“Shake” was written and originally recorded by Sam Cooke. Cooke’s version reached #7 on the Billboard 100. Cooke was a huge influence on Otis Redding; along with “Shake,” Redding also recorded covers of Cooke’s “A Change Is Gonna Come,” “Chain Gang,” “Cupid,” “Nothing Can Change This Love,” “Wonderful World,” and “You Send Me.”
The song peaked at #47 in the Billboard 100 in 1967.
Otis made a huge impact at the 1967 Monterey Pop Festival along with The Who, Jimi Hendrix, and Janis Joplin.
The album this was on was Otis Blue/Otis Redding Sings Soul and it peaked at #77 in the Biullboard Album Charts in 1966.
Shake
Shake! (Everybody say it!) Shake! (Early in the morning) Shake! (Late in the evening) Shake! (In the midnight hour) Shake! (When the time’s going bad, now) Shake! Shake with the FEELING! Shake with the FEELING!
Listen while I’m talkin’ to you now Tell you what I’m gonna do now There’s a new thing going around now I’ll tell what to put down now
You move your body all around And just shake Thats the way you do it Shake, Shake, Shake it baby Shake it like a bowl of soup Let your body loop de loop Put your hands on your hip Come on and let your backbone slip Move your body like your hip And just shake!
Shake early in the morning Shake early in the evening
A Ring-A-Ling-a-Ling Honey, Shakin’ is the greatest thing But if you really roll Gotta do the thing with SOUL!
Shake shake with all your might now If you do it, do it right now Put your hands on your hip,yeah Come on and let your backbone slip Move your body like your hip And just shake
(God have mercy now!) Early in the morning Early in the evening All night long, y’all! If you really want to roll Gotta do the thing with SOUL! Shake shake with all your might If you do it, do it right Let your body loop de lite Shake! Everybody say it, Shake! One more time, Shake! Everybody louder, Shake! One more time, now, say Shake! Everybody a bit louder, Shake!
I bought the Nebraska album when it was released when I saw the video for this song. Bruce recorded this album on a Tascam 4 track machine as a demo for the band. He tried to do the songs with the E-Street band but they just didn’t sound as good as the demo.
The album was only Bruce with an acoustic guitar with overdubs by him. It’s one of my favorite all-time favorite songs and albums by Bruce.
The Band covered this song in 1993, years after Robbie Robertson left. I like this version just as well as Bruce’s original. Levon Helm does a great job on the vocals.
The first line, “They blew up the Chicken Man in Philly last night,” was taken from a newspaper article about a mob hit in Atlantic City. The “Chicken Man” was Phil Testa, number two man in the Philadelphia Mob under Angelo Bruno.
After Bruno was murdered in his car, Testa was blown up by a bomb placed under his front porch. These hits were orchestrated by Nicky Scarfo, who took over the Philly boys so he could control the new Atlantic City gambling rackets. He made such a mess of things that he and most of his crew were either murdered or in jail within a few years.
The Nebraska album peaked at #3 in the Billboard 100, #3 in the UK, Canada, and New Zealand in 1982.
From Songfacts
Atlantic City is a very poor city in New Jersey where gambling is legal. When casinos were built there in the early ’80s, it was supposed to revitalize the city. The casinos made it a popular tourist destination, but the city itself continues to be very run-down. There is a stark contrast between the glamorous casinos on the boardwalk and the city itself. Atlantic City is also a haven for organized crime, and it’s implied that the narrator, who struggles with his finances and ruminates on the inevitability of death, as taken a job as a hit man.
This was the first Springsteen song to be made into a video (unless you count live performance clips), but Bruce does not appear in it. Springsteen had no interest in making concept videos, but an executive at his label, Columbia Records, named Arnold Levine knew that Bruce could benefit from exposure on MTV and put together the clip using footage of Atlantic City. MTV was based in New York and run by radio veterans who were big fans of Springsteen, so the video got some airplay on the network, which was trying to stick to a rock format in 1982.
This is the only track from Nebraska included on Springsteen’s Greatest Hits album.
The title and many of the images are shared with a 1981 Louis Malle movie starring Burt Lancaster and Susan Sarandon.
Springsteen recorded this as a demo on a 4-track tape recorder in his house. After trying it with the band, he decided this and the other songs that would make up Nebraska sounded best as he originally recorded them.
The version on the album is acoustic, but the plugged-in live version is a concert favorite.
Other songs Springsteen wrote about his home state of New Jersey towns include “Freehold” and “Fourth Of July, Asbury Park.” He is wildly popular there.
This was released as a single in Europe, but not the US.
Springsteen recorded three takes, each with slightly different lyrics, on the tape he gave his manager which became Nebraska.
Since Springsteen did not tour for Nebraska, the first time this was played in concert was on the Born In The U.S.A. tour two years later.
When Bruce Springsteen toured with The Seeger Sessions Band in 2006, they played a drastically different arrangement of this song with multiple outros. This can be heard on the 2007 album Live in Dublin.
Atlantic City
Well they blew up the chicken man in Philly last Night now they blew up his house too Down on the boardwalk they’re gettin’ ready For a fight gonna see what them racket boys can do
Now there’s trouble busin’ in from outta state And the D.A. can’t get no relief Gonna be a rumble out on the promenade and The gamblin’ commission’s hangin’ on by the skin of its teeth
[CHORUS:] Everything dies baby that’s a fact But maybe everything that dies someday comes back Put your makeup on fix your hair up pretty and Meet me tonight in Atlantic City
Well I got a job and tried to put my money away But I got in too deep and I could not pay So I drew what I had from the Central Trust And I bough us two tickets on that Coast City bus
[CHORUS:]
Now our luck may have died and out love may Be cold but with you forever I’ll stay We’re goin’ out where the sand’s turnin’ to gold So put on your stockin’s ’cause the night’s getting’ cold and maybe everything dies That’s a fact but maybe everything that dies Someday comes back
Now I been lookin’ for a job but it’s hard to find Down here it’s just winners and losers and Don’t get caught on the wrong side of that line Well I’m tired of comin’ out on the losin’ end So honey last night I met this guy and I’m Gonna do a little favor for him Well I guess everything dies baby that’s a fact But maybe everything that dies someday Comes back Put your makeup on fix your hair up pretty and Meet me tonight in Atlantic City
I read about Squeeze in Rolling Stone magazine when this album came out. They were being compared to the Beatles and I thought they were going to hit big. They did have a top ten hit off of this album…Tempted.
Is This Love is a very good power pop song that was on the band’s fourth album, East Side Story. It was written by Glenn Tilbrook and Chris Difford. It was written about Difford’s then-recent marriage.
Glen Tilbrook was influenced by The Beatles on this song. He also said the ending was Elvis Costello’s idea. Roger Bechirian and Elvis Costello produced this song and also the album.
Is That Love peaked at #35 in the UK…it was also #1 in Israel in 1981. The album peaked at #44 in the Billboard Album Chart,
Chris Difford: “This was written around the time I got married. I remember being in the bathroom and seeing Cindy’s wedding ring next to the soap, which inspired me to write the lyric. I don’t think it was particularly about our marriage, but it started off a sequence of ideas in my head.”
Is That Love?
You’ve left my ring by the soap Now is that love? You cleaned me out, you could say broke Now is that love? The better, better, better it gets The more these girls forget That that is love
You won’t get dressed, you walk about Now is that, is that A teasing glance has pushed me out Now is that, is that The tougher, tougher, tougher it gets The more my lips frequent Now that is love
Beat me up with your letters, your walk out notes Funny how you still find me right here at home Legs up with a book and a drink Now is that love that’s making you think
You’ve called my bluff, I’m not so hot Now is that love? My assets froze while yours have dropped Now is that, is that It’s the cupid, cupid, cupid disguise That more-or-less survived Now that is love
Beat me up with your letters, your walk out notes Funny how you still find me right here at home Legs up with a book and a drink Now is that love that’s making you think
You’ve made my bed, the finger points Now is that, is that love The more you, more you, more you cool down The easier love is found Now that is love
When I first heard this on the radio I thought it was a John Lennon song. Julian’s voice is different but can be very similar to John.
This was Julian’s first single in the US and his second in the UK. His next American single, “Too Late for Goodbyes,” fared even better, going to #5 in the Billboard 100.
Julian recorded this at Muscle Shoals Sound Studios, which was located along the Tennessee River in Sheffield, Alabama.Jimmy Johnson who was one of the studio owners, Lennon’s lyric “Sitting on a pebble by the river playing guitar” was inspired by his time there.
Valotte peaked at #9 in the Billboard 100 and #9 in Canada.
The great director Sam Peckinpah directed Julian’s first two movies.
Julian Lennon: “The place where that was written, which was actually a beautiful little run-down chateau in the middle of France, which is where the label at the time decided was a good place to send their artists to work out their writing skills. I know that Thomas Dolby had been down there and a few other high-end acts at that point in time.
It was just a really tranquil, beautiful spot in the middle of nowhere, where one could get a little lonely, I guess. The song initially came from that idea of just being in this beautiful landscape and dreaming of the idea that if you found that love of your life, this is something that you’d aspire to. It’s as simple as that, really.”
From Songfacts
The album was dedicated to “My mother Cynthia and to my Father.” Julian is John Lennon’s first son. His mother is Cynthia Lennon, who John was married to before Yoko (they had a son named Sean). Julian sounds a lot like his dad, and a lot of people were surprised to learn it was not a John Lennon song when they first heard it.
On “Valotte,” Lennon was backed by bass player David Hood, and keyboard player Barry Beckett, and drummer Roger Hawkins, who were the other owners of the studio.
The album was mixed at The Hit Factory recording studio in New York City on the same console John Lennon used to record the album Double Fantasy.
Most Americans got their first look at Julian Lennon on MTV, which gave his clips consistent airplay. In the UK, he often appeared in the gossip press, but his interviews to promote the Valotte album gave the first real insights into his personality and his feelings toward his dad. In these early interviews, he stressed that he was forming his own identity, and in no way trying to emulate his father’s music. He also spent a lot of time disproving the notion that he was a coddled rich kid; he went to public schools and did not receive money from John Lennon’s estate until he was older.
As for the question of how he felt toward his dad, Julian explained that he was proud of his dad’s work, but it was very difficult growing up with an absent father. In his first Melody Maker interview, he said, “I always had something against him, but I never knew what it was… apart from him leaving home and all that. It was because I went to visit him but he never came to visit me. That’s the only thing that got me.”
Justin Clayton and Carlton Morales, who played guitar on the album, co-wrote this song with Lennon.
Valotte
Sitting on the doorstep of the house I can’t afford I can feel you there Thinking of a reason, well, it’s really not very hard to love you even though you nearly lost my heart How can I explain the meaning of our love It fits so tight, closer than a glove
[ Chorus ]
Sitting on a pebble by the river playing guitar Wonderin’ if we’re really ever gonna get that far Do you know there’s something wrong ‘Cause I’ve felt it all along
I can see you face in the mirrors of my mind Will you still be there We’re really not so clever as we seem to think we are We’ve always got our troubles So we’ll solve them at the bar The days go by, we seem to drift apart If I could only find a way to keep hold of your heart
[ Repeat chorus ]
Sitting in the valley as I watch the sun go down I can see you there Thinking of a reason, well, it’s really not very hard to love you though you nearly lost my heart When will we know when the change is gonna come I’ve got a good feeling and it’s coming from the sun
Sitting on a pebble by the river playing guitar Wonderin’ if we’re really ever gonna get that far Do you know there’s something wrong We’ll stick together ’cause we’re strong
This was the first single off the Fleetwood Mac album released in 1975. This was the first Fleetwood Mac album with newcomers Lindsey Buckingham and Stevie Nicks.
McVie has said that she composed the song using a portable Hohner electric piano in Malibu, California, where she and then-husband John McVie lived after completing a concert tour to promote the previous album Heroes Are Hard to Find.
The song was written by Christie McVie and peaked at #20 in the Billboard 100 and #9 in Canada in 1976.
The single itself was edited…the fade-in intro that appeared on the album version was removed, and louder guitars were added in the chorus. It became their first song to reach the American charts since 1970s Oh Well.
Over My Head
You can take me to paradise, And then again you can be cold as ice I’m over my head, But it sure feels nice. You can take me anytime you like, I’ll be around if you think you might love me baby, And hold me tight. Your mood is like a circus wheel, You’re changing all the time, Sometimes I can’t help but feel, That I’m wasting all of my time. Think I’m looking on the dark side, But everyday you hurt my pride, I’m over my head, But it sure feels nice, I’m over my head, But it sure feels nice.
The album Back In Black was very popular. I think it was a requirement for every teenage boy to own a copy or two all over the world.
The rock band I was in my Sophomore year in high school played this song in our first gig in the school theater. We had the only singer around who could actually sing it. The riff to the song is one of the more memorable ones in rock.
This was the first AC/DC single and album featuring new lead singer Brian Johnson. He replaced Bon Scott, who died February 19, 1980 after a drinking binge. Scott’s father made it clear to the band that they should find a new singer and keep going.
The album peaked at #4 in the Billboard Album Charts, #1 in Canada, #24 in New Zealand, and #1 in the UK in 1980.
You Shook Me All Night Long peaked at #35 in the Billboard 100 and #38 in the UK in 1980.
Brian Johnson said that the inspiration for this song came from seeing images of American girls while recording in the Bahamas for the album.
From Songfacts
Brian Johnson came up with the line “She was a fast machine, she kept her motor clean” when he realized that cars and women were very much alike – they go fast, let you down, but then make you happy again when you see the new model. AC/DC has never been known for deep, meaningful lyrics.
Angus and Malcolm Young have received lots of praise for their guitar work on this track. The song has made many lists of top guitar solos in rock.
Brian Johnson told UK’s Absolute Radio about the inspiration behind the song. “The boys had a title,” he recalled. “Malcolm and Angus [Young] said, ‘Listen, we’ve got this song. It’s called ‘Shook Me All Night Long.’ That’s what we want the song to be called.’ And if you listen to the chords, [the chorus] just fell into place so I can’t claim any credit on that thing.”
“It was as quick as it had to be, which was that night. I guess I had to try and impress somebody,” he continued. “It was just a thing that came at the time, and I still think it’s one of the greatest rock and roll riffs I’ve ever heard in my life.”
Some copies of the single were pressed incorrectly – they play a song called “Shake A Leg” and are considered collector’s items.
MTV wasn’t on the air when this song was released, but in Australia and England, there were some TV shows that would show videos, so bands popular in those countries would sometimes make them. AC/DC made one for this song, which was directed by David Mallet, who also did some of Blondie’s videos. He based the video on the comic strip character Andy Capp, which was very popular in England. Brian Johnson took on the drunkard persona of the character, and we see him come home to a room of scantily clad women, one of which is riding a mechanical bull. Mallet also directed their video for “Thunderstruck.”
The album has sold over 40 million copies worldwide.
AC/DC played this when they were inducted into the Rock and Roll Hall of Fame in 2003. Steven Tyler of Aerosmith, who inducted them, sang on it with them.
This is a very popular song at strip clubs (or so we’re told…). The lyrics and groove go very well with pole dancing.
This plays over the end credits of the movie A Knight’s Tale. >>
Shania Twain sang this on her Up! Close And Personal TV special (also released as a DVD). Her then-husband, Mutt Lange, produced Back In Black.
In 2002 Celine Dion covered this song together with Anastacia at a VH1 Divas Las Vegas concert. The French-Canadian singer came on stage playing air-guitar and proceeded to belt out this track. Though never released as a single, some radio stations played her version of this classic heavy metal track. In a 2008 poll conducted by a panel of experts in the Total Guitar magazine her rendition was awarded the dubious honor of worst cover song of all time. Total Guitar editor Stephen Lawson commented “Celine Dion covering AC/DC is sacrilege.” Two more covers by pop acts of legendary tunes by rock acts followed Dion in the survey. Sugababes and Girls Aloud 2007 version of Aerosmith and Run DMC’s “Walk This Way” came second on the list and Westlife’s 1999 version of “More Than Words” by Extreme, a track on their self-titled debut album, came third.
Johnson told USA Weekend that this song is for him the highlight of the band’s catalog because: “It was the first song I wrote with the guys, and it has a special groovy beat that won’t let you go. It has such a special place in my heart, and I still love to sing it onstage. To me, it might be one of the best rock songs ever written – if I do say so myself.”
You Shook Me All Night Long
She was a fast machine She kept her motor clean She was the best damn woman I had ever seen She had the sightless eyes Telling me no lies Knockin’ me out with those American thighs Taking more than her share Had me fighting for air She told me to come but I was already there ‘Cause the walls start shaking The earth was quaking My mind was aching And we were making it and you
Shook me all night long Yeah you shook me all night long
Working double time On the seduction line She was one of a kind, she’s just mine all mine Wanted no applause Just another course Made a meal out of me and came back for more Had to cool me down To take another round Now I’m back in the ring to take another swing ‘Cause the walls were shaking The earth was quaking My mind was aching And we were making it and you
Shook me all night long Yeah you shook me all night long
And knocked me out and then you Shook me all night long You had me shakin’ and you Shook me all night long Yeah you shook me Well you took me
You really took me and you Shook me all night long Oh you Shook me all night long Yeah, yeah, you Shook me all night long You really took me and you Yeah you shook me, yeah you shook me All night long
I knew of the Grateful Dead from some older brothers of friends I had and particularly one. I had heard of them as a kid in the seventies before I actually heard them. I always pictured this heavy tough metal band with a name like that. Whenever they toured they would draw a good amount of fans despite having no top ten hits…until this song. After this song, they drew huge amount of attention and fans.
When this came out in the 80s, it was like Deadmania. With MTV suddenly everyone was talking about them. While big success is great it did cause some trouble at some of their concerts. Chilled-out Deadheads followed them around the country for decades. Some financed their travels by hawking food, T-shirts, and handicrafts…not to mention pot and LSD usually peacefully. In the years more would add to the fold…some described it as a community more than a concert. In 1987 they suddenly had an influx of new young fans (Touchheads) and some didn’t know what the band was about. Along with them came some gate crashers and riots.
With the backing of the band, older Deadheads handed out flyers on how to act, trying to mellow out the crowd.
Robert Hunter started writing the lyrics to this song in 1980, and the Grateful Dead first performed it in 1982. They played it sporadically over the next few years and finally recorded it for their 1987 album In The Dark.
In the Dark peaked at #6 in the Billboard Album Chart. It was their first album since the 1980 Go To Heaven. Touch of Grey peaked at #9 in the Billboard 100.
From Songfacts
Robert Hunter wrote the lyrics, as he did with many Dead songs, although Jerry Garcia wrote the line, “Light a candle, curse the glare.” This is according to the book Box Of Rain, which was written by Hunter and is a collection of his published songs. In the book, it is “A Touch of Grey” and has an asterisk next to the line Jerry wrote. >>
According to David Dodd in The Annotated Grateful Dead Lyrics, the line “Light a Candle, curse the glare” is a play on Adlai Stevenson’s 1962 reference to Eleanor Roosevelt’s death. He said, “She would rather light a candle than curse the darkness.” The line, “The Ables and the Bakers and the Cs” refers to the first two words in an older version of the military communication alphabet, “Able” and “Baker.” The modern version starts with “Alpha” and “Bravo.”
The song is about the band aging gracefully. The phrase “Touch Of Grey” is a reference to getting older, as for most people, their hair starts getting grey as they age.
Aging gracefully is a challenge, especially in the music industry. According to Dead drummer Mickey Hart, Robert Hunter wrote the lyric as a pick-me-up. “When he wrote ‘Touch Of Grey,’ we were struggling,” Hart said. “But it became an anthem to us. It perked us up.”
This was The Grateful Dead’s first and only hit song. They never set out to be on the radio, enthralling fans with their mind-bending musical landscapes and confounding critics with their interminable jamming. Their large and loyal following ensured that their albums sold well and their concerts were full. For many of the Dead faithful, it was strange hearing the group on pop radio and seeing them on MTV, but the song fit well with their canon and was clearly not an attempt to chase the ’80s trends.
The song did change the dynamic of Dead discovery. Most fans were turned on to the band by listening to their classic albums or going to a concert with a seasoned follower, but now there was a new poseur class who came on board for “Touch Of Grey.”
The line, “I will get by, I will survive,” became a mantra of resilience in the Dead community. When Jerry Garcia fell into a diabetic coma in July 1986, it looked like the group could be finished; when he returned to action in December, the group opened with “Touch Of Grey,” reassuring fans that they would indeed get by.
Following Garcia’s death in 1995, various incarnations of the band and associated acts like Ratdog and Phil Lesh & Friends have played the song. A notable performance came on the final night of their Fare Thee Well tour on July 5, 2015 in Chicago when Trey Anastasio and Bruce Hornsby each sang a verse. When the band returned that year as Dead & Company with John Mayer in the fold, the song went back into rotation.
The band made a video for this song, which was the first one they made for MTV. Directed by Justin Kreutzmann, they shot it after a concert at Laguna Seca Raceway in California on May 9, 1987, which let them use a real audience. The crowd was re-admitted after the shoot was set up; they saw the band run through the song in human form, and also as skeleton likenesses. This footage was combined to create the clip.
The video was included on Dead Ringers: The Making of Touch of Grey, which was sold as a home video.
The Dead were known for varying their setlists so that every show was different, and they didn’t change this tradition even when this song was on the charts. Instead of catering to newcomers by playing their hit single at every concert, they only played it when they felt like it.
The Mighty Diamonds covered this in 1996 on Fire On The Mountain, an album of reggae versions of Grateful Dead songs.
In addition to its #9 showing on the Hot 100, this song went to #1 on the Mainstream Rock chart and #15 on the Adult Contemporary tally.
Touch of Grey
Must be getting early clocks are running late Faint light of the morning sky looks so phony Dawn is breaking everywhere Light a candle curse the glare Draw the curtains I don’t care ’cause it’s alright
I will get by I will get by I will get by I will survive
I see you’ve got your fist out say your piece and get out Yes I get the gist of it but it’s alright Sorry that you feel that way the only there is to say Every silver lining’s got a touch of grey
I will get by I will get by I will get by I will survive
It’s a lesson to me the eagles and the beggars and the seas The ABC’s we all must face try to keep a little grace
It’s a lesson to me the deltas and the east and the freeze The ABC’s we all think of and try to win a little love
I know the rent is in arrears the dog has not been fed in years It’s even worse than it appears but it’s alright Cow’s giving kerosene, kid can’t read at seventeen The words he knows are all obscene but it’s alright
I will get by I will get by I will get by I will survive
The shoe is on the hand that fits, there’s really nothing much to it Whistle through your teeth and spit ’cause it’s alright Oh well a touch of grey kinda suits you anyway And that was all I had to say and it’s alright
I will get by I will get by I will get by I will survive
We will get by we will get by we will get by we will survive We will get by we will get by we will get by we will survive
When I hear John’s voice and that tremolo on guitar I can feel the hairs on my neck rise. John’s voice was just as much of an instrument as his guitar.
In Alan Lomax’s book Folk Song USA, the Midnight Special was a real train… the Southern Pacific Golden Gate Limited. A traditional folk song, Leadbelly popularized it upon his release from Sugar Land prison in Texas, where he could hear the Midnight Special come through. In the song, the light of the train gives the inmates hope: if it shines on them they take it as a sign they will soon go free.
Midnight Special was on the album Willy and the Poorboys. The album peaked at #3 in the Billboard Album Charts. CCR’s version of Midnight Special didn’t chart. Only two versions of the song have reached the US Billboard Hot 100…one by Paul Evans in 1960 and Johnny Rivers in 1965.
The Midnight Special
Well, you wake up in the mornin’, you hear the work bell ring And they march you to the table to see the same old thing Ain’t no food upon the table, and no pork up in the pan But you better not complain, boy, you get in trouble with the man
[Chorus:] Let the Midnight Special shine a light on me Let the Midnight Special shine a light on me Let the Midnight Special shine a light on me Let the Midnight Special shine a everlovin’ light on me
Yonder come miss Rosie, how in the world did you know? By the way she wears her apron, and the clothes she wore Umbrella on her shoulder, piece of paper in her hand She come to see the gov’nor, she wants to free her man
[Chorus]
If you’re ever in Houston, well, you better do the right You better not gamble, there, you better not fight, at all Or the sheriff will grab ya and the boys will bring you down The next thing you know, boy, Oh! You’re prison bound
Sorry if you have seen this twice but it only posted for a second and then vanished.
I usually feature originals but I found this video of John covering Slippin and a Slidin’ that I never have seen before and I had to include it. My son listened to John Lennon’s Rock and Roll album (made up of entirely covers of mostly 50s Rock and Roll) and he flipped over it. Afterward, he played it so much I relistened to it and John’s love of that music really came through.
The song was on the Rock and Roll album released in 1975. I could listen to John sing the phone book.
The album made it to #6 in the Billboard 200, #6 in the UK, and #5 in Canada. Stand By Me made it to #20 in the Billboard 100. John Lennon did not make another album until Double Fantasy in 1980.
Slippin’ and Slidin’
Slippin’ and a slidin’, peepin’ and a hidin’, been told long time ago, Slippin’ and a slidin’, peepin’ and a hidin’, been told long time ago, I been told, baby, you been bold, I won’t be your fool no more.
Oh, big conniver, nothing but a jiver, done got hip to your jive, Oh, big conniver, nothing but a jiver, done got hip to your jive, Slippin’ and a slidin’, peepin’ and a hidin’, won’t be your fool no more.
Oh Malinda, she’s a solid sender, you know you better surrender, Oh Malinda, she’s a solid sender, you know you better surrender, Slippin’ and a slidin’, peepin’ and a hidin’, won’t be your fool no more.
Jules Shear was born in Pittsburgh and his biggest success has come in writing or co-writing hits for others…most notably “All Through the Night” for Cyndi Lauper and “If She Knew What She Wants” for The Bangles. He also worked with Lindsey Buckingham.
In 1988 Reckless Sleepers released their first and only album, Big Boss Sounds. The band’s label, college radio mainstay I.R.S. Records, concentrated the promotional push on the band’s lead singer and chief songwriter, Jules Shear. They inserted a sticker on the front of the record and shifted the billing to “RECKLESS SLEEPER Starring Jules Shear,”
Jules wrote the song and inexplicably gave this song away to Tommy Conwell & the Young Rumblers and they…pushed by Columbia records made it to #48 on the Billboard 100 and #8 in the Main Stream Rock Tracks in 1988. The Reckless Sleeper’s version didn’t chart because they were beaten to the punch with their own song.
Personally, I like The Reckless Sleepers version better. The guitar intro makes it worth it.
If We Never Meet Again
Well there’s one thing I’d like to rearrange But after everything’s already happened and there’s nothing left to change They can take their advice and use it all on themselves ‘Cause when all the talking stops I want to have something else
[Pre-Chorus 1] I want to have a little faith I want to know what a boy and girl can do When they’re dizzy cause they’re just not spinning with this world
[Chorus] Ah if we never meet again If goodbyes remain unspoken I won’t glorify our past But our bond remains unbroken If we never meet again
[Verse 2] Well there’s one thing that I’ll never forget It’s the beauty of a friendship that’s not over yet I know how just one smile can be planted like a seed And I want to do that with somebody else the way it was done for me
[Pre-Chorus 2] I want to have a little faith There’s something better at the end of this path Cause these memories get old and flat like photographs
[Chorus] Ah if we never meet again If goodbyes remain unspoken I won’t glorify our past But our bond remains unbroken If we never meet again
[Verse 3] Now there’s one thing that I don’t need to even up You can be what they’ve made you into or you can make your own luck You can’t blindly fight your enemies You can’t blindly follow your friends I know it’s happened so many times I guess it’s gonna happen again
[Pre-Chorus 3] But I gotta have faith I got to know that a boy and a girl Can still make it even when they’re just not spinning with this world
[Chorus] Ah if we never meet again If goodbyes remain unspoken I won’t glorify our past But our bond remains unbroken
If we never meet again If goodbyes remain unspoken I won’t glorify our past But our bond remains unbroken If we never meet again
As you may have guessed by now I’m an extreme fan of power pop. This list was hard to write…I kept changing most of it… but I knew the top choice and worked from there.
I just gave my self ten choices or I would have gone on and on. A lot of artists and their songs were left off…such as Todd Rundgren, The Cars, Sloan, The Lemon Twigs, The Flamin’ Groovies, The Shivvers, The Jayhawks, and too many more to mention.
10. The Ride – Twisterella– 1992 – I found this a few months back and have been listening to it ever since.
9. The Records – Starry Eyes– 1979 – Great song. Starry Eyes would end up being The Record’s best-known song. Robert John “Mutt” Lange produced their debut album for The Records.
8. The La’s – There She Goes– 1990 – A very good power pop song that has no verses…It just repeats the chorus four different ways four different times…but that doesn’t matter.
7. Cheap Trick – Voices– 1980 – One of my top Cheap Trick songs. Robin Zanders voice sounds great in this Beatlesque song.
6. The Who –Pictures of Lily– 1967 – When this song came out Pete Townshend coined the name “power pop” and this song is about the childhood…lusts…of a boy.
5. Raspberries – Overnight Sensation (Hit Record)– 1974 – An epic song by the Raspberries. Not their most popular…that would be “Go All The Way” but this encapsulates everything power pop is about. Bruce Springsteen on Overnight Sensation: It’s one of the best little pop symphonies you’ll ever hear.
4. Big Star – The Ballad of El Goodo – 1972 – The tone of the guitars, harmonies and the perfect constructed chorus keeps me coming back listen after listen.
3. Badfinger –No Matter What– 1971 – The only band to make this list twice. Why? because this song defines the crunchy power pop of bands like Cheap Trick to come.
2. Tom Petty – American Girl– 1977 – The Rickenbacker, the hook, and a Byrds sounding track.
Badfinger – Baby Blue – 1972 – The number one song was the easiest decision of the list. The rest were changed a few times…this one for me is a no-brainer. This song is the perfect power pop song…strong vocals, Crunchy Brit guitar, great hook, and great melody
I always thought this was one of the most commercial songs they ever released. It is a fun tight song but yes it has been played to death.
Ronnie Van Zant and Gary Rossington wrote this one night when they were in Miami with Steve Cropper and producer Tom Dowd. Cropper, the guitarist for the Stax Records band Booker T. & the MG’s, gave them some ideas.
They had a well-deserved reputation for being a hard-partying band. This song is based on a true story. One night while they were on tour, the band was drinking at their hotel bar when one of the roadies got in a fight. They all got kicked out, went to a room, ordered champagne, and continued the party.
The incident also really didn’t happen in Boise, Idaho. The first line was originally, “It’s 8 o’clock and boys it’s time to go,” but Ronnie Van Zant changed it when he found out his brother, Donnie, was opening his first national tour with his band .38 Special in Boise. The first line became It’s 8 o’clock in Boise, Idaho.
The song was on the album Street Survivors…their last studio album with the original band. They were in a plane crash just days after the release of the album.
The song peaked at #13 in the Billboard 100 and #6 in Canada in 1978.
Street Survivors peaked at #5 in the Billboard Album Charts in 1977.
From Songfacts
Three members of Lynyrd Skynyrd died in a plane crash just three days after this album was released. The album had to be given a new cover because the original one portrayed the group surrounded by flames.
This was released as a single in January 1978, a few months after the plane crash that killed Ronnie Van Zant, Steve Gaines, and Cassie Gaines.
The B-52s reached #74 in 1980 with “Private Idaho,” but “What’s Your Name” is the biggest hit song to mention the state in the lyric.
What’s Your Name
Well, its eight o’clock in Boise, Idaho I’ll find my limo driver Mister, take us to the show I done made some plans for later on tonight I’ll find a little queen And I know I can treat her right
What’s your name, little girl? What’s your name? Shootin’ you straight, little girl? Won’t you do the same?
Back at the hotel Lord we got such a mess It seems that one of the crew Had a go with one of the guests, oh yes Well, the police said we can’t drink in the bar, what a shame Won’t you come upstairs girl And have a drink of champagne
What’s your name, little girl? What’s your name? Shootin’ you straight, little girl? For there ain’t no shame
What’s your name, little girl? What’s your name? Shootin’ you straight, little girl? Won’t you do the same? Awh yeah
What’s your name, little girl? What’s your name? Shootin’ you straight, little girl? Won’t you do the same?
Nine o’clock the next day And I’m ready to go I got six hundred miles to ride To do one more show, oh no Can I get you a taxi home It sure was grand When I come back here next year I want to see you again
What was your name, little girl? What’s your name? Shootin’ you straight, little girl? Well there ain’t no shame What was your name, little girl? What’s your name? Shootin’ you straight, little girl? Won’t you do the same? Woo
My favorite psychedelic song and it was on Sgt Peppers Lonely Hearts Club Band. The “Lucy” who inspired this song was Lucy O’Donnell (later Lucy Vodden), who was a classmate of John’s son Julian Lennon when he was enrolled at the private Heath House School, in Weybridge, Surrey.
It was in a 1975 interview that Lennon said, “Julian came in one day with a picture about a school friend of his named Lucy. He had sketched in some stars in the sky and called it Lucy In The Sky With Diamonds.”
Many thought Lucy In The Sky With Diamonds was about LSD because of the initials but John denied it all of his life. I believe John because he was honest about much worse than this…John went to great lengths to deny any drug connotations involved in this song.
John did say he was inspired by Lewis Carroll’s Alice In Wonderland. He wrote the song with help from Paul. One of the highlights of this song is Paul’s bass playing. His walking bass line builds suspense through the song and then kicks in with the chorus.
This was banned by the BBC for what they thought were drug references. A Day In The Life was also banned off of the same album.
John Lennon: “I didn’t even see it on the label. I didn’t look at the initials. I don’t look – I mean I never play things backwards. I listened to it as I made it. It’s like there will be things on this one, if you fiddle about with it. I don’t know what they are. Every time after that though I would look at the titles to see what it said, and usually they never said anything.”
From Songfacts
The identity of the real Lucy was confirmed by Julian in 2009 when she died of complications from Lupus. Lennon re-connected with her after she appeared on a BBC broadcast where she stated: “I remember Julian and I both doing pictures on a double-sided easel, throwing paint at each other, much to the horror of the classroom attendant… Julian had painted a picture and on that particular day his father turned up with the chauffeur to pick him up from school.”
Confusion over who was the real Lucy was fueled by a June 15, 2005 Daily Mail article that claimed the “Lucy” was Lucy Richardson, who grew up to become a successful movie art director on films such as 2000’s Chocolat and 2004’s The Life And Death Of Peter Sellers. Richardson died in June 2005 at the age of 47 of breast cancer.
Lennon affirmed this on the Dick Cavett Show, telling the host, “My son came home with a drawing of a strange-looking woman flying around. He said, ‘It’s Lucy in the sky with diamonds.’ I thought, ‘That’s beautiful.’ I immediately wrote the song about it.”
It’s not just fans that didn’t believe him: Paul McCartney said it was “pretty obvious” that this song was inspired by LSD.
In our interview with Donovan, who was good friends with John Lennon and joined The Beatles on their 1968 retreat to India, he made the point that Lennon often thought in terms of artwork, and like Donovan did on this song “Wear Your Love Like Heaven,” Lennon painted images in his head that became the lyrics for this song. “When we put the painter’s brush down and we picked up the guitar, a lot of the songwriters started ‘painting’ songs,” he said. “You’d just have to think of John’s ‘Picture yourself on a boat on a river’ – you’re actually in a movie or you’re in a painting. ‘Tangerine trees and marmalade skies’ – he’s painting.
The images Lennon used in the song were inspired by the imagery in Through The Looking-Glass, the sequel to the book Alice In Wonderland. “It was Alice in the boat,” Lennon explained in a Playboy interview. “She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that.”
George Harrison played a tambura on this track. It’s an Indian instrument similar to a sitar that makes a droning noise. He had been studying with Indian musician Ravi Shankar, who is the father of Norah Jones.
Elton John released a cover version of this song in 1974 that hit #1 in the US the first week of 1975. Elton is the only artist to top the tally with a Beatles cover, although Peter & Gordon took “A World Without Love,” which was written by Lennon and McCartney, to #1 in 1964.
John Lennon sang and played guitar on Elton’s “Lucy in the Sky With Diamonds,” but reportedly forgot some of the chords and needed Davey Johnston, Elton John’s guitarist, to help him out. Lennon made a surprise appearance in Elton’s Thanksgiving concert in New York and performed three songs, which proved to be his last public performance.
Actor William Shatner, who played Captain Kirk on Star Trek, covered this in his dramatic, spoken-word style. In at least one poll, this version was voted the worst Beatles cover of all time.
In 1974, Johanson and Gray named the 3 million-year-old Australopithecus fossil skeleton they discovered (the oldest ever found) Lucy, after this song because it was playing on the radio when Johanson and his team were celebrating the discovery back at camp. >>
Lennon said “The girl with kaleidoscope eyes” turned out to be Yoko: “There was also the image of the female who would someday come save me… a ‘girl with kaleidoscope eyes’ who would come out of the sky. It turned out to be Yoko, though I hadn’t met Yoko yet. So maybe it should be ‘Yoko in the Sky with Diamonds.'”
During the media controversy over this song in June of 1967, Paul McCartney admitted to a reporter that the band did experiment with LSD.
In 2004, McCartney addressed the issue of drugs in an interview with the Daily Mirror newspaper: “‘Day Tripper,’ that’s one about acid. ‘Lucy In The Sky,’ that’s pretty obvious. There are others that make subtle hints about drugs, but it’s easy to overestimate the influence of drugs on The Beatles’ music. Just about everyone was doing drugs in one form or another, and we were no different, but the writing was too important for us to mess it up by getting off our heads all the time.”
A group called John Fred and his Playboy Band had a #1 hit in 1968 with “Judy In Disguise (with Glasses),” a song that is a parody of “Lucy in the Sky With Diamonds.”
In the Anthology one of the Beatles referred to being on LSD as like seeing through a kaleidoscope. Although Lennon denied this is about drugs, it does refer to “The girl with kaleidoscope eyes.”
This song is very distinctive musically: It’s in three different keys and uses two different beats.
Lennon admitted to British journalist Ray Connolly in an interview around the time of the break-up of the Beatles that he didn’t think he sang this song very well. “I was so nervous I couldn’t sing,” he said, “but I like the lyrics.”
In 2004 the Harvard-Smithsonian Center for Astrophysics announced the discovery of the universe’s largest known diamond, white dwarf star BPM 37093. Astronomers gave the star the catchier name of “Lucy” from this song.
Lucy In The Sky With Diamonds
Picture yourself in a boat on a river With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly A girl with kaleidoscope eyes
Cellophane flowers of yellow and green Towering over your head Look for the girl with the sun in her eyes And she’s gone
Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Ah
Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies Everyone smiles as you drift past the flowers That grow so incredibly high
Newspaper taxis appear on the shore Waiting to take you away Climb in the back with your head in the clouds And you’re gone
Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Ah
Picture yourself on a train in a station With plasticine porters with looking glass ties Suddenly someone is there at the turnstile The girl with the kaleidoscope eyes
Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Ah Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Ah Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds
According to Gregg, this was written in Los Angeles after the breakup of Hourglass, the band he and his brother Duane had there. They opened up for acts such as Buffalo Springfield and The Doors. They were then forced by the record company to play more pop-style music so Duane quit and headed back home to Macon Georgia.
Gregg stayed behind to fulfill the contract and a little later Duane called him up to come to Macon and try out for a new band he put together. Gregg traveled to Macon and sat behind the keyboard and played them his songs. This song won them over and they soon became the Allman Brothers.
This was on their first album The Allman Brother’s Band and it peaked at #188.
Gregg’s autobiography on first playing with the Brothers: They asked me if I had any songs with me, and I told them I had twenty-two, so they told me to play them. I’d get through with one, and they’d ask me, “What else you got?” I’d play ’em another one and they were like, “That was kinda neat, a little potential; what else you got?”
After twenty of them, I’m going, “Oh fuck, I might be without a job here in a minute.” I had two songs left—“Not My Cross to Bear” and “Dreams.” I showed them “Dreams” first, and let me tell you, they joined right in. We proceeded to sit down, learn that song the same way you hear it today, and I was in, brother. They loved it. I bet we played that thing eleven times in a row, and the more we played it, the better it got.
From Songfacts
Gregg Allman wrote this sorrowful song about unrealized dreams when he was living in Los Angeles. He left Georgia to get his music career going there, and wrote a bunch of songs before returning and forming The Allman Brothers Band with his brother Duane. This was the song that won over his bandmates. Allman wrote in his 2012 biography: “I showed them ‘Dreams,’ and let me tell you, they joined right in. We learned that song the way you hear it today, and I was in, brother.”
Listen to the guitar part – you’ll hear Duane Allman switch to bottleneck guitar midway through the song.
“Dreams” was used as the title of The Allman Brothers 1989 5-album boxed set. An unreleased studio version of this song was used on it.
Molly Hatchet released a version of this in 1978.
This is one of the few songs Gregg Allman wrote on the Hammond B-3 organ.
Here is a live version at the Fillmore BUT someone didn’t plug the input in Gregg’s mic until a few minutes.
Dreams
Just one more mornin’ I had to wake up with the blues Pulled myself out of bed, yeah Put on my walkin’ shoes And went up on the mountain To see what I could see The whole world was fallin’, right down in front of me
‘Cause I’ve a hunger for the dreams I’ll never see, yeah, baby Ah, help me baby, or this will surely be the end of me, yeah
Pull myself together Put on a new face Climb down off the hilltop, baby Get back in the race
‘Cause I’ve a hunger for dreams I’ll never see, yeah, babe Lord, help me baby, or, this will surely be the end of me, yeah
Pull myself together Put on a new face Climb down off the hilltop, baby And get back in the race
‘Cause I’ve a hunger for the dreams I’ll never see, yeah, baby Ah, ah, help me baby, or this will surely be the end of me, yeah, ah Yeah, yeah, yeah
One of my favorite John Mellencamp songs. Back when it was released I liked it because it was a catchy song. Now I like it more because I can relate to it about growing up. I will admit though…I always thought he said “That’s when a spoke was a spoke“… I thought what? Must be some crazy Indiana thing….then I thought…no that can’t be right…it must be “That’s when a smoke was a smoke“….Wrong again…it is… “That’s when a sport was a sport.”
The prominence of the accordion and violin in this are usually not associated with Rock and Roll but it makes the song sound fresh. The song peaked at #8 in the Billboard 100, #5 in Canada, and #4 in New Zealand.
It was on the album The Lonesome Jubilee released in 1987. The album peaked at #6 in the Billboard Album Chart in 1987.
Cherry Bomb
Well I lived on the outskirts of town In an eight room farmhouse, baby When my brothers and friends were around There was always somethin’ doin’ Had me a couple of real nice girlfriends Stopped by to see me every once in a while When I think back about those days All I can do is sit and smile
That’s when a sport was a sport And groovin’ was groovin’ And dancin’ meant everything We were young and we were improvin’ Laughin’, laughin’ with our friends Holdin’ hands meant somethin’, baby Outside the club “Cherry Bomb” Our hearts were really thumpin’ Say yeah yeah yeah Say yeah yeah yeah
The winter days they last forever But the weekends went by so quick Went ridin’ around this little country town We were goin’ nuts, girl, out in the sticks One night, me with my big mouth A couple guys had to put me in my place When I see those guys these days We just laugh and say do you remember when
That’s when a sport was a sport And groovin’ was groovin’ And dancin’ meant everything We were young and we were improvin’ Laughin’, laughin’ with our friends Holdin’ hands meant somethin’, baby Outside the club “Cherry Bomb” Our hearts were really thumpin’ Say yeah yeah yeah Say yeah yeah yeah
Say yeah yeah yeah Say yeah yeah yeah
Seventeen has turned thirty-five I’m surprised that we’re still livin’ If we’ve done any wrong I hope that we’re forgiven Got a few kids of my own And some days I still don’t know what to do I hope that they’re not laughing too loud When they hear me talkin’ Like this to you
That’s when a sport was a sport And groovin’ was groovin’ And dancin’ meant everything We were young and we were improvin’ Laughin’, laughin’ with our friends Holdin’ hands meant so much, baby Outside the club “Cherry Bomb” Our hearts were really thumpin’ Say yeah yeah yeah Say yeah yeah yeah
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