Jangly Byrd like guitars attracted me to this and the sixties vibe. Peter Buck helps Robyn out on this song.
Robyn started his career in a 1972 London Art School with a band called The Beetles. In 1976 he started The Soft Boys and they went on to release A Can of Bees (1979) and Underwater Moonlight (1980). Robyn influence bands such as R.E.M. and The Replacements.
In 1981 released his first solo album Black Snake Diamond Röle. Robyn never had much chart success but continues to influence other artists.
So You Think You’re In Love was on the Perspex Island album that was released in 1991. Robyn describes his songs as ‘paintings you can listen to’. That is a great description.
Robyn released his 21st album in 2017.
So You Think You’re In Love
So you think you’re in love Yes, you probably are But you wanna be straight about it Oh, you wanna be straight about it now
So you think you’re in love Yes, you probably are But you wanna be straight about it Oh, you wanna be straight about it now
Can you imagine what the people say?Can you? But the silent majority is the crime of the century You know it
Are you sure that it’s wise? No, you probably ain’t You don’t wanna be faint about it Oh, you shouldn’t be faint about it now
By the look in your eyes No, you probably ain’t But you shouldn’t be faint about it Oh, you gotta be faint about it now
What is love made of? Nobody knows What are you afraid of? Everyone knows It’s love It’s love
So you think you’re in love Yes, you probably are But you wanna be straight about it Oh, you gotta be straight about it now
So you think you’re in love Yes, you probably are But you wanna be straight about it Oh, you gotta be straight about it now
Glam Rock straight from the seventies. The Dolls were full of attitude, raw music, drugs, and mascara. They would offend as many as possible and often sabotage their own career…but they made their mark in rock history.
This song was written by Dolls lead singer David Johansen and guitarist Johnny Thunders. It was on their self titled debut album. The song was released as a single in 1973 with the B side called Trash. The song sounds loose and rocking. They had a punk hard rock sound and they influence many bands such as KISS, Guns n’ Roses, The Replacements, Sex Pistols, and The Smiths. Morrissey from the Smiths helped organize a reunion concert in 2004.
Todd Rundgren (Todd was everywhere in the 70s) produced this album and Jack Douglas engineered it…he would later produce and work with artists Cheap Trick and John and Yoko on Double Fantasy.
The album peaked at #116 in the Billboard album charts but never hit the top 100.
Jack Douglas on guitarist Johnny Thunders: “Johnny never played the same thing twice. Sometimes, playing with the rhythm section, he just got the feel and he nailed it. At other times, he would stop playing because he knew he wasn’t going to get into it and he’d want to redo it later. Suddenly, he’d be in the control room with me. Then, when he overdubbed his leads, I would do four or five tracks and just comp them like a vocal. He was totally, totally unpredictable, and that’s how he was in life.”
Personality Crisis
Well we can’t take it this week And her friends don’t want another speech Hoping for a better day to hear what she’s got to say
All about that Personality Crisis you got it while it was hot But now frustration and heartache is what you got (That’s why they talk about Personality)
But now your trying to be some no you got to do some Wanna be someone who cow wow wows But you think about the times you did they took every ounce When it sure got to be a shame when you start to scream and shout You got to contradict all those times you were butterflying about
(You were butterflying) All about that Personality Crisis you got it while it was hot But now frustration and heartache is what you got break
And your a prima ballerina on a spring afternoon Change on into the wolfman howling at the moon hooowww
All about that Personality Crisis you got it while it was hot But now frustration and heartache is what you got
Now with all the crossing fingers that mother nature says Your mirrors get jammed up with all your friends
That personality everything starts to blend Personality when your mind starts to blend Personality impression of a friend, Of a friend, of a friend, of a friend, of a friend Personality wondering how celebrities ever met (Look and find out on television)
Personality Crisis you got it while it was hot Frustration and heartache is all you got, don’t you worry Personality Crisis please don’t cry It’s just a Personality Crisis, please don’t stop
I have always liked this B side to Help! Not a bad B side at all.
It was credited to Lennon/McCartney but Paul McCartney wrote this track… in the style of Little Richard. American R&B singers like Richard were a big influence on The Beatles.
The Beatles used this as their closing number on 1965 North American and UK tours, and the 1966 World tour.
When the Beatles were recording this…Paul took a break after shredding his vocal cords and recorded the classic…Yesterday. John Lennon played the Hammond organ on this track. It was the first time Lennon played any kind of keyboard on a record. When The Beatles played this live, he often played an electric piano.
This was the first song ever recorded by Aerosmith. They used it as a demo which eventually got them a record deal. They used also recorded it in 1987 on their album Permanent Vacation.
Paul McCartney:“I’m not sure if John had any input on it, in fact I don’t think he did. But not wishing to be churlish, with most of these I’ll always credit him with 10 per cent just in case he fixed a word or offered a suggestion. But at least 90 per cent of that would be mine.”
From Songfacts
In this song, Paul McCartney plays the role of a poor sap wallowing in his misery. But the joke is on him, which the arrangement and backing vocals make clear. When he sings, “I’m down,” John Lennon and George Harrison retort in mocking fashion, with lines like “down on the ground.” It’s as if they’ve heard too much of his bellyaching and they’re sick of it.
A telling line is, “How can you laugh when you know I’m down?” You can only have so much sympathy for someone who won’t help himself. After that, you have to laugh.
The Beatles performed this on their third live Ed Sullivan Show appearance – September 12, 1965. Before The Beatles broke through in America, Sullivan was in the London airport when The Beatles returned from a tour of Sweden. When he saw the massive crowd there to greet them, he thought The Queen was arriving. When he found out the throngs were there for The Beatles, he made sure to book them on his show. He became a big fan and had them on whenever he could.
This was recorded at the same session with “Yesterday” and “I’ve Just Seen a Face.”
The Beastie Boys recorded a version of this in 1986. Michael Jackson, who owned the publishing rights to this and many other Beatles songs, would not allow them to release it.
Paul McCartney played this at the “Concert For New York,” a benefit show he helped organize in 2001 to help victims of the World Trade Center disaster. It was the first song of his set.
I’m Down
You tell lies thinking I can’t see You can’t cry ’cause you’re laughing at me I’m down (I’m really down) I’m down (Down on the ground) I’m down (I’m really down) How can you laugh when you know I’m down (How can you laugh) When you know I’m down
Man buys ring woman throws it away Same old thing happens everyday I’m down (I’m really down) I’m down (Down on the ground) I’m down (I’m really down) How can you laugh when you know I’m down (How can you laugh) When you know I’m down
We’re all alone and there’s nobody else You still moan, “Keep your hands to yourself!” I’m down (I’m really down) Oh baby, I’m down (Down on the ground) I’m down (I’m really down) How can you laugh when you know I’m down (How can you laugh) When you know I’m down, wow Baby I’m down
Oh baby, you know I’m down (I’m really down) Oh yes, I’m down (I’m really down) I’m down on the ground (I’m really down) Ah, Down (I’m really down) Oh baby, I’m upside down, a yeah, yeah, yeah, yeah, yeah I’m down (I’m really down) Oh baby, I’m down (I’m really down) I’m feeling upside down (I’m really down) Oh, I’m down (I’m really down) Baby, I’m down, yeah Oh baby, I’m down, yeah Baby I’m down (I’m really down) Well, baby I’m down (I’m really down) Well, baby, baby, baby (I’m really down) Oh baby, I’m down I’m down, down, down
This one is off of their last studio album All Shook Down. I was going to conclude with this one having one off of their studio albums but there is one more coming next week.
This is not my favorite off the album but it did have a commercial sound for that time and it’s something that I thought would have charted in the Billboard 100. Merry Go Round did peak at #1 on the alternative charts. The album peaked at #69 in the Billboard Album Chart in 1990.
“Merry Go Round” was written about the lives of Westerberg and his sister Mary (“They ignored me with a smile, you as a child”).
The band went to Los Angeles to make a video for Merry Go Round. With Westerberg’s okay, Warner Bros. hired Bob Dylan’s twenty-three-year-old son Jesse Dylan, who was just starting to direct.
It was shot in black and white and later edited to include some colorful inserts. From the opening moments, with a stone-faced Westerberg staring blankly into the camera, the video lacked the fun that had marked some of their other clips. Paul and Tommy managed a few smiles, and Slim played along gamely. The drummer Chris Mars, miming to Charley Drayton’s drum track, was understandably less than enthused.
Merry Go Round
Hush was the first word you were taught And they watched you wear The clothes they claimed that they bought They brought you down To watch the merry-go around
In fall, you knew how much it cost A trouble doll Around your neck when you lost You wouldn’t make a sound But I could hear your little heart pound And I watched your feet slip off the ground
Merry go round in dreams Writes ’em down, it seems When she sleeps, she’s free Merry go round in dreams
You wake to another day and find The wind’s blowing out of key with your sky Only you can see And the rain dancing in the night Everybody stands around in delight
Merry go round in dreams Writes ’em down, it seems When she sleeps, she’s free Merry go round in dreams
And everybody thinks she’s sick She’s got two worlds she can pick And she’s sad
Hush is the only word you know And I stopped listening long ago They ignored me with a smile You as a child But the trouble doll hears your heart pound And your feet they say goodbye to the ground
Merry go round in dreams Writes ’em down, it seems When she sleeps, she’s free Merry go round in dreams
Merry go round in dreams Merry go round in me Merry go round Round and round in me Merry go round Round and round in me
I’m a bona fide sucker for a guitar tremolo effect…throw in a voice that melts into the song and yea…I’m hooked. During the last part of the first verse backup singers come in and give it a short gospel quality. That makes me warm inside.
John Hiatt did the solo whistling and backing vocals.
The song was written by singer-songwriter Ben Vaughn, off his 1990 album Dressed In Black. Vaughn grew up in the Philadelphia area. He has said that At age 6, his uncle gave him a Duane Eddy record and forever changed his life.
In 1983, he formed the Ben Vaughn Combo. The band was together five years, releasing two albums and touring the U.S. several times. They received rave reviews in Rolling Stone and People magazine and video airplay on MTV.
Vaughn started a solo career in 1988 and has released over 17 albums. He is very versatile… he plays Rock, blues, jazz, folk, soul, R & B, country, Bossa Nova, movie soundtracks, easy listening and more, all with Vaughn’s musical slant.
Too Sensitive For This World
Ev’ry day starts with a broken heart I must be too sensitive for this world Well I know it ain’t right to cry ev’ry night I must be too sensitive for this world
And the world is such a careless place It’s a wonder, hummm it’s a wonder It’s a wonder Anyone survives
The clouds in the sky just make me cry I must be too sensitive for this world I don’t think I can last until these bad times pass I must be too sensitive for this world
Solo
And the world is such a careless place The world is such a selfish place And life is such an awful fate It’s a wonder, hummm it’s a wonder It’s a wonder Anyone survives I must be
When I hear this song I automatically think of Jack Rabbit Slim’s restaurant in the movie Pulp Fiction. It was played when Mia and Vincent were talking about the five dollar milk shake.
Wray came up with this when he was asked to play a stroll at one of his shows. The song was different from other popular instrumentals, as it helped introduce gritty guitar distortion and power chords to the world of rock.
The song is credited to Link Wray and Milt Grant.
This instrumental was somewhat controversial because it implied gang violence – some radio stations refused to play it. It might be the only instrumental song ever banned on the radio. It was feared that the piece’s harsh sound glorified juvenile delinquency. Did the song cause juvenile delinquency? We can only hope.
The song peaked at #16 in the Billboard 100 in 1958.
Pete Townshend on Link Wray: “He is the King; if it hadn’t been for ‘Rumble,’ I would have never picked up a guitar.”
From Songfacts
Wray was with Archie Bleyer’s Cadence label and he wanted to record this as a single. Bleyer was ready to pass on it until his step daughter said she liked it and that it reminded her of the rumble scenes in West Side Story. Bleyer named the song “Rumble” and decided to release it.
Wray was drafted in 1951 and fought in the Korean War where he caught Tuberculosis. As a result, he had a lung removed in 1957 and couldn’t sing. After returning from Korea, he joined his family band the Palomino Ranch Gang, and went on to record as “Lucky” Wray in 1956.
Wray used a 1953 Gibson Les Paul guitar run through a Premier amp to produce this song.
This was used in a 2017 commercial for the Ford Focus where a cat rides in the backseat and closes the window to drown out the sound of a barking dog.
The song was honored at the Rock and Roll Hall of Fame in 2018 when they announced a category for “singles.” Five other songs were selected along with it:
“The Twist” – Chubby Checker “Rocket 88” – Jackie Brenston and his Delta Cats “Louie Louie” – The Kingsmen “A Whiter Shade Of Pale” – Procol Harum “Born To Be Wild” – Steppenwolf
I didn’t know they ever did anything together and to find this was special. Two of my favorite performers coming together. Ray of course from one of my favorite bands of all time and Alex Chilton from another band I admire, Big Star.
Ray had an album in 2010 called See My Friends, a 2010 album featuring versions of classic Kinks’ songs recorded with Alex Chilton, Black Francis, Lucinda Williams, Bruce Springsteen, Metallica and many others.
This song was recorded a year before Alex died. They were neighbors in New Orleans and Alex would bring beer over to Ray’s house although Alex didn’t drink. Alex and Big Star were huge fans of The Kinks.
Ray Davies:
“Way back in 2004 I was in New Orleans, recovering from an injury, and I was befriended by a neighbor called Alex Chilton. Alex had been in a band called Big Star, and had sung on a record called ‘The Letter’ by The Box Tops. We didn’t talk about music much, but he did say to me before I came back to England, ‘You know, I’ve recorded one of your songs, ‘Till the End of the Day’, with Big Star, and I’d love to do another song with you. And he asked me to write some songs for him – I felt really flattered, because by then I had found out about his history. A very unassuming guy.”
“In 2009, on July 4th, Independence Day, he came up to Konk Studios. He was a real character – he was wearing a New Orleans beret, he had a cigarette holder – he was a chain smoker, and I think a recovering drinker – and he said, ‘Let’s do it!’ I said, ‘What would you like to do?’ He said, ‘‘Til The End Of The Day’ and ‘Set Me Free’. So I just had an acoustic guitar and a rhythm box, because I hadn’t organized anything. I played guitar and Alex sang. We did five or six takes and comped it together. “
I cannot find Set Me Free but here is a short clip of Ray talking about Alex.
I remember this one very well. I bought the single and then the album a little while later. It’s a great rock song with some punk in it. It’s on the album Some Girls that was released in 1978.
This was the last song on Some Girls. While they were recording this album, Keith Richards had drug charges hanging over his head from a bust in Toronto. Facing a maximum sentence of life in prison, Keith let Mick take control of the album, which is shown on songs like this. Richards ended up getting off easy… he was sentenced to probation and ordered to play a concert for the blind.
Richards came up with the guitar riff on this and the line “Sha-doobie.” Jagger wrote the rest.
They performed this on Saturday Night Live and to this viewer they were not as tight as normal. Turns out they drank a lot of alcohol, did some seventies substances and rehearsed a lot before show time… after watching the rehearsals it seems like they made the mistake of peaking too early during the rehearsals. By showtime they didn’t sound as strong as usual…but it still was a good show.
The song peaked at #31 in the Billboard 100 and #32 in Canada in 1978.
From Songfacts
The lyrics are a bleak picture of life in New York City. The Stones always had a love/hate relationship with the US, and Mick Jagger’s lyrics were often influenced by his thoughts on the country (see “Satisfaction”). New York in particular is a place where you could be wildly successful, but is also a city filled crime, drugs, and poverty. It should be noted that The Stones have taken shots at their home country of England as well, notably on “Hang Fire.”
Just after this was released, The Stones performed it on Saturday Night Live. It was memorable for Mick Jagger licking Ron Wood on the lips for about 5 seconds. This stuff just didn’t happen on TV back them.
When Jagger sings, “Shmatta, shmatta, shmatta, I can’t give it away on 7th Avenue, this town’s been wearing tatters,” he’s making reference to the fashion district of New York City, which is on 7th Avenue. The word “Shmatta” is slang for old, worn clothing.
Shattered
Uh huh shattered, uh huh shattered Love and hope and sex and dreams Are still surviving on the street Look at me, I’m in tatters! I’m a shattered Shattered
Friends are so alarming My lover’s never charming Life’s just a cocktail party on the street Big Apple People dressed in plastic bags Directing traffic Some kind of fashion Shattered
Laughter, joy, and loneliness and sex and sex and sex and sex Look at me, I’m in tatters I’m a shattered Shattered
All this chitter-chatter, chitter-chatter, chitter-chatter ’bout Shmatta, shmatta, shmatta, I can’t give it away on 7th Avenue This town’s been wearing tatters (shattered, sha ooobie shattered)
Work and work for love and sex Ain’t you hungry for success, success, success, success Does it matter? (shattered) Does it matter?
Ah look at me I’m shattered I’m shattered 0 Look at me, I’m a shattered, yeah (shattered)
Pride and joy and greed and sex That’s what makes our town the best Pride and joy and dirty dreams and still surviving on the street And look at me, I’m in tatters, yeah I’ve been battered, what does it matter Does it matter, uh-huh Does it matter, uh-huh, I’m a shattered
Don’t you know the crime rate is going up, up, up, up, up To live in this town you must be tough, tough, tough, tough, tough! You got rats on the West Side Bed bugs uptown What a mess this town’s in tatters, I’ve been shattered My brain’s been battered, splattered all over Manhattan
Sha oobie, shattered, shattered, what say Sha oobie, shattered Sha oobie, shattered Sha oobie, shattered
Uh-huh, this town’s full of money grabbers Go ahead, bite the Big Apple, don’t mind the maggots, huh Sha oobie, my brain’s been battered My friends they come around they Flatter, flatter, flatter, flatter, flatter, flatter, flatter Pile it up, pile it up, pile high on the platter
This song has a very garage band sound. It was a minor hit in 1986. The Del Fuegos were an alternative band that was eventually signed to RCA later in their career. They were touring the same circuit as REM and The Replacements.
The Zanes brothers Dan and Warren formed the band in Boston in the early eighties. The brothers had a hard time getting a long and supposedly still do. Tom Petty became a fan of them and appeared on one of their songs. They also opened up for Tom Petty and the Heartbreakers on a tour.
Warren quit the band after the 3rd album. He went to college and received a Ph.D in Visual and Cultural Studies. Zanes is the former vice president of education and public programs for the Rock and Roll Hall of Fame and Museum. He ended up writing Tom Petty’s biography shortly before Petty’s death.
This song was written by lead singer Dan Zanes and bass player Tom Lloyd, it was one of the first hits for the band. The Del Fuegos got some attention when Miller beer featured them in a national beer commercial as part of their “Made the American Way” campaign, which got them a lot of exposure and also some critical scorn, as commercials were seen as selling out at the time.
After that commercial their creditability suffered. In the current time having your song in a commercial helps you tremendously and no one things anything about it…but in the 20th century it didn’t go over well. The band would hear “sell out” on tour.
After the commercial though… they did get better tours and more money. This song peaked at #87 in the Billboard 100 in 1986.
I Still Want You
Seasons change and lessons get learned It’s been awhile, but my heart burns It said, I still want you
And that’s all I’ll do Spend my time just thinking about you Said, I still want you
The car we bought together just started to rust The world we made came between the two of us I still want you
When the day was through We drive through town my arm around you Said, I still want you
I tried so hard just to fill your cup I tried so hard just to fill it up But you only drift away, you drift away Now you only drift away, you drift away
I hear the rain coming down The leaves start to fall I hear your voice I remember it all Said, I still want you
And that’s all I’ll do Spend my life just thinking about you Said, I still want you
I tried so hard, tried to fill your cup I tried so hard just to fill it up But you only drift away, you drift away
And baby, I still want you I still want you I said, I still want you
Memphis in the early 1970s was more than Big Star. Many power pop bands and artists were coming out of there at that time. Not many made it huge but many were recognized later. They formed in 1974 and released their first album Wanna Meet The Scruffs? in 1977. Like the others around this period. Many of the power pop musicians worked with each other. The Scruffs worked with Alex Chilton, Tommy Hoehn, and Jim Dickinson. Break the Ice was the first single off of the album. It reminds me of the Raspberries.
To show what some rock critics thought of the band…here is Robert Christgau (rock critic):
Only a sucker for rock and roll could love this record, and I am that sucker. A middle-period Beatles extrapolation in the manner of Big Star (another out-of-step Memphis power-pop group on a small, out-of-step Memphis label), it bursts with off harmonies, left hooks, and jolts of random energy. The trouble is, these serve a shamelessly and perhaps permanently post-adolescent vision of life’s pain, most of which would appear to involve gurls. To which objection the rockin’ formalist in me responds, “I wanna hear ‘Revenge’ again.”
Pretty good endorsement right? That is just one of many but again they just couldn’t break through. They did not have the influence like Big Star did but they were a great power pop band. I listened to all of this album and that jangle of the guitar is infectious. The song was a regional hit but was not played outside of Memphis too much. They did move to New York in 1978 had some high profile gigs at CBGB and Max’s Kansas City.
The Band broke up in 1981 but Stephen Burns the singer, guitar player, and songwriter would continue recording albums under the Scruffs name into the 2010’s…with Peter Buck from REM guesting on the 2011 Kill! Kill! album .
This is a great opening song and the band used it as an opener for many of their concerts. The song is autobiographical in many ways. It was an open letter to their new record company at the time…”But I’ll sign my contract baby, and I want you people to know That every penny that I make, I’m gonna see where my money goes”
I wrote this post a while back…A Sound Day just told me that today is the 47th anniversary of this album…Second Helping was released on April 15th 1974.
MCA was Lynyrd Skynyrd’s record company. This song is based on how they were signed. The “Yankee Slicker” that is mentioned in the song is no other than Al Kooper. They actually were signed for $9,000.
The “seven years of hard luck” in the opening line is the time from 1966 to 1973. 1966 was when the group changed their name to Lynyrd Skynyrd, and 1973 was when their first album was released.
This song was on their second album called Second Helping. While Skynyrd were in Los Angeles in The Record Plant in a studio, the Eagles were recording in another. One day they were shocked when John Lennon came to see Kooper to talk music and see what he was working on. Lennon’s presence overwhelmed the band so much that they began to fumble over notes they had played thousands of times, Rossington admitted. Lennon introduced himself and shared small talk with the musicians.
After recording “Sweet Home Alabama,” Lynyrd Skynyrd performed at the “Sounds of the South” press party. According to the booklet included with their box set, “When Skynyrd hit the stage with a roaring version of ‘Workin’ For MCA,’ written especially for the event, the party stopped while 500 hardened industry vets stood on chairs to get a glimpse of the unknown band.” A few months later, Lynyrd Skynyrd opened for The Who on their “Fallout Shelter” tour.
The song was written by Ed King and Ronnie Van Zant.
From Songfacts
In spite of the suspicious tone to this song, “Workin’ For MCA” had its perks. Al Kooper, in his memoir Backstage Passes and Backstabbing Bastards, goes to great lengths to describe the studio where Second Helping, Skynyrd’s second album, was recorded. The Record Plant in Los Angeles was a Hollywood crib of decadence and hedonism, with all the hallmarks of 1970s sleaze. Jacuzzis and bedrooms in the building, squealing groupies bounding naked down the halls, and a staff which had standing orders to cater to every whim of the guests. And as for the decor, if it wasn’t wood paneled, it was tie-died.
Workin’ For MCA
Seven years of hard luck, comin’ down on me From the Florida border, yeah up to Nashville, Tennessee I worked in every joint you can name, mister every honky tonk Along come Mr. Yankee Slicker, sayin’ maybe you’re what I want
[Chorus:] Want you to sign your contract Want you to sign today Gonna give you lots of money Workin’ For MCA
Nine thousand dollars, that’s all we could win But we smiled at the Yankee Slicker with a big ol’ Southern grin They’re gonna take me out to California, gonna make me a superstar Just pay me all of my money and mister maybe you won’t get a scar
[Chorus:]
Suckers took my money since I was seventeen If it ain’t no pencil pusher, it got to be a honky tonk queen But I’ll sign my contract baby, and I want you people to know That every penny that I make, I’m gonna see where my money goes
To kick off reviewing the Twilight Zone episodes… I thought this was appropriate.
This song was a great example of MTV’s clout. It was in heavy rotation and it paid off for the band. It peaked at #10 in the Billboard 100 and #13 in Canada in 1983.
I have to wonder how the landscape of music would have changed without MTV in the 80s. Some bands hated videos because it could change the songs perception. Many wanted people to make up their own mind about songs and not think of “guitarists in leather pants.”
TheTwilight Zone was written by Golden Earring’s lead guitarist George Kooymans. He was inspired not by the famous TV series of the same name, but by the Robert Ludlum novel The Bourne Identity, which would later be turned into a popular movie.
The song’s intro will stick in your head for days…kind of like the intro to the Twilight Zone TV series a repeating riff. I was happy to hear this song at the time. I knew them for Radar Love and any seventies rock group in the 80s was nice to hear.
Golden Earring was a Dutch band and they were formed in Hauge in 1961. They were a long lasting band. George Kooymans sadly announced this year that he is suffering from ALS and the band officially dissolved.
From Songfacts
Right out front, note that this song has nothing to do with Manhattan Transfer’s “Twilight Zone.” One is not a cover of the other.
The song and especially the video tell the story of an espionage agent, on the run from enemy spies before being cornered. The cover of the album Cut (from which this was the only single) shows a scene repeated in the video, of a bullet slicing through the Jack of Diamonds playing card. The card is supposed to represent the rogue agent.
Interestingly, there was at least one episode of the original Twilight Zone TV series which was also a spy drama. Namely, episode #149 from season five, “The Jeopardy Room,” is about a Soviet KGB agent who wants to defect, but he ends up pinned in a hotel room under surveillance from a hit man and his accomplice, who sadistically make him play a game for his life. And it’s one of the few episodes where a gun is fired – “When the bullet hits the bone,” indeed!
Get ready for a nostalgia blast: This song was also used as the theme to the Twilight Zone pinball machine. This was part of Bally Midway’s series of “Superpin” arcade pinball games that were based on TV shows – other pinball games in the series were based on Star Trek and The Addams Family.
Fittingly, this song is also sometimes used as bumper music for the radio show Coast to Coast AM, the all-night paranormal talk show which also more frequently uses “A Hazy Shade of Winter.”
The video is yet another whose early airplay on MTV paid off. In MTV Ruled the World – The Early Years of Music Video, Rick Springfield talks about the MTV Effect: “The difference that I saw was, before MTV, you’d have to be on like your third successful album before people started recognizing you at the airport. But once MTV hit, you had that one hit single, and you were as recognizable as if you were around for three or four years. It was so instant. That was the power of television.
Twilight Zone
Somewhere in a lonely hotel room there’s a guy Starting to realize that eternal fate has turned its back on him It’s two A.M.
It’s two A.M. (It’s two A.M.) Fear is gone (fear is gone) I’m sitting here waiting The Gun still warm (the gun still warm) Maybe my connection is tired of taking chances
Yeah, there’s a storm on the loose Sirens in my head Wrapped up in silence, all circuits are dead Cannot decode, my whole life spins into a frenzy
Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being cold My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far? (Oh oh oh)
Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being alone My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far?
So you will come to know When the bullet hits the bone So you will come to know When the bullet hits the bone
I’m fallin’ down a spiral, destination unknown Double crossed messenger, all alone Can’t get no connection, can’t get through Where are you?
Well the night weighs heavy on his guilty mind This far from the borderline When the hitman comes He knows damn well he has been cheated
And he says Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being cold My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far? (Oh oh oh)
Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being alone My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far?
So you will come to know When the bullet hits the bone So you will come to know When the bullet hits the bone When the bullet hits the bone
Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being cold My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far? (Oh oh oh)
Help, I’m steppin’ into the twilight zone Place is a madhouse, feels like being alone My beacon’s been moved under moon and star Where am I to go now that I’ve gone too far?
So you will come to know When the bullet hits the bone So you will come to know When the bullet hits the bone So you will come to know When the bullet hits the bone So you will come to know When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone When the bullet hits the bone
Van Duren is a power pop musician in Memphis and was managed by Andrew Loog Oldham. He made his first album called Are You Serious in 1978. He is another power pop rocker from the early seventies in Memphis. He was in a band with Big Star’s Chris Bell and drummer Jody Stephens called The Baker Street Regulars. He auditioned as the 2nd guitar player for Big Star just before the band’s demise.
Chemical Fire is an excellent power pop song. It could have very well been played on late seventies radio. It still sounds fresh today.
His style has been compared to Paul McCartney and Todd Rundgren. Personally I hear Marshall Crenshaw also. Big Star wasn’t noticed until over a decade after they recorded their last album. Van Duren waited 30 years before he was properly found.
His second album Idiot Optimism was recorded in 1979 and because of record company problems its wasn’t released until twenty years later. Memphis power artists could not catch a break. There is a documentary about Van Duren that was released in 2019 and his two first albums were re-released also.
According to a documentary, the record label had Scientology connections, which meant they attempted to convert all the acts on their roster. Duren, already in debt, just wanted to finish his record, which he correctly thought was his one shot at stardom. It flopped, and by the mid-80s, after another near-miss with another band, Good Question, his musical career was as good as over.
Hey Tonight is the B-side of “Have You Ever Seen the Rain,” the first single Creedence Clearwater Revival released in 1971 and the last the band launched as a quartet. Both single cuts also appear on the Pendulum album. What terrific singles this great band produced like clockwork.
This is yet another song that has the character “Jody” in it. Songs like It Came Out Of The Sky, Hey Tonight, and a solo Fogerty song called Almost Saturday Night. He has never said one way or another if it was based on someone or just sounded good in the song…probably the latter.
John Fogerty wrote “Hey Tonight” and the band rehearsed it before the group hit the studio in 1970. Fogerty thought the song was one of the better ones on the album despite the fact it was written in while the band was in turmoil at that time. Creedence Clearwater played “Hey Tonight” live for a first time at the private party the band held to music writers at Cosmo’s Factory on December 12th, 1970.
John not only wrote, sings and plays guitar on every track, he also overdubbed organ and saxophone (which he played himself) on some of the songs.
Have You Ever Seen The Rain?/Hey Tonight peaked at #9 in the Billboard 100 and #1 in Canada in 1971.
This video below is not a real video to the song but it shows some footage I haven’t seen before of the band as a trio after Tom quit. The song is right below this one.
Hey Tonight
Hey, Tonight, Gonna be tonight, Don’t you know I’m flyin’ Tonight, tonight. Hey, c’mon, Gonna chase tomorrow Tonight, tonight.
Gonna get it to the rafters, Watch me now. Jody’s gonna get religion All night long.
Hey, c’mon, Gonna hear the sun Tonight, tonight.
Gonna get it to the rafters, Watch me now. Jody’s gonna get religion All night long.
Aaaah! Hey, Tonight, Gonna be tonight, Don’t you know I’m flyin’ Tonight, tonight. Tonight, tonight.
Love this driving song by Big Star. It was on Radio City, their second album. Some say it is a response to the Chris Bell song off the first album called My Life Is Right…or a message to his girlfriend Diane (Don’t like to see your face Don’t like to hear you talk at all) that he was splitting with at the time.
After the failure of their first album, singer/songwriter guitar player Chris Bell quit Big Star. Alex Chilton didn’t know if Big Star was going to make another album. He continued making demos because he could always do a solo album. The two other members, drummer Jody Stephens and bass player Andy Hummel wasn’t sure either what was going to happen. They had talked about ending the band.
Their record company Ardent was under the Stax umbrella. They sent out invitations to all of the major rock journalists of the day in 1973. They invited them to Memphis to see Ardent’s roster of bands but most of all Big Star. The rock writers loved Big Star. Many legendary writers were there including Lester Bangs.
Stax agreed to foot the bill, which amounted to $40,000 to fly in more than one hundred rock critics from across the U.S. and U.K., put them up at the Holiday Inn, wine and dine them, bus them to Memphis landmarks like Graceland, and, on the final night, knock them out with a showcase at Lafayette’s Music Room, featuring Skin Alley, Larry Raspberry and the High-Steppers, and Big Star.
As writers from California (Shaw, Gene Sculatti, and Cameron Crowe), the New York City area (Richard Meltzer, Andy Shernoff, Gary Kenton, Pete Tomlinson, Lenny Kaye, and Nick Tosches), upstate New York (Billy Altman), Austin (Chet Flippo), Detroit (most of Creem’s staff, including Lester Bangs and Jaan Uhelszki), and the U.K. (Simon Frith, Ben Edmonds, and Pete Frame) signed on, Big Star was persuaded to play the gig.
The writers sat through the other bands and by the time Big Star took the stage, around midnight, they were well lubricated. Big Star couldn’t have had a more receptive audience. Rock critics are not known to dance but they were all on the floor and some has since called the performance by Big Star magic. Some called it the greatest performance and sound they ever heard. That night is what convinced Big Star to stay together and finish their second album Radio City. They played most of the first album, some covers, and a few songs they had worked on including Life Is White.
What I question is…Stax would give money for things like this but could not distribute records?
Alex had the quote below while he was in Big Star. What he said foretold Big Star’s future. It would be years later before the album would sell anything and get noticed. They would make one more album…Big Star Third/Sister Lovers before ending it.
Alex Chilton:“The important thing is to make a good record,” “because if you make a good record, it doesn’t matter what happens. It’s going to sell from then on to some degree, even though it doesn’t sell anything when it comes out and is a big disappointment to everybody. If it’s really good, people are going to want it from then on, and that’s the important thing. It might take five or ten years for it to pay off—or it might take twenty years, and you might be dead when it pays off. If it’s good, it’s going to pay off for somebody, sometime.”
Life Is White
Don’t like to see your face Don’t like to hear you talk at all I could be with Ann But I’d just get bored
Can’t even bring myself to call And I don’t want to see you now ‘Cause I know what you lack And I can’t go back to that
Whatever’s all the same Now there’s nobody to know And I can’t recall, recall your name All I can say is so
And I don’t want to see you now ‘Cause I know what you lack And I can’t go back to that
Your life is white And I don’t think I like You hanging around
Don’t like to see your face Don’t like to hear you talk at all I could be with Ann But I’d just get bored
Can’t even bring myself to call And I don’t want to see you now ‘Cause I know what you lack And I can’t go back to that now
