Crosby, Stills, Nash, and Young – Teach Your Children

This song was climbing in the charts in the top twenty when it was pulled. It was pulled because of the Kent State shootings and Neil Young wrote Ohio and CSN&Y wanted it released as soon as possible. Teach Your Children probably would have peaked in the top ten if not pulled.

The song peaked at #16 in the Billboard 100, #8 in Canada, and #19 in New Zealand in 1970.

Graham wrote this song while he was still playing with the Hollies but he never recorded it with them. He played it to Stephen Stills and Stills suggested a country arrangement which turned it into a hit.

Jerry Garcia performs the pedal steel guitar part of this track. He had been playing steel guitar for only a short period of time. Crosby told Nash he should ask Jerry to play steel guitar on the song. Garcia played on this song and Crosby, Stills, Nash, and Young worked with the Grateful Dead on harmonies for their acoustic albums Workingman’s Dead and American Beauty.

I would say it worked out well for both bands. Jerry told Graham Nash who wrote the song that he made a mistake but Graham wanted that take.

It was on the album  Déjà Vu which peaked at #1 in the Billboard 100, Canada and #5 in the UK.

Graham Nash: I’d heard Jerry had just started playing pedal-steel guitar and asked if he would add a pedal track to my song. After the first take, I said, “Thanks, Jerry, you’re done.” “No, no,” he protested, “I fucked up that part when we go right into the chorus. Can I do another?”“Absolutely, do it,” I told him, “but I’m never going to use it. The first one was exactly what I wanted.”

And, of course, his pedal steel was one of the defining elements in that recording.

From Songfacts

Graham Nash wrote this song. The lyrics deal with the often difficult relationship he had with his father, who spent time in prison.

 Graham Nash (from the liner notes of their 1991 boxed set): “The idea is that you write something so personal that every single person on the planet can relate to it. Once it’s there on vinyl it unfolds, outwards, so that it applies to almost any situation. ‘Teach’ started out as a slightly funky English folk song but Stephen (Stills) put a country beat to it and turned it into a hit record.”

Deja Vu was the first album the band recorded with Neil Young, but Young did not play on this.

According to the 2019 book Crosby, Stills, Nash & Young, Nash wrote the song while under the influence of hash. He taught it to the rest of the band in one day in the studio.

In Laurel Canyon: The Inside Story of Rock and Roll’s Legendary Neighborhood, Graham Nash is quoted as saying, “When I wrote ‘Teach Your Children’ and ‘Our House,’ we didn’t know what we were doing. ‘This sounds pretty fun, we can sing this, let’s do it!’ And then all of a sudden people are singing it back to me forty years later.”

An updated version with a new arrangement was used in a 1985 TV commercial for the Apple II computer. Bill Siddons, then manager for CSNY, told BAM magazine: “The whole idea of the spot was to show how to prepare your kids for the modern world, which is part of what ‘Teach Your Children’ is about.”

Shortly after writing this, Nash visited an art gallery and saw two photographs that crystallized the meaning of the song: Diane Arbus’ “Child with Toy Hand Grenade in Central Park” and Arnold Newman’s portrait of German industrialist Alfried Krupp. The singer told the news website Truthdig: “I put the ‘Hand Grenade’ photograph next to a picture of Krupp, who was the German arms magnate whose company was probably responsible for millions of deaths. It was an eerie photograph, a portrait, and the lighting is weird and his eyes are dark – a great image. And looking at them together I began to realize that what I’d just written [‘Teach Your Children’] was actually true, that if we don’t start teaching our children a better way of dealing with each other we’re f–ked and humanity itself is in great danger.”

At the end of The Office episode “Take Your Daughter To Work Day” (2006), Michael and Dwight perform this for the staff and their kids.

Teach Your Children

You who are on the road
Must have a code that you can live by
And so become yourself
Because the past is just a good-bye.
Teach your children well,
Their father’s hell did slowly go by,
And feed them on your dreams
The one they picks, the one you’ll know by.
Don’t you ever ask them why, if they told you, you will cry,
So just look at them and sigh
And know they love you.

And you, of tender years,
Can’t know the fears that your elders grew by,
And so please help them with your youth,
They seek the truth before they can die.

Teach your parents well,
Their children’s hell will slowly go by,
And feed them on your dreams
The one they picks, the one you’ll know by.

Don’t you ever ask them why, if they told you, you will cry,
So just look at them and sigh and know they love you.

Lenny Kravitz – Are You Gonna Go My Way

Love the guitar riff, the vibe, and the artist. To my surprise this was not released as a single in the US, but in 1995 a live version was used as the B-side of Kravitz’ “Rock And Roll Is Dead” single.

I first learned of Lenny Kravitz in 1989 with Let Love Rule which is probably my favorite song by him. I do like this one because it’s aggressive and right in your face.  The song was released in 1993. 

The song is about Jesus Christ, whom Lenny referred to as “the ultimate rock star.” It’s about how God gives choice to man about where to turn. 

Lenny Kravitz: “I thought the subject matter was really interesting, because it’s coming from the mouth of Jesus Christ, as I thought. So basically, ‘Are you gonna go my way?’ meaning ‘my way of love.’ I had no idea that that song would become what it became. No idea. There was nothing on the radio like that. And the recording is so raw, it’s ridiculous.”

The music video, directed by Mark Romanek, finds Kravitz and his band performing beneath a brilliant chandelier. The clip earned him the MTV Video Music Award for Best Male Artist.

From Songfacts

. The opening lines spell it out:

I was born long ago
I am the chosen I’m the one
I have come to save the day
And I won’t leave until I’m done 

Kravitz played this on Saturday Night Live in 1993. 

In an interview posted on his website, Kravitz explained the origin of this song: “We were just jamming in the studio. You know, I was jamming with Craig Ross, who I wrote the song with. It was one of those songs that happened in 5 minutes. We were jamming. I thought there was something happening. I told Henry to turn the tape machines on, and we played it. And that was it. And then I went and wrote the lyrics on a brown paper bag, I remember at my loft on Broome Street at the time. Went in and sang it the next day. And that was it.” 

This was a #2 hit on the Modern Rock chart. Because it was released as an airplay-only single in the US, it wasn’t eligible for the Hot 100. At the time, many record labels chose to only release promo singles to radio stations so listeners would have to buy the whole album to hear the song. While the strategy worked for album sales, it also kept artists off the chart until the rules changed in 1998.

Are You Gonna Go My Way was Kravitz’ first Top 20 album in the US, where it peaked at #12. It hit #1 in the UK, Switzerland, Canada, and Australia.

This earned Kravitz Grammy nominations for Best Rock Vocal Performance, Solo and Best Rock Song. He lost to Meat Loaf for “I’d Do Anything For Love (But I Won’t Do That)” and Dave Pirner for Soul Asylum’s “Runaway Train,” respectively.

Tom Jones recorded this for the 1995 comedy The Jerky Boys. It’s also been covered by Robbie Williams, Mel B, and Adam Lambert.

This was used in the 1994 movie I Love Trouble, starring Julia Roberts. It also showed up on The Simpsons (“How I Spent My Strummer Vacation” – 2002) and Sex and the City (“Ghost Town” – 2001).

A remixed version was used at the opening theme to the 2001 video game Gran Turismo 3.

Are You Gonna Go My Way

I was born long ago
I am the chosen I’m the one
I have come to save the day
And I won’t leave until I’m done

So that’s why you’ve got to try
You got to breath and have some fun
Though I’m not paid I play this game
And I won’t stop until I’m done

But what I really want to know is
Are you gonna go my way?
And I got to got to know

I don’t know why we always cry
This we must leave and get undone
We must engage and rearrange
And turn this planet back to one

So tell me why we got to die
And kill each other one by one
We’ve got to love and rub-a-dub
We’ve got to dance and be in love

But what I really want to know is
Are you gonna go my way?
And I got to got to know

Are you gonna go my way?
‘Cause baby I got to know
Yeah

REM – Losing My Religion

I hope everyone is having a happy Monday…at least as happy as it can be.

I heard early REM albums from friends. They really made an impact with college kids and built a following. Then they released The One I Love and the dam burst. This song took it a step higher.

Peter Buck has commented that after this song’s success that the bands popularity soared. He mentioned that R.E.M. went from a respected band with a cult following to one of the biggest bands in the world.

This song was released in 1991 and on their Out of Time album. The song did very well. It peaked at #4 in the Billboard 100, #6 in Canada, #19, and #16 in New Zealand in 1991.

The title is based on the Southern expression “lost my religion,” meaning something has challenged your faith to such a degree you might lose your religion or cool.

REM was surprised when their record label chose this song as the first single from Out Of Time. Running 4:28 with no chorus and a mandolin for a lead instrument, it didn’t seem like hit material, but it ended up being the biggest hit of their career.

Michael Stipe revealed the lyrics about obsessional love were heavily influenced by The Police’s “Every Breath You Take,” which he called “the most beautiful, kind of creepy song.”

This won the Grammy in 1991 for Best Pop Performance by a Duo or Group with Vocal.

Peter Buck: “The music was written in five minutes. The first time the band played it, it fell into place perfectly. Michael had the lyrics within the hour, and while playing the song for the third or fourth time, I found my self incredibly moved to hear the vocals in conjunction with the music. To me, ‘Losing My Religion’ feels like some kind archetype that was floating around in space that we managed to lasso. If only all songwriting was this easy.”

From Songfacts

R.E.M. lead singer Michael Stipe wrote the lyrics, which he has said are about “obsession” and “unrequited love,” which is powerful and dangerous combination. Throughout the song, he is baring his soul, searching for hidden meaning and hopeful signs, but driving himself mad in the process.

“I love the idea of writing a song about unrequited love,” he told Top 2000 a gogo. “About holding back, reaching forward, and then pulling back again. The thing for me that is most thrilling is you don’t know if the person I’m reaching out for is aware of me. If they even know I exist. It’s this really tearful, heartfelt thing that found its way into one of the best pieces of music the band ever gave me.”

This song has its origins in guitarist Peter Buck’s efforts to try learn to play the mandolin. When he played back recordings of his first attempts, he heard the riff and thought it might make a good basis for a song. Explaining how the song came together musically, Buck told Guitar School in 1991: “I started it on mandolin and came up with the riff and chorus. The verses are the kinds of things R.E.M. uses a lot, going from one minor to another, kind of like those ‘Driver 8’ chords. You can’t really say anything bad about E minor, A minor, D, and G – I mean, they’re just good chords.

We then worked it up in the studio – it was written with electric bass, drums, and mandolin. So it had a hollow feel to it. There’s absolutely no midrange on it, just low end and high end, because Mike usually stayed pretty low on the bass. This was when we decided we’d get Peter (Holsapple) to record with us, and he played live acoustic guitar on this one. It was really cool: Peter and I would be in our little booth, sweating away, and Bill and Mike would be out there in the other room going at it. It just had a really magical feel.

And I’m proud to say every bit of mandolin on the record was recorded live – I did no overdubbing. If you listen closely, on one of the verses there’s a place where I muffled it, and I thought, well, I can’t go back and punch it up, because it’s supposed to be a live track. That was the whole idea.”

The video was directed by Tarsem Singh, who also did En Vogue’s “Hold On” and the Jennifer Lopez movie The Cell. It’s a very ambitious video filled with striking, vivid, biblical imagery.

The concept is based in part on Gabriel Garcia Marquez’ A Very Old Man with Enormous Wings. The novel tells the story of an angel who falls down from heaven and is displayed for profit as a “freak show.” Michael Stipe is a big Marquez fan and the whole idea of obsession and unrequited love is the central theme of the author’s masterpiece, Love in the Time of Cholera. The first line of that novel is: “It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love.” 

Michael Stipe’s dancing ties the video together as he moves like he is in the throes of revelation, a contrast to all the other characters who are barely moving. He wasn’t supposed to dance: The treatment had him singing lines from various poses, but when they shot it that way, it didn’t work at all. This put director Tarsem Singh’s grand production in jeopardy; he was so upset, he went to the bathroom and threw up. When he emerged, Stipe said, “Let me try to dance.”

There was no choreography – Stipe just let the spirit move him, and the results were sublime. He says his dancing is a mashup of Sinead O’Connor’s moves in her “The Emperor’s New Clothes” video and David Byrne’s gyrations in his “Once In A Lifetime” performances.

Stipe remembers being hot and bothered when recording his vocal. His heartfelt lyric needed a certain feel that was hard to achieve in the studio, so he recorded a lot of takes. He wasn’t happy with the engineer, who seemed out of it. “I was very upset,” he told Top 2000 a gogo. “I also got really hot because I was all worked up, so I took my clothes off and recorded the song almost naked.”

This was given the working title of “Sugar Cane” when the band demoed it in July 1990 at a studio in Athens.

A common misinterpretation of this song is that it was about John Lennon’s death, with the lyrics, “What if all these fantasies come flailing around” being a reference to Lennon’s last album Double Fantasy.

Michael Stipe took a laid-back approach with this song: “I remember that I sang this in one go with my shirt off. I don’t think any of us had any idea it would ever be … anything,” he noted in Part Lies, Part Heart, Part Truth, Part Garbage 1982-2011. Peter Buck added that Warner Bros. didn’t even want the song as a single, and everyone was surprised when it took off. “It changed our world. We went from selling a few million worldwide with Green to over 10 million. It was in that area where we had never been before which isn’t bad,” he said.

Peter Buck recalled to Uncut: “I bought a mandolin on tour in ’87, I think. It became a good songwriting tool. It never occurred to me to play mandolin in a bluegrass style. For me it was a rock instrument.”

Producer Scott Litt recalled his contribution to Mojo: “I remember mixing ‘Losing My Religion’ at Paisley Park. I had Bill (Berry, drums) nudging up to me and saying, ‘You know, I think the drums could be louder’, and he was spot on. The strings and the vocals are maybe more memorable, but the drums are really important. He’s even doubling the mandolin figure at the beginning. The last mix on that song was ‘drums boosted’ and that became the track.”

When introducing the song during an appearance on MTV Unplugged, Stipe pointed to the audience and said, “This is about you.” Mojo asked him what he meant. He replied shrugging, “No idea. It’s something I said on a night in 1991. I have no idea why I said it. Of course we attach the narrative in a song to the person with the voice, which is me. And so I get that. But it was not autobiographic.”

Artists to cover this song include Tori Amos, Lacuna Coil, Trivium and Swandive. Two versions have charted in America: the Glee Cast took it to #60 in 2010, and Dia Frampton’s version went to #54 in 2011.

The video was the big winner at the MTV Video Music Awards, winning six moonmen, including Video of the Year and Breakthrough Video.

Losing My Religion

(One, two, three, four, one, two)

Oh, life is bigger
It’s bigger
Than you and you are not me
The lengths that I will go to
The distance in your eyes
Oh no, I’ve said too much
I set it up

That’s me in the corner
That’s me in the spotlight
Losing my religion
Trying to keep up with you
And I don’t know if I can do it
Oh no, I’ve said too much
I haven’t said enough

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

Every whisper
Of every waking hour
I’m choosing my confessions
Trying to keep an eye on you
Like a hurt lost and blinded fool, fool
Oh no, I’ve said too much
I set it up

Consider this
Consider this
The hint of the century
Consider this
The slip
That brought me to my knees
Failed
What if all these fantasies
Come flailing around
Now I’ve said too much

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

But that was just a dream
That was just a dream

That’s me in the corner
That’s me in the spotlight
Losing my religion
Trying to keep up with you
And I don’t know if I can do it
Oh no, I’ve said too much
I haven’t said enough

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

But that was just a dream
Try, cry
Fly, try
That was just a dream, just a dream, just a dream

Bob Marley – Jammin’

I got into Bob Marley and the Wailers a little later but better late than never. Jammin’ is on their ninth studio album Exodus. The album peaked at #20 in the Billboard Album Charts, #8 in the UK, and  #46 in Canada.

In Jamaica, the word “jamming” refers to getting together for a celebration. Although it can also mean an impromptu musical session.

Marley wrote the song in exile in Nassau after the 1976 attempt on his life.

On December 3, 1976 several men raided Marley’s house and shot three included Marley but all survived. It was politically motivated…Marley and his band was rehearsing for a show that some viewed as Marley supporting the Prime Minister and his democratic socialist People’s National Party. Marley claimed he was neutral not supporting anyone. In the song Marley wrote the lyric No bullet can stop us now, we neither beg nor we won’t bow.

The gunmen were all captured and executed. The song peaked at #9 in the UK in 1977.

A detailed account of the assassination attempt is here.

https://www.theguardian.com/music/2006/jul/16/urban.worldmusic

Jammin’

Ooh, yeah! all right!
We’re jammin’:
I want to jam it wid you.
We’re jammin’, jammin’,
And I hope you like jammin’, too.

Ain’t no rules, ain’t no vow, we can do it anyhow:
I’n’I will see you through,
‘Cause everyday we pay the price with a little sacrifice,
Jammin’ till the jam is through.

We’re jammin’ –
To think that jammin’ was a thing of the past;
We’re jammin’,
And I hope this jam is gonna last.

No bullet can stop us now, we neither beg nor we won’t bow;
Neither can be bought nor sold.
We all defend the right; jah – jah children must unite:
Your life is worth much more than gold.

We’re jammin’ (jammin’, jammin’, jammin’)
And we’re jammin’ in the name of the lord;
We’re jammin’ (jammin’, jammin’, jammin’),
We’re jammin’ right straight from yah.

Yeh! holy mount zion;
Holy mount zion:
Jah sitteth in mount zion
And rules all creation.

Yeah, we’re – we’re jammin’ (wotcha-wa),
Wotcha-wa-wa-wa, we’re jammin’ (wotcha-wa),
See, I want to jam it wid you
We’re jammin’ (jammin’, jammin’, jammin’)
I’m jammed: I hope you’re jammin’, too.

Jam’s about my pride and truth I cannot hide
To keep you satisfied.
True love that now exist is the love I can’t resist,
So jam by my side.

We’re jammin’ (jammin’, jammin’, jammin’), yeah-eah-eah!
I want to jam it wid you.
We’re jammin’, we’re jammin’, we’re jammin’, we’re jammin’,
We’re jammin’, we’re jammin’, we’re jammin’, we’re jammin’;

Hope you like jammin’, too.
We’re jammin’, we’re jammin’ (jammin’),
We’re jammin’, we’re jammin’ (jammin’).
I want to (i want to jam it wid you) – I want to –

I want to jam wid you now.
Jammin’, jammin’ (hope you like jammin’ too).
Eh-eh! I hope you like jammin’, I hope you like jammin’,
‘Cause (i want to jam it wid you). I want to … wid you.

I like – I hope you – I hope you like jammin’, too.
I want to jam it;
I want to jam it.

The Replacements – Skyway

I’ve been listening to the Replacement recently after I read a post on them by Aphoristical. I listened to them quite a bit in the eighties but lost touch at the end of the decade…

This song is on the band’s 1987 album Pleased To Meet Me. The band was formed in band formed in Minneapolis, Minnesota in 1979. Skyways are one of Minneapolis’s signature features. They are second-story pedestrian bridges between buildings that are called skywalks or skybridges.

The album peaked at #131 in the Billboard Album Charts in 1987. It’s a gorgeous song…

Paul Westerberg: It’s our own little private song for Minneapolis. They’re basically the sidewalks above the streets, because it’s too cold in the winter to walk, and the businesses, y’know, feel they won’t get people to come downtown. It’s like you can walk for miles and not ever go outside. You can walk around the whole city through the skyway system. And it’s generally the people who are shoppers and [who] work. And so this song was sort of written from the point of a guy who’s like myself who — I don’t go up in the skyways, y’know. [laughs] What do I have to do up there? I never go shopping or anything. So I sit down there and watch the people walk by. 

Skyway

You take the skyway, high above the busy little one-way
In my stupid hat and gloves, at night I lie awake
Wonderin’ if I’ll sleep
Wonderin’ if we’ll meet out in the street

But you take the skyway
It don’t move at all like a subway
It’s got bums when it’s cold like any other place
It’s warm up inside
Sittin’ down and waitin’ for a ride
Beneath the skyway

Oh, then one day, I saw you walkin’ down that little one-way
Where, the place I’d catch my ride most everyday
There wasn’t a damn thing I could do or say
Up in the skyway

Skyway
Skyway (sky away)

John Lennon – I’m Losing You

Yesterday was John’s birthday 80th birthday…that just doesn’t seem right. He has been gone for 40 years…the same amount that he lived. 

I’m Losing You is on the Double Fantasy album released in 1980.

There are two versions of this song that are well known. Co-producer Tom Douglas brought Rick Nielsen and Bun E. Carlos of the band Cheap Trick to play on this song, but it was eventually re-recorded with the studio musicians. That is the version that ended up on the album.

The Rick Nielsen and Ben E. Carlos version was included years later on the John Lennon Anthology Collection released in 1998.

Some say the edgier track with Nielsen and Carlos wasn’t used because Yoko didn’t like the version, the recording didn’t fit in with the rest of the album, or it sounded a little too much like Cold Turkey…a previous song by Lennon. If I had to guess I would say it was because the track would have stood out against the others. Personally I would have went with the Nielsen and Carlos version anyway.

While on vacation in Bermuda during the summer of 1980, Lennon tried to call Yoko Ono but couldn’t get through to her and wrote this song based on his frustration.

Double Fantasy peaked at #1 in the Billboard Album Charts, Canada, and The UK in 1981.

From Songfacts

This is a track from Double Fantasy, Lennon’s final album during his lifetime, released only three weeks before his murder. The song resulted from John’s inability to get Yoko on the phone at a time when he feared for their relationship.

Yoko Ono told Q November 2010 that this is one of her favorite Lennon songs. She said: “I’m Losing You is an incredible song. I think as a songwriter, that tops it all. Some of the songs I’m in. But it’s almost like Picasso drawing a lot of his wife because his wife was around. And I was very lucky I was his wife.”

Director Jay Dubin, whose work at the time included commercials for Crazy Eddie’s, was called in to shoot a music video to promote the Double Fantasy album. On August 10, 1980, he brought his team to the Hit Factory studio and captured Lennon performing this song, along with “I’m Moving On” and some cover tunes. The video was abandoned after Lennon’s death a few months later and the footage has never materialized.

Here are the two versions

I’m Losing You

Here in some stranger’s room
Late in the afternoon
What am I doing here at all?
Ain’t no doubt about it
I’m losing you
I’m losing you

Somehow the wires have crossed
Communication’s lost
Can’t even get you on the telephone
Just got to shout about it
I’m losing you
I’m losing you

Well, here in the valley of indecision
I don’t know what to do
I feel you slipping away
I feel you slipping away
I’m losing you
I’m losing you

Well now you say you’re not getting enough
But I remind you of all that bad, bad, bad stuff
So what the hell am I supposed to do?
Just put a band-aid on it?
And stop the bleeding now
Stop the bleeding now
Well…

I’m losing you
I’m losing you

Well, well, well
I know I hurt you then
But hell, that was way back when
Well, do you still have to carry that cross? (Drop it!)
Don’t wanna hear about it
I’m losing you
I’m losing you

Don’t wanna lose you now
Well…
No, no, no, no…

Big Star – O My Soul ….Power Pop Friday

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.

U2 – When Love Comes To Town

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

Pink Floyd – Lucifer Sam

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

Jenny Spires - FamousFix

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

AC/DC – Shot In The Dark

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:

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

Beatles – Magical Mystery Tour

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

Creedence Clearwater Revival – It Came Out Of The Sky

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

John Hiatt – Window On The World

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.

Further Adventures of Jimmy & Wes: Smith, Jimmy, Montgomery, Wes:  4988005713223: Amazon.com: Books

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

Janis Joplin – Move Over

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

Rolling Stones – 100 Years Ago

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!