Singles – Page 11 – PowerPop… An Eclectic Collection of Pop Culture

Ramones – Sheena Is a Punk Rocker

I so love the Ramones. They cut through the BS and got down to business. No solos, no lengthy anything…just songs that rock and leave you wanting more. This song peaked at #81 on the Billboard 100 and #22 in the UK in 1977. This was supposedly the first punk song in the Billboard 100. This was the sound of punk going pop, and not in the sellout sense. It would become one of their most popular songs.

If you were standing outside CBGB in the summer of 1977, the street noise wasn’t just the usual loud feedback anymore; it had a melody with the Ramones. They had a lot of influences, but one of them was Bubblegum rock, and it shows. Most of their songs are very catchy.

This song was Joey Ramone’s attempt to write a 1960s-style teenage rebellion song for the late 1970s crowd, and he nailed it. The name was borrowed from Sheena, Queen of the Jungle, a pulp heroine with a loincloth and a machete. But in the Ramones’ world, she trades her safari clothes for a leather jacket and heads to the rock clubs.

Tommy Ramone helped produce this track. He is credited on the album under his real name, Tommy Erdelyi. They were more popular years after they broke up than they were when they were together. It’s a shame they didn’t get as popular when they were a working band.

Joey Ramone: “‘Sheena Is A Punk Rocker’ first came out as a single. I played it for (Sire Records President) Seymour Stein. He flipped out and said ‘We gotta record that song now.’ It was like back in the ’50s; you’d rush into the studio because you thought you had a hit, then put it right out. To me ‘Sheena’ was the first surf/punk rock/teenage rebellion song. I combined Sheena, Queen of the Jungle with the primalness of punk rock. Then Sheena is brought into the modern day: ‘But she just couldn’t stay/she had to break away/well New York City really has it all.’ It was funny because all the girls in New York seemed to change their name to Sheena after that. Everybody was a Sheena.”

Sheena Is A Punk Rocker

Well the kids are all hopped up and ready to go
They’re ready to go now they got their surfboards
And they’re going to the discotheque Au Go Go
But she just couldn’t stay she had to break away
Well New York City really has is all oh yeah, oh yeah

Sheena is a punk rocker
Sheena is a punk rocker
Sheena is a punk rocker now
Sheena is a punk rocker
Sheena is a punk rocker
Sheena is a punk rocker now
Well she’s a punk punk, a punk rocker
Punk punk a punk rocker
Punk punk a punk rocker
Punk punk a punk rocker

Sheena is a punk rocker
Sheena is a punk rocker
Sheena is a punk rocker now
Sheena is a punk rocker
Sheena is a punk rocker
Sheena is a punk rocker now
Sheena is a punk rocker
Sheena is a punk rocker
Sheena is a punk rocker now

My Favorite Ringo Starr songs

Well this finishes up my solo Beatles favorite songs. We had George, John, and Paul, and now last but not least…Mr Richard Starkey or Ringo Starr, whichever way you want to go. John Lennon was initially worried about Ringo when the Beatles broke up. He wondered how Ringo would make his way…he needed not to worry. In the early seventies, he had more hits than John or Paul did at that time. Plus, Ringo found a career in acting.

Lennon jokingly sent a telegram to Ringo after the success of the Ringo album and said, “Congratulations. How dare you? And please write me a hit song.”

Before I get on with the list. Ringo has had some really good songs on albums since the 1980s, but these I grew up with and are forever linked to him. Also now drummers and many other people are coming around to see just how great a drummer Ringo is.

Back Off Boogaloo – Many think a few of the verses are about Paul, and at this time, I can see that. Paul was suing the other Beatles, which turned out to be a good thing for all parties except Allen Klein. It was inspired by Marc Bolan because he frequently used the word “Boogaloo,” which stuck with Ringo.

2. Oh My My -This is an overlooked Ringo song that is really good. I had this single as a kid from a cousin. The song was on the 1973 Ringo album, which was his most successful album. Three of his former bandmates helped contribute to this album. It contained Photograph, You’re Sixteen, and this one, which were hits. Ringo and Vini Poncia wrote this one.

3. It Don’t Come Easy – A great pop single that fits Ringo’s voice perfectly. If you dig on YouTube, you can hear a version in which George Harrison sings. George Harrison is on guitar, Gary Wright on piano, Mal Evans on tambourine, and Pete Ham and Tom Evans from Badfinger on backup vocals. Klaus Voormann, a Hamburg fan, plays bass. It was credited to Ringo and George Harrison.

4. Photograph – Photograph and It Don’t Come Easy were probably the best straight-out pop singles Ringo released, and they are both excellent AM radio hits. George Harrison and Ringo wrote this one.

5. Early 1970 – Why is this song so high on my list? It’s a Ringo written song, and he has verses about each of the Beatles. Is it technically a great song? No, but it has a lot of meaning behind it, and it shows where Ringo was with the other Beatles at this time. He was really close to George, a friend to John, and with Paul, it was up in the air.

The first verse is about Paul… he talks about his farm, and his new wife Linda, and Paul was very quiet around this time and he stopped coming to Apple. He also told Ringo to get out of his house when Ringo delivered a message from the 3 Beatles for McCartney to delay releasing his debut album because of Let It Be releasing at the same time. They finally gave in to Paul. Ringo was wondering if Paul would play music with him when he came by again. And when he comes to town, I wonder if he’ll play with me.

The second verse is about John. Ringo sings about John and Yoko doing the bed in, and what I thought was “Cocaine” as a kid was really a lesser drug…”Cookies.” He also references Yoko with “With his mama by his side, she’s Japanese.” At the end of the verse…unlike Paul, he knows John will play music with him. And when he comes to town, I know he’s gonna play with me.

The third verse is about George. Ringo and George were extremely close in the Beatles and afterward. Things did pop up between them through the years but they remained friends. He describes George in the first line, Pattie Boyd Harrison in the second, and George’s famous mansion Friar Park in the 3rd. Ringo and George wrote together, and George hung out with Ringo more than the other Beatles. He’s a long-haired, cross-legged guitar picker, um-um.
With his long-legged lady in the garden picking daisies for his soup. A forty acre house he doesn’t see, ‘Cause he’s always in town playing for you with me.

6. No No Song – Ok…it’s a pure novelty song but…it’s Ringo. If John, Paul, or George had done this, it wouldn’t be in my top 100…but…again…it’s Ringo. He can get by with it. This was the last of his big hits in America. This one was by Hoyt Axton.

7. Your Sixteen – I had his single as a kid…another one off of the Ringo album. The Ringo album is almost Ringo’s Greatest Hits.

8. Only You – Ringo did a nice cover of this song.

9. I’m The Greatest – Lennon wrote this one for Ringo as well. It was on the huge Ringo album. Lennon knew he could not get by with singing this.

10. Grow Old With Me – John Lennon wrote this song for Ringo, but Ringo waited until 2019 to do it because John gave it to him right before he was murdered.

…

Ry Cooder – Jesus On The Mainline

I had another Ry Cooder song written up and scheduled to go today, but in a conversation, halffastcyclingclub played me this song while we were talking about something else. I decided to try to write this one up for Sunday. I love the spirit and soulfulness of this song. I’ll post the other Cooder song soon. Halffastcyclingclub posted this song on Ry Cooder’s 75th Birthday here.

This song was on his 1974 Paradise and Lunch album. This isn’t a solo showcase or a guitar clinic. Cooder doesn’t treat roots music like a museum exhibit; he has fun with it. You can hear the respect, but you can also hear the joy. It’s a song that, after a minute, I fell in love with.

He sent me the live version, which I would recommend. It’s an old spiritual, passed down and passed around, sung in churches and on chain gangs, more often associated with Sunday salvation. The writer of this beautiful song is unknown, but has been in the American folk and gospel circles for years. Mavis Staples also did a great version of this one. Cooder’s version is almost like a tent revival crossed with a Muscle Shoals jam session.

Cooder’s guitar is wonderful as always in this, but his voice lifts the whole thing skyward with that gospel chorus. This is the kind of song that you don’t just listen to, you get in and ride with it. The album peaked at #174 on the Billboard Album Charts in 1974.

Jesus On The Mainline

I know Jesus is on that mainlineTell Him what you wantJesus is on that mainlineTell Him what you wantJesus is on that mainlineTell Him what you wantCall Him up and tell Him what you want

Well, the line ain’t never busyTell Him what you wantWo, that line ain’t never busyTell Him what you wantWell, the line ain’t never busyTell Him what you wantKeep on calling Him upAnd tell Him what you want

Well, if you want His kingdomTell Him what you wantIf you want His kingdomTell Him what you wantIf want His kingdomTell Him what you wantCall Him up, call Him up, call Him up, call Him upYou can call Him up and tell Him what you wantWell, if you’re sick and want to get wellTell Him what you wantWell, if you’re sick and you want to get wellTell Him what you wantIf you’re sick and you want to get wellTell Him what you wantCall Him up and tell Him what you want

And if you’re feeling down and outTell Him what you wantAnd if you’re feeling down and outTell Him what you wantAnd if you’re feeling down and outTell Him what you wantCall Him up and tell Him what you want

I know Jesus is on that mainlineTell Him what you wantJesus is on that mainlineTell Him what you wantJesus is on that mainlineTell Him what you wantCall Him up, call Him up, call Him up, call Him upCall Him up and tell Him what you want

…

John Lee Hooker – I’m In The Mood

Hooker only needed a guitar and that voice to make any song interesting. If you ever needed proof that less really is more, play this song.

There’s a reason John Lee Hooker didn’t need a band on this song. He was the band. A one-man rhythm machine with a foot that kept better time than some drummers I’ve seen on stage. In a way, this song is blues stripped to its bones. No solos. No pyrotechnics. Just mood, repetition, and that unmistakable voice. He doesn’t shout to get your attention; he commands, and you come running.

The song was recorded in Detroit, Michigan, where Hooker had relocated in the late 1940s. It was released in 1951 on Modern Records. It features Hooker on guitar and vocals, accompanied by minimalistic instrumentation.

He was fresh off the success of Boogie Chillen, and while that earlier hit was electric blues, this song was something different; smokier and more intimate.

This 1951 song was his first R&B #1 since Boogie Chillen in 1948. It also peaked at #30 on the US Hot 100 that year. It was a hit in the juke joints and on jukeboxes. It made people lean in, not turn up. And it cemented Hooker’s place as something far more than a bluesman.

I’m In The Mood

I’m in the mood, babyI’m in the mood for loveI’m in the mood, babyI’m in the mood for loveI’m in the mood, in the moodBabe, I’m in the mood for love

I say, nighttime is the right time, to be with the one you loveYou know when the night come, baby got no use so far away

I’m in the moodI’m in the mood, babeI’m in the mood for loveI’m in the mood, in the mood, babyIn the mood for love

I said, yes my mama told me, “Don’t leave that girl alone”But my mama didn’t know, God know, yeah, I wouldn’t put it down

I’m the moodI’m in the mood, baby, mood for loveI’m in the mood, I’m in the moodBabe, in the mood for love

…

Pogues – Dirty Old Town

It’s always a pleasure listening to their music. I guess the Waterboys primed me for this band. This song is more bare bones, which I really like. You can smell the smoke and feel the soot in this song.

I thought for sure that Shane MacGowan wrote this one, but no, it was folk singer Ewan MacColl, the father of Kirsty MacColl. It was written back in 1949. Kirsty entered the Pogues’ orbit two years later with the timeless Fairytale of New York.

The Pogues’ version on their 1985 album Rum Sodomy & the Lash is sparse and haunting. With this song, they tapped into something universal: every working-class kid’s longing to burn the place they grew up in, even if they love it too much to leave. The song is about Salford, a city in Greater Manchester, England, but after the Pogues were done with it, it could have been about Pittsburgh or anywhere else.

Where other bands might have polished the song into oblivion, the Pogues played it rustic, and it works. This isn’t a punk song in sound, but it is in spirit. When MacGowan sings these dismal lyrics, you believe every word. The song peaked at #27 in Ireland and #62 in the UK. The album peaked at #13 in the UK, and #17 in New Zealand in 1985.

Dirty Old Town

I met my love by the gas works wallDreamed a dream by the old canalI kissed my girl by the factory wall

Dirty old townDirty old town

Clouds are drifting across the moonCats are prowling on their beatSpring’s a girl from the streets at night

Dirty old townDirty old town

I heard a siren from the docksSaw a train set the night on fireI smelled the spring on the smoky wind

Dirty old townDirty old town

I’m gonna make me a good sharp axeShining steel tempered in the fireI’ll chop you down like an old dead tree

Dirty old townDirty old town

I met my love by the gas works wallDreamed a dream by the old canalI kissed my girl by the factory wall

Dirty old townDirty old townDirty old townDirty old town

…

Mitch Ryder – B.I.G. T.I.M.E.

Ever since I heard his growling voice singing the Devil with the Blue Dress On / Good Golly Miss Molly medley, I’ve been a fan of Mitch Ryder. Even his name is cool. He has released more than 25 albums as a solo artist and with the Detroit Wheels. He was born William Sherille Levise Jr. Outside of the medley, I didn’t know much about him, so I spot listened to his songs on albums through the years. He gives a big variety to pick from and some catchy songs.

This should have been a classic rock song from the ’80s. It doesn’t get played much, but it sounds great, and it captures both the producer’s and Mitch’s sound. The producer of this song was John Mellencamp. John was influenced by Mitch, along with Bob Seger and Bruce Springsteen. It was written by Keith Sykes in 1980 and has been covered by George Thorogood and the Destroyers as well. I do remember hearing this song in the early eighties, as it got some play here in Nashville.

Lyrically, the song is about making it or wanting to make it. Ryder doesn’t use a metaphor here. He spells it out, literally, because that’s what ambition sounds like when you’re clawing your way up from a bar stage to something bigger. It was on the 1983 album Never Kick a Sleeping Dog at the height of Mellencamp’s career. At times in rocking songs, and I’m going to use a phrase I read some critic use years ago, his voice sounded like sandpaper dipped in gasoline. I mean that in the best way.

He also does a cover of Prince’s When You Were Mine, and Mitch owns it. I have included the video of that one from MTV. Great song as well.

B.I.G. T.I.M.E.

Well when you hear the bell it’s nine o’clock
That’s the time when you start to rock
Gonna push the hair up outta my face
We gonna rock the rafters right offa this place

Yeah, it’s alright
You and me
Yeah, we gonna have a B.I.G.T.I.M.E

Goin’ out tonight we gonna rock, rock, rock
And we don’t care if they call the cops, ha ha
Gonna get my girl we gonna dance dance dance
And later go home and make romance

Yeah, it’s alright
You and me
Yeah, we gonna have a B.I.G.T.I.M.E

Well, my mama told me when I left home
She said “Boy you were born to roam
But you better remember just one thing, son
You gotta always try to have some fun.”
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So, it’s alright
You and me
Yeah, we gonna have a B.I.G.T.I.M.E

Hey, B.I.G.T.I.M.E
Hey, B.I.G.T.I.M.E
Hey, B.I.G.T.I.M.E

My Favorite Paul McCartney songs

The most commercially successful of the Beatles. Paul was so blessed with huge musical talent. Undoubtedly, he was the most talented musician in the Beatles. That’s not to say he hasn’t written some bad songs, but as a musician, he could have played with anyone. There is a story that Miles Davis and Jimi Hendrix wanted to collaborate on a project and attempted to recruit Paul on bass.

He has had so many hits that it would be impossible to not leave one off. Paul is known for his pop hits, but when the mood struck, he could rip out rock and roll with the best of them. I always liked it when Paul would write something with loud guitars. In a stretch in the early 70s, he had quite a few of them. One of them I liked but didn’t make this list was Hi, Hi, Hi.

Junior’s Farm – This one doesn’t get played as much as some others, but it’s my favorite Paul song.

Let Me Roll It – I always thought this one could have been written and performed by John Lennon.

3. Band On The Run – One of Paul’s masterpieces. He pretty much stuck 3 short songs together on this, like he did on Abbey Road.

4. Picasso’s Last Words (Drink To Me) – The Spanish artist Pablo Picasso died at the age of 91 on April 8, 1973. News of his passing reached Paul McCartney when he was in Jamaica.

While having dinner there with Paul McCartney, Dustin Hoffman told the story of the death of Pablo Picasso and his famous last words, “Drink to me, drink to my health. You know I can’t drink anymore.” Picasso then went to bed and died in his sleep.

Paul had a guitar with him and immediately played an impromptu chord progression while singing the quote. Thus, “Picasso’s Last Words” was born, later recorded and added to the album Band On The Run in 1973. Hoffman later said of Paul writing the song in front of him, the experience was “right under childbirth in terms of great events of my life.”

5. Sally G -I’ve always liked B-Sides… Let’s listen to some Liverpudlian Country Music. I cannot hear this song without thinking of my grandmother. Her name was Sally, and yes, her last name started with G. She lived to the ripe old age of 96.

6. Nineteen Hundred and Eighty Five – This song was on arguably McCartney’s best album, Band On The Run. It didn’t chart, but it was released as the B side to the song Band on the Run, and it was played quite a bit on the radio. One of my favorite McCartney album tracks.

Nineteen Hundred And Eighty-Five was never performed live by Wings, and only became part of McCartney’s live set in 2010.

7. Uncle Albert/ Admiral Halsey – I remember hearing this before I knew who Paul McCartney was…it was unbelievably catchy, but I had no clue what it was about…still don’t.

Paul combined pieces of various unfinished songs to create this… in the later years of The Beatles, he helped do this for the Abbey Road Medley. As a result, Uncle Albert – Admiral Halsey contains 12 different sections over the course of its 4:50 running time.

8. Jet – It was a terrific single…I like the B side (Let Me Roll It) more, but I love this song. Tony Visconti, who did a lot of production work for David Bowie and Thin Lizzy, did the orchestration on this song.

9. Listen to What the Man Said – It’s far from his best song, but it’s a good pop hit. It was recorded for the album Venus and Mars. It was a song that McCartney had high hopes for, but early recordings did not live up to the song’s potential. The missing ingredient was Jazz musician Tom Scott’s sax solo. They ended up keeping the first take that Tony Scott played on.

10. Maybe I’m Amazed – I’ve always liked the original version of this song the best. The studio version of this song was never released as a single (no tracks on the album were), but it is one of the most remembered songs on McCartney’s first solo album McCartney. “Maybe I’m Amazed” was written in 1969, just after The Beatles broke up, about Linda.

Creeps – Just What I Need

Four years ago, I posted a song by this band that I have loved ever since. It’s called Down At The Nightclub (I’m including it as well at the bottom). It was during the mid-1980s, and I so wish I knew about them then. This would have been what I would have listened to rather than the Top 40 in 1986. This is one band I found that I keep coming back to.

They were fueled by Vox amps and a steady diet of Nuggets and Stax singles. This Swedish band is one of those rare bands you stumble across on a late-night college radio show. It’s the kind of band that never broke into the mainstream but somehow managed to bottle a sound so cutting that it demands rediscovery every few years.

In the mid-’80s, while the rest of the world was drowning in synths and drum machines, The Creeps doubled down on garage soul. It’s a reminder that sometimes, all you really need is a fuzz pedal, an organ, and a chorus you can shout at the top of your lungs.

This song is on their debut album, Enjoy The Creeps, and it was released in 1986. Critics have said that they never managed to translate the excitement of their live show to records, but this one is an exception. They released it on a small label named Tracks on Wax, which was a Swedish Garage Rock label in the 80s.

They formed in Sweden in 1985. They were influenced heavily by the Animals and Yardbirds, Robert Jelinek (vocals, guitar), Hans Ingemansson (Hammond organ), Anders Olsson (bass), and Patrick Olson (drums). Whenever I think of music from Sweden, I think of Abba… This is not Abba by any stretch of the imagination.

After a few years, the band dropped the dirty sound of their debut album and went more for an ’80s funk dance sound.

Here is the song I posted earlier…Down in the Nightclub which is one of my favorite 1980s songs.

…

Bob Dylan – Positively 4th Street

Yes, I wish that for just one time you could stand inside my shoes, You’d know what a drag it is to see you

This song sent me down the path of being a Dylan fan. The raw, angry, emotional way Dylan spits out the lyrics sounds true. There’s no chorus. No bridge. Just verse after verse of contempt, all wrapped in a breezy organ and guitar.

The song never lets up…Bob just keeps hammering away at someone relentlessly. The song was rumored to be about people rather than one person. We will probably never know because I don’t see Dylan opening up about it. I always thought of this song as the sister song to Like a Rolling Stone. It, in fact, was the follow-up song to Like A Rolling Stone. It was a stand-alone single.

But where Like A Rolling Stone is grand and sweeping, this song is really petty in the best possible way. This is a man lashing out at a specific circle of coffeehouse artists and Greenwich Village gatekeepers, likely in the folk community that once kissed his feet but now curses his loud amplifiers.

The beauty of this song is that it’s a protest song, but a personal one. It’s about betrayal, the smiling face that masks a knife in the back. It’s a story as old as you can get, and sung by a guy who was about to leave the folk scene in the rearview mirror.

There is a kind of glee to be had in hearing Dylan go full scorched-earth. This isn’t peace-and-love Bob, or even cryptic-poet Bob. This is “I-know-you-and-I-see-right-through-you” Bob. He’s less interested in making sense than in making you squirm. It’s brutal.

The song peaked at #1 in Canada, #7 on the Billboard 100, and #8 in the UK in 1965.

Positively 4th Street

You’ve got a lotta nerve to say you are my friend
When I was down you just stood there grinnin’
You’ve got a lotta nerve to say you got a helping hand to lend
You just want to be on the side that’s winnin’

You say I let you down, ya know its not like that
If you’re so hurt, why then don’t you show it?
You say you’ve lost your faith, but that’s not where its at
You have no faith to lose, and ya know it

I know the reason, that you talked behind my back
I used to be among the crowd you’re in with
Do you take me for such a fool, to think I’d make contact
With the one who tries to hide what he don’t know to begin with?

You see me on the street, you always act surprised
You say “how are you?”, “good luck”, but ya don’t mean it
When you know as well as me, you’d rather see me paralyzed
Why don’t you just come out once and scream it

No, I do not feel that good when I see the heartbreaks you embrace
If I was a master thief perhaps I’d rob them
And tho I know you’re dissatisfied with your position and your place
Don’t you understand, its not my problem?

I wish that for just one time you could stand inside my shoes
And just for that one moment I could be you
Yes, I wish that for just one time you could stand inside my shoes
You’d know what a drag it is to see you

Jayhawks – I’m Gonna Make You Love Me

I first found out about this group in 2000 with this song. When I heard it I knew I had to find out more about this band. The Jayhawks formed in Minneapolis–Saint Paul in 1985 and played alternative country-rock. They have released 10 studio albums and are worth checking out.

The song peaked at #5 in the Billboard Triple A Chart in 2000. It was off the album Smile, and The Jayhawks took a more pop approach to this album than their earlier alt-country albums. Gary Louris… guitar player, singer, and songwriter, when this album was released: “I grew up listening to pop music, and that was my love. I loved the Beatles and I loved Big Star.”

There is a difference between this and their earlier music. They stuck on the alt-country for a long time. I would call this their “power pop move,” but there’s still that unmistakable Jayhawks DNA, those rich vocal harmonies, the bittersweet chord changes, and Louris’s yearning delivery in the vocals.

The evolution of the song was interesting… Gary Louris: “I wrote that song when my ex-girlfriend walked out the door… I had a different chorus that was a little more subtle, a little more of an artist’s song that you wouldn’t even know is a chorus maybe but it was cool.”

The record label and producer Bob Ezrin wanted a better chorus to make it more accessible. “And that became the thorn in my side, y’know, because I had written a song I liked and it seemed like that’s what it was. This was the beginning of a long process where I wrote with a lot of different people… And I saw a lot of people I respected write many different ways on the same song.”

A suggestion from songwriter Taylor Rhodes helped Louris find the hook he needed. “So that was definitely a lot of hard work on that song. Now I love it, but for awhile I just wanted to be left alone. I didn’t want to ever hear that song again.”

They recently backed Ray Davies on his albums Americana and Our Country – Americana Act II. Their 2016 album Paging Mr. Proust was produced by Peter Buck of REM.

I’m Gonna Make You Love Me

The world never ends
It’s only the beginning
And we can’t pretend
To discover it’s meaning

We talked for hours at a time
Then I came to my senses
You’re more than a friend
You’re my perfect lover

I’ll never be all you want me to
But that’s all right

I’m gonna make you love me
I’m gonna dry your tears
And we’re gonna stay together
For a million years

It’s the least I can do
Just to make you my baby
No words could describe
Oh, pinch me I’m dreaming

Your hair’s long and black
As it lays ‘cross my pillow
When I stare in your eyes
I get lost in your glory

I’ll never be all you want me to
But that’s all right

I’m gonna make you love me
I’m gonna dry your tears
And we’re gonna stay together
For a million years

When you were a little girl
Your great big world came tumbling down
So sad

Yeah, the river it bends
But it flows to the ocean
And baby here I am
I’m your sea of devotion

I’ll never be all you want me to
But that’s all right

I’m gonna make you love me
I’m gonna dry your tears
And we’re gonna stay together
For a million years

Shades of Blue – Oh! How Happy

This song brings back memories. It was released in 1966, but I heard it first in 1985 when I graduated and life was great…so it’s a ’60s song that reminds me of 1985. It was prom time, and after we left, with my white tuxedo with tails and a purple cummerbund, this came on the radio. It will forever be linked to that moment in time for me.

There’s a certain kind of record that arrives like a grinning stranger at your doorstep, all sunshine and tambourines and no agenda. This was written by the great Edwin Starr. This song is pure pop joy with a Motown sound. When he wrote this song, Starr was working for a Detroit record label that was eventually bought out by Motown. The song peaked at #12 on the Billboard 100 in 1966.

It doesn’t mess around. It goes straight to the chorus, like the song can’t wait to get to the part that matters. The lead vocal is flanked by a chorus of voices that sound like the world’s friendliest pep squad… cheering on a romance that actually worked out for once.

This was the only top ten hit for The Shades of Blue, who were a white Soul band from Detroit. The song came at a time when American Soul music influenced the British music industry, creating a genré called Northern Soul.

The lyrics won’t remind you of Bob Dylan or John Prine, but that doesn’t matter. They’d go on to release more singles, but none stuck like this one. Oh! How Happy is their legacy, and what a legacy to have: a song that never tries to be cool, only kind.

Oh How Happy

Do roo, do roo, do roo, do roo do…

Oh how happy (you have made me)
Oh how happy (you have made me)
I have kissed your lips
A thousand times
And more times than i can count
I have called you mine
You have stood by me
In my darkest hours
Sing
Oh how happy (you have made me)
Oh how happy (you have made me)
Oh how happy (you have made me)
Oh how happy (you have made me)
In our years together
We’ve got stormy weathers
But our love has been so strong
For some how we carry on
Sing
Oh how happy (you have made me)
Oh how happy (you have made me), ooh, ooh
You brought joy
To my empty life, yeah
And all that was wrong
You made it right
Our love (our love)
Our love (our love)
Our love, yeah, yeah, yeah, yeah…
Oh how happy (you have made me)
Oh how happy (you have made me)
Oh how happy (oh how happy)
Oh how happy (oh how happy)
Oh how happy, ooh… You…
You have made me (you have made me)
You have made me (you have made me)
You have made me (you have made me)

My Favorite John Lennon songs

Since I listed George’s songs…I have to finish what I started. This one is the hardest to write of any of them because I’m leaving off a lot of great songs.

John is the Beatle I favor; on the surface, the reasons are many. The man’s voice was one of the best rock voices I’ve ever heard. I preferred his voice to that of McCartney, Harrison, and Starr. He probably could write better pure rock songs than the other Beatles, and he also had a great sense of melody that could keep up with Paul and, at times, surpass him on ballads. Yes, he could be witty, sharp, and downright hateful at times, but he was the truth guy for them.

One of the worst days in my teen years was December 9, 1980. I was 13, and that morning I found out that John Lennon was murdered on the 8th. It really hit me hard and changed me in many ways. At that age, this showed me that the world could be an awful place.

When John was murdered, a very unfair thing happened. John was elevated almost as a Saint, which he would have readily admitted he was not. Paul became the sidekick and sank lower in people’s perception of the band. John became the cool one and Paul the square, which was totally unfair to both of them. It didn’t start changing until the Anthology came out in the mid-90s. People started to see Paul as an equal, which he was, and George started to get recognized more and more, as I said last week. And, most people loved Ringo anyway.

My favorite John songs won’t include The Beatles, as I explained last week in the George Harrison post. This will be just solo John. My favorite albums by him were the first two official albums he released. Plastic Ono Band and Imagine. His Mind Games and Steel and Glass albums are great as well, but he had an edge on those first two that he didn’t have on the rest.

Instant Karma! (We All Shine On) – This song is so damn fresh-sounding. It sounds like it was recorded yesterday. It’s so electric-sounding and live.

2. Working Class Hero – This song was a favorite of mine of John Lennon when I was younger. He took some flak about this one, and also the song Imagine. When it came to being a Working Class Hero and having all of his possessions. His answer was

“What would you suggest I do? Give everything away and walk the streets? The Buddhist says, “Get rid of the possessions of the mind.” Walking away from all the money would not accomplish that. It’s like the Beatles. I couldn’t walk away from the Beatles. That’s one possession that’s still tagging along, right?”

3. Mind Games – This is around the time Lennon started to mellow out a bit musically and personally. I bought this single in 1979…6 years after it was released.

4. I Know (I Know) – Yep…this one is not as well known, but it was reportedly about either Yoko or Paul. It was released on the 1973 album Mind Games.

5. GOD – He pours out his feelings on the Beatles and everything else.

6. Watching the Wheels – When listening to Double Fantasy, I like it, but not as well as his early seventies output. This one, though, fits in nicely with his best songs.

7. Jealous Guy – He wrote this melody with the Beatles, but later added some more words to describe himself.

8. How? – What makes “How?” stand out for me is its vulnerability. Lennon doesn’t pretend to know the answers; instead, he shares the questions most of us keep to ourselves. That honesty is what drew me to music in the first place.

9. Nobody Told Me – This one he wanted Ringo to do and had planned to give it to him. I think Ringo would have done a great job of it but I’m glad we have John’s version.

10. Mother – It seems John was looking for a mother for all of his life. His real mother left him with his aunt Mimi, and years later, when he finally started to get to know his mother, she was killed in a hit-and-run accident.

*Bonus! – How Do You Sleep? – It’s the song about Paul when both were angry at each other. Forget that for a minute…it’s a great melody and song on its own. It’s a brilliant piece of rock and roll with George’s snarling slide guitar and an irresistible groove, but its venom can be hard to swallow. Lennon’s line “The sound you make is muzak to my ears” still makes me wince.

…

Bruce Springsteen – Darlington County

I’ve posted this song before, but I had to again. A friend of mine who got me into Springsteen and was like a brother to me just passed away. Paul was in this personal story below with me going to Florida. We played this song at 11, going down the street in our small town, and on our way to Florida in 1985. Since I’ve been blogging, he would read some of my posts and text me when I mentioned a story he was involved in. This one made him laugh, but he said next time mention him by name…well, here you go, Paul.

A lot of memories are connected with this song. Summer of 1985. I never got into much trouble in high school…never got caught making mischief anyway… but I did have this adventure after graduation. I was driving to Florida with 3 other guys (Paul, Charles, and John) with this song blasting out with 140 bucks in my pocket…to Cocoa Beach, Florida…15 hours away. I was the rich one on this trip.

A bunch of guys who just graduated and were acting stupid. We learned that if you tilted a Coke machine (those back then), Cokes would stream out. Funny how you try things out when you are 18 and stupid. We filled a couple of coolers with them. It’s a wonder we weren’t caught or crushed by all of those machines. We also halfway wrecked a hotel room (TV was bolted down, thank goodness) and dreaded getting back home, where we would have to begin…gulp…life. No, I never tilted another coke machine, wrecked a hotel room, or anything like it again. 4 guys in a Toyota Celica for 15 hours…not comfortable but when you are 18…fun all the same…now I’d be in traction after such a trip.

Certain songs take you back to a time. Walking On Sunshine, Glory Days, and Darlington County all connect me with that trip. Back to the song! This is one of the very few on the album that wasn’t a hit…but it’s just as good as many of the others.

Bruce originally wrote this for his 1978 album Darkness On The Edge Of Town, but it didn’t make the cut. The riff in the song reminds me of Cadillac Ranch that was on The River album.

The song resolves itself in the end with the narrater’s buddy in trouble.

Driving out of Darlington County
My eyes seen the glory of the coming of the Lord
Driving out of Darlington County
Seen Wayne handcuffed to the bumper of a state trooper’s Ford

Darlington County

Driving in to Darlington County
Me and Wayne on the Fourth of July
Driving in to Darlington County
Looking for some work on the county line
We drove down from New York City
Where the girls are pretty but they just want to know your name
Driving in to Darlington City
Got a union connection with an uncle of Wayne’s
We drove eight hundred miles without seeing a cop
We got rock and roll music blasting off the T-top, singing

Sha la la, sha la la la la
Sha la la la, la la la
Sha la la, sha la la la la
Sha la la la, la la la

Hey little girl, standing on the corner
Today’s your lucky day for sure, all right
Me and my buddy, we’re from New York City
We got two hundred dollars, we want to rock all night
Well girl, you’re looking at two big spenders
Why, the world don’t know what me and Wayne might do
Our pa’s each own one of the World Trade Centers
For a kiss and a smile, I’ll give mine all to you
Come on baby, take a seat on my fender
It’s a long night, and tell me, what else were you gonna do?
Just me and you, we could

Sha la la, sha la la la la
Sha la la la, la la la
Sha la la, sha la la la la
Sha la la la, la la la

Little girl, sitting in the window
Ain’t seen my buddy in seven days, play it boys
County man tells me the same thing
He don’t work and he don’t get paid

Little girl, you’re so young and pretty
Walk with me and you can have your way
And we’ll leave this Darlington City
For a ride down that Dixie Highway

Driving out of Darlington County
My eyes seen the glory of the coming of the Lord
Driving out of Darlington County
Seen Wayne handcuffed to the bumper of a state trooper’s Ford

Sha la la, sha la la la la
Sha la la la, la la la
Sha la la, sha la la la la
Sha la la la, la la la

Who – Meaty Beaty Big and Bouncy … album review

I bought this album right after I had bought Wholigans and Who’s Next. I wanted to know what their sixties output was like besides My Generation and I Can See For Miles. This compilation album was released in 1971; it wasn’t just a sampler of radio singles; it was a brash declaration of how The Who reached the top and what they broke along the way. Most of these songs did not reach the ears of Americans and Canadians in the 1960s. If Who’s Next was their grand gesture, Meaty Beaty was their rowdy scrapbook. The album is exciting!

In Canada and America, most people know the Who’s Next material and after as well. This album is the roots of the band. They stretched the limits of recording, trying new things in the studio, much like The Beatles did, but with a rawer result.

Rock in the mid to late sixties was changing, and what a diverse set of songs that you hear from that period. This is when Pete Townshend was turning teenage anxiety into rock mini-operas and Keith Moon was trying to demolish every drum kit in London. The title, reportedly referring to the four members themselves, Meaty (Roger), Beaty (Keith), Big (John), and Bouncy (Pete), is cheeky and self-mythologizing. And the tracklist? Nearly perfect. These singles are where Moon started to get his wild drumming reputation. He is everywhere in these songs, especially I Can’t Explain, making them different from other bands.

I have said that my favorite kind of band to watch live is the ones that you think will fall apart with any song they play, but they pull it between the lines without going over the cliff. They did that with these songs in the studio.

You’ve got I Can’t Explain, The Kids Are Alright, and Substitute up front, each one a case study in amphetamine, fueled mod rock. These aren’t songs that build; they explode right from the opening riff. Substitute, in particular, grabs your attention with the loud backing, but also the lyrics. Substitute could be The Who’s best single ever. And then I’m a Boy, Happy Jack, Pictures of Lily, you realize Pete was already leaning into story-song territory years before Tommy became a rock opera.

Magic Bus is a Bo Diddley-beat freakout that somehow makes a song about public transportation sound like a spiritual quest, or My Generation, the track that blew the doors off rock ’n’ roll. If that bass solo doesn’t rattle you, check your pulse. There’s a through-line here: Townshend’s fascination with identity, repression, rebellion, and guilt. These songs are electric in the best sense of the word.

Later Who albums might be deeper (Quadrophenia) or grander (Who’s Next), but this one is the sound of the band becoming The Who. Loud, brash, and already mythic. If you want to learn about The Who…this is a great starting point.

…

Blue Shadows – Don’t Expect A Reply (Runaway Train)

This isn’t the same Runaway Train that brought Soul Asylum into heavy MTV rotation a year earlier (or Blue Rodeo’s song). No, this one’s more haunted, more twangy, and more soaked in country rock. It might be better, at least to me. Since I heard this band a few months ago, I cannot shake them, nor do I want to. I feel a Big Star love for them.

The Blue Shadows never got their due. They existed in that strange space between country and power pop, never quite fitting into either scene completely. But that’s exactly what made them special. This song stands as a testament to what happens when talented musicians follow their instincts rather than market trends or what’s hot today. This song was released in 1995 on the album Lucky To Me, their last studio album.

Led by Billy Cowsill, the Blue Shadows carved out a very different space in early ’90s Canada. The song was written by Jeffrey Hatcher and Billy Cowsill. Cowsill had the kind of voice that was country tinged with an edge. Hatcher was equal parts Buddy Holly with a touch of Chris Hillman cool, which makes for a killer songwriting partner.

There’s an alternate timeline in a perfect world where the Blue Shadows catch fire, tour with Uncle Tupelo, Wilco, or The Jayhawks, and end up as alt-country royalty. Instead, their last album, Lucky To Me, went quietly out into the world, loved by those lucky enough to hear it, and this song remains one of the most gorgeous things to ever slip through the cracks of the 1990s.

Billy Cowsill’s last interview, he was asked what he was most proud of in his career, and he answered with The Blue Shadows’ first album On The Floor of Heaven. “To my mind, that is the finest piece of work I ever did. It is just so good. The writing is so good. The production is so good. It is a nice little piece de resistance.”

Runaway Train

There ain’t a ball and chain
That can tie me down
There ain’t a jail been made
That can hold me now
I heard some fool say
He’s got to be insane
Well it kind of looks that way

From a runaway train that’s out of control
No matter what I do
No matter where I go
You can say goodbye
I won’t be back again
But don’t expect a reply
Not from a runaway train

Oh no they can’t catch me
Because they move too slow
And they’re new at this game
I started long ago
I tell you I was here
Before the track was laid
I was the first to ride

On that runaway train that’s out of control
No matter what I do
No matter where I go
You can say goodbye
I won’t be back again
But don’t expect a reply
Not from a runaway train

I used to roll on through
When it was countryside
Then the cities they grew
Until they reached the sky
I’m going to hit the coast
Then roll right on through
Wish you could see the view

From that runaway train that’s out of control
No matter what I do
No matter where I go
You can say goodbye
I won’t be back again
But don’t expect a reply
Not from a runaway train

From that runaway train that’s out of control
No matter what I do
No matter where I go
You can say goodbye
I won’t be back again
But don’t expect a reply
Don’t expect a reply
Don’t expect a reply

No, no don’t expect a reply

….