the tune came on top of that. In fact, I remember putting the backing track down, which sounded great. I wasn’t at the session where Keith made up the tune, and when I heard the tune, I thought, Oh, that’s great. It’s a real surprise. He made up the tune, and then we had this sort of ‘Come tomorrow,’ but that was part of the song, anyway, at the beginning. So it was an exciting song to be involved in.”

Jim McCarty: “That’s probably the hardest thing to try and do. Every time we tried to do that it never really succeeded. I suppose we were lucky in that when we did ‘Shapes of Things’ it was like a hit song, but we were really coming from not trying to create a sort of a 3-minute piece of music, it was just something that seemed natural to us. We started with the rhythm, we used a bass riff that came from a jazz record, got a groove going with that and then added a few other bits from elsewhere, other ideas that we’d had. And I think it was a great success for us, it was a good hit record that wasn’t really selling out. And it was original.”

Shapes of Things

Shapes of things before my eyes,
Just teach me to despise.
Will time make men more wise?
Here within my lonely frame,
my eyes just heard my brain.
But will it seem the same?

(Come Tomorrow) Will I be older?
(Come Tomorrow) May be a soldier.
(Come Tomorrow) May I be bolder than today?

Now the trees are almost green.
But will they still be seen?
When time and tide have been.
Fall into your passing hands.
Please don’t destroy these lands.
Don’t make them desert sands.

Chorus, Lead.

Soon I hope that I will find,
Thoughts deep within my mind.
That won’t displace my kind.

Oasis – Don’t Look Back In Anger

I was checking out UK #1’s Blog the other day and he posted this song as going number #1 in 1996. As Stewart points out…they borrow a lot of music but to me… they do it to enhance what they have…not a rewrite of the same song. 

I’ve heard this song just a few times and his post brought it back. Over here in America, I only really heard Wonderwall and Champagne Supernova with any consistency. This one I like better than either one of those. 

They borrowed from John Lennon’s Imagine for the intro but that is fine. The line “So I start a revolution from my bed” was supposedly linking Lennon’s Bed In for Peace in Toronto. Just looking at them… they could have stepped out of the mid sixties mod movement. They were part of the 90’s Britpop scene of Blur, Pulp, The Verve, and others. I was always drawn to Oasis more because they didn’t go out of their way to sound modern or mix in modern styles. They did sound 90s but in a mid-sixties type of way. 

Guitarist Noel Gallagher sang the lead on this song not his lead singer brother Liam Gallagher. Noel is credited with writing this one. He gave his brother Liam the option of singing lead on this one or Wonderwall. Liam picked Wonderwall (look for the quote below) which is the one that Noel wanted to sing because it was about his then girlfriend.

The song peaked at #1 in the UK, #24 in Canada, #55 on the Billboard 100, and #20 in New Zealand in 1996. 

I’m going to borrow this bit of Stewart’s post from UK #1’s Blog

“Meanwhile, it has also been voted the 4th Most Popular #1 Single ever, the 2nd greatest Britpop song (after ‘Common People’), and the Greatest Song of the 1990s. (And, most importantly, the 2nd Best Song to Sing Along to While Drunk – controversially robbed of top spot in that poll by Aerosmith’s God-awful ‘I Don’t Want to Miss a Thing’.) It is also by far the best of Oasis’s eight number ones… and I hope that’s not too much of a spoiler for what’s to come!”

Sorry for the long quote below but it pretty much tells the story of the song. Plus I love the dig he makes at Liam at the end.  

Noel Gallagher: “We were in Paris playing with The Verve, and I had the chords for that song and started writing it. We were due to play two days later. Our first-ever big arena gig, it’s called Sheffield Arena now. At the sound check, I was strumming away on the acoustic guitar, and our kid (Liam Gallagher) said, ‘What’s that you’re singin?’ I wasn’t singing anyway, I was just making it up. And our kid said, ‘Are you singing ‘So Sally can wait?’ And I was like – that’s genius! So I started singing, ‘So Sally can wait.'”

“I remember going back to the dressing room and writing it out, it all came really quickly after that. (The title) ‘Don’t Look Back In Anger’ just popped out. We wrote the words out in the dressing room, and we actually played it that night, in front of 18,000 other people. On acoustic guitar. Sat on a stool. Like an idiot. I never do that now.”

“When we were coming off recording ‘Wonderwall’ and ‘Don’t Look Back In Anger,’ I was originally gonna sing ‘Wonderwall,’ and Liam said, ‘I wanna sing it!’ And I was like, ‘I’m singing one of them, so you take your pick. He chose ‘Wonderwall’ and I chose the other one, then it came out as the single. And on that (BBC TV) series Our Friends In The North – the last ever one where they all meet up, when they’re all older and have all got kids, and they’re all alcoholics – that was the music for the end credits. And I still haven’t seen that episode, but loads of people have come up to me, saying, ‘Man it was so powerful.’ And it kind of took a life of its own after that. It took over from ‘Wonderwall’ in England as our most famous song. And it’s the biggest song of the night now, when we play it live. Which must do Liam’s head in – as he doesn’t get to sing it – but it makes me feel pretty good.”

Don’t Look Back In Anger

Slip inside the eye of your mind
Don’t you know you might find
A better place to play
You said that you’d never been
But all the things that you’ve seen
Will slowly fade away

So I start a revolution from my bed
‘Cause you said the brains I had went to my head
Step outside, summertime’s in bloom
Stand up beside the fireplace
Take that look from off your face
You ain’t ever gonna burn my heart out

And so Sally can wait
She knows it’s too late
As we’re walking on by
Her soul slides away
But don’t look back in anger
I heard you say

Take me to the place where you go
Where nobody knows
If it’s night or day
But please don’t put your life in the hands
Of a rock and roll band
Who’ll throw it all away

I’m gonna start a revolution from my bed
‘Cause you said the brains I had went to my head
Step outside ’cause summertime’s in bloom
Stand up beside the fireplace
Take that look from off your face
‘Cause you ain’t ever gonna burn my heart out

And so Sally can wait
She knows it’s too late
As she’s walking on by
My soul slides away
But don’t look back in anger
I heard you say

So Sally can wait
She knows it’s too late
As we’re walking on by
Her soul slides away
But don’t look back in anger
I heard you say

So Sally can wait
She knows it’s too late
As she’s walking on by
My soul slides away
But don’t look back in anger
Don’t look back in anger
I heard you say
At least not today

Max Picks …songs from 1992

1992

Ride – Twisterella

This is a fantastic-sounding song by a band named Ride. It’s high up on my top powerpop songs. The band was part of the shoegaze genre. Along with the previous year’s There She Goes by the La’s…I was in power pop heaven.

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.

Melon – No Rain

This 1993 song has a sixties feel to it. The lead singer Shannon Hoon did a great job on this track. I think when movies are made about the 1990s…this has to be on the soundtrack. It screams 90s more than about any other song.

Blind Melon bass player Brad Smith wrote this song before he formed the band. He had moved from Mississippi to Los Angeles, where he fell into a down period. He said that the song is about not being able to get out of bed and find excuses to face the day when you have nothing. At the time he was dating a girl who was going through depression and for a while, he told himself that he was writing the song from her perspective. He later realized that he was also writing about it himself.

The video was very popular. It has a very intriguing video featuring a girl dressed in a bee costume. The bee girl, Heather DeLoach, was 10 years old when she starred in it, creating one of the most enduring images on MTV.

The concept for the video was inspired by the Blind Melon album cover, which features a 1975 photo of Georgia Graham, the younger sister of Blind Melon drummer Glenn Graham. DeLoach was the first to audition for the role, and because she resembled Graham’s sister so much, director Samuel Bayer (who also directed Nirvana’s “Smells Like Teen Spirit”) chose her.

R.E.M. – Man On The Moon

I’ve noticed that I have never written about this song which is a shame since it’s in my top 5 of REM. This song is about one of my comedic heroes…the very different Andy Kaufman.

It was the title of a new movie starring Jim Carey as Kaufman. I went to see the movie at the theater and this song fits brilliantly. I think it’s one of the best-written songs they did. Bill Berry came up with the melody and Peter Buck helped finish it off. Stipe came up with the lyrics as their back was against the wall to finish the album.

Bruce Springsteen – Better Days

On March 31, 1992, I purchased two albums by Bruce. Lucky Town and Human Touch…both albums released on the same day. I’ve always liked Lucky Town more than Human Touch. Better Days kicked off the album.

Bruce Springsteen: “With a young son and about to get married (for the last time) I was feelin’ like a happy guy who has his rough days rather than vice versa.”

Jayhawks – Waiting For The Sun

Ever since I heard this band on our alternative radio station in Nashville…Lightning 100 I’ve liked them. The Jayhawk’s writing and voices won me over with songs like Blue and I’m Gonna Make You Love Me. The Replacements had broken up by this time and The Jayhawks took their place beside REM.

Benmont Tench, Charley Drayton, and Nicky Hopkins play on the album with the Jayhawks.

The Jayhawks are an American alternative country and country rock band that emerged from the Minneapolis–Saint Paul music scene in the mid-80s. Minneapolis had a strong scene for bands in the 80s. The Replacements, Husker Du, Soul Asylum, and of course the big one…Prince.

The song, like most of The Jawhawk’s early cuts, is credited to the band’s guitarist Gary Louris and frontman Mark Olson.

Gary Louris: I didn’t know there was a song called “Waiting for the Sun,” I was not a Doors fan. I like them now, but I didn’t know there was a song called that. Maybe in my subconscious I did. 

Bessie Smith

I don’t want no drummer. I set the tempoBessie Smith

Lisa published this for me for her yearly Women’s Music March, giving you a female artist every day for March. I want to thank her for that.

I got into Bessie Smith from listening to Janis Joplin and reading about her. Bessie’s voice sends chills up my spine…that is my litmus test. Whatever she sings…she sings it, means it, she lived it. The sound of the record and her voice is just unbeatable. Yes, we have digital now but digital could not give you this sound. If you are not familiar with her…do yourself a favor and check her out. We cannot forget the pioneers of any genre. Artists like Mahalia Jackson, Janis Joplin, and Norah Jones have all given Bessie Smith credit as their inspiration.

I can imagine Dorothy Parker, Charlie Chaplin, F. Scott Fitzgerald, and Clara Bow all listening to this in the 20s and 30s. Bessie Smith was known as the “Empress of the Blues.”

Early Life:

She was born in Chattanooga, Tennessee, on April 15, 1894. She lost her dad while she was an infant and her mom when she was 7-8 years old. She was raised by her tough older sister. They nearly starved. For money, her sister took in laundry. Bessie would start contributing.

Musical Beginnings:

To help support her orphaned siblings, Bessie began her career as a Chattanooga Street musician and singing at churches, singing in a duo with her brother Andrew to earn money to support their poor family. At age 16 she met a blues singer by the name of Ma Rainey and started to travel with the Rabbit Foot Minstrels, a variety show that toured the south and Midwest. She would send money home to her siblings and became an excellent singer. At age 24 she went solo by touring with other traveling shows. She talked tough and could get rough if you messed with her. She understood blues so well because she was living it.

Bessie signed with Columbia Records in 1923. Within 10 months of signing Smith, the Columbia label sold two million records. Over the next four years, her sales reached six million. But she sang a wider repertoire than most, in her traveling tent show, on theatrical tours, and, later, in jazz clubs. The blues made Smith the highest-paid black entertainer of her era ($2000 a week), but she was just as adept at singing show tunes and more popular Tin Pan Alley songs, which became the basis of many early jazz standards. Those record sales don’t sound as high now but remember this was in the 1920s with only a few marketing tools on hand.

She is credited with recording more than 160 songs between 1923 and 1933. Smith performed on stage throughout the southern United States and recorded with such jazz greats as Benny Goodman, Louis Armstrong, and Coleman Hawkins.

On September 26, 1937, Smith was severely injured in a car accident while traveling from a concert in Memphis to Clarksdale, Mississippi, with her companion Richard Morgan. She was taken to a hospital, where she died. More than 5,000 people attended her funeral. Her grave had no headstone.  There was money for a headstone apparently, but her estranged husband spent it on something or someone else.

By the time of her death, Bessie was known around the world appear with the best players of the day at theaters coast to coast. Bessie’s voice and showmanship drove her from poverty to international fame as a singer of blues tunes, many of which she wrote and co-wrote.

Discography:

This is a partial list because they did not have albums at that time. The list of everything she released would take a post by itself.

1923 – Downhearted Blues  #1

1923 – Gulf Coast Blues       #5

1923 – Aggravatin’ Papa    #12

1923 – Baby Won’t You Please Come Home     #6

1923 – T’aint Nobody’s Biz-Ness If I Do     #9

1925 – The St. Louis Blues     #3

1925 – Careless Love Blues   #5

1925 – I Ain’t Gonna Play No Second Fiddle   #8

1926 – I Ain’t Got Nobody    #8

1926 – Lost Your Head Blues   #5

1927 – After You’ve Gone         #7

1927 – Alexander’s Ragtime Band     #17

1928 – A Good Man Is Hard To Fine     #13

1928 – Empty Bed Blues     #20

1929 – Nobody Knows You When You’re Down and Out   #15

Filmography (if any):

Saint Louis Blues 1929

Some things to share:

Janis Joplin helped buy Smith’s headstone in 1971…two weeks before her own untimely death. But the real story was the other person who helped buy the stone. That was Juanita Green… a little girl whom Smith once told to give up singing and stay in school.

Bessie Smith has been inducted into the Grammy Hall of Fame, winning posthumous awards for her 1923 single “Downhearted Blues,” 1925 single “St. Louis Blues” with Louis Armstrong, and a 1928 single “Empty Bed Blues.” Smith has also been honored with a Grammy Lifetime Achievement Award, was inducted into the Rock and Roll Hall of Fame, the Blues Hall of Fame, and the Big Band and Jazz Hall of Fame.

Official website:

https://nmaahc.si.edu/lgbtq/bessie-smith

Nobody Knows You When You’re Down and Out

Once I lived the life of a millionaireSpending my money, I didn’t careI carried my friends out for a good timeBuying bootleg liquor, champagne, and wine

Then I began to fall so lowI didn’t have a friend and no place to goSo if I ever get my hand on a dollar againI’m gonna hold on to it ’til them eagles grin

Nobody knows youWhen you’re down and outIn my pocket, not one pennyAnd my friends, I haven’t any

But if I ever get on my feet againThen I’ll meet my long lost friendIt’s mighty strange without a doubtNobody knows you when you’re down and outI mean, when you’re down and out

When you’re down and out, not one pennyAnd my friends, I haven’t any and I felt so lowNobody wants me ’round their door

Without a doubtNo man can use you when you’re down and outI mean, when you’re down and out