Music – Page 75 – PowerPop… An Eclectic Collection of Pop Culture

Beatles – Money (That’s What I Want) ….Under The Covers Tuesday

John Lennon’s voice in this song is razor-sharp. He could sing a rock song like no other and could handle ballads well.

I first heard this song by the Beatles. They discovered the song in Brian Epstein’s NEMS record store before they knew Brian. It was not a hit in the UK. Many of the songs the Beatles covered were B sides or nonhits in the UK. They tried to stay away from songs that other beat bands were playing at the time. It worked out for them and later for the writers of all of these B sides.

This song was not written by the Beatles but by Berry Gordy with help from an assistant at the company, Janie Bradford. Along with “You’ve Really Got A Hold On Me” and “Please Mr. Postman,” this was one of three Motown songs The Beatles released on their second album, titled With The Beatles in the UK and The Beatles’ Second Album in the US.

Barrett Strong has contested the writer’s credit. He stated that he helped write the song with Berry Gordy and Janie Bradford but his name was kept off of the credits. He WAS credited when the song was released but his name was removed three years later in 1962. Berry has maintained that his name was on there because of a clerical error.

Berry was thrilled that the Beatles thought enough of Motown songs to cover them. He also must have enjoyed the cash register Cha Chinging when their albums were sold. Barrett Strong’s signature tune is thought to have been among the first tracks recorded at Motown’s studio at 2648 West Grand Boulevard, Detroit, in the summer of 1959.

“Money (That’s What I Want)” was released as a Tamla single in August of ’59. The local reaction was so strong that Gordy opted to lease the track to his sister Gwen’s label, Anna, because it had national distribution via Chess Records. The song peaked at #2 on the Billboard R&B Charts in 1959 and #23 on the Billboard 100 Charts.

Another popular version of this song that charted was by the new wave band The Flying Lizards in 1979. That version peaked at #5 in the UK, #7 in Canada, #50 on the Billboard 100, and #5 in New Zealand.

Barrett Strong passed away recently on January 23, 2023, and he was 81 years old.

Money

The best things in life are free
But you can keep them for the birds and bees
Now give me money
(That’s what I want)
That’s what I want
(That’s what I want)
That’s what I want, yeah (that’s what I want)
That’s what I want

Your lovin’ gives me a thrill
But your lovin’ don’t pay my bills
Now give me money
(That’s what I want)
That’s what I want
(That’s what I want)
That’s what I want, yeah (that’s what I want)
That’s what I want

Money don’t get everything, it’s true
What it don’t get, I can’t use
Now give me money
(That’s what I want)
That’s what I want
(That’s what I want)
That’s what I want, yeah (that’s what I want)
That’s what I want, whoa

Well, now give me money
(That’s what I want)
A lot of money
(That’s what I want)
Wow, yeah, I wanna be free
(That’s what I want)
A lot of money
That’s what I want
That’s what I want, well
(That’s what I want)
Well, now give me money
(That’s what I want)
A lot of money
(That’s what I want)
Wow, yeah, you need money
(That’s what I want)
Now, give me money
(That’s what I want)
That’s what I want, yeah (that’s what I want)
That’s what I want

…

Graham Parker – I Want You Back

CB sent me a link to this song. Never did I think in a million years this was the Jackson 5 song that he covered when I saw the title. This cover knocked me out…it’s a mature cover version of the song…and that is no disrespect to the others but I like the way Parker takes this cover.

Parker released this non-album song in 1979. It managed to peak at #103 on the Billboard 100. This one to me must have come out of left field for Graham Parker fans in 1979.

The more I get into Parker’s songs…I don’t understand why he wasn’t played more. He compares to Elvis Costello pretty well. Apparently, radio only had room for one quirky, bespectacled, British pub rocker (Costello).

His record label Mercury Records has been blamed by many for not getting behind Parker and pushing his records. Parker thought the same as he said: “their promotion’s so lame, they could never take it to the real ball game.” He did eventually sign with Arista and Squeezing Out Sparks was the first album on that label for him.

He released this song and on the flip side of the single was a song called Mercury Poisoning. A clear jab at his former label. He didn’t include Mercury Poisoning on the album because he didn’t think it fit. “Sometimes some of the little throwaway things that take a few minutes to write, you just don’t think that they really have the integrity. I mean, ‘Mercury Poisoning’ is a bit of fun and all that, but I didn’t think it had the integrity to be on Squeezing Out Sparks.”

Arista saw that the single was popular so they began to include a free “Mercury Poisoning” single with every purchase of the Squeezing Out Sparks album in the UK. It was also the flip side to Local Girls in America.

The original version is of course by a young Jackson 5. It was written by a team of Motown writers called The Corporation. The head of the label, Berry Gordy, was one of the writers. They were based in California, unlike most Motown writers who were in the Detroit offices.

Michael Jackson reminded Berry Gordy of Frankie Lymon, another teenage star. Gordy helped write this as if he was writing for Lymon. The song was originally envisioned as a vehicle for Gladys Knight but Berry saw it as a way to break the Jacksons into the charts. They released it in 1969.

I Want You Back

Ohh-oh-oh-oh, let me tell you now, uh-huh, uh-uh-uh

When I had you to myself I didn’t want you around
Those pretty faces always make me stand up in a crowd
Someone picked you from the bunch, and that was all it took
And now it’s much too late for me to take a second look

Oh baby, give me one more chance
Won’t you please let me back in your heart
Oh darling, I was blind to let you go
Now that I see you in his arms
Oh I do now
Oh-oh baby
Oh I do now
Oh-oh baby

Tried to live without your love, one of those sleepless nights
But that just shows you, girl, that I know wrong from right
And every street you walk down, I leave tear stains on the ground
Following you girl, I can feel you all around, let me tell you now

Oh baby, give me one more chance
Won’t you please let me back in your heart
Oh darling, I was blind to let you go
But now that I see you in his arms
Oh yeah
Oh yeah
Oh-oh-oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh-oh-oh
You’re all I want
You’re all I want
You’re all I need
Ah yeah, one more chance
Won’t you please let me back in your heart
Oh darling, I must have been blind to let you go
Now that I see you in his arms

Webb Wilder

Webb Wilder: It’s sorta like we’re a roots band for rock ‘n’ roll fans and a rock band for roots fans” He also uses these phrases…“Swampadelic”, “Service-station attendant music”, “Uneasy listening”, “Psychobilly.”

Good morning everyone…since posting about the Scorchers yesterday…I thought Wilder would be good to go over today. Webb deserved more attention than he got. Good songwriting and his voice fits the roots music he plays.

In 1991 I was walking through a street fair in Nashville and there he was, playing with his band. He had just put out an album called Doo Dad that got some local and national airplay. His music is a mixture of rock/country/rockabilly/punk and anything else he can throw in. The man has the gift of gab also. His music is just different. He looks like he dropped out of a 50’s black-and-white detective show. I also saw him shortly later at the Exit Inn.

Webb Wilder’s quote when asked what kind of music he plays.

“I came to Nashville as kind of a hunch, an educated guess that it would be a good place for me. Rock ‘n’ roll and country have more in common than not. We don’t have the typical Nashville country sound, but we thought we could use that to our advantage. It’s sorta like we’re a roots band for rock ‘n’ roll fans and a rock band for roots fans” he also adds these phrases…“Swampadelic”, “Service-station attendant music”, “Uneasy listening”, “Psychobilly.”

His real name is John “Webb” McMurry and according to wiki “The Webb Wilder character was created in 1984 for a short comedy film created by friend called “Webb Wilder Private Eye.” The character was a backwoods private detective who fell out of the 1950s and happened to also be a musician. The short appeared on the television variety show “Night Flight.”^[Whatever it is… it works.

This song I first heard on our local then rock radio station WKDF in Nashville. Poolside is what first drew me in. After I saw him in Nashville at a street fair I was a fan for life. I like unique…and Webb is unique…God bless him…

It also has elements of the 80s cowpunk music and just good rock and roll. I saw him twice through the nineties and he was excellent each time I saw him. This song was released in 1986 and it was on the album It Came From Nashville. Again…the local play in Nashville turned it into a regional hit.

My favorite song by Wilder is this one called Meet Your New Landlord. I purchased the Doodad album and this song is what I zeroed in on. The hit off the album was Tough It Out which peaked at #16 on the Mainstream Charts. It included guest appearances by Al Kooper and Sonny Landreth.

The guitar riff is instantly catchy and the first verse was about losing your house/land in a poker game. A great storytelling song.

He slapped his cards down on the table
Said, “Boys, I got me a winning hand.”
But the sight that made old T. Jim tremble
Was the king that took his land

This was probably his closest thing to a hit in America. In Nashville, it was played a lot on local rock stations. The song peaked at #16 in the Mainstream Rock Songs in 1992. This song came off of Doo Dad and is about the time I saw him for the first time. This song was being played on MTV at the time.

In 1990 this song charted on the Australian charts and it got a lot of airplay here.

Human Cannonball

Saw the ad in the paperSaid the hell with it allTook a gig with the circusAs the human cannonball

It didn’t take longTo learn my tradeVery first show, manI blew the folks awayNow the job’s a little riskyBut I’m my own bossI gotta tell ya, JackIt really gets me off

I live in a tent withThe world’s strongest manWhen I met the motherLike to broke my handMy baby she’s a ladyIn the high wire actWhen I’m feeling tenseShe walks on my back

Now the pay’s OKThe benefits are greatI get to shoot the bullWith the world’s smartest ape

Ahh hahhhI’m the human cannonballI’m the human cannonball y’all

Well, I’m a hot shotI’m a cool breezeUnderneath the big topI’m the big cheeseI lay it on the lineLet it all hangWhen I go least I knowI’ll go with a bang

I reckon I’m livingEvery kid’s dreamIt’s a buzz, its a gasIt’s a real scream

Ahh hahhhI’m the human cannonballI’m the human cannonball y’all

Yeah…

Alright folks, just make yourself at homeHave a snow cone and enjoy the show

They put me on the coverOf the USA TodayTell the world what theHuman cannonball got to sayOn the Carson showThey said “HC.What you do you got to beRight out of your tree”

Well, it’s a little riskyBut I’m my own bossI got to tell you, John,It really gets me off

Ahh hahhhI’m the human cannonballI’m the human cannonball y’all

I’m the human cannonballI’m the human cannonball y’all

Yeah…

HahahahahaNow blast off!I said… Blast Off

AhhahahhhahhhahhhaAhhahahhhahhhahhhaAhhahahhhahhhahhha

Jason and the Scorchers – Lost Highway

I truly love this band. They filled a space in the 80s for me. Loud unprocessed guitars with sparse production. They were close to the Georgia Satellites but more of a Rockabilly band on steroids. I was talking to fellow blogger Obbverse and he brought them up and I was very surprised he knew them. Not many outside the Southeast of America know much about them.

In the mid-eighties, I had a friend who was big into Jason and the Scorchers so I gave them a listen. They were big on college radio and they had many ties with Nashville and played here quite often. I saw them and Webb Wilder live downtown once. That is when I heard them do “The Race Is On”…the old George Jones song and it won me over. Their music seemed to have a kinship to the Georgia Satellites but they were a little more robust. They did have some MTV play with the song Golden Ball and Chain.

The band was formed in 1981. They were together through the 80s till the drummer Perry Baggs was diagnosed with diabetes and could not finish a 1990 tour. They have regrouped since then off and on and altogether have released 15 albums with the last one being in 2010. In 2012 Perry Baggs passed away because of diabetes.

They played a mixture between country and rock but fell into the cracks. They seemed too rock for country and too country for rock. Their concerts were simply unbeatable. They were led by frontman Jason Ringenberg and they released a couple of EPs before releasing their debut album Lost & Found in 1985. They were classified at one time as alt-country but I would add rock/punk/rockabilly in there also.

One of the things that made the band different is Jason wanted to sound country but guitar player Warner Hodges wanted to sound like AC/DC…that interplay made them unique. This song was on their 1985 album Lost and Found. The album peaked at #86 on the Australian album chart in 1987.

Most people will know the song Lost Highway…a hit by Hank Williams. It’s surprising but Hank didn’t write this song. Leon Payne wrote and released this song in 1948. Blind since he was a child, Payne wrote hundreds of songs, some of which were recorded by Hank Williams, John Prine, Elvis Presley, George Jones, Johnny Cash, and many more.

I also added another live cover they did as a bonus…the old George Jones hit The Race Is On.

Jason Ringenberg: “I kinda wanted to make a supercharged roots-rock band, some people were caught by surprise, but by and large people fell in love immediately. There was nobody else like us.”

Lost Highway

I’m a rollin’ stone, all alone and lost
For a life of sin I have paid the cost
When I pass by all the people say
Just another guy on the lost highway

Just a deck of cards, and a jug of wine
And a woman’s lies makes a life like mine
Oh, the day we met, I went astray
I started rollin’ down that lost highway

I was just a lad, nearly twenty-two
Neither good nor bad, just a kid like you
And now I’m lost, too late to pray
Lord, I’ve paid the cost on the lost highway

Now, boys, don’t start your ramblin’ around
On this road of sin, or you’re sorrow bound
Take my advice, or you’ll curse the day
You started rollin’ down that lost highway

…

Hoodoo Gurus – I Want You Back ….Power Pop Friday

I’ve almost written this song up on numerous occasions so I thought I would finish it because it’s been in my drafts for a while. Great power pop from this band.

The Hoodoo Gurus are an Australian rock band combining elements of power pop, Beatleesque harmonies, psychedelia, and grungy garage rock. Guitarists Dave Faulkner, Rod Radalj, and Kimble Rendall were joined by drummer James Baker when the band formed in Sydney in 1981.

I Want You Back” was the final single to be released for the band’s debut album, Stoneage Romeos. The band’s debut Stoneage Romeos, full of garage punk songs and pop references, was named Australian Debut Album of the Year and was released in America where it stayed at number 1 in the Alternative / College charts for 7 weeks, becoming one of the most played albums for the year on the college network. Their next two albums also reached #1 on the Alternative College charts.

This song was played alongside The Replacements, R.E.M., and other alternative bands at the time throughout America. They were not well known to the masses here but in Australia they were huge. In 2007 were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame.

They have released 10 studio albums and the last one, Chariot of the Gods, was released last year in 2022.

I Want You Back

I can still recall the time
She said she was always mine
Then she left as people do
And forget what we’ve been through

It’s not that she’s gone away, yeah
It’s the things I hear that she has got to say
About me and about my friends
When we, we’ve got no defense

That’s her, I’ll never believe her again
She might have deceived all my friends
I know they will see in the end
What it all means when she says, yeah

(Ah, ah) I want you back
(Ah, ah) I want you back
I, I, I want you
She says (she says)
She says (she says)
She says (she says)
She says, yeah, yeah

But what’s worse, she thinks it’s true
But that’s just her, she always was a little bit confused, and
She’s not worth the time I had to lose

That’s her, I’ll never believe her again
She might have deceived my friends
I know they’ll see what it means when she says, yeah

(Ah, ah) I want you back
(Ah, ah) I want you back
I, I, I want you
She says (she says)
She says (she says)
She says (she says)
She says

She says (ah, ah)
She says (ah, ah)
I want you back
She says (ah, ah)
She says (ah, ah)
I want you and only you (ah, ah)

She says (she says)
She says (she says)
She says (she says)
She says

Animals – I’m Crying

I can’t get enough of the early Animals. At the time I would say they were the grittiest-sounding band of the British Invasion. The Animals were one of the many British bands I learned about through reading about the Beatles. The Animals influenced the future of rock from the garage rock of the 60s to 70s punk.

I’m Crying was written by the group’s lead vocalist Eric Burdon and organist Alan Price. The song was released as a single in September 1964 and became their second transatlantic hit after “The House of the Rising Sun”, which was released earlier in the year.

The Animals first appeared on The Ed Sullivan Show on October 18th, 1964. With young girls screaming, The Animals rocked the audience as they played “I’m Crying” followed by their massive hit “House of the Rising Sun.” The audience got so out of control that Sullivan shushed them several times.

They formed in 1963, from the fusion between two rival groups, one headed by bassist Chas Chandler, the other headed by organist Alan Price, stage veteran, former jazz pianist, and disciple of Ray Charles. Eric Burdon, who had played with Price until 1962, was hired as the singer. The Kontours changed their name first to The Alan Price Combo, after adding drummer John Steel, and then to The Animals, after adding guitarist Hilton Valentine.

The original lineup only recorded three albums, yet nevertheless managed to break out eight Top 40 hits between 1964 and 1966. Alan Price left in 1965, and John Steel the following year. Also in 1966, Chandler left to start managing artists, and he discovered Jimi Hendrix in Greenwich Village. Now a very different group, they were known as Eric Burdon & The Animals and had six additional Top 40 hits before finally disbanding in 1968.

Bruce Springsteen: For some, the Animals were just another one the really good beat groups that came of the Sixties, but to me, the Animals were a revelation. The first records with full-blown class consciousness that I had ever heard.

John Steel: We were hot enough to get on several times on The Ed Sullivan Show, and at that time in 1964, we were rated in the Top 5 bands of the British Invasion along with The Beatles, The Rolling Stones and The Kinks, so we were pretty highly regarded.

I’m Crying

I don’t hear your knock upon my door
I don’t have your lovin’ anymore
Since you been gone I’m a-hurtin’ inside
Well I want you baby by my side, Yeah

I’m cryin’, I’m cryin’
Hear me cryin’ baby
Hear me cryin’

Im lonely and blue baby every night
Yeah, you know you didn’t treat me right
And now my tears begin to fall
Well I want you baby and that’s all

I’m cryin’, I’m cryin’
Hear me cryin’ baby
Hear me cryin’

I don’t hear your knock upon my door
I don’t have your lovin’ anymore
Since you been gone I’m hurtin’ inside, yeah
Well I want you baby by my side

But I’m cryin’, you know I’m cryin’
Hear me cryin’ baby
Hear me crying
Hear me crying

Favorite Rock Lyrics 4

Hope you all are having a good week…happy Wednesday!

And he dug up her grave and built a cage with her bonesExcitable boy, they all said well, he’s just an excitable boy …. Warren Zevon

I’ll be in my basement room with a needle and a spoonAnd another girl can take my pain away…Rolling Stones

We were the first band to vomit at the bar and find the distance to the stage too far meanwhile it’s getting late at ten o’clock rock is dead they say Long Live Rock…The Who

Cause when life looks like Easy Street there is danger at your door… The Grateful Dead

Then here come a man with a paper and a pen tellin’ us our hard times are about to end… The Band

I could walk like Brando right into the sun then dance just like a Casanova… Bruce Springsteen

Elementary penguin singing Hare Krishna man, you should have seen them kicking Edgar Allen Poe …The Beatles

Mother, you had me but I never had you I, I wanted youYou didn’t want me so, I just got to tell you goodbye … John Lennon

Exchanging “good luck”s face to face checkin’ his stash by the trash at St. Mark’s place …The Replacements

We come from the land of the ice and snow from the midnight sun where the hot springs flow… Led Zeppelin

Every day, I look at the world from my window but chilly, chilly is the evening timeWaterloo sunset’s fine… The Kinks

I don’t wanna be a candidate for Vietnam or Watergate… Queen

If I ventured in the slipstream between the viaducts of your dream… Van Morrison

I am just a dreamer but you are just a dream and you could have been anyone to me… Neil Young

So we bought a pack of cigarettes and Mrs. Wagner piesand walked off to look for America…Simon and Garfunkel

Patti Smith – Because The Night ….Under The Covers Tuesday

I first heard this song by Springsteen before I ever heard it by Patti Smith. I’m not sure how I kept missing her version.

Patti Smith has more of a cult following and this is by far the biggest hit she ever had.

Bruce Springsteen started to write this song in 1976. That was a troubled year for the singer. He sued his manager Mike Appel and Bruce wanted to work with Jon Landau. This went on for around 10 months. This was coming after 1975 which was huge in Springsteen’s life. He would be on the cover of Newsweek and Time at the same time. His Born To Run album blanketed rock at the time and he was hailed as the future of Rock and Roll. But instead of capitalizing on his success and hitting the studio to record another album he put on a suit and went to court.

Springsteen did what a lot of artists at that time did…he signed a management contract on the hood of a car in a New Jersey parking lot, Springsteen’s contract allotted him 18¢ per album sold. Appel made a minimum royalty of 40¢ per record. On top of that, the contract called for Springsteen to record 10 albums for CBS but it only called for Springsteen to record five for Appel’s Laurel Canyon management and production company. It was a terrible contract and although Springsteen didn’t care about the money then…he was always broke because he was keeping less than 10 percent of his income.

Appel wanted to stop Landau from working with Bruce also…who had just helped Springsteen with Born To Run. When Appel started to tell Bruce what he could and could not do…that was it. Bruce sued Appel and they went to court. Two days after Springsteen filed suit against Appel for fraud, undue influence, and breach of trust, Appel responded by seeking a permanent injunction in New York State Supreme Court barring Springsteen and Landau from entering the recording studio together. He stated that only he and Springsteen would make a “winning combination.”

So long story short…he was barred from recording until this was settled. All he could do was tour…and tour he did. They ended up settling the suit. Appel gave up publishing rights on most of Springsteen’s music in exchange for $800,000, and he took a cut in production points from six to two. Bruce was free to record.

So this song was born in this chaos. It wasn’t completely finished but he could not record the song. The song lay dormant until Springsteen’s producer, Jimmy Iovine, convinced him to give a copy to Patti Smith, who eventually got around to filing in the verses and recording the song. Iovine was also producing Smith’s Easter album and convinced her to record it for the set.

Smith’s boyfriend at the time was Fred “Sonic” Smith and while waiting for him to call…she finished the verses in 1977. It makes sense because she used the longing for Smith for some of the verses like… Have I doubt when I’m alone
Love is a ring, the telephone.

The song appeared on Smith’s album called Easter. At first,. she didn’t want to use the song because she didn’t write all of it. Jimmy Iovine, her producer, along with bandmates convince Smith to record the song.

Fred Smith died of a heart attack in 1994. A year before 10,000 Maniacs recorded the song and it was a hit. The royalties from that song helped keep Smith above water and care for her two young children.

The Patti Smith version peaked at #13 on the Billboard 100, #13 in Canada, and #5 in the UK in 1978. The album Easter peaked at #20 on the Billboard Album Charts.

Bruce Springsteen: “It was a love song and I really wasn’t writing them at the time. I wrote these very hidden love songs like For You, or Sandy, maybe even Thunder Road, but they were always coming from a different angle. My love songs were never straight out, they weren’t direct. That song needed directness and at the time I was uncomfortable with it. I was hunkered down in my samurai position. Darkness… was about stripping away everything – relationships, everything – and getting down to the core of who you were. So that song is the great missing song from Darkness On The Edge. I could not have finished it as good as she did. She was in the midst of her love affair with Fred ‘Sonic’ Smith and she had it all right there on her sleeve. She put it down in a way that was just quite wonderful.”

Patti Smith: “I could have never written a song like that. I’d never write a chorus like that.”

Because The Night

Take me now, baby, here as I am
Pull me close, try and understand
Desire is hunger, is the fire I breathe
Love is a banquet on which we feed

Come on now, try and understand
The way I feel when I’m in your hands
Take my hand, come undercover
They can’t hurt you now
Can’t hurt you now, can’t hurt you now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

Have I doubt when I’m alone
Love is a ring, the telephone
Love is an angel disguised as lust
Here in our bed until the morning comes

Come on now, try and understand
The way I feel under your command
Take my hand as the sun descends
They can’t touch you now
Can’t touch you now, can’t touch you now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

With love we sleep
With doubt the vicious circle
Turns and burns
Without you, oh, I cannot live
Forgive, the yearning burning
I believe it’s time, too real to feel

So touch me now, touch me now, touch me now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

Because tonight there are two lovers
If we believe, in the night we trust
Because the night belongs to lovers
Because the night belongs to love

Because the night belongs to lovers
Because the night belongs to love
‘Cause we believe tonight we’re lovers
‘Cause we believe, in the night we trust
Because the night belongs to lovers

Rolling Stones – Tops

Around 1990 I was playing a club and we usually got off around 2am in the morning. Early on a Sunday morning around 2:30…the guitar player and I packed the car and headed out to Pensacola Florida. One of those spontaneous trips. On the way, we listened to a Dennis Leary comedy tape and The Rolling Stone’s Tattoo You. This is the song that stuck with me on that trip for some reason.

Tattoo You was made up of outtakes and songs that were almost a decade old going back to Emotional Rescue, Black and Blue, and the Goats Head Soup album. Tattoo You to me…was their last great album. They originally recorded this song around 1972 (that version at the bottom). They worked on this song at least 4 different times. : Dynamic Sounds Studios, Kingston, Jamaica, Nov. 25-Dec. 21 1972; Village Recorders, Los Angeles, USA, Jan.13-15 1973; EMI Pathé Marconi Studios, Paris, France, Jan. 5-March 2 1978; June 10-Oct. 19 1979. In 1981 Mick redid all of his vocals to the song.

Even though he had left the band seven years earlier, Mick Taylor’s guitar solo was left on this track and it is fantastic. Pianist Nicky Hopkins also appears on the track, as does the band’s old producer Jimmy Miller, who plays percussion.

Associate producer Chris Kimsey remembers there was a need to put an album out very quickly. A tour was already planned and Mick and Keith were not talking that much at the time. Kimsey told the band that he could probably make an album just out of the unused songs they had going back to 1972. Despite coming from different eras the songs fit together quite nicely. Personally, I think the album was much better than it’s predecessor Emotional Rescue.

The song was written by Jagger/Richards and was pulled from 10 years prior…it was one of the few not pulled as a single.

A version they recorded in 1972

The Tattoo You version from 1981

Tops

Every man is the same, come on
I’ll make you a star
I’ll take you a million miles from all this
Put you on a pedestal
Come on (come on, come on)

Have you ever heard those opening lines?
You should leave this small town way behind
I’ll be your partner, show you the steps
With me behind, you’re tasting of the sweet wine of success
‘Cause I’ll, I’ll take you to the top, baby (hey, baby)

I’ll take you to the top
I’ll take you to the top, baby
I’ll take you to the top

Step on the ladder, toe in the pool
You’re such a natural, you don’t need no acting school
Don’t need no casting couch or be a star in bed
And never, never let success go to you pretty head
‘Cause I’ll, I’ll take you to the top, baby
I swear I would never gonna stop, baby

I’ll take you to the top
Don’t let the world pass you by
Don’t let the world pass you by
Don’t let the world pass you by
You take your chance now, baby
I’m sorry for the rest of your sweet loving life, baby
Oh, sugar
Hey sugar, I’ll take you to the top

I’ll take you to the top
I’ll take you to the top, sugar
I’ll take you to the top
Oh, baby

I’ll take you to the top
I’ll take you to the top
I’ll take you to the top
I’ll take you to the top
I’ll take you to the top

John Hiatt – Perfectly Good Guitar

The first time I heard this song, I loved it. John Hiatt always releases songs of quality, and they are all solid. Saying that, he is most remembered for his songs that other people cover. I don’t understand that because he has a fine, distinctive voice with a consistently excellent band behind him. The keyword here is distinctive, I guess, which I look for.

I first noticed Hiatt with the song Slow Turning. When Bonnie Raitt released Thing Called Love in 1989, I knew the song from Hiatt…I was just getting into him. I’m glad Raitt covered that song because it helped him. He has released 25 albums in total, ranging from 1974 through 2021, and it’s about time for another. My friend Christian does a good review of the album here...check it out if you can.

This song was the title track on his 1993 eleventh studio album. The album peaked at #47 on the Billboard 100, #34 in Canada, #67 in the UK, and #19 in New Zealand. It was his last album on A&M Records and his highest-charting album on Billboard. This album was probably the most rock & roll-oriented album of Hiatt’s career. I do like the guitar tone that Matt Wallace, the producer, got on this album. He had previously produced The Replacements.

The song peaked at #16 on the Billboard Mainstream Rock Charts and #76 in Canada. The record company pulled 5 singles off of this album, and 2 were in the top 40 in the Mainstream Charts.

Perfectly Good Guitar

Well he threw one down form the top of the stairs
Beautiful women were standing everywhere
They all got wet when he smashed that thing
But off in the dark you could hear somebody sing

Oh it breaks my heart to see those stars
Smashing a perfectly good guitar
I don’t know who they think they are
Smashing a perfectly good guitar

It started back in 1963
His momma wouldn’t buy him
That new red harmony
He settled for a sunburst with a crack
But he’s still trying to break his momma’s back

He loved that guitar just like a girlfriend
But ever good thing comes to an end
Now he just sits in his room all day
Whistling every note he used to play

There out to be a law with no bail
Smash a guitar and you go to jail
With no chance for early parole
You don’t get out till you get some soul

Late at night the end of the road
He wished he still had the old guitar to hold
He’d rock it like a baby in his arms
Never let it come to any harm

Wanda Jackson – Hard Headed Woman

I can’t comment on the title…or I’d be in trouble. I will say this…this is a different song than the song written by Cat Stevens on Tea For The Tillerman.

This song was first recorded and released by Elvis Presley with The Jordanaires in 1958. A great straight-up no-frills rock and roll song. Elvis’s version was part of the soundtrack for his 1958 motion picture King Creole and was included on the record album of the same name. The song was also released as a single and in 1958 peaked at #1 on the Billboard charts and went to number two for two weeks on the R&B chart.

The song was written by Claude Demetrius, who also composed songs like “Mean Woman Blues” and “Ain’t That Just Like A Woman,” and the Christmas classic “Santa Bring My Baby Back (To Me.).” When “Hard Headed Woman” first came out in 1958, the BBC restricted when it could be played on the air because of the biblical references in the lyrics.

Wanda Jackson did date Elvis in 1955. He gave her a ring to hold on to and Wanda still has it. They toured together building up their fanbase. Wanda released this song that was on the Live at Town Hall Party 1958.

Wanda Jackson: “I had never heard of him when we met, but we had a lot in common. We were two happy-go-lucky kids.”

This is Wanda’s appearance on California’s Town Hall Party TV show, calling the tune “one of the most beautiful love songs that’s ever been written.” Accompanied in the clip by guitarist Joe Maphis, Jackson recorded her sizzling version in Nashville in the fall of 1960. Among the musicians on those sessions was young guitar whiz Roy Clark.

Hard Headed Woman

Well, a hard headed woman a soft hearted man
Been the cause of trouble ever since the world began
Oh yeah, ever since the world began, ah oh oh oh oh
A hard headed woman is a thorn in the side of man

Now Adam said to Eve listen here to me
Don’t you let me catch you messin’ round that apple tree
Oh yeah, ever since the world began, ah oh oh oh oh
A hard headed woman is a thorn in the side of man

Now Samson told Delilah loud and clear
Keep your cotton pickin’ fingers out of my curly hair
Oh yeah, ever since the world began, ah oh oh oh oh
A hard headed woman is a thorn in the side of man

Well, I heard about a king who’s doing swell
Till he started playin’ with that evil Jezabel
Oh yeah, ever since the world began, ah oh oh oh oh
A hard headed woman is a thorn in the side of man

Flamin’ Groovies – Yes It’s True ….Power Pop Friday

I really like this band. Their career was split into two different sounds. In the early seventies, they were more like the Stones with blues/rock. After their singer (Roy Loney) left…they got another (Chris Wilson) and switched to power pop. They have songs that are power pop, grungy blues rock, and some great rock and roll.

The band was started in 1965 by Roy Loney and Cyril Jordan. By the end of the sixties, they clashed over where to go. Loney was more Stones and Jordon leaned toward the Beatles.

Loney left in 1971 and they got an 18-year-old lead singer named Chris Wilson. They moved to London and started to work with Dave Edmunds. With Chris, they did more power pop and that is when Shake Some Action came about with Wilson and Jordon writing it.

They would go on to be a great power pop band and also be known as an early proto-punk band…they pretty much covered the gamut. Yes It’s True was written by Cyril Jordan and Chris Wilson. It has a Beatle vibe to it and was on their 1976 album, Shake Some Action. The album peaked at #142 in the Billboard Album Charts.

The band broke up in the 80s but some of them continued with the name touring off and on. They did release an album in 2017 called Fantastic Plastic.

Yes It’s True

Every time you see me smile
I’m really blue
Because I’m wondering all the while
If you’re really true

Cause girl you know I’ve tried and tried
Everything to see your side
But I can’t forget the tears I’ve cried
Yes, it’s true

When you got a girl who thinks she’s smart
That’s not so fine
Cause they’re the kind who’ll break your heart
And leave you crying

And lovin’ them is not so nice
You better think about it twice
Or I else she’ll make you pay the price
Yes, it’s true

Well, she’s the kind of girl
Who knows what she wants to be
She knows what she wants
And she knows how to get it from me and you

I saw the smile upon your face
I felt so sure
Although there never was a place
For me and you

…

AC/DC – Who Made Who

Every few years I will watch Maximum Overdrive for a laugh and this is the best thing about it. That movie was directed by a very high Stephen King and it showed.

Stephen King was a huge fan of AC/DC, and when he got to meet them he asked them if they would provide music for this movie. He also offered the band a role in the film, but AC/DC declined, stating they were not actors. The band agreed to do the soundtrack after Stephen King sang “Ain’t No Fun (Waiting Round to Be a Millionaire)” from their 1976 album Dirty Deeds Done Dirt Cheap. King sang the entire song from start to finish and the band laughingly agreed that if he was such a fan they would do it for him.

AC/DC performs all but two songs featured in the film, including two unreleased mixes of previously recorded songs, and the entire 1987 album Who Made Who is the soundtrack to this movie. AC/DC wrote this song and various instrumentals, only two of which appear on the album.

The rest of the songs are from previous AC/DC albums. At the time of the release many music stores had no idea the album Who Made Who was a compilation soundtrack for this movie, and many mislabeled the album as an AC/DC greatest hits. Limited pressings of the album did feature the movie’s logo, stating it was the soundtrack to Stephen King’s Maximum Overdrive, but this was later removed from future pressings.

The song peaked at #23 on the Billboard 100 and #16 in the UK and #35 in New Zealand in 1986. The album peaked at #33 on the Billboard Album Charts, #12 in Canada, #11 in the UK, and #24 in New Zealand.

Who Made Who

The video games say, “Play me”
Face it on a level, but it take you every time on a one-on-one
Feelin’ running down your spine
Nothin’ gonna save your one last dime ’cause it own you
Through and through
The databank know my number
Says I got to pay ’cause I made the grade last year
Feel it when I turn the screw
Kick you ’round the world
There ain’t a thing that it can’t do
Do to you, yeah

Who made who, who made you?
Who made who, ain’t nobody told you?
Who made who, who made you?
If you made them and they made you
Who picked up the bill and who made who?
Who made who, who turned the screw?

Satellites send me picture
Get it in the aisle
Take it to the wall
Spinnin’ like a dynamo
Feel it goin’ round and round
Running outta chips, you got no line in an 8-bit town
So don’t look down, no

Who made who, who made you?
Who made who, ain’t nobody told you?
Who made who, who made you?
If you made them and they made you
Who picked up the bill and who made who?
Ain’t nobody told you?

Who made who?
Who made you?
Who made who?
And who made who?
Yeah
Nobody told you?

…

Kim Carnes – Bette Davis Eyes ….Under the Covers Tuesday

More than any other song to that time…this one seemed so different and I knew music was changing in the 80s. I still liked it and I bought the single. Just like with Bonnie Tyler and It’s A Heartache…my first thought when hearing this was Rod Stewart. I really like Carne’s raspy voice more than the pop singers at the time…and now. Now I’d love to hear a duet with Kim Carnes and Bonnie Tyler.

“Bette Davis Eyes” was originally recorded by Jackie DeShannon on her 1975 album New Arrangement. DeShannon wrote the song with the songwriter Donna Weiss. According to DeShannon, she got the idea after watching the 1942 Bette Davis movie Now Voyager. It was Donna Weiss who submitted the demo to Carnes, who along with her band and producer Val Garay, came up with the hit arrangement for the song.

With Bette Davis Eyes a major hit in 1981, the then 73-year-old Bette Davis wrote to Carnes, DeShannon, and Weiss to thank them for making her cool in the eyes of her granddaughter. She also thanked them for making her part of modern history. Carnes later performed the song for Davis live as part of a tribute to the actress. The two remained friends until Davis’ death in 1989. Joan Crawford was long gone by this time…I have to wonder what she would have thought or said?

The producer told the drummer to go out and buy the cheapest drum set he could buy (and you can tell). They ran the drums through a synthesizer called a Sequential Circuits Prophet-5 and it gave a thin-sounding drum sound. At the time it was different but it would soon become commonplace to replace drum sets altogether with electronic drums…which to me… went way too far. That is why some recordings from that period sound so dated…but that is just me. Keyboardist Bill Cuomo made significant contributions to the chord changes and arrangement, as well as coming up with that synth riff.

Kim Carnes’ version of Bette Davis Eyes came out in 1981. It was the lead single from her sixth studio album, Mistaken Identity. And despite being released at the start of the decade, it was a song that would be played throughout the 80s on radios everywhere.

DeShannon is a Kentucky-born singer-songwriter who’s been on the music scene for most of her life. She started singing regularly on the radio at the age of six and some of her biggest hits include What the World Needs Now is Love and Put a Little Love in Your Heart.

The song peaked at #1 on the Billboard 100, #2 in Canada, #2 in New Zealand, and #10 in the UK in 1981.

Jackie DeShannon: Donna Weiss and I were writing quite a bit at the time, and we both liked black-and-white movies. Donna had written many pages, and I was fooling around with the melody, and we pieced together ‘Bette Davis Eyes.

We made a demo with a much more rock-and-roll feel. That’s what I thought we were going to do, but the producer had another concept. It turned out OK. I don’t dislike it, but it was not my concept. It had been out a long time, and Donna gave it to Kim Carnes with something else on the tape. Kim liked it and that was that. Her version was much closer to the demo version.

Bette Davis Eyes

Her hair is Harlow gold
Her lips are sweet surprise
Her hands are never cold
She got Bette Davis eyes
She’ll turn the music on you
You won’t have to think twice
She’s pure as New York snow
She got Bette Davis eyes

And she’ll tease you, she’ll unease you
All the better just to please you
She’s precocious, and she knows just
What it takes to make a pro blush
She got Greta Garbo’s standoff sighs, she’s got Bette Davis eyes

She’ll let you take her home
It whets her appetite
She’ll lay you on the throne
She got Bette Davis eyes
She’ll take a tumble on you
Roll you like you were dice
Until you come out blue
She’s got Bette Davis eyes

She’ll expose you, when she snows you
Off your feet with the crumbs she throws you
She’s ferocious and she knows just
What it takes to make a pro blush
All the boys think she’s a spy, she’s got Bette Davis eyes

She’ll tease you, she’ll unease you
All the better just to please you
She’s precocious, and she knows just
What it takes to make a pro blush
All the boys think she’s a spy, she’s got Bette Davis eyes

She’ll tease you
She’ll unease you
Just to please you
She’s got Bette Davis eyes
She’ll expose you
When she snows you
‘Cause she knows you, she’s got Bette Davis Eyes

…

Yardbirds – Happenings Ten Years Time Ago

I remember this song on some Yardbirds album I had back in the day. The guitar riff is outstanding. This band had no shortage of guitarists. Eric Clapton, Jeff Beck, and then Jimmy Page.

This is the first Yardbirds song that Beck and Page played together. The bass player on this song, Led Zeppelin fans will know right away. John Paul Jones played bass on this song. Jones also played bass on the Yardbird’s tracks “No Excess Baggage” and “Goodnight Sweet Josephine.” The reason Jones, who was a studio musician at that point, played on these songs was that the regular bass player Paul Samwell-Smith was pursuing record production full-time.

Paul Samwell-Smith went on to be a successful producer with credits such Cat Stevens’ albums Tea for the Tillerman, Teaser and the Firecat, and Catch Bull at Four. He also produced Jethro Tull, Carly Simon, and others. A couple of years later…John Paul Jones would be part of the New Yardbirds before they morphed into Led Zeppelin. Page wisely kept the rights to the name and the band played their first shows under that name.

This song was released in 1966 as a single with the B-side Psycho Daisies. The song peaked at #43 in the UK. As the title of the B side suggests…music was going into a psychedelic period that would peak the following year with The Beatles Sgt Peppers album.

The song was credited to the band… Keith Relf, Jim McCarty, Jeff Beck, and Jimmy Page except for rhythm guitar player Chris Dreja and bass player Paul Samwell-Smith.

Jim McCarty: “On ‘Happenings Ten Years Time Ago,’ Keith (Relf) and I were trying to write a song about reincarnation. We’d seen everything before, and it was all happening again. That was quite an interesting viewpoint, really. Meeting people along our way that we’d seen from another day. Sort of bringing in that situation that we’d been there before.”

Jimmy Page: We rehearsed hard on all sorts of riffs to things like “Over Under Sideways Down” which we were doing in harmonies and we worked out where we’d play rehearsed phrases together. It was the sort of thing that people like Wishbone Ash and Quiver [later] perfected, that dual-lead-guitar idea.

Happenings Ten Years Time Ago

Meeting people along my way
Seemingly I’ve known one day
Familiarity of things
That my dreaming always brings

Happenings ten years time ago
Situations we really know
But the knowing is in the mind
Sinking deep into the well of time
Sinking deep into the well of time

Walking in the room, I see
Things that mean a lot to me
Why they do I never know
Memories don’t strike me so
Memories don’t strike me so

It seems to me I’ve been here before
The sounds I heard and the sights I saw
Was it real? Was it in my dreams?
I need to know what it all means

Happenings ten years time ago
Situations we really know
But the knowing is in the mind
Sinking deep into the well of time
Sinking deep into the well of time