This song is from their second album Radio City. Their other guitarist Chris Bell had left the band leaving Alex Chilton as the only guitarist. In this song Chilton’s guitar is pushed to the front and after about a 46 second intro the song is on it’s way.
It’s a bluesy, funky, rocky, and soulful riff all built into one. Alex just takes off on the guitar with this one all through the song. The guitar has a tone that you don’t hear everyday. Whenever I’m playing guitar I go back to their albums to try to emulate a tone that Chilton found.
Alex Chilton was not the only one writing songs on the album. Bassist Andy Hummel wrote or co-wrote five of the albums’s 12 tracks. Jody Stephens pitched in and co-wrote one song with Chilton and Hummel.
Chilton remained the constant variable that made the band’s music soar. His September Gurls is among the band’s finest songs and one of the prototypical power pop songs.
Radio City is not as polished as their debut album but it’s just as good and many say better.
O My Soul
O my soul mama I lose control Go ahead and shake if you wanna And I’ll never know Wull come on You know it’s alright We’ve got all night You’re driving me mad And you shouldn’t do that We’re going to get on up And drink till we drop. You’re really a nice girl And I think you’re the most And when we’re together I feel like a boss
Trying to see you I’d know off your doors dying to see you I’m down on the floor.
I can’t get a license To drive my car But I don’t really need it If I’m a big star. Never you mind Go on and have a good time.
This is a duet with blues legend B.B. King. American blues musicians were a big influence on U2, and the group had a great admiration for King. I bought Rattle and Hum when it came out and thoroughly enjoyed it. This song and Angel of Harlem sold it enough for me to get it.
In 1987, King played a show in Dublin and found out U2 would be in the audience. U2 had just released The Joshua Tree and were very popular, especially in their native Ireland. After the show, King was honored to meet the band and humbled to find out they were big fans. He asked Bono to think of him sometime when he was writing a song, and later on this was the result.
King performed “When Love Comes to Town” with the band for the first time during their Joshua Tree tour at a concert in Fort Worth, Texas on November 24, 1987. Parts of this show as well as the soundcheck were included in the U2 concert documentary Rattle And Hum, which contains a scene where Bono is rehearsing this with King.
The song peaked at #68 in the Billboard 100, #41 in Canada, and #6 in the UK, and #4 in New Zealand in 1989.
After King died on May 14, 2015, U2 paid tribute to him during a show in Vancouver the following night during the Innocence + Experience Tour by playing “When Love Comes to Town” for the first time in 23 years.
From Songfacts
B.B. King opened for U2 on their 1989 “Lovetown” tour, which went through New Zealand, Japan, Ireland, Germany, and Holland. King joined U2 when they played this, which usually occurred near the end of their set.
The version used on Rattle And Hum was recorded with B.B. King at Sun Studios in Memphis, where King is royalty. This was one of several new songs on the album, which was a combination of live cuts from their 1987 tour and studio recordings.
This was a huge career boost for B.B. King. Although he was revered in the blues community, he wasn’t well known in the world of rock or pop. His association with U2 brought him a huge number of new fans and changed the dynamic of his audience, which became split between blues purists and rock fans who learned about him through U2. Many of King’s older fans did not appreciate the newcomers.
Admiration between King and Bono on this song was mutual; King was amazed that Bono could write such mature lyrics at such a young age, and Bono was blown away by King’s vocal. “I gave it my absolute everything I had in that howl at the start of the song,” Bono said. “Then B.B. opened his mouth, and I felt like a girl.”
This won the MTV Video Music Award for best video from a film in 1989. The video provided B.B. King with his first exposure to the MTV audience.
Near the beginning of their 1989 tour with B.B. King, U2 threw him a surprise birthday party. They invited King on a boat for what he thought was a fishing trip, but as soon as they left shore, they released balloons and sang Happy Birthday. That night, they had a fireworks display in his honor.
This was B.B. King’s biggest hit in the UK.
B.B. King got another career boost when he teamed up with Eric Clapton in 2000 to record an album called Riding With The King. Many blues legends remain in rock obscurity, but his collaborations with U2 and Clapton gave King a higher profile than any blues musician has achieved. After his recording with Clapton, King opened a series of nightclubs under his name. It helped that King remained a skilled guitarist and powerful vocalist into his 60s.
This was included on U2’s compilation, The Best Of 1980-1990.
BB King played his Gibson “Lucille” guitar probably through a Lab Series amp on this song.
Adam Clayton: “We discovered a common bond between us and some of these older artists like B.B. King. When we met him there was a whole world of understanding and nothing needed to be said. That has been the payoff of working ten years to get into this position. We no longer have to prove ourselves. It’s in the music and people can hear it.”
When Love Comes To Town
I was a sailor, I was lost at sea I was under the waves Before love rescued me I was a fighter, I could turn on a thread Now I stand accused of the things I’ve said
Love comes to town I’m gonna jump that train When love comes to town I’m gonna catch that flame Maybe I was wrong to ever let you down But I did what I did before love came to town
I used to make love under a red sunset I was making promises I was soon to forget She was pale as the lace of her wedding gown But I left her standing before love came to town
I ran into a juke joint when I heard a guitar scream The notes were turning blue, I was dazing in a dream As the music played I saw my life turn around That was the day before love came to town
When love comes to town I’m gonna jump that train When love comes to town I’m gonna catch that flame Maybe I was wrong to ever let you down But I did what I did before love came to town
When love comes to town I’m gonna jump that train When love comes to town I’m gonna catch that flame Maybe I was wrong to ever let you down But I did what I did before love came to town
I was there when they crucified my Lord I held the scabbard when the soldier drew his sword I threw the dice when they pierced his side But I’ve seen love conquer the great divide
When love comes to town I’m gonna catch that train When love comes to town I’m gonna catch that flame Maybe I was wrong to ever let you down But I did what I did before love came to town
I’m continuing my education on early Pink Floyd. Love what I’m hearing. This one is so sixties that you can smell the incense.
When I first heard this I thought one thing…sixties James Bond…and there is not more cooler than that. Cool guitar riff to open this one up.
It was on Pink Floyd’s debut album The Piper at the Gates of Dawn. It was written by Syd Barrett.
This song is essentially an ode to Syd Barrett’s cat, Sam. However, it was rumored that it might refer to another man in some kind of relationship with Jenny Spires, who was Barrett’s girlfriend at the time.
In the line, ” Jennifer Gentle you’re a witch,” “Jennifer Gentile” is said to refer to Spires.
Jenny Spires
Rob Chapman, A Very Irregular Head – The Life of Syd Barrett‘Lucifer Sam’ is the odd track out on the Piper album. Neither lengthy instrumental nor three-minute fairy tale, its taut style is a throwback to the Floyd’s earlier raw R&B. ‘Lucifer Sam’ has a compact form and driving riff that would have made it a prime candidate for a single (or at least a perfectly serviceable B-side) if there hadn’t already been stronger contenders. It’s a character song like ‘Arnold Layne’ rather than a still-life study like ’The Scarecrow,’ and by Syd’s oblique standards it is specific and direct. Jenny Spires appears thinly disguised as Jennifer Gentle and although the whole thing wiffs of stoned paranoia (‘that cat’s something I can’t explain’ – it’s just a cat, Syd, there really is nothing to explain) and menacing undertones it also possesses a nimble and playful wit.
Lucifer Sam
Lucifer Sam, Siam cat Always sitting by your side Always by your side That cat’s something I can’t explain
Jennifer Gentle you’re a witch You’re the left side He’s the right side Oh, no! That cat’s something I can’t explain
Lucifer go to sea Be a hip cat, be a ship’s cat Somewhere, anywhere That cat’s something I can’t explain
At night prowling sifting sand Hiding around on the ground He’ll be found when you’re around That cat’s something I can’t explain
It’s good to know somethings just don’t change. This could have been recorded in 1980 and we would not have known. We need consistent things in life and AC/DC gives that to us.
This is a new sneak peak single off of their upcoming album.
Well…they continue their tradition of a riff and a few chords and it works every single time. Brian Johnson, Cliff Williams, and Phil Rudd are back with them and they are coming out with a new album called…Power Up.
The album will contain unreleased songs that were written by Angus and his late brother Malcolm, who died in 2017.
“This record is pretty much a dedication to Malcolm, my brother,” Angus Young said… “It’s a tribute for him like ‘Back in Black’ was a tribute to Bon Scott.”
Here is a youtube comment I had to copy over:
by Thor Odinson
And ACDC came back to save the world.
Shot In The Dark
[Verse 1] I need a pick me up A Rollin’ Thunder truck I need a shot of you That tattooed lady wild Like a mountain lion I got a hunger, that’s the loving truth
[Pre-Chorus] You got a long night coming And a long night pumping You got the right position The heat of transmission
[Chorus] A shot in the dark Make you feel alright A shot in the dark All through the whole night A shot in the dark Yeah, electric sparks A shot in the dark Beats a walk in the park, yeah
[Verse 2] Blast it on the radio Breaking on the TV show Send it out on all the wires And if I didn’t know any better Your mission is to party Till the broad daylight
[Pre-Chorus] You got a long night coming And a long night going You got the right position The heat of transmission
[Chorus] A shot in the dark Make you feel alright A shot in the dark All through the whole night A shot in the dark Yeah, elеctric sparks A shot in the dark Beats a walk in the park, yеah
[Bridge] My mission is to hit ignition
[Chorus] A shot in the dark Make you feel alright A shot in the dark All through the whole night A shot in the dark Yeah, electric sparks A shot in the dark Beats a walk in the park, yeah
This is the title song to the soundtrack album of the movie Magical Mystery Tour. In reality it was more of a very expensive home movie but I do like it. Like Paul McCartney said…where else would you see a video of the Beatles doing I Am The Walrus?
They began on the song two weeks after Sgt Pepper’s Lonely Hearts Club Band was released.
In the 60s a “Mystery Tour” was a bus trip to an unknown destination. They were popular in England at that time…many times they ended up to see the Blackpool lights.
The song peaked at #2 in the UK. It was not released as a single in the US. The song was written by Lennon and McCartney. Paul’s concept and Lennon helped with the lyrics.
“Magical Mystery Tour” was released as the title track to a six-song double EP in the United Kingdom on 8 December 1967. It was the first example of a double EP in Britain. In the United States, the double EP was stretched to an LP by adding five songs previously released as singles.
Paul McCartney:“’Magical Mystery Tour’ was co-written by John and I, very much in our fairground period. One of our great inspirations was always the Barker. ‘Roll up! Roll up!’
Paul McCartney: “It used to just be called a mystery tour, up north,” “When we were kids, you’d get on a bus, and you didn’t know where you were going, but nearly always it was Blackpool. From Liverpool, it was inevitably Blackpool and everyone would go, ‘Oooo, it was Blackpool after all!’ Everyone would spend time guessing where they were going, and this was part of the thrill. And we remembered those. So much of The Beatles’ stuff was a slight switch on a memory; in ‘Penny Lane,’ the nurse and the barber and the fireman were just people we saw on a bus route, but this time they’d be with us. So we’d always just heighten the reality to make a little bit of surreality. That we were interested in.”
From Songfacts
Five months after recording this, The Beatles started making a TV special with this as the title track. The special aired in the UK in 1967, but didn’t appear in the US until 1976 when it was released in theaters, becoming the fourth Beatles movie. The film, which was an early precursor of today’s reality TV shows, didn’t go over well with critics or fans.
When they started recording this, they only had the title, a little bit of music, and the first line. Paul McCartney wrote the verses, John Lennon the refrain.
The carnival barker at the beginning is Paul McCartney.
In the 1978 movie The Rutles: All You Need Is Cash directed by former Monty Python member Eric Idle, this song is parodied by the title “Tragical History Tour.”
Charles Manson used to refer to life as “A Magical Mystery Tour” after hearing this song. He later warped other Beatles songs (“Helter Skelter,” “Piggies,” “Blackbird”) to explain a race war named Helter Skelter. He used to say that the Beatles were telling it like it is.
Magical Mystery Tour
Roll up roll up for the Mystery Tour Roll up roll up for the Mystery Tour
Roll up That’s an invitation Roll up for the Mystery Tour Roll up To make a reservation Roll up for the Mystery Tour
The Magical Mystery Tour Is waiting to take you away Waiting to take you away
Roll up Roll up for the Mystery Tour Roll up Roll up for the Mystery Tour
Roll up They’ve got everything you need Roll up for the Mystery Tour Roll up Satisfaction guaranteed Roll up for the Mystery Tour
The Magical Mystery Tour is hoping to take you away Hoping to take you away
The Mystery Tour
Ah
The Magical Mystery Tour Roll up Roll up for the Mystery Tour
Roll up That’s an invitation Roll up for the Mystery Tour Roll up To make a reservation Roll up for the Mystery Tour
The Magical Mystery Tour Is coming to take you away Coming to take you away
The Magical Mystery Tour Is dying to take you away Dying to take you away Take you today
Walter and Eric said they’d put him on a network TV show The White House said, “Put the thing in the blue room” The Vatican said, “No, it belongs to Rome” And Jody said, it’s mine but you can have it for seventeen million
This is one Creedence song that you don’t hear everyday…that doesn’t make it any less of a song than their others.
It’s about a farmer called Jody who finds a UFO and become famous. The event first triggers fear and later greed. Between the lines, there’re also sarcastic remarks on American show business, media and politics.
The character of “Jody” comes up in other songs of John Fogerty. Jody is in Almost Saturday Night, Hey Tonight and this one of course.
The song name checks different people and places. Ronald Reagan, Spiro Agnew, The White House, Hollywood, and the Vatican. Also in the mix are news reporters Walter Cronkite and Eric Sevareid.
It Came Out Of The Sky was never released as a single in America. In the UK it was backed with Side of the Road. It didn’t get much airplay there and didn’t chart.
The song was on the album Willy and the Poor Boys…a great album that peaked at #3 in the Billboard Album Charts, #2 in Canada, and #10 in the UK in 1970. Creedence had 18 songs in the top 100 and 9 top 10 hits yet no number 1’s in the Billboard 100…which I still find hard believe.
The song appeared in an episode of Better Call Saul and WKRP…the classic episode of Turkey’s Away.
It Came Out Of The Sky
Oh, it came out of the sky, landed just a little south of Moline Jody fell out of his tractor, couldn’t believe what he seen Laid on the ground and shook, fearin’ for his life Then he ran all the way to town screamin’ it came out of the sky
Well, a crowd gathered ’round and a scientist said it was marsh gas Spiro came and made a speech about raising the Mars tax The Vatican said, “Woe, the lord has come” Hollywood rushed out an epic film And Ronnie the popular said it was a communist plot
Oh, the newspapers came and made Jody a national hero
Walter and Eric said they’d put him on a network TV show The White House said, “Put the thing in the blue room” The Vatican said, “No, it belongs to Rome” And Jody said, it’s mine but you can have it for seventeen million
Oh, it came out of the sky, landed just a little south of Moline Jody fell out of his tractor, couldn’t believe what he seen Laid on the ground a shakin’, fearin’ for his life Then he ran all the way to town screamin’ it came out of the sky Oh
I hope everyone is having a wonderful Sunday so far…I heard this song and liked it right away. Jimmy Buffett did a cover but I prefer John’s rawer version.
It came out in 2003 on the album “Beneath This Gruff Exterior” which peaked at #73 on the Billboard Album Charts. I don’t see any chart history on this song. John’s reputation has always been better than his chart success but other artists have covered his songs with great chart success…Bonnie Raitt being one.
John mentions “Wes and Jimmy” and that would be Jazz musicians Wes Montgomery and Jimmy Smith.
This song really spoke to me the first time I heard it. It wasn’t a massive hit but occasionally I’ll hear it on radio.
Window On The World
A broken promise i kept too long A greasy shade and a curtain drawn A broken glass and a heart gone wrong That’s my window on the world
A cup of coffee in a shaky hand Wakin’ up in a foreign land Tryin’ to act like i got somethin’ planned That’s my window on the world
[Chorus 1:] That’s my window on the world Could you stand a little closer, girl Don’t let mama cut those curfs That’s my window on the world
In broad daylight that circus tent pulled up stakes I don’t know where it went A close dark room with a busted vent That’s my window on the world
I think about you when i’m countin’ sheep I think about you, then i can’t sleep I think that ocean is just so deep That’s my window on the world
[Chorus 2:] That’s my window on the world Could you stand a little closer, girl The queen of Sheba meets the duke of earle That’s my window on the world
Down on indiana avenue Wes and jimmy, man they played the blues I guess they were only passin’ through That’s my window on the world
[Chorus 1:] That’s my window on the world Could you stand a little closer, girl Don’t let mama cut those curfs That’s my window on the world
[Chorus 2:] That’s my window on the world Could you stand a little closer, girl The queen of Sheba meets the duke of earle That’s my window on the world
I listened to Pearl today and was remembering Janis who died 50 years ago on this date at the Landmark Motor Hotel (now Highland Gardens Hotel) while working on her album Pearl.
Janis Joplin is my favorite rock/blues female singer. I like a gravelly voice and Janis had that covered. She put her soul in every song and left everything on stage. Like her or not she was genuine. She had a rough life growing up in Port Arthur Texas being bullied in High School and College and finally making it in 1967 with Big Brother and the Holding Company when she moved to San Francisco.
Move Over was the first track on the Pearl album, which sold four million copies and hit #1 on the charts, all after Joplin passed away. She wrote this one herself and recorded it the same day as Trust Me and Me And Bobby McGee.
The album was released January 11, 1971, three months after her death. It peaked at #1 in the Billboard Album Charts, #1 in Canada, and #20 in the UK.
Janis went on the Dick Cavett Show on September 25, 1970, to perform “Move Over.” On the show, she stated that the song was about men…specifically the guy who tells you your relationship is over but won’t move on, thus equating the way some guys hold on love to the way one would dangle a carrot in front of a mule.
Move Over
You say that it’s over baby, Lord You say that it’s over now But still you hang around me, come on Won’t you move over
You know that I need a man, honey Lord You know that I need a man But when I ask you to you just tell me That maybe you can
Please don’t you do it to me babe, no! Please don’t you do it to me baby Either take this love I offer Or just let me be
I ain’t quite a ready for walking, no no no no I ain’t quite a ready for walking And what you gonna do with your life Life all just dangling?
Oh yeah Make up your mind, honey You’re playing with me, hey hey hey Make up your mind, darling You’re playing with me, come on now Now either be my loving man I said-a, let me honey, let me be, yeah
You say that it’s over, baby, no You say that it’s over now But still you hang around me, come on Won’t you move over
You know that I need a man, honey, I told you so You know that I need a man But when I ask you to you just tell me That maybe you can
Hey! Please don’t you do it to me, babe, no Please don’t you do it to me baby Either take this love I offer Honey let me be
I said won’t you, won’t you let me be Honey, you’re teasing me Yeah, you’re playing with my heart, dear I believe you’re toying with my affections, honey
I can’t take it no more baby And furthermore, I don’t intend to I’m just tired of hanging from the end of a string, honey You expect me to fight like a goddamned mule Wah, wah, wah, wah, honey
Don’t you think it’s sometimes wise not to grow up?
100 Years Ago has a good melody and it changes it’s focus in the last three-quarters of the way through…a good song with an interesting outro. It’s an album cut and you never hear much on the radio. It’s worth a listen. If you see them in concert and want to hear this song…don’t hold your breath.
It was only played on the first two performances of European Tour of 1973, and has not been performed live since. Come on guys! Play it again…it’s not like the world can’t do without another version of Satisfaction.
I took an instant liking to this song. It starts with a little country influence and then ends with a funky free for all. I have the new version of Goats Head Soup and this one cleaned up really well.
The album peaked at #1 in the Billboard 100, The UK, and Canada in 1973.
The Stones recorded this at Kingston’s Dynamic Sound Studios in November and December, 1972. Jagger performs lead vocals and is accompanied by Mick Taylor on backing. Taylor performs the song’s guitars while Keith Richards and Charlie Watts perform bass and drums, respectively. Nicky Hopkins provides piano while Billy Preston performs clavinet.
“100 Years Ago”
Went out walkin’ through the wood the other day And the world was a carpet laid before me The buds were bursting and the air smelled sweet and strange And it seemed about a hundred years ago Mary and I, we would sit upon a gate Just gazin’ at some dragon in the sky What tender days, we had no secrets hid away Well, it seemed about a hundred years ago Now all my friends are wearing worried smiles Living out a dream of what they was Don’t you think it’s sometimes wise not to grow up? Wend out walkin’ through the wood the other day Can’t you see the furrows in my forehead? What tender days, we had no secrets hid away Now it seems about a hundred years ago Now if you see me drinkin’ bad red wine Don’t worry ’bout this man that you love Don’t you think it’s sometimes wise not to grow up? You’re gonna kiss and say good-bye, yeah, I warn you You’re gonna kiss and say good-bye, yeah, I warn you You’re gonna kiss and say good-bye, oh Lord, I warn you And please excuse me while I hide away Call me lazy bones Ain’t got no time to waste away Lazy bones ain’t got no time to waste away Don’t you think it’s just about time to hide away? Yeah, yeah!
And now the young monsieur and madame have rung the chapel bell “C’est la vie”, say the old folks, it goes to show you never can tell
Now when I hear this song I think of Pulp Fiction because it was feature in the 1994 classic.
The song peaked at #14 in the Billboard 100, #11 in Canada, and #23 in the UK in 1964.
You Never Can Tell was written at a time when Chuck Berry was in prison…he also wrote Nadine in there. He was convicted in late 1961 of violating the Mann Act. Berry served one and one-half years in prison, from February 1962 to October 1963.
When he returned he was now facing the British invasion with the Beatles and the other bands out of England.
This song was released on his album St. Louis to Liverpool album in 1964. The album peaked at #124 in the Billboard Album Charts. The album included No Particular Place To Go and Promised Land.
In 1977, Emmylou Harris had a Top 10 Country hit with her version, which she renamed “(You Never Can Tell) C’est La Vie.”
From Songfacts
This song tells the story of a teenage couple getting married and staying together. Many of Berry’s songs are written from the perspective of young people, but this one even takes a dig at the older generation: “‘C’est la vie,’ say the old folks,” Berry sings. (“C’est la vie'” is French for “That’s life”).
Most songs that describe a young couple in love on their way to adulthood don’t end well, as disaffection or tragedy strikes. This song is unusual in that the couple does just fine, settling in with a nice record collection and some Roebuck furniture. As they settle into married life, their love stays strong. It’s not the storyline you’d expect, but you never can tell.
This was one of the new batch of hits Berry produced after being released from prison in 1963 after serving 20 months for “transporting an underage female across state lines for immoral purposes.” Berry had met a 14-year-old girl in Mexico who he brought back to St. Louis to work in his nightclub.
There is very little guitar on this track, which is driven by piano and saxophone.
When Berry sings, “The Coolerator was crammed with TV dinners and ginger ale,” he’s referring to a brand of refrigerator called a Coolerator that was popular in the 1950s.
This was featured in the 1994 film Pulp Fiction. It was used in the scene where Uma Thurman and John Travolta dance to it in the twist contest at Jack Rabbit Slim’s.
This is quoted in Stephen King’s 1995 novel, Rose Madder, when Norman – a policeman with a violent temper – contemplates his new promotion: “It made him think of a Chuck Berry song, one that went ‘C’est la vie, it goes to show you never can tell.'”
King referenced the tune again in The Institute (2019) to describe a successful teenage marriage like the one in the song.
You Never Can Tell
It was a teenage wedding, and the old folks wished them well You could see that Pierre did truly love the mademoiselle And now the young monsieur and madame have rung the chapel bell “C’est la vie”, say the old folks, it goes to show you never can tell
They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and ginger ale But when Pierre found work, the little money comin’ worked out well “C’est la vie”, say the old folks, it goes to show you never can tell
They had a hi-fi phono, boy, did they let it blast Seven hundred little records, all rock, rhythm and jazz But when the sun went down, the rapid tempo of the music fell “C’est la vie”, say the old folks, it goes to show you never can tell
They bought a souped-up jitney, ’twas a cherry red ’53 They drove it down to Orleans to celebrate the anniversary It was there that Pierre was married to the lovely mademoiselle “C’est la vie”, say the old folks, it goes to show you never can tell
Introducing the Scruffs. I love that name for a band. They have been around since the 70s and have released an album in 2011.
Big Star wasn’t the only power pop band in Memphis in the 70s. This band formed in Memphis in 1974. It was started by writer/guitarist/vocalist Stephen Burns along with guitarist David Branyan, bassist Rick Branyan, and drummer Zeph Paulson.
“She Say Yea” was influenced by the Beatles and Byrds but also early 70s American power pop greats like the Raspberries and Big Star.
They used Big Star’s same studio (Ardent) and their producer Jim Dickinson who along with Big Star worked with the Rolling Stones, Carmen McRae, Delaney & Bonnie, Jerry Jeff Walker, Dee Dee Warwick, Ronnie Hawkins, Sam & Dave, Dion, Brook Benton, Lulu, Sam the Sham and others.
I have heard some great power pop in the last 10 years but for me the golden era of Power Pop was in the 70s and 80s…I do believe in the last ten years it has made a comeback with newer bands…but I love these seventies bands that with a little more luck could have had major success.
The Scruffs released their debut album in 1977 named Wanna Meet the Scruffs? The single from the album was Break the Ice with She Say Yea as the B side. Another single off the album was Shakin’ / Teenage Girls…we will go over that one in a few weeks.
All 13 tracks were written by guitarist Stephen Burns though lead guitarist Dave Branyan gets partial credit for three numbers.
I forgot to post this yesterday with Heartbreaker so I thought I would get it in today.
I’ve always liked this song tacked on the end of Heartbreaker. This is a song about a groupie who bothered the band in their earlier days. She was a much older woman claiming and acting like she was really young. Radio stations would usually play both of these together. This was released as the B-side of “Whole Lotta Love.”
Zeppelin never played this song live because Jimmy Page hated it. Robert Plant played it on his solo tour in 1990.
The album Led Zeppelin II peaked at #1 in the Billboard 100, the UK, and Canada in 1969.
It was rare when Jimmy Page did backup vocals…he did on this song.
And both together
Livin’ Lovin’ Maid (She’s Just A Woman)
With a purple umbrella and a fifty cent hat, Livin’, lovin’, she’s just a woman. Missus cool rides out in her aged Cadillac. Livin’, lovin’, she’s just a woman.
*Come on, babe on the round about, ride on the merry-go-round, We all know what your name is, so you better lay your money down.
Alimony, alimony payin’ your bills, Livin’, lovin’, she’s just a woman. When your conscience hits, you knock it back with pills. Livin’, lovin’, she’s just a woman.
* Chorus
Tellin’ tall tales of how it used to be. Livin’, lovin’, she’s just a woman. With the butler and the maid and the servants three. Livin’, lovin’, she’s just a woman.
Nobody hears a single word you say. Livin’, lovin’, she’s just a woman. But you keep on talkin’ till your dyin’ day. Livin’, lovin’, she’s just a woman.
I talk about this a lot but this guitar riff is great and makes the song for me. I like how they ease into Livin’ Lovin’ Maid (She’s Just a Woman).
Heartbreaker was ranked number 328 in 2004 by Rolling Stone magazine, in their 500 Greatest Songs of All Time. The song was credited to all four members of the band, “Heartbreaker” was produced by Jimmy Page and engineered by Eddie Kramer.
The solo is something different in this song. Jimmy Page does not play it with the band. He plays it by himself in a break in the song. Page didn’t find out until years later that the solo was in a different pitch than the rest of the song…but it sounded great.
The album peaked at #1 in the Billboard 100, the UK, and Canada in 1969.
Eddie Van Halen:I think I got the idea of tapping watching Jimmy Page do his “Heartbreaker” solo back in 1971. He was doing a pull-off to an open string, and I thought wait a minute, open string… pull off. I can do that, but what if I use my finger as the nut and move it around? I just kind of took it and ran with it.
Jimmy Page:“The interesting thing about the solo is that it was recorded after we had already finished ‘Heartbreaker’ – it was an afterthought. That whole section was recorded in a different studio and it was sort of slotted in the middle.”
Eddie Krammer: “I met Page for the first time in Pye studios when I was working on sessions of The Kinks. Page had earned a certain reputation as a studio guitarist. I also worked with John Paul Jones on a few sessions, and we became friends. Jones was a brilliant musician. He wrote arrangements for chord orchestras and he could play many instruments extremely well. Before I left England to work with Jimi Hendrix at Record Plant studio in New York, in April 1968, Jonesy had invited me at his place to have me listen to a few demos of his new group, Led Zeppelin. I remember it sounded very heavy, and I was surprised that Jimmy Page played guitar because I didn’t know they were friends. Jonesy was very proud of John Bonham, an ex-mason from the north of England who could hit it hard on the drums, as well as of Robert Plant, their wild singer. While I wasn’t convinced by the name they had chosen, I wished them good luck. Then in ’69, I was working at Electric Lady studios when I received a call from Steve Weiss, Jimi’s right-hand man, saying that Led Zeppelin was in town. Page called later to tell he wanted I help him release what they had recorded and to make a few more tracks. Led Zeppelin had been a major success for Atlantic and they were urging Jimmy to finish the second album. Their schedule however wasn’t very arranging. So we ended up listening, doubling, recording and mixing in many different studios around New York, including Groove Sound, a nice R&B 8-track studio.
From Songfacts
This opens Side 2 of Led Zeppelin II and goes right into “Livin’ Lovin’ Maid (she’s just a woman)” on the album. Radio stations usually play them together, but “Maid” was never performed live by Led Zeppelin.
A crowd favorite, Led Zeppelin sometimes opened live shows with it.
At concerts, Jimmy Page would stretch out the guitar solo and incorporate bits of other songs, like “Greensleeves,” “The 59th Street Bridge Song (Feelin’ Groovy),” and Bach’s “Bouree in C minor.”
Robert Plant, Jimmy Page, and John Paul Jones performed this at the Atlantic Records 40th anniversary concert in 1988 with Jason Bonham sitting in on drums for his late father.
Led Zeppelin opened many of their live shows in 1971 and 1972 with “Immigrant Song,” followed by a segue right into this.
Eddie Kramer, sound engineer on Led Zeppelin II, told Guitare & Claviers in 1994 how he ended up working on the album:
Heartbreaker
Hey fellas have you heard the news? You know that Annie’s back in town? It won’t take long just watch and see How the fellas lay their money down
Her style is new but the face is the same As it was so long ago But from her eyes a different smile Like that of one who knows
Well it’s been ten years and maybe more Since I first set eyes on you The best years of my life gone by Here I am alone and blue
Some people cry and some people die By the wicked ways of love But I’ll just keep on rollin’ along With the grace of the Lord above
People talkin’ all around ’bout the way you left me flat I don’t care what the people say, I know where their jive is at One thing I do have on my mind, if you can clarify please do It’s the way you call me by another guy’s name when I try to make love to you, yeah
I try to make love but it ain’t no use Give it to me, give it
Work so hard I couldn’t unwind Get some money saved Abuse my love a thousand times However hard I tried
Heartbreaker, your time has come Can’t take your evil way Go away heartbreaker Heartbreaker Heartbreaker Heartbreaker
Neil Young wrote this about the caretaker of the ranch he bought in 1970.
His name was Louis Avila. The ranch was the Broken Arrow Ranch, purchased for $350,000 in 1970 (I have to wonder what it would cost now). Reportedly, Avila was giving Young a tour of the place and asked him how a young man like him could afford a place like this. Young, aged 25, replied “Well, just lucky, Louie, just real lucky.’ And Louis said, ‘Well, that’s the darndest thing I ever heard.’
Linda Ronstadt and James Taylor sang backing vocals on Old Man and another Harvest track, Heart of Gold. James Taylor played six-string banjo.
Old Man peaked at #31 in the Billboard 100 and #4 in Canada in 1972. Looks like Canada got this right.
Linda Ronstadt: “I can’t remember why Neil wanted me to sing with him – I guess he just figured I was there and could do it but we went in there and they were doing ‘Heart of Gold’ and ‘Old Man’ and I thought they were such beautiful songs. I loved them.
And I knew how to do harmonies. I’d listened to the Buffalo Springfield harmonies and I knew how to get that 7th they always used. I don’t think we started until midnight and it was dawn when we came out, and it was snowing – we came out to this beautiful snow storm in the rising sun. It was really exciting. I just thought I’ve been part of something really wonderful.”
Neil Young:About that time when I wrote (Heart of Gold), and I was touring, I had also — just, you know, being a rich hippie for the first time — I had purchased a ranch, and I still live there today.
And there was a couple living on it that were the caretakers, an old gentleman named Louis Avala and his wife Clara. And there was this old blue Jeep there, and Louis took me for a ride in this blue Jeep. He gets me up there on the top side of the place, and there’s this lake up there that fed all the pastures, and he says, ‘Well, tell me, how does a young man like yourself have enough money to buy a place like this?’
And I said, ‘Well, just lucky, Louie, just real lucky.’ And he said, ‘Well, that’s the darndest thing I ever heard.’
From Songfacts
This was the first song recorded for the Harvest album. Neil Young arranged the session the previous night when he was at a party held at Quadrafonic Studios in Nashville (he was in town to record a segment for Johnny Cash’s TV show). The studio owner Elliot Mazer was also a producer who had worked with a band Young admired called Area Code 615. Young asked if he could record there the next day, and Mazer complied, supplying not just the studio, but also the musicians.
The session took place on Saturday, February 6, 1971 with a group of Music City studio pros: Ben Keith on pedal steel guitar, Tim Drummond on bass and Kenny Buttrey on drums.
It was never the metric on which he wanted to be judged, but “Old Man” was the second-biggest hit for Neil Young as a solo artist, reaching #31 on the Hot 100. His biggest hit, by far, was his previous single, the Harvest track “Heart of Gold,” which went to #1.
There was some conflict over a hi-hat when Young recorded this song. When drummer Kenny Buttrey played it, Young told him not only to refrain from the hi-hat, but to only play with his left hand, which Buttrey thought was ridiculous. The drummer complied, however, literally sitting on his right hand to resist temptation. Buttrey later quipped: “He hires some of the best musicians in the world and has them play as stupid as they possibly can.”
It was immediately after the success of “Old Man” and the Harvest album that Danny Whitten, central to Young’s band Crazy Horse, passed away. Young invited Whitten to audition for his backing band the Stray Gators on the condition that he cleaned up his substance abuse. Young gave him a trial, but it looked to be the same old story with Whitten, so he fired him. Whitten promptly went home and overdosed, found dead with Valium and alcohol in his system.
Young got the call that night, and was devastated. Whitten’s death was part of the darkening of Neil Young’s act during the time following “Old Man;” it wasn’t just the success or being “headed for the ditch.”
Young told Jimmy McDonough that the line “Does it mean that much to me, to mean that much to you?” is meant to be directed towards the audience.
James Taylor is credited with playing “guitar-banjo” on this song. Taylor, who along with Linda Ronstadt was in the studio recording vocals, saw the banjo and started playing it. The instrument belonged to Young; it was a called a “guitar-banjo” because it was a banjo tuned like a guitar.
Bob Dylan covered this song throughout his 2002 tour.
This song has appeared in various films over the years, including Due Date, Lords of Dogtown, and Wonder Boys.
2015 The Voice champion Sawyer Fredericks covered the song during the show’s finale. The following week his version reached #63 on the Hot 100.
In 2018, a 72-years Young said during a concert in Chicago: “It’s hard to do ‘Old Man’ now. It’s like, ‘Old man take a look at my life, I’m a lot like I am.”
At the memorial service for actor Heath Ledger, “Old Man” was chosen as the song to play over a slideshow showing his various roles and life.
Old Man
Old man, look at my life I’m a lot like you were Old man look at my life I’m a lot like you were
Old man, look at my life Twenty four and there’s so much more Live alone in a paradise That makes me think of two
Love lost, such a cost Give me things that don’t get lost Like a coin that won’t get tossed Rolling home to you
Old man, take a look at my life, I’m a lot like you I need someone to love me the whole day through Ah, one look in my eyes and you can tell that’s true
Lullabies, look in your eyes Run around the same old town Doesn’t mean that much to me To mean that much to you
I’ve been first and last Look at how the time goes past But I’m all alone at last Rolling home to you
Old man, take a look at my life, I’m a lot like you I need someone to love me the whole day through Ah, one look in my eyes and you can tell that’s true
You May Be Right was released on the Glass Houses album in 1980. I liked this song…it was more of a rock song from Joel.
Glass Houses was more of a rock album than his previous albums. He did that on purpose because he wanted something different than his previous albums The Stranger and 52 Street.
The album peaked at #1 in the Billboard 100, #1 in Canada, #9 in the UK and #6 in New Zealand.
This is the opening track to Billy Joel’s album Glass Houses. Right before the song, there is the sound of shattered glass, to match the cover picture of Joel throwing a rock into the window of an all-glass house…it was a parody of the saying “People who live in glass houses shouldn’t throw stones.” This was Joel’s statement to his critics.
Stephen Thomas Erlewine of AllMusic wrote: “It may not be punk — then again, it may be his concept of punk — but Glass Houses is the closest Joel ever got to a pure rock album.”
You May Be Right was the first single released from Glass Houses…The song peaked at #7 in the Billboard 100, #6 in Canada, and #23 in New Zealand in 1980.
Billy Joel: “I could have come out with a record that would have guaranteed a certain amount of sales – just by repeating either The Stranger album or the 52nd Street album, by doing something similar,” Frankly, I would have been bored to do that. I would have been a dead duck, career-wise. You have to discard an audience to pick up another one.”
“It’s a definite temptation to repeat a successful formula. But I have never done the same thing twice. I don’t care what anybody says,” “After Stranger, I could have done Son of Stranger, but I’ve never done that. To keep me interested, there always has to be something new, something different.”
From Songfacts
In this song, Joel takes the persona of a guy who is told he is reckless. Joel confirms the suspicion, admitting that he is crazy and extolling the virtues of a more carefree, but dangerous existence.
This was used as the theme song to the TV show Dave’s World, which ran from 1993-1997 on CBS. Like Joel’s “My Life,” Billy didn’t sing the version used on the show. The version of “You May Be Right” on Dave’s World was sung by Southside Johnny.
The Chipmunks covered this song on their 1980 album Chipmunk Punk. Joel says he thought it was great.
Joel tends to prefer his more obscure songs over his hits, but “You May Be Right” is one of his favorites. Speaking with Stephen Colbert in 2017, he listed it as one of his Top 5.
In The Office episode “WUPHF.com” (2010), Michael sings this after Pam tells him Ryan is taking advantage of him. It was also used on Glee (“Movin’ Out” – 2013) and in the movies Girl Most Likely and The Edge Of Seventeen (2016).
You May Be Right
Friday night I crashed your party Saturday I said I’m sorry Sunday came and trashed me out again I was only having fun Wasn’t hurting any one And we all enjoyed the weekend for a change
I’ve been stranded in the combat zone I walked through Bedford Stuy alone Even rode my motorcycle in the rain And you told me not to drive But I made it home alive So you said that only proves that I’m insane
You may be right I may be crazy But it just may be a lunatic you’re looking for Turn out the light Don’t try to save me You may be wrong for all I know But you may be right
Remember how I found you there Alone in your electric chair I told you dirty jokes until you smiled You were lonely for a man I said take me as I am ‘Cause you might enjoy some madness for a while
Now think of all the years you tried to Find someone to satisfy you I might be as crazy as you say If I’m crazy then it’s true That it’s all because of you And you wouldn’t want me any other way
You may be right I may be crazy But it just may be a lunatic you’re looking for It’s too late to fight It’s too late to change me You may be wrong for all I know But you may be right
You may be right I may be crazy But it just may be a lunatic you’re looking for Turn out the light Don’t try to save me You may be wrong for all I know You may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right You may be wrong but you may be right