Guy Clark – Desperados Waiting for a Train

When I’m in the mood to hear a well-written song, I go to either John Prine, Townes Van Zandt, Bob Dylan, Steve Earle, or Guy Clark. They always hit the spot, and this song is one of those story songs that just stuck with me. I look at some of these songwriters not as normal songwriters but mini movie writers. 

Guy Clark wrote this song in the early ’70s, drawing from his own childhood in Texas. The old drifter in the song, the surrogate grandfather who taught him about cards, women, and hard living, wasn’t made up. Jack Prigg, a wildcatter and oilfield worker, had lived in Clark’s grandmother’s boarding house, and a young Guy Clark soaked up every curse word and story. By the time Clark wrote the song, the memories meant something more universal, a man who refused to fade quietly.

The song was on Clark’s 1975 album, Old No. 1, and it quickly became one of his signature songs. But it didn’t stop there; it was picked up and recorded by Jerry Jeff Walker (first recording of the song), Tom Rush, Rita Coolidge, and, eventually, The Highwaymen (Waylon, Willie, Kris, and Johnny), covering it in 1985. It’s been covered 32 times. Walker, Coolidge, David Allan Coe, and Tom Rush covered it before Guy released his version. 

This is wonderful Americana storytelling is as rich as anything you have heard or watched. He writes these story songs so well that you can see them in your head being acted out like a movie. 

Jack Prigg and a young Guy Clark
Jack Prigg and a young Guy Clark

Jack Prigg was an old oil wildcatter and oilfield worker who lived for a time in Clark’s grandmother’s boarding house in Monahans, Texas, during the 1940s. Clark’s parents had split up when he was young, and he spent a big part of his boyhood around his grandmother’s place. That’s where he met Prigg, who was already an old man by then, tough and weathered from a lifetime in the oilfields. Clark mentioned that he didn’t romanticize the lyrics, he wrote them straight. That’s why this song works, everything is left intact. Clark said, “He was my hero. He was a tough old bird who drank hard, swore a lot, and lived a big life.”

Desperados Waiting For The Train

I’d play the Red River ValleyAnd he’d sit in the kitchen and cryAnd run his fingers through 70 years of livin’And wonder, “Lord, has ever, well, I’ve drilled gone dry?”We was friends, me and this old man

We was like desperados waiting for a trainLike desperados waiting for a train

Well, he’s a drifter and a driller of oil wellsAnd an old-school man of the worldHe taught me how to drive his carWhen he’s too drunk toAnd he’d wink and give me money for the girlsAnd our lives was like some old western movie

Like desperados waiting for a trainLike desperados waiting for a train

From the time that I could walk, he’d take me with himTo a bar called the Green Frog CafeAnd there was old men with beer guts and dominoesLying ’bout their lives while they playedAnd I was just a kid that they all called his sidekick

We was like desperados waiting for a trainLike desperados waiting for a train

One day I looked up and he’s pushin’ 80And there’s brown tobacco stains all down his chinWell, to me he’s one of the heroes of this countrySo why’s he all dressed up like them old men?Drinkin’ beer and playin’ Moon and 42

Just like a desperado waiting for a trainLike a desperado waiting for a train

And then the day before he died, I went to see himI was grown and he was almost goneSo we just closed our eyes and dreamed us up a kitchenAnd sang another verse to that old song“Come on, Jack, that son of a bitch is coming”

And we’re desperados waiting for a trainLike desperados waiting for a trainLike desperados waiting for a trainLike desperados waiting for a train

Paul Carrack – I Need You

You know, some singers’ voices are made for great soul/pop, and Paul has one of those voices. I’ve just rediscovered this song that I have been trying to remember for years. When I heard that bass intro, I knew I hit the right one. This is the one that I have been trying to remember since the 1980s.

Paul Carrack is one of those musicians whose career reveals a series of classic moments in pop and rock history. How Long with Ace. Tempted with Squeeze. The Living Years with Mike + the Mechanics. And in between all that, he made a great power-pop-soul album of the early ’80s: Suburban Voodoo. One reviewer called it “a Nick Lowe album with Carrack singing,” and that is not a bad thing! He and Paul Rodgers get the call when an artist needs a special vocalist.

This song is from that album. Carrack hits the pop-soul sweet spot. It was produced by Nick Lowe; it has that Nick Lowe tight rhythm section, jangly guitars, and Lowe’s knack for making a record sound both edgy and polished. Carrack, for his part, gives a vocal performance that makes you wonder why the song wasn’t all over the charts in the early ’80s. It was written by Paul Carrack, Nick Lowe, and Martin Belmont.

The music was supplied by Nick Lowe and his Cowboy Outfit. It included Lowe on bass, Martin Belmont on guitar, Bobby Irwin on drums, and of course, Paul Carrack on keyboards and lead vocals. The contrast on this album works well. You have Nick Lowe still bringing a little pub rock influence along, backed with Carrack’s smooth voice.

The song peaked at #37 on the Billboard 100 and #20 on the US Rock Mainstream Charts. The album peaked at #78 on the Billboard Album Charts in 1982.

I Need You

Don’t need a RollerOr a LimousineI don’t need my pictureIn a magazineDon’t need approvalFrom a chosen fewI tell you what I do needI need you.

Don’t need no fixturesOr feelings of homeI’m so unfurnishedI’m on my ownDon’t need remindingWhen the rent is dueTell you what I do needI need you

I need youLike a fly needs a planeI need youLike a ball needs a gameI need youLike a pool needs a cueI need you, need you, need youI need you

I don’t need no covered kissesTo comfort meI don’t want no washed up dishesSoft-soaping meDon’t need no CinderellaIn high-heeled shoesI tell you what I do needI need you

Da da da daDa da da daDa da da da da da da daOoh lala la laI need you

I need youLike a fly needs a planeI need youLike a ball needs a gameI need youLike a shot needs to shootI need you, need you, need youI need you

I need you, need you, need youI need you

Said I want youI need youI need you, need you, need youI need youWell I wantI want youI need you

James Brown – I Got You (I Feel Good)

This is another song I picked up from Good Morning Vietnam. James Brown releases enough energy in this song to light up a huge town. He kicks open the door like he always does. 

Browns band, the Famous Flames, were tight. When I say tight…I mean TIGHT. A band so tight they could lock into a groove like it was second nature. There was a reason for that, though. Brown wasn’t the type to just hit “record” and let it roll. He was a drill sergeant in pointy leather shoes, waving the band into the song.

He had a reputation for being a demanding taskmaster who expected perfection and discipline from his musicians. This extended to their appearance, punctuality, and performance, with fines imposed for any shortcomings. It paid off, though, in some of the best shows ever heard or seen. Brown’s process was obsessive. He’d run the song down once, stop halfway through, and demand another take.

What you hear is a LIVE take, not overdubbing, and you can tell from the excitement in the recording. When he recorded his songs, he was thinking of radio, but he would also think just as much of the stage presentation of it. He had all the bases covered. 

He had hits before, like “Papa’s Got a Brand New Bag,” and this was the follow-up, but this one was a game-changer. It peaked at #3 on the Billboard 100, his highest charting song ever on the Billboard 100. It also spent 6 weeks at number 1 on the R&B Charts. 

This live version has Brown doing a medley of Papa’s Got A Brand New Bag and I Got You (I Feel Good)

I Got You (I Feel Good)

I feel goodLike I knew that I would, yeah-yeah-yeah-yeah, ohI feel good, baby, whoo!Like I knew that I would, yeah-yeah-yeah-yeah, ohSo good

I, I feel niceLike sugar and spice, yeah-yeah-yeah-yeah, ohI, I-I-I loveLike sugar and spice, yeahSo nice

I, I feel goodLike I said that I would, yeah-yeahWhoo!Lord, have mercy, good God, get downSo good, I

Get downBring it back

When I hold you in my armsI know I can’t do no wrongWhen I hold you in my armsI know I can’t do no wrongWhen I hold you, baby, in my armsYou know I can’t do no wrongAnd that my love won’t do you no harm

Hit meI feel goodHit me, baby, hit me, loveLike I know that I would, yeahSo good

Yeah, I feel niceLike sugar and spice, yeah-yeah-yeah-yeahI feel nice, yeah-yeah-yeah-yeahLike sugar and spiceSo nice

Da-da-da-da, da-da-da-da-daDa-da-da, goo-ga

Hit me, I feel goodLike I knew that I would, yeah-yeah-yeah-yeahI, I-I, whoo!Hit meSo good, hey-heyWhoo-ah!

Primal Scream – Rocks

I posted Rocks Off by the Stones a couple of weeks ago, and Clive (Thanks Clive!) said that song influenced this song by Primal Scream. I took a listen, and I absolutely love it. It sounds like the Faces to me…pardon the pun, but that primal seventies rock. I told Clive it has a throwback sound to it. This was a departure from what they usually did..

This sure isn’t Britpop, which was popular at the time. You can tell when they recorded this that it’s supposed to sound like it could’ve been on a jukebox in 1973, and that is a wonderful thing. When it came out, the song and album baffled some critics, but it connected with a wider audience. It was their biggest UK hit to date. It was on the album Give Out But Don’t Give Up.

They decided to record in Memphis at Ardent Studios, the same place Big Star cut their records, in a location with a southern atmosphere. The idea was to tap into the same groove and gospel feel that the Stones did briefly in Muscle Shoals. The sessions were not smooth. They brought in Tom Dowd to produce, a legend whose resume included Aretha Franklin, Ray Charles, Allman Brothers, Lynyrd Skynyrd, and Eric Clapton. Dowd was used to working with bands who could cut a track live, warts and all. Primal Scream didn’t work that way. It was a constant party in the studio, and Dowd had to work through that.

The album was not easy to finish. Some tracks were reworked in London, others remixed to strip out what the label saw as “too much American bar-band” in favor of something more radio-friendly. Critics were split; some thought it was a brave move, others called it a lazy “Stones cosplay.” But for all the mixed reviews, Rocks came out swinging as the lead single in early 1994, and it worked.

One critic compared the album to U2’s Rattle and Hum, not in sound, but because of their desire to discover American influences with this album. I like it when bands do something different than expected. That is how you grow, and they took a shot, and to me, they ended up with a winner. Jimmy Miller, former producer of the Stones’ golden age, mixed a version of this as well. 

The album peaked at #2 in the UK, #22 on the US Heatseekers Albums, and #12 in New Zealand in 1994.

The single peaked at #7 in the UK, #47 in Canada, and #8  in New Zealand in 1994. 

Rocks

Dealers keep dealing, thieves keep thievingWhores keep whoring, junkies keep scoringTrade is on the meat rack, strip joints full of hunchbacksBitches keep a bitching, clap just keeps itching

Ain’t no use in praying, that’s the way it’s staying, babyJohnny ain’t so crazy, he’s always got a line for the ladies(Yeah, yeah, yeah)

Get your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtownGet your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtown

Creeps a-keep crawling, drunks a-keep fallingTeasers keep a-teasing, holy Joe’s a preacherCops keep busting, hustlers keep a hustlingDeath just keeps knocking, souls are up for auction

Ain’t no use in praying, that’s the way it’s staying, babyJohnny ain’t so crazy, he’s always got a line for a lady(Yeah, yeah, yeah)

Get your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtownGet your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtown (yeah, yeah)

Ain’t no use in praying, that’s the way it’s staying, babyJohnny ain’t so crazy, he’s always got a line for the lady(Oh, yeah, yeah)

Get your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtownGet your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtown

Get your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtownGet your rocks off, get your rocks off, honeyShake ’em now, now, get ’em off downtown

Get your rocks off, get your rocks off, honeyGet your rocks off, get your rocks off, honeyGet your rocks off, get your rocks off, honeyGet your rocks off, get your rocks off, honey

Get your rocks off, get your rocks off, honeyGet your rocks off, get your rocks off, honey

Warren Zevon – Lawyers, Guns and Money

I went home with a waitress the way I always doHow was I to know she was with the Russians, too?

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is (drum roll please…) A song with a great opening line suggested by Max of PowerPop

By the time Zevon was recording Excitable Boy in late 1977, he’d already built up a reputation in Los Angeles as a brilliant but different character. He’d been Linda Ronstadt’s piano player, he was pals with Jackson Browne, and he was that rare songwriter who could write a melody that would stick, but it would have a line that would make you laugh nervously. The sessions were stacked with heavy hitters—Danny Kortchmar on guitar, Waddy Wachtel as the sonic glue, Russ Kunkel on drums, and Leland Sklar on the bass. Basically, the best of the 1970s L.A. session scene.

Zevon wanted grit, menace, and the feeling that the whole thing could go off the rails at any second. That’s exactly why this song ended up as the closer; it wasn’t made for a radio single, but it was played quite a bit. The track closes the record with a bang after the short story songs of Roland the Headless Thompson Gunner and Werewolves of London. Where those songs work like short stories, Lawyers, Guns, and Money plays like a situation in escalating panic.

Zevon once stated in an interview that this was based on a true story. Zevon and his manager were partying in Mexico when the party decided to take to the road, and it looked like it was “about to hit the fan.” Zevon’s manager feigned a phone call: “Send lawyers.” Zevon jumped in: “And guns… and money.”

I’ve always liked Zevon’s dark songs with a sense of humor. His universe contains a lot of colorful characters. Zevon would go on to write subtler, more introspective songs, but this one, like Werewolves of London, made sure no one could ever mistake him for another singer-songwriter. 

This song is on the great album Excitable Boy, released in 1978. The album peaked at #8 on the Billboard Album Charts and #12 in New Zealand. It was Zevon’s highest-ranking album.

Lawyers, Guns, and Money

I went home with a waitress the way I always doHow was I to know she was with the russians, too?

I was gambling in havana, I took a little riskSend lawyers, guns, and moneyDad, get me out of this, hiyah!

An innocent bystanderSomehow I got stuck between a rock and a hard placeAnd I’m down on my luckYes, I’m down on my luckWell, I’m down on my luck

I’m hiding in Honduras, I’m a desperate manSend lawyers, guns, and moneyThe shit has hit the fan

Send lawyers, guns, and moneySend lawyers, guns, and money

Send lawyers, guns, and money, hiyah!Send lawyers, guns, and money, ow!

Billy Joel – Captain Jack

I’ve never been a huge Billy Joel fan, but I do like a lot of his music. I had the Songs In The Attic album, and this is one of the songs that stood out. This is early 1970s Billy, restless and writing about disillusionment, very different from Uptown Girl Billy. I would even say this might be one of the most important songs of his career because of what followed. 

Captain Jack is the drug dealer who breaks up the humdrum life of the narrator. Joel didn’t try to hide that in the lyrics at all. Some stations wouldn’t touch it, but others couldn’t stop spinning it. Joel later said the song wasn’t a glamorization, just an observation of what he’d seen in the Long Island neighborhoods where he grew up.

His debut album, Cold Spring Harbor, had been released with a massive technical flaw; the entire thing was mastered at the wrong speed, making Joel’s voice sound unnaturally high. Promotion was minimal, sales were bad, and Joel was locked into a contract that basically gave him pennies per record. He then did the only thing he could do…tour. 

The song had quite an effect on Joel. Philadelphia’s WMMR-FM invited Joel to perform a live concert in their tiny Sigma Sound Studios space,  just him, drummer Rhys Clark, and bassist Larry Russell. The station’s program director, Michael Tearson, and DJ Ed Sciaky were championing singer-songwriters, and Joel’s Cold Spring Harbor tracks had caught their ear despite the bad pressing.

Joel played an eight-song set, mixing early album cuts with unreleased songs. One of those was Captain Jack. The live performance of this song was rawer and darker than the album tracks he’d been promoting. Listeners lit up the station’s phones, demanding to know where they could buy the song.

Here’s the thing: they couldn’t. Captain Jack wasn’t on Cold Spring Harbor. It wasn’t on any record. WMMR started playing the tape of that live performance regularly, and soon it was one of the station’s most requested tracks,  sometimes more than the current hits by Elton John or the Stones.

The WMMR Captain Jack proved Joel had an audience and that he could connect on FM radio without a hit single. By 1973, Columbia had signed him, sent him to Los Angeles with producer Michael Stewart, and Piano Man was born. This was the closing song on the album that included Piano Man and The Ballad of Billy the Kid. 

Captain Jack

Saturday night and you’re still hangin’ aroundTired of living in your one horse townYou’d like to find a little hole in the groundFor a while, hmm

So you go to the village in your tie-dye jeansAnd you stare at the junkies and the closet queensIt’s like some pornographic magazineAnd you smile, hmm

Captain Jack will get you high tonightAnd take you to your special islandCaptain Jack will get you by tonightJust a little push, and you’ll be smilin’Oh, yeah

Your sister’s gone out, she’s on a dateAnd you just sit at home and masturbateYour phone is gonna ring soonBut you just can’t wait for that call, hmm

So you stand on the corner in your New English clothesAnd you look so polished from your hair down to your toesOh, but still your fingers gonna pick your nose after all, hmm

But Captain Jack will get you high tonightAnd take you to your special islandCaptain Jack will get you by tonightJust a little push, and you’ll be smilin’, ohOh, yeah-yeah

So you decide to take a holidayYou got your tape deck and your brand-new ChevroletAh, there ain’t no place to go anywayWhat for? Hmm

So you got everything, ah, but nothing’s coolThey just found your father in the swimming poolAnd you guess you won’t be going back to school anymore

But Captain Jack will get you high tonightAnd take you to your special islandOh, Captain Jack will get you by tonightJust a little push and you’ll be smilin’, oh yeah

So you play your albums, and you smoke your potAnd you meet your girlfriend in the parking lotOh, but still you’re aching for the things you haven’t gotWhat went wrong? Hmm

And if you can’t understand why your world is so deadWhy you’ve got to keep in style and feed your headWell, you’re 21 and still your mother makes your bedAnd that’s too long, whoa, yeah-yeah

But Captain Jack will get you high tonightAnd take you to your special islandWell, now Captain Jack will get you by tonightJust a little push and you’ll be smilin’

Oh, Captain Jack will get you high tonightAnd take you to your special islandWell, now Captain Jack will make you to high tonightJust a little push and you’ll be smilin’

Yeah, Captain Jack will get you high tonightAnd take you to your special islandCaptain Jack will get you by tonightWell, now Captain Jack will make you to high tonight

Sir Douglas Quintet – She’s About a Mover

I’ve known this song since the 1980s, when I heard it many times on oldies channels at work. This Doug Sahm-written song has stuck with me through the decades. I thought about it recently when I ran across an ’80s or ’90s live version that he and keyboard player Augie Myers played. 

This song is a blend of Tex-Mex and garage rock, one of the best examples of 1960s garage rock. It’s bigger than the chart position suggests. It paved the way for the Tex-Mex sound to seep into rock, a little taste inside a pop single. Sixty years on, it still works.

It was 1964, the height of Beatlemania, and producer Huey P. Meaux had an idea. The British Invasion was cleaning up the charts, so why not package a bunch of Texas guys to look like they’d just flown in from England, but still sound like San Antonio? He slapped the name Sir Douglas Quintet on Doug Sahm’s new band, dressed them in matching suits, and let people assume they were another English import.

The band cut this song in Houston’s Gold Star Studios in late ’64. It was a fast, live-in-the-room recording session. Sahm had the riff for a while, but the groove came together when the drummer, Johnny Perez, locked into that hypnotic drum beat, pushing the song forward.

Augie Meyers’ organ was the hook. Huey Meaux knew the song’s repetitive, almost trance-like quality would make it stand out on the radio. The song peaked at #13 on the Billboard 100 and #15 in the UK in 1965. The song was named the number one Texas song by Texas Monthly. 

Doug’s voice has a Ray Charles-like sound, and they ended up with 3 top 40 songs and 4 songs in the Billboard 100.

I usually try to add live versions of the song in the era it came from, but I could not pass this one up…it’s just TOO good.  Doug Sahm and Augie Meyers are doing their thing in Austin, Texas, in 1975. I can’t stop listening to this version. Sahm had a great stage presence. 

She’s About a Mover

She was walking down the street
Looking fine as she could be, hey, hey
She was walking down the street
She’s looking fine as she could be, hey, hey
You know I love you, baby
Oh hear what is say, hey, hey

She walked right up to me
Said, “Hey, big boy, what’s your name?”
She walked right up to me
Said, “Hey, big boy, what’s your name?” Hey, hey
We had love and conversation
Oh yeah, what I say, hey hey

She’s about a mover
She’s about a mover
She’s about a mover
She’s about a mover
Hey, hey

She’s about a mover
She’s about a mover
You know I love you, baby
Oh yeah, what I say, yeah, hey

Now, she walked right up to me, talkin’ about me
She said, “Hey, big boy, what’s your name?”
Well, she walked right up to me
Said, “Hey, big boy, what’s your name?”
We had love and conversation
Oh yeah, what I say, hey hey

She’s about a mover
She’s about a mover
She’s about a mover
She’s about a mover, hey

Long Ryders – I Had A Dream

When I was discovering the Paisley Underground Scene from the 1980s, this was one of the bands that jumped out at me. I did a post on them a few years ago with a song called Looking for Lewis and Clark.  I still can’t believe this was released in the 1980s because it lacked big production and a Casio-sounding keyboard. To me, this sounds like grounded roots music, and reminiscent of the Byrds, and I love the sound. It’s both country twang and chiming power chords.

If you’re going to kick off your first proper album, you may as well come out swinging, and the Long Ryders do just that here. This song wastes no time; the guitar riff is a jangle straight out of the Byrds’ Rickenbacker playbook, but it’s dirtied up with a garage-band growl that says these guys were listening to as much Crazy Horse as Mr. Tambourine Man.

The Long Ryders cut their debut album Native Sons in early 1984 at A&M Studios in Hollywood, with Henry Lewy, Joni Mitchell’s longtime collaborator, behind the board. He understood space and warmth, two qualities the Ryders wanted in spades. The sessions were quick; they were on an indie budget, so this song went down live in the studio, the band feeding off each other’s energy.

The album was praised by critics, Melody Maker saying ” “a modern American classic” and Allmusic has praised the album, writing that it “established their eclectic mixture of Byrds/Clash/Flying Burrito Brothers’ influences … while turning in an original sound that became the banner for both the paisley underground and cowpunk styles in the mid-’80s.”

The album peaked at #1 on the UK Indie Chart in 1984. 

I Had A Dream

Tried so hard to explain
The way things are and how quick they can change
But you never listened you just turned your head
Never even heard a single word that he said
While it’s true now that I’m not a saint
I felt pain when you live to hate
Said it before and I’ll say it again
Leave me alone man or treat me like a friend

I had a dream last night
Everybody’s laughing and everything was alright
Still some hope in sight, that was last night

I had a dream last night
Nobody’s crying, nobody’s frightened
Still some hope in sight, that was last night

Well if it seems like I sound like the rest
We’re trying hard not to be too depressed
Once they take everything I’ve left, it’s so easy
So if you’re dreaming I hhope that you do
Wish for the best and hope that it comes true
Who knows what they’ll leave when they’re through

I had a dream last night
Everybody’s laughing and everything was alright
Still some hope in sight, that was last night

I had a dream last night
Nobody’s crying, nobody’s frightened
Still some hope in sight, that was last night

Count Five – Psychotic Reaction

Another song that I found while listening to an oldies channel in the 1980s. This song reminds me of the Yardbirds in texture and feel. 

This band was a true one-hit wonder in 1966. When the singer-guitarist John Byrne was a freshman in college, his friend told him Psychotic Reaction would be a great name for a song. John had a melody in his head that day and wrote the song, but all of The Count Five contributed.

It was released in the summer of 1966 on the tiny Double Shot label. The single started getting airplay in California and then went national, climbing up the charts. Suddenly, these kids were lip-syncing on American Bandstand and touring with the Beach Boys and The Hollies, off-the-wall stuff for a bunch of guys who had barely been out of San Jose.

As fast as it blew up, it was over. The follow-up singles didn’t chart, the album (also called Psychotic Reaction) was rushed out and padded with covers, and by 1969, the band had quietly dissolved. Byrne went back to civilian life, and the rest scattered into day jobs. You know what, though? Of all the years I played, I would have gladly taken the role of a one-hit wonder. 

It peaked at #5 on the Billboard 100 and #3 in Canada in 1966. It is garage rock, psychedelic with some punk thrown in. The songwriting credits were Kenn Ellner, Roy Chaney, Craig “Butch” Atkinson, John “Sean” Byrne, and John “Mouse” Michalski. 

Psychotic Reaction

I feel depressed, I feel so bad
‘Cause you’re the best girl that I ever had
I can’t get your love, I can’t get a fraction
Uh-oh, little girl, psychotic reaction
(Shouted) And it feels like this!

I feel so lonely night and day
I can’t get your love, I must stay away
I need you girl, by my side
Uh-oh, little girl, would you like to take a ride, now
I can’t get your love, I can’t get satisfaction
Uh-oh, little girl, psychotic reaction

 

Rolling Stones – Rocks Off

The sunshine bores the daylights out of me

This song is a hell of an album opener. I wrote this last weekend, and I was going to post it for Jim’s SLS Sunday  great album openers but I didn’t get to post it. This era was probably the pinnacle of the Stones’ career, both in the studio and live. 

By the summer of 1971, the band had officially become British tax exiles. Facing crippling tax rates back home, they scattered across Europe, with Keith Richards renting Villa Nellcôte, a grand 19th-century mansion in Villefranche-sur-Mer, on the French Riviera. When I say renting, I mean turning it into a 24-hour rock ‘n’ roll asylum.  The basement, humid, airless, and filled with cigarette smoke, became the main recording space. Mobile studio trucks parked outside ran cables through windows and stairwells. 

Despite the drug use and long hours, they got it done. It would be hard to replicate this album because of how it was recorded. Many of the songs sound low-fi and make them even dirtier-sounding. The vocals on this song are not steady in volume, but that adds to it. This, to me, is how the Stones should sound. If they are too clean-sounding, it just doesn’t work for me in the studio or live. Mick Taylor’s guitar is a huge reason this album sounds so good as well. 

This song opened their great Exile On Main Street album. Part of the charm is the muddiness of the recordings.  It was recorded in the middle of heavy drugs, hangers-on, and a band fleeing from the taxes of England. It’s a wonder they got a song out of it, much less an album that some consider their best. 

What you hear in those opening moments, Keith’s ragged riff tumbling down the stairs like it’s late for work, completely works. This song is sloppy yet tight and a bit menacing. It was a great opener for this album. It clearly told you what was coming next. 

Exile On Main Street peaked at #1 on The Billboard Album Charts, Canada, and the UK in 1972. This was released as a single in Japan only. 

Rocks Off

I hear you talking when I’m on the street
Your mouth don’t move but I can hear you speak

What’s the matter with the boy?
He don’t come around no more
Is he checking out for sure?
Is he gonna close the door on me?

And I’m always hearing voices on the street
I want to shout, but I can hardly speak

I was making love last night
To a dancer friend of mine
I can’t seem to stay in step
‘Cause she come ev’ry time that she pirouettes over me

And I only get my rocks off while I’m dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I’m sleeping
(Only get them off, only get them off, only get them off)

I’m zipping through the days at lightning speed
Plug in, flush out and fire the fuckin’ feed

Heading for the overload
Splattered on the nasty road
Kick me like you’ve kicked before
I can’t even feel the pain no more

And I only get my rocks off while I’m dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I’m sleeping
(Only get them off, only get them off, only get them off)

Feel so hypnotized, can’t describe the scene
It’s all mesmerized all that inside me

The sunshine bores the daylights out of me
Chasing shadows moonlight mystery

Heading for the overload
Splattered on the dirty road
Kick me like you’ve kicked before
I can’t even feel the pain no more

And I only get my rocks off while I’m dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I’m sleeping
(Only get them off, only get them off, only get them off)

And I only get my rocks off while I’m dreaming
(Only get them off, only get them off, only get them off)
I only get my rocks off while I’m sleeping
(Only get them off, only get them off, only get them off)

And I only get my rocks off while I’m sleeping
(Only get them off, only get them off, only get them off)
(Only get them off, only get them off, only get them off)

Queen – You’re My Best Friend

I like Queen every once in a while, but I have to take them in doses. Queen is over the top, and they went out of their way to do that, which is fine, but in this song, they keep it more simple. I first got into them when my friend Paul, brought the News Of The World album cover to school, as we all loved the cool robot. Before he did that, I do remember this song on the radio. Out of all of their well-known hits, this one is a little different, more pure pop-sounding. 

In the hands of another band, this song could have turned into a bland pop song. The harmonies and the arrangement by Queen lifted this song up. It was written by the bass player John Deacon. All members of Queen encouraged each other to write, and each one of them wrote at least one hit. Deacon wrote this one, I Want To Break Free, and the huge Another One Bites The Dust. 

It was written for his wife, Veronica, while the couple were newly married. That explains the warmth in the lyrics, which never dip into rock-star bombast. Musically, it stands out in Queen’s catalog because of that Wurlitzer electric piano. Deacon played it and made it the song’s signature sound, even though Freddie Mercury didn’t like that instrument at all. Well, Freddie was wrong here because it fit the song perfectly. You cannot get that sound from a grand piano. 

The song came off the A Night at the Opera album. This is one of the two albums that Queen named after Marx Brothers movies…the other one is Day at the Races. They were watching the A Night at the Opera movie while making the album. They became friends with Groucho Marx in the mid-seventies.

It peaked at #16 on the Billboard 100, #7 in the UK, and #2 in Canada in 1976.

Freddie Mercury: I refused to play that damn thing, It’s tiny and horrible and I don’t like them. Why play those when you have a lovely superb piano.

You’re My Best Friend

Ooh you make me live
Whatever this world can give to me
It’s you you’re all I see
Ooh you make me live now honey
Ooh you make me live

Ooh you’re the best friend that I ever had
I’ve been with you such a long time
You’re my sunshine and I want you to know
That my feelings are true
I really love you
Oh you’re my best friend

Ooh you make me live

Ooh I’ve been wandering round
But I still come back to you
In rain or shine
You’ve stood by me girl
I’m happy at home
You’re my best friend

Ooh you make me live
Whenever this world is cruel to me
I got you to help me forgive
Ooh you make me live now honey
Ooh you make me live

You’re the first one
When things turn out bad
You know I’ll never be lonely
You’re my only one
And I love the things
I really love the things that you do
Ooh you’re my best friend

Ooh you make me live

I’m happy at home
You’re my best friend
Oh you’re my best friend
Ooh you make me live
You’re my best friend

Fabulous Poodles – Mirror Star

Hanspostcard recommended this song to me, and it stuck with me. I guess I’ll never forget the name of this band. I heard of the band before because I remember reading about them opening for The Kinks and Tom Petty. John Entwistle played on a few tracks on their first album and produced it. On this second album, Muff Winwood produced it. This song and Chicago Boxcar (Boston Back) are probably their best-known songs. 

The band was influenced by The Who and The Kinks, and you can tell. After listening to them a little, they have some pub rock, the punch of it, combined with really good pop songwriting. They formed in London in 1975, with Tony de Meur (vocals/guitar), Richie Robertson (bass/vocals), Bobby Valentino (violin/vocals), and Bryan Wernham (drums). From the start, they had a knack for mixing good pop songwriting with theatrical humor, with some British music hall thrown in. This song was written by Tony De Meur and John Parsons.

Like a lot of late ’70s UK pop/rock, Mirror Star didn’t tear up the charts, but it found a loyal following,  especially when the band opened for The Kinks on their U.S. tours. American audiences who were expecting another punk band got this odd pop/rock band. 

They released 3 albums between 1977 and 1979. This one was on their second album, Unsuitable, released in 1978. I’ve searched, and they didn’t seem to chart in the UK, which surprised me. This song did peak at #81 on the Billboard 100 in 1979. 

Mirror Star

He was a lonely boy, no good at sportsHe couldn’t run, his legs were shortHe walked the streets inside his headAnd spent a lot of time in bed

He practiced on his way to schoolHis friends all said, you’re off the wallHe played a tight elastic bandHis mic was just his empty hand

Mirror, mirror, mirror starHe posed in front of every carThey all called him crazy kidHe ran up to his room and hid

He greased his hair with VaselineAnd practiced looking really meanHe saw a face that’s going farHe posed right there with his guitar

Head’s in the clouds on school reportsHe’s always lost in other thoughtsMade no difference, shut them outHe’d be a star someday, no doubt

Mirror, mirror on the wallYou never treat him like a foolHere in his room, he is the kingThe wild applause is deafening

You see his face on every wallFrom Camden Town to LiverpoolHe lays a groupie when he’s downAnd rents the best hotel in town

The kids hang round to see his faceAnd wish that they were in his placeReflections paid, the mirror made‘Cause posing’s helped him make the grade

Mirror, mirror on the wallYou never treat him like a foolHere in his room, he is the kingThe wild applause is deafening

Mirror, mirror, mirror starMirror starMirror, mirror starMirror, mirror, mirror starMirror, mirror starMirror, mirror

Syd Barrett – Octopus

 I was never a huge Pink Floyd fan, but I did start liking them more and more through the years. My favorite era was the Syd Barrett era, before they became massive. Syd Barrett was a co-founder of Pink Floyd. He is credited with coming up with the band’s name, which was inspired by blues musicians Pink Anderson and Floyd Council. Their debut album has really grown on me and there are some gems on there. 

By the time this was recorded in late 1969, Syd was already something of a rock ‘n’ roll ghost story. The man who led Pink Floyd through UFO Club acid nights and their first album (The Piper at the Gates of Dawn) had flamed out under the weight of mental illness. Octopus was the lead single from his 1970 album The Madcap Laughs, his first solo album. Yes, it is worth checking out. 

A track that sounds like it was part nursery rhyme and English psychedelia mixed together into a surreal song. In just under two years since his short-lived run as Pink Floyd’s original frontman, Barrett had all but disappeared into erratic behaviour. I’m glad EMI decided to let him try again in 1969; it wasn’t out of commercial ambition because they had to know better. I like this album though, and I would recommend it. 

The sessions were chaotic. Producers came and went: Peter Jenner tried first, then Malcolm Jones. When things still weren’t gelling, Barrett’s old bandmates David Gilmour and Roger Waters were drafted in to finish the job. Between all of them, they managed to pull the album together. Uncut placed this in their 200 Greatest Albums of all time. In 2015, NME (New Musical Express) placed this album at number 7 on a list of best albums recorded at Abbey Road. 

The album peaked at #40 on the UK charts in 1970. 

Octopus

Trip to heave and ho
Up down, to and fro’
You have no word
Trip, trip to a dream dragon
Hide your wings in a ghost tower
Sails cackling at every plate we break

Was cracked by scattered needles
The little minute gong
Coughs and clears his throat
Madam you see before you stand
Hey ho, never be still
The old original favorite grand
Grasshoppers green Herbarian band
And the tune they play is “In Us Confide”

So trip to heave and ho
Up down, to and fro’
You have no word
Please, leave us here
Close our eyes to the octopus ride

Isn’t it good to be lost in the wood?
Isn’t it bad so quiet there, in the wood?
Meant even less to me than I thought
With a honey plough of yellow prickly seeds
Clover honey pots and mystic shining feed

The madcap laughed at the man on the border
Hey ho, huff the Talbot
The winds they blew and the leaves did wag
They’ll never put me in their bag
The raging seas will always seep
So high you go, so low you creep
The wind it blows in tropical heat
The drones they throng on mossy seats
The squeaking door will always squeak
Two up, two down we’ll never meet

Please, leave us here
Close our eyes to the octopus ride

Please, leave us here
Close our eyes to the octopus ride

Graham Parker – Hold Back The Night

I missed this song in Graham Parker’s discography. This is a good one and a cover of the Trammps song they released in 1975. The Trammps would later have some huge disco hits. This one was more Philly soul-sounding. Parker had already been bending R&B and soul into his own style with his first two albums, Howlin’ Wind and Heat Treatment.

It was released on the EP The Pink Parker in late ’77 (a live version was tacked onto the U.S. version of The Parkerilla in 1979). Graham’s version is raw and raucous, much more than the original. The Pink Parker peaked at #24 in the UK Charts and #58 on the Billboard 100 in 1977. He recorded this with his great backup band called The Rumour.

The Rumour would be Graham’s backing band for years. They also recorded their own albums separately and did three in all. They broke up in 1980 and then reformed and started to back Parker up again in 2011 and remain his backup band to this day.

The Pink Parker was an EP, and it basically functioned as a stealth single for Hold Back the Night. The track started getting serious airplay and attention. 

Hold Back The Night

Hold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you baby

When you leftYou took the sunRight out of my skyYes you didWonder whyYou went awayAnd never told me why

When the sun go downThe moon is nearI’m scared to death‘Cause your face appear

Hold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you baby

LonelinessHolding meWhen I go to bed yes it isLike a characterIn a bookThat I have read

When the sun go downThe moon is nearI’m scared to death‘Cause your face appear

Hold it hold it hold it hold it

Hold back the nightTurn on the lightDon’t wanna dream about you babyI said hold back the nightTurn on the lightDon’t wanna dream about you baby

Hold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you babyHold back the nightTurn on the lightDon’t wanna dream about you baby

Billie Holiday – Moanin’ Low

I’m not a huge jazz aficionado, but sometimes it hits the spot. On Christian’s blog on Sundays, he usually features a jazz song on his Sunday Six. I often enjoy that more than the rock songs. I was looking through YouTube, and I instantly fell for this song. I picture a smoky black and white bar at 3am in the 40s or 50s, with Holiday giving her all for each song. 

I’ve heard other versions of this song, and some are slick and radio-friendly. Holiday’s is not slick, it’s real and as close to authentic as you can get. What I hear in this song is a weariness in Billie’s voice that feels older than the song itself. She doesn’t belt it, and she doesn’t show off. She just leans into the melody like someone savoring the last dance of the night. 

When I listen to her songs, I have a feeling like I’m eavesdropping on something intimate. Only a few singers have made me feel that way; she will always be special. In this song, she gave pain a voice, and it’s still being felt. 

This song was released in 1936 and peaked at #11 on the Billboard Hot 100. One stat that I found floored me. Out of the 38 singles she released, 35 of them were in the top 20. It was written by Ralph Rainger and Howard Dietz in 1929. popularized in the revue The Little Show, where it was sung by Libby Holman. It’s been covered 66 times by artists such as Dinah Shore to Hot Sugar Band & Nicolle Rochelle in 2020.

The live version below is near the end of her tragically short life, but like always, she gives her all. 

Moanin’ Low

Moanin’ low, my sweet man, I love him soThough he’s mean as can beHe’s the kind of man needs the kind of a woman like me

Gonna die if my sweet man should pass me byIf I die where’ll he beHe’s the kind of a man needs the kind of a woman like me

Don’t know any reason why he treats me so poorlyWhat have I gone and done?Makes me troubles double with his worriesWhen surely, I ain’t deserving of none

Moanin’ low, my sweet man is gonna goWhen he goes, oh LordyHe’s the kind of a man needs the kind of a woman like me