Bachman Turner Overdrive – You Ain’t Seen Nothing Yet

I always liked the rhythm of this song and the stuttering vocal.

Bachman wasn’t planning to release the song with the stuttering vocal. He sang it with the stutter to poke fun at his brother Gary, who had a speech impediment. During microphone checks, he would sing it with the stutter and recorded a version that was intended just for Gary. His record company liked it a lot better than the non-stuttering version, so that’s the one they released. Eventually, Gary stopped stuttering.

The song peaked at #1 in the Billboard 100, #1 in Canada, #1 in New Zealand, and #2 in the UK in 1974.

Randy Bachman:  “I was rehearsing and producing BTO’s third album. We needed an FM Top 40 hit, something light with a heavy bit in it. At that time, I was inspired by Traffic’s Dave Mason and his song Only You Know And I Know, which had a dang-a-lang rhythm, and the Doobie Brothers’ Listen To The Music. So I copped those jangling rhythms, changed the chords and then added some power chords of my own. I had a work in progress, in two parts: a great rhythm and a heavy riff.”

“I thought it was embarrassing, but it went to No.1 in the States and 2. other countries. I was dumbfounded. Particularly because as soon it became a hit my brother stopped stammering.”

 

From Songfacts

This is one of the most famous songs with prominent stutter, as Randy Bachman sings, “B-b-b-baby, you just ain’t seen n-n-nothin’ yet.”

The lyrics, especially “She took me to her doctor and he told me of a cure,” led to rumors that the song was about herpes or some other social disease. According to Bachman, the lyrics are just words he improvised, as he didn’t thing the song was going to be released and was just using it to test levels in the studio.

Randy Bachman produced the Not Fragile album and used this song to test dynamics in the studio, since the guitars would go from quiet to loud.

When the band recorded it, they didn’t think it would be released, so they didn’t bother perfecting it – or even tuning their instruments. Bachman’s vocal was considered a scratch track. This became Bachman’s “work song” for testing.

The band only played it for their label after the boss at Mercury, Charlie Fach, heard the eight songs they completed and didn’t hear a hit. The engineer suggested playing him the “work song,” and Bachman reluctantly agreed.

When Fach heard the song, he loved it, warts and all. In a Songfacts interview with Bachman, he explained: “Charlie said, ‘I want to put this on the album.’ And I said, ‘I need to remix it.’ And he said, ‘Don’t touch it. Put it on the way it is. When you play this with the other songs, it just jumps off the turntable.'”

The title is grammatically incorrect. It is a double-negative, although “You Haven’t Seen Anything Yet” wouldn’t have the same ring to it.

This song came about when the band was playing a jam session in the key of “A.” “Takin’ Care Of Business” also came out of a jam session, but that one was in the key of “C.”

Randy Bachman wrote this song and sang lead. He and his bandmate Fred Turner split vocal duties in the band.

Bachman’s inspiration for the intro/verse melody was Dave Mason’s “Only You Know and I Know.”

Stephen King referenced “You Ain’t Seen Nothing Yet” in the short story “Big Driver” from his 2010 collection, Full Dark, No Stars, when the protagonist hears the tune blasting from a car. King has another connection to the band. Early in his career, his publisher only allowed him to release one book a year, so he bypassed the rule by coming up with a pen name: Richard Bachman, inspired by the Richard Stark novel on his desk and the Bachman-Turner Overdrive album in his record player.

This was used in these TV shows:

My Name Is Earl (“Darnell Outed: Part 1” – 2009)
Supernatural (“The Magnificent Seven” – 2007)
Cold Case (“Yo, Adrian” – 2005)
The Sopranos (“Watching Too Much Television” – 2002)
The Simpsons (“Saddlesore Galactica” – 2000)

And in these movies:

The Watch (2012)
It’s A Boy Girl Thing (2006)
The Ex (2006)
Joe Dirt (2001)
Pushing Tin (1999)

You Ain’t Seen Nothing Yet

I met a devil woman
She took my heart away
She said, I’ve had it comin’ to me
But I wanted it that way
I think that any love is good lovin’
So I took what I could get, mmh
Oooh, oooh she looked at me with big brown eyes

And said,
You ain’t seen nothin’ yet
B-b-b-baby, you just ain’t seen n-n-nothin’ yet
Here’s something that you never gonna forget
B-b-b-baby, you just ain’t seen n-n-nothin’ yet

Nothin’ yet, you ain’t been around
That’s what they told me

And now I’m feelin’ better
‘Cause I found out for sure
She took me to her doctor
And he told me of a cure
He said that any love is good love
So I took what I could get
Yes, I took what I could get
And then she looked at me with them big brown eyes

And said,
You ain’t seen nothin’ yet
B-b-b-baby, you just ain’t seen n-n-nothin’ yet
Here’s something, here’s something your never gonna forget, baby
You know, you know, you know you just ain’t seen nothin’ yet

You need educatin’
You got to got to school

Any love is good lovin’
So I took what I could get
Yes, I took what I could get
And then, and then, and then
She looked at me with them big brown eyes

And said,
You ain’t seen nothin’ yet
Baby, you just ain’t seen n-n-nothin’ yet
Here’s something, here’s something
Here’s something that your never gonna forget, baby
Baby, baby, baby you ain’t seen n-n-nothin’ yet
You ain’t been around
You ain’t seen nothin’ yet
That’s what she told me
She said, I needed educatin’, go to school
I know I ain’t seen nothin’ yet
I know I ain’t seen nothin’ yet
Got something for you right now
Feels good, alright, how do you do that?
But I ain’t seen nothin’ yet
I deserve it one of these days
Woohoo, but I ain’t seen nothin’ yet
Yeahyeahyeahyeahyeahyeah
I ain’t seen nothin’ yet
I’ll wait, I’ll wait, I’ll wait
If you want to show me what I ain’t seen, where I ain’t been
Lalalalalala

Bonnie Raitt – Something To Talk About

Bonnie Raitt hit really big 1989 and the early nineties. She is an excellent slide guitar player. I was happy to see her so popular. She had been working since the early seventies and had some minor success in 1977 with a remake of Runaway.

In 1989 she released Nick of Time and had success with “Thing Called Love.” In 1990 she released the album Luck of the Draw which “Something To Talk About” was on.

The song peaked at #5 in the Billboard 100, #3 in Canada, and #33 in New Zealand 1991.

This was written by the Canadian singer Shirley Eckhard, who had recorded in the Jazz and Country genres but has had her most success as a songwriter, with songs recorded by Chet Atkins, Cher, Anne Murray, and Rita Coolidge.

Raitt was looking for songs for her next album after the success of Nick of Time. She said that the tape by Eckhard could have been sitting on her shelf for two years. She loved Shirley’s songs. Raitt waited to call her until she recorded the song. When she did she called Shirley and played the recording on Eckhard’s answering service.

This won a Grammy Award for Best Female Pop Vocal Performance.

From Songfacts

This song is about small-town gossip and the effect it has on the singer and the guy she’s secretly in love with. It turns out that they’re rumored to be having an affair, and since the rumor-spreaders already think that the two people are involved, the song asks, why not have an affair anyway, thus giving them “something to talk about.” 

According to Anne Murray’s 2009 book All of Me, Anne wanted to record this song in 1986, but her producers didn’t think it would be a hit. She called her 1986 album “Something to Talk About” even though it did not include this song. Anne said she was happy that Bonnie Raitt made it a big hit five years later. >>

For Raitt, this was by far her biggest chart hit in the United States.

This is a very popular Karaoke song, and is often performed by American Idol contestants. Season 3 winner Fantasia Barrino performed the song on the show, as did Idol notables Kellie Pickler and Sanjaya Malakar.

Something To Talk About

People are talkin’, talkin’ ’bout people
I hear them whisper, you won’t believe it
They think we’re lovers kept under covers
I just ignore it, but they keep saying
We laugh just a little too loud
We stand just a little too close
We stare just a little too long
Maybe they’re seeing something we don’t, darlin’

Let’s give them something to talk about
Let’s give them something to talk about
Let’s give them something to talk about
How about love?

I feel so foolish, I never noticed
You’d act so nervous
Could you be falling for me?
It took a rumor to make me wonder
Now I’m convinced I’m going under
Thinking ’bout you every day
Dreaming ’bout you every night
Hoping that you feel the same way
Now that we know it, let’s really show it, darlin’

Let’s give them something to talk about
A little mystery to figure out
Let’s give them something to talk about
How about love, love, love, love?

Let’s give them something to talk about, baby
A little mystery to figure out
Let’s give them something to talk about
How about love, love, love, love?

(Something to talk about)
(Something to talk about)
How about love, love, love, love?

How about love, love, love, love?

Bruce Springsteen – Cover Me

Yet another hit off of Born in the USA. It took me a little longer to get into this one. This was intially my least favorite song on the Born in the USA album. It grew on me because of the guitar.

Springsteen wrote this for Donna Summer, but decided to keep it for himself after recording the demo. A fan of the disco diva, Springsteen gave her a song called “Protection.”

Cover Me would have fit Donna Summer perfectly. The song peaked at #7 in the Billboard 100, #16 in the UK,  #12 in Canada, and #7 in New Zealand in 1984.

Arthur Brown did a remix of Cover Me and Bruce liked it so much that he started to adapt parts of it live. This version peaked at #11 in the Billboard Dance/Club Charts in 1984.

The Arthur Baker Remix

Cover Me

The times are tough now, just getting tougher
This whole world is rough, it’s just getting rougher
Cover me, come on baby, cover me
Well I’m looking for a lover who will come on in and cover me

Now promise me baby you won’t let them find us
Hold me in your arms, let’s let our love blind us
Cover me, shut the door and cover me
I’m looking for a lover who will come on in and cover me

Outside’s the rain, the driving snow
I can hear the wild wind blowing
Turn out the light, bolt the door
I ain’t going out there no more

This whole world is out there just trying to score
I’ve seen enough I don’t wanna see any more,
Cover me, come on in and cover me
I’m looking for a lover who will come on in and cover me

Outside’s the rain, the driving snow
I can hear the wild wind blowing
Turn out the light, bolt the door
I ain’t going out there no more

This whole world is out there just trying to score
I’ve seen enough I ain’t gonna see any more,
Cover me, wrap you arms around and cover me
Well I’m looking for a lover who will come on in and cover me
Ah looking for a lover who will come on in and cover me
Yeah I’m looking for a lover who will come on in and cover me

 

John Mellencamp – Pink Houses

I remember this song well but I also remember the MTV giveaway contest. Oh yes, you could win a free house in Indiana where Mellencamp was from…a pink one of course! MTV got a good deal on the first house…20,000 dollars…there was a reason for that. It was across the street from a toxic dump. MTV then had to get another house and they finally did and gave it away. Susan Miles won the house along with a pink jeep and a garage full of Hawian Punch…not sure how that factored in.

Inspiration for this song came when Mellencamp was driving on Interstate 65 in Indianapolis. As described in the first verse, he saw a black man sitting in a lawn chair just watching the road. The image stuck with Mellencamp, who wasn’t sure if the man should be pitied because he was desolate, or admired because he was happy.

Pink Houses peaked at #8 in the Billboard 100 and #15 in Canada in 1984. The song was on the Uh-Huh and that album peaked at #9 on the Billboard Album Charts in 1984. This is the album that in my opinion placed John Mellencamp with the so-called “Heartland Rockers” like Bruce Springsteen, Tom Petty, and Bob Seger.

 

From Songfacts

Mellencamp is from a rural town in Indiana and often writes about the American experience. His songs are sometimes misinterpreted as patriotic anthems, when a deeper listen reveals lyrics that deal with the challenges of living in America as well as the triumphs. Mellencamp has expressed his love for his country, but has also criticized the US government for going to war in Iraq, developing a dependency on foreign oil and not doing more to support the working class.

“It’s really an anti-American song,” Mellencamp told Rolling Stone about “Pink Houses.” “The American dream had pretty much proven itself as not working anymore. It was another way for me to sneak something in.”

MTV ran a contest based on this song where they gave away a pink house in Indiana. They got a great deal on the place – John Sykes at the network remembers paying $20,000 for it – but unfortunately, the house was across from a toxic waste dump. When Rolling Stone ran an article pointing this out, Sykes flew to Indiana and bought another house, which is the one they gave away (after painting it pink). The ordeal provided one of the many strange-but-true memories of the early MTV years (and not the only one involving a contest – when they did a promotion with Van Halen making a viewer a “roadie for a day,” the guy who won almost died from the alcohol, drugs and assorted excess). According to Sykes, the house near the waste dump stayed on the books at MTV until 1992, as they couldn’t get rid of it.

Uh-Huh was the first album where Mellencamp used his real name. His manager named him “Johnny Cougar” when he started out, a name he used on his first two albums. He then became “John Cougar” until his seventh album, Uh-Huh, when he used John Cougar Mellencamp. In 1990, he recorded as John Mellencamp.

Changing his name was out of character, as he was notoriously combative with his record company and refused to participate in conventions like listening parties. But he knew that the only way he could ever call his own shots was by making hits, and the name change seemed like a good call, even though it didn’t suit him. When his plan worked, earning his autonomy, he started the process of changing to his real name.

Mellencamp’s previous hits, notably “Hurts So Good” and “Jack & Diane,” took him a long time to write. “Pink Houses” was different, and marked a creative breakthrough.

“I started writing every day and painting and drawing, and I found myself open to suggestion,” he said in his Plain Spoken DVD. “I wrote a song called ‘Pink Houses’ that came very quickly. I wasn’t thinking about it – I saw something a couple of days before, and I just more-less reported on it, and it came out to be ‘Pink Houses.’ True art is always a surprise. It’s not constructed. If it doesn’t surprise the person that’s writing it, it’s not going to surprise the person that’s listening.”

Mellencamp performed an 8-minute version of this with Kid Rock at the 2001 “Concert For New York,” a benefit for victims of the World Trade Center attacks.

 

Pink Houses

There’s a black man with a black cat
Living in a black neighborhood
He’s got an interstate running’ through his front yard
You know, he thinks, he’s got it so good
And there’s a woman in the kitchen cleaning’ up evening slop
And he looks at her and says:
“Hey darling, I can remember when you could stop a clock”

Oh but ain’t that America, for you and me
Ain’t that America, we’re something to see baby
Ain’t that America, home of the free, yeah
Little pink houses for you and me, oh for you and me

Well there’s a young man in a T-shirt
Listenin’ to a rock ‘n’ roll station
He’s got a greasy hair, greasy smile
He says: “Lord, this must be my destination”
‘Cause they told me, when I was younger
Sayin’ “Boy, you’re gonna be president”
But just like everything else, those old crazy dreams
Just kinda came and went

Oh but ain’t that America, for you and me
Ain’t that America, we’re something to see baby
Ain’t that America, home of the free, yeah
Little pink houses, for you and me, oh baby for you and me

Well there’s people and more people
What do they know, know, know
Go to work in some high rise
And vacation down at the Gulf of Mexico
Ooo yeah

And there’s winners, and there’s losers
But they ain’t no big deal
‘Cause the simple man baby pays the thrills,
The bills and the pills that kill

Oh but ain’t that America, for you and me
Ain’t that America, we’re something to see baby
Ain’t that America, home of the free, yeah
Little pink houses for you and me, ooo, ooo yeah

Ain’t that America, for you and me
Ain’t that America, hey we’re something to see baby
Ain’t that America, oh the home of the free,
Yeah yeah yeah yeah yeah yeah yeah
Little pink houses babe for you and me, ooo yeah ooo yeah

Little Richard (1932-2020) – Rip It Up

Little Richard passed away yesterday at 87 years old…he was one of the last fifties pioneers left. His influence passed through generations from Bob Dylan, The Beatles, Jimi Hendrix, James Brown, to Lemmy from Motorhead.

I’ve read interviews from so many artists saying how he influenced them. Bob Dylan started on Little Richard in Minnesota as a teenager and I’ve read where Lemmy was a giant fan. Richard touched many generations.

My dad told me about Little Richard before I ever heard him. He said he had the biggest voice he ever heard. He talked about a song called Long Tall Sally. I first heard it…it blew me away. Such a raw emotional power in that voice. He would take us to the edge of the cliff and then at the last minute pull us back.

His voice was one of a kind…and I mean one of a kind. He could sing anything.

Bob Dylan: I just heard the news about Little Richard and I’m so grieved. He was my shining star and guiding light back when I was only a little boy. His was the original spirit that moved me to do everything I would do.

Keith Richards: So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock’n Roll!

Rip It Up

A songwriter named Johnny Marascalco wrote this song, which was released as Little Richard’s third single. Marascalco while he was sitting in a cotton field waiting for a friend to get out of church so they could hunt rabbits. A later weekend, he heard Little Richard’s “Long Tall Sally” and decided that he could write similar songs.

Little Richard’s producer Bumps Blackwell (who has a co-writing credit on this one as well) bought both “Rip It Up” and another Marascalco song, “Ready Teddy,” which was released as the B-side of the single. The two songs were recorded at J&M Studios in New Orleans on May 9, 1956.

The song peaked at #1 in the R&B Charts, #27 in the Billboard Charts, #30 in the UK, and #30 in Canada in 1956.

 

Rip It Up

‘Cause it’s Saturday night and I just got paid
Fool about my money don’t try to save
My heart says go, go
Have a time ’cause it’s Saturday night
And I’m feelin’ fine

I’m gonna rock it up
I’m gonna rip it up
I’m gonna shake it up
I’m gonna ball it up
I’m gonna ride it out
And ball tonight

I got a date and I won’t be late
Pick her up in my ’88’
Shag it on down to the union hall
When the music starts jumpin’
I’ll have a ball

I’m gonna rock it up
I’m gonna rip it up
I’m gonna shake it up
I’m gonna ball it up
I’m gonna ride it out
And ball tonight

Along about 10 I’ll be flying high
Rocking on out into the sky
I don’t care if I spend my gold
‘Cause tonight I’m gonna be one happy soul

I’m gonna rock it up
I’m gonna rip it up
I’m gonna shake it up
I’m gonna ball it up
I’m gonna ride it out
And ball tonight, aw

Well it’s Saturday night and I just got paid
Fool about my money don’t try to save
My heart says go, go
Have a time ’cause it’s Saturday night
And I’m feelin’ fine

I’m gonna rock it up
I’m gonna rip it up
I’m gonna shake it up
I’m gonna ball it up
I’m gonna ride it out
And ball tonight

Along about 10 I’ll be flying high
Rocking on out into the sky
I don’t care if I spend my gold
‘Cause tonight I’m gonna be one happy soul

I’m gonna rock it up
I’m gonna rip it up
I’m gonna shake it up
I’m gonna ball it up
I’m gonna ride it out
And ball tonight

 

Earth, Wind, & Fire – September

My wife asked me if I have ever posted this song before. So for her… here it is…September by Earth, Wind, and Fire. It was her…”Jr High Song.” One warning…when you hear it you cannot get it out of your head.

Maurice White, Al McKay, Allee Willis wrote this song. Maurice White said he got the idea for this song in an unlikely place… a hotel room in Washington DC while there was some kind of protest going on below. Said White, “There’s all these cats screaming and throwing things and going crazy and this tune just evolved.”

September peaked at #1 in the Billboard 100, #3 in the UK, #10 in Canada, and #12 in New Zealand in 1979.

Earth, Wind, and Fire had 33 songs in the top 100, 7 top ten hits, and one number 1.

Verdine White (Bass Player): “People now are getting married on September 21st,” he said. “The stock market goes up on September 21st. Every kid I know now that is in their 20s, they always thank me because they were born on September 21st.”

 

From Songfacts

This song has a tendency to make people happy when they hear it. Allee Willis, who wrote the song with Maurice White and Al McKay from Earth, Wind & Fire, describes it as “Joyful Music.”

It was the first song Willis wrote with the band, and quite a learning experience. She told us: “Their stuff was very much based on Eastern philosophies, an incredibly positive outlook on life; the lyrical content of their songs was not typical of what would have been in soul music at that time. So when I left the studio that first day, Maurice gave me the name of a book, it was called The Greatest Salesman In The World, and he sent me to the Bodhi Tree, which is a very spiritual bookstore here in LA. I got that and a bunch of other books that the saleswoman said was the philosophy. And what went from being a very simple experience turned into, for me, an incredibly complex experience. Because I dove into these books.

And even the way they were written, the language they were written in, I kind of didn’t understand anything. But Maurice told me right from the jump he thought I was a very spiritual person, and I was put here to communicate. And I thought, if Maurice was saying that to me, I need to hang with this.

I was pouring through these books for a couple of months. Lyrics started being 25-30 pages long as I’m trying to figure all this stuff out. Reading all that stuff changed me forever. He lead me to a path I’ve stayed on.

“So ‘September’ was fantastic and thrilling, and they had started the intro of it by the time I had walked into the studio to meet everyone. Just as I opened the door and I heard that little guitar intro, I thought, Oh God, please let this be what they want to work with me on. Because it was so obviously a hit.” (Here’s our full Allee Willis interview. Her website is alleewillis.com.)

While there are many theories as to the “21st night of September” in the opening lyrics, the truth is they just felt right. Willis told us: “Maurice had that very first line, and I said to him, ‘Why the 21st?’ Because I’m someone who likes to tie up all the ends very neatly, so if I’m saying the 21st, I want to know during the song what’s the significance. But he always told me there was no real significance. So whether that’s true or not I can’t say. But as far as I know, it’s just something that sang really well. And I would say the main lesson I learned from Earth, Wind & Fire, especially Maurice White, was never let a lyric get in the way of a groove. Ultimately it’s the feel that is the most important, and someone will feel what you’re saying if those words fit in there right. I do remember us experimenting with other dates, but 21st just sang phonetically fantastic.”

Willis co-wrote most of the songs on Earth, Wind & Fire’s next album I Am, including the hit “Boogie Wonderland.”

Although many people hear the first words in the chorus as “Party On,” it’s really “Bada-Ya.” Allee Willis explained in her Songfacts interview: “I absolutely could not deal with lyrics that were nonsensical, or lines that weren’t complete sentences. And I’m exceedingly happy that I lost that attitude. I went, ‘You cannot leave bada-ya in the chorus, that has to mean something.’ Maurice said, ‘No, that feels great. That’s what people are going to remember. We’re leaving it.’ We did try other stuff, and it always sounded clunky – thank God.”

This was written specifically for Earth, Wind & Fire’s greatest hits album The Best of Earth, Wind & Fire, Vol. 1. Along with their cover of “Got To Get You Into My Life,” it was one of two new songs included on the set, which became their best-selling album and helped the band cross over to a broader audience.

Movies that used this song include Night at the Museum, The Ringer, Soul Food, Dan In Real Life and Babel.

This was featured on the NBC spy comedy Chuck in the 2010 episode “Chuck Versus the Living Dead.” On the show, Buy More manager Big Mike claims he was once a member of the band back when they were called Earth, Wind, Fire & Rain (he was Rain).

Taylor Swift released an airy, banjo-and-acoustic-guitar version of this song on April 13, 2018 that provoked ire on social media. Her recording was part of a Spotify promotion; she explained that she covered it for “sentimental reasons” and because the month of September is when one of her memorable breakups occurred.

Philip Bailey of EW&F came to her defense, tweeting,”Music is free like that… Ain’t Got Nothing But Love for Ya.”

September

Do you remember the 21st night of September?
Love was changing the minds of pretenders
While chasing the clouds away

Our hearts were ringing
In the key that our souls were singing
As we danced in the night
Remember how the stars stole the night away

Hey hey hey
Ba de ya, say do you remember
Ba de ya, dancing in September
Ba de ya, never was a cloudy day

Ba duda, ba duda, ba duda, badu
Ba duda, badu, ba duda, badu
Ba duda, badu, ba duda

My thoughts are with you
Holding hands with your heart to see you
Only blue talk and love
Remember how we knew love was here to stay
Now December found the love that we shared in September
Only blue talk and love
Remember the true love we share today

Hey hey hey
Ba de ya, say do you remember
Ba de ya, dancing in September
Ba de ya, never was a cloudy day

There was a
Ba de ya, say do you remember
Ba de ya, dancing in September
Ba de ya, golden dreams were shinny days

The bell was ringing
Our souls were singing
Do you remember, never a cloudy day

There was a
Ba de ya, say do you remember
Ba de ya, dancing in September
Ba de ya, never was a cloudy day

There was a
Ba de ya, say do you remember
Ba de ya, dancing in September
Ba de ya, golden dreams were shinny days

Ba de ya de ya de ya
Ba de ya de ya de ya
Ba de ya de ya de ya de ya

Ba de ya de ya de ya
Ba de ya de ya de ya
Ba de ya de ya de ya de ya

Beatles – Day Tripper

One of the greatest rock guitar riffs…this was credited to Lennon – McCartney and they both worked on it.

This was released as a double-A-sided single with “We Can Work It Out.” It peaked at #1 in the UK and #5 in the Billboard 100.

“We Can Work It Out” got more airplay in the US. In America, the single was released on the same day as the Rubber Soul album, although neither song was on that album. The Beatles were popular enough to support the output…they thought of releasing singles and albums as two different things. What other bands would not place both of these songs on their new album?

A great rock song that still sounds good today.

Paul McCartney: “That was a co-written effort; we were both there making it all up but I would give John the main credit. Probably the idea came from John because he sang the lead, but it was a close thing. We both put a lot of work in on it.”

John Lennon: “Day Trippers are people who go on a day trip, right? Usually on a ferryboat or something. But the song was kind of – you’re just a weekend hippie. Get it?”

 

From Songfacts

John Lennon’s lyrics were his first overt reference to LSD in a Beatles song. The song can be seen as Lennon teasing Paul McCartney about not taking acid.

In 2004, Paul McCartney did an interview with the Daily Mirror newspaper where he explained that drugs influenced many of The Beatles’ songs. He singled this one out as being about acid (LSD), but also said that people often overestimate the influence of drugs on their music.

The Beatles had some fun with the line, “She’s a big teaser,” which they jokingly worked up as “she’s a prick teaser.” In context with the next line, “She took me half the way there,” it’s pretty clear what’s going on. The group managed to slip in subtle sexual innuendo in a few of their songs, including “I’m Down” and “Please Please Me.”

A short promotional film of The Beatles lip-synching to this song was made for the TV special The Music Of Lennon and McCartney, which first aired December 17, 1965 in the UK. It was one of the first music videos. 

Jimi Hendrix sometimes covered this at his concerts.

James Taylor did a cover version on his album Flag

With a packed schedule and feverish demand for TV appearances, The Beatles made music videos for five on their songs, including this one, at a one-day shoot at Twickenham Film Studios in London on November 23, 1965. They did three different versions of “Day Tripper,” lip-synching the song while having fun with the set pieces.

Day Tripper

Got a good reason
For taking the easy way out
Got a good reason
For taking the easy way out now
She was a day tripper
One way ticket, yeah
It took me so long to find out
And I found out

She’s a big teaser
She took me half the way there
She’s a big teaser
She took me half the way there, now
She was a day tripper
One way ticket, yeah
It took me so long to find out
And I found out
Ah, ah, ah, ah, ah, ah

Tried to please her
She only played one night stand
Tried to please her
She only played one night stand, now
She was a day tripper
Sunday driver, yeah
It took me so long to find out
And I found out

Day tripper, day tripper, yeah
Day tripper, day tripper, yeah
Day tripper, day tripper, yeah

Sloan – Coax Me —-Powerpop Friday

Sloan got its start in Halifax during the early ‘90s. The band played around the Nova Scotia College of Art and Design before moving to Toronto.

The band made their recording debut on the Halifax, Canada CD compilation “Hear & Now” with the song  “Underwhelmed” before releasing their debut EP “Peppermint” in 1991 on their own label Murderecords. In 1992 Sloan signed with Geffen Records and released their full-length debut “Smeared”. The album had somewhat of a grunge style.

Coax Me was on their second album Twice Removed. They changed their style with the second album with a more power pop feel. Geffen didn’t like the change and pulled a lot of support but it did peak at #25 in the Canadian Album Charts.  Coax Me peaked at #6 in the Canadian RPM Charts in 1994.

DeKe mentioned this band and their style is right up my alley. I’ve listened to a few of their songs and I really liked what I’ve heard so far.

Coax Me

It all seemed to happen so fast
Will you ever believe the way he passed away
I saw his widow speak on her fortune
She was feelin’ pretty apathetic

Coax me, cajole me
Coax me, cajole me

If I drink concentrated OJ
Can I think Consolidated’s okay?
It’s not the band I hate, it’s their fans
Three cans of water perverts me

Coax me, cajole me
Coax me, cajole me
Coax me, cajole me

And after he died
By rights she’d have cried
I gave mine away
I gave mine away

I saw a widow’s peak on her forehead
It was full of lines and sinkers

Coax me, cajole me
Coax me, cajole me
Coax me, cajole me

Cheap Trick – Dream Police —-Powerpop Friday

Cheap Trick…unlike some of their power-pop brethren had staying power. They toured like crazy and released some great music. They are still out there today playing. I became a fan of them when I heard Surrender.

“Dream Police” dates back to 1976. It was one of 22 songs the band had written for their first album, and it didn’t make the cut. The song evolved as they played it live and refined it in the studio, and it was released as the title track of their fourth studio album. By this time, their live album At Budokan had been released, breaking them big with the single “I Want You To Want Me.”

The next single was “Dream Police,” and it became one of their most popular songs, peaking at #26 in the Billboard 100, #9 in Canada, #7 in New Zealand.

From Songfacts

This song is about a paranoid man who is convinced that his dreams are being monitored, and it’s driving him insane. No matter what he does, the “Dream Police” are always inside his head and waiting to arrest him.

Unlike the paranoia of, say, Black Sabbath, this song has a comedic element. Like most Cheap Trick songs, it was written by their guitarist Rick Nielsen, who creates lots of offbeat characters for his compositions, which keeps it in good fun.

A string section played on this track, which added an element of horror – those violin stabs are reminiscent of what we hear during the shower scene in the movie Psycho. When the song was developing, those parts were done with a keyboard arpeggiator as heard in “Surrender,” but when they got the budget, they hired the strings.

Cheap Trick was always big on visual presentation and were one of very few American bands making concept videos before MTV (Devo was another). The “Dream Police” video was directed by Arnold Levine and starts with a vignette showing each band member in an interrogation, answering to the Dream Police (Bun E. Carlos says: “I’ll never eat another double cheeseburger before bed”). Later in the clip, each member is shown with his alter ego who keeps watch.

When MTV went on the air in 1981, this song was almost two years old, but they played it anyway, giving it renewed exposure.

Dream Police

The dream police
They live inside of my head
The dream police
They come to me in my bed
The dream police
They’re coming to arrest me
Oh no

You know that talk is cheap
And rumors ain’t nice
And when I fall asleep
I don’t think I’ll survive

The night the night

‘Cause they’re waiting for me
Looking for me
Every single night
(They’re) driving me insane
Those men inside my brain

The dream police
They live inside of my head
The dream police
They come to me in my bed

The dream police
They’re coming to arrest me
Oh no

Well I can’t tell lies
‘Cause they’re listening to me
And when I fall asleep
Bet they’re spying on me tonight,
Tonight

‘Cause they’re waiting for me
Looking for me
Every single night
(They’re) driving me insane
Those men inside my brain

I try to sleep
They’re wide awake
They won’t let me alone
They don’t get paid to take vacations
Or let me alone
They spy on me
I try to hide
They won’t let me alone
They persecute me
They’re the judge and jury all in one

‘Cause they’re waiting for me
Looking for me
Every single night
(They’re) driving me insane
Those men inside my brain

The dream police
They live inside of my head
The dream police they come
To me in my bed

The dream police
They’re coming to arrest me

The dream police (police, police)
The dream police (police, police)

Led Zeppelin – In The Evening

This is my favorite song on In Through The Out Door. The beginning sounds like the end of the world is coming. There is a build-up of sound and then Jimmy blasts the main riff of this song.

The intro was apparently taken from a soundtrack Jimmy Page was working on for fellow Aleister Crowley admirer Kenneth Anger’s film Lucifer Rising.

The song was not released as a single as usual for Led Zeppelin but the album peaked at #1 in the Billboard Album Charts in 1979. This album and The Wall by Pink Floyd were said to help save a Record industry that was slumping at the time.

Jimmy Page used a drone effect on his guitar similar to create a sound similar to what he did on the song “In The Light,” but instead of using a cello bow on his guitar, he used a Gizmotron to create the effect. The Gizmotron is a guitar processing device invented by Lol Creme and Kevin Godley from the band 10cc to get a strange distorted sound.

After reading about the Gizmotron…I want one!

Gizmotron

Gizmotron | Vintage Guitar® magazine

A rare, restored, and  working Gizmotron.

 

From Songfacts

Robert Plant’s lyrics are about how the rich and famous are still exposed to pain and suffering, just in different ways.

When they were recording this album, Jimmy Page and John Bonham were spending a lot of time together and would usually show up at the studio very late and work through the night. This started out with just drums and keyboards created by John Paul Jones, who had a new drum machine to work with.

Robert Plant called this song, “A great one, a real stomper.”

In The Evening

In the evening
When the day is done
I’m looking for a woman
But the girl don’t come
So don’t let her
Play you for a fool
She don’t show no pity, baby
She don’t make no rules

Oh, I need your love
I need your love
Oh, I need your love
I just got to have

So don’t you let her
Oh, get under your skin
It’s only bad luck and trouble
From the day that you begin
I hear you crying in the darkness,
Don’t ask nobody’s help
Ain’t no pockets full of mercy, baby
‘Cause you can only blame yourself

Oh, I need your love
Oh, oh, I need your love
Yeah, I need your love
I just got to have

Oh, it’s simple
All the pain that you go through
You can turn away from fortune, fortune, fortune
‘Cause that’s all that’s left to you
Oh, it’s lonely at the bottom
Man, it’s dizzy at the top
But if you’re standing in the middle
Ain’t no way you’re gonna stop, oh

Oh, I need your love
Oh, oh, I need your love
Oh, oh, I need your love
I just got to have

Ooh, whatever that your days may bring
No use hiding in a corner
‘Cause that won’t change a thing
If you’re dancing in the doldrums
One day soon, it’s got to stop, it’s got to stop
When you’re the master of the off-chance
When you don’t expect a lot

Oh, I need your love
Oh, oh, I need your love
Oh yeah, I need your love
I just got to have, I just got to have

Marvin Gaye – Let’s Get It On

I never checked the statistics…but I have to think there had to be a baby explosion nine months after “Let’s Get It On” was released in 1973. Anyone born in 1974 may owe their very existence to this song.

This song’s co-writer Ed Townsend also produced the album with Marvin and co-wrote the three other songs on the first side of the disc, including “Keep Gettin’ It On.” He wrote with Marvin again on songs for Marvin’s 1978 album Here, My Dear.

This song peaked at #1 in the Billboard 100, The guitar and voice are excellent in this song. There is no guessing what this song is about.

Marvin Gaye:  “I can’t see anything wrong with sex between consenting anybodies. I think we make far too much of it. After all, one’s genitals are just one important part of the magnificent human body … I contend that SEX IS SEX and LOVE IS LOVE. When combined, they work well together, if two people are of about the same mind. But they are really two discrete needs and should be treated as such. Time and space will not permit me to expound further, especially in the area of the psyche. I don’t believe in overly moralistic philosophies. Have your sex, it can be exciting if you’re lucky. I hope the music that I present here makes you lucky.”

Jon Landau (former rock critic and current manager of Bruce Springsteen) “Let’s Get It On” is a classic Motown single, endlessly repeatable and always enjoyable. It begins with three great wah-wah notes that herald the arrival of a vintage Fifties melody. But while the song centers around classically simple chord changes, the arrangement centers around a slightly eccentric rhythm pattern that deepens the song’s power while covering it with a contemporary veneer. Above all, it has Marvin Gaye’s best singing at its center, fine background voices on the side, and a long, moody fade-out that challenges you not to play the cut again.

From Songfacts

Originally written by 1950s one-hit-wonder Ed Townsend (“For Your Love” in 1958), the song originally addressed the author’s desire to get on with life after beating alcoholism. Marvin Gaye completely changed the lyrics (and meaning) to the song after meeting Janis Hunter, the woman who would become his second wife. The song helped cement Gaye’s reputation as one of the greatest singers of baby-making music. Songwriting credits on the song went to both Gaye and Townsend. 

“Let’s Get It On” was the title track of Gaye’s 1973 album. It topped the Billboard Pop Singles chart for two weeks and the Billboard Soul Singles chart for eight weeks. It also made history as Motown’s most successful release in the United States to that date and the second most successful song of 1973 (behind Tony Orlando & Dawn’s “Tie A Yellow Ribbon Round The Ole Oak Tree”).

This song has appeared in a variety of TV shows, movies, and commercials, often for comic effect to imply an imminent romantic encounter. Some of the media uses include the TV shows The Simpsons, The Sopranos, Scrubs, House, Ugly Betty, Charmed, Spin City and The King of Queens.

Movie uses include Into the Night (1985), Queens Logic (1991), The Inkwell (1994), Austin Powers: The Spy Who Shagged Me (1999), High Fidelity (2000), Crossroads (2002), Something’s Gotta Give (2003), Mr. 3000 (2004), Bridget Jones: The Edge of Reason (2004), The Change-Up (2011), and The Dictator (2012).

Let’s Get It On

I’ve been really tryin’, baby
Tryin’ to hold back this feeling for so long
And if you feel like I feel, baby
Then, c’mon, oh, c’mon

Let’s get it on
Ah, baby, let’s get it on
Let’s love, baby
Let’s get it on, sugar
Let’s get it on

We’re all sensitive people
With so much to give
Understand me, sugar
Since we’ve got to be here
Let’s live
I love you

There’s nothing wrong with me
Loving you, baby no no
And giving yourself to me can never be wrong
If the love is true, oh baby

Ooh don’t you know how sweet and wonderful life can be ooh
I’m asking you baby to get it on with me ooh ooh
I ain’t gonna worry
I ain’t gonna push, won’t push you baby
So c’mon, c’mon, c’mon, c’mon, c’mon, baby
Stop beatin’ ’round the bush, hey

Let’s get it on
Let’s get it on
You know what I’m talkin’ ’bout
C’mon, baby
Let your love come out
If you believe in love
Let’s get it on
Let’s get it on, baby
This minute, oh yeah
Let’s get it on
Please, please get it on

I know and you know what I’ve been dreaming of, don’t you baby?
My whole body makes that feelin’ of love, I’m happy
I ain’t gonna worry, no I ain’t gonna push
I won’t push you baby, woo

C’mon, c’mon, c’mon, c’mon, c’mon, darlin’
Stop beatin’ ’round the bush
Oh, gonna get it on
Threatenin’ you, baby
I wanna get it on
You don’t have to worry that it’s wrong
If the spirit moves ya
Let me groove ya good
Let your love come down
Oh, get it on

C’mon, baby
Do you know the meaning?
I’ve been sanctified
Girl, you give me good feeling
I’ve been sanctified

Oh dear I, baby
Nothing wrong with love
If you want to love me just let your self go
Oh baby, let’s get it on

U2 – The Sweetest Thing

Bono wrote this as a birthday present to his wife, Ali. On her birthday, he was working on recording The Joshua Tree, so he was trying to make up for it.  It was originally released as a B-side on the “Where the Streets Have No Name” single in 1987. The song was later re-recorded and re-released as a single in October 1998 for the band’s compilation album The Best of 1980–1990.

The song peaked at #63 in the Billboard 100 in 1998.

All proceeds from the song were given to the charity “The Children of Chernobyl”, which was chosen by Ali as her chosen charity, an organization that brought children affected by the Chernobyl disaster to visit and stay with Irish families.

Bono about his wife:  “I’m a bit of a stray dog. I would not have been in the queue to get married had I not met someone as extraordinary as Ali. I always felt more myself with her than with anybody.” He describes the first time he saw her: “I thought she looked Spanish, a rose for sure, dark with blood-red lips.”

 

 

From Songfacts

U2 recorded this for The Joshua Tree, but left it off because they felt it did not fit in on the album. It was originally released as the B-side to a 7″ single that also included “Where The Streets Have No Name” and “Silver And Gold.”

This was rerecorded and released on U2 The Best Of 1980-1990 in 1998.

In 1998, this was released as a single with proceeds going to Children Of Chernobyl, the favorite charity of Bono’s wife, Ali.

The video shows Bono orchestrating an elaborate apology to Ali, who appears at the beginning of the clip getting into a horse-drawn carriage. The camera then cuts to Bono, who is facing her, and stays on him as they go for a ride down a street in Dublin. Along the way, Bono makes various outlandish offerings to win her favor, starting with the Irish group Boyzone, who climb on board. Next comes a marching band, a fire engine (with firemen), a string section, Irish step dancers from Riverdance, and an elephant. It’s not clear if the apology works, but he sure made an effort.

It looks like the Bono section is all one shot, but there are actually several edits made where the light flares come in. Kevin Godley, who directed it, did something similar on U2’s video for “Numb,” where the camera stays on The Edge for almost the entire time.

U2 didn’t play this live until March 17, 2000, when they played it a ceremony in Dublin where they were being honored. The following year, it made the setlist for their Elevation tour, then was mothballed until 2015 for their Innocence + Experience tour.

Boyzone star Ronan Keating revealed to co-host Harriet Scott on the Magic Radio Breakfast Show that Bono initially offered the song to him, but he insisted that U2 take it instead. Keating said: “It was U2’s, they had to sing it, I knew they had to sing it.

The Sweetest Thing

My love she throws me like a rubber ball
Oh oh oh, the sweetest thing
She won’t catch me or break my fall
Oh oh oh, the sweetest thing
Baby’s got blue skies up ahead
But in this I’m a rain cloud
You know she likes a dry kind of love
Oh oh oh, the sweetest thing

I’m losing you
I’m losing you
Ain’t love the sweetest thing

I wanted to run but she made me crawl
Oh oh oh, the sweetest thing
Eternal fire, she turned me to straw
Oh oh, the sweetest thing
You know I got black eyes
But they burn so brightly for her
This is a blind kind of love
Oh oh oh, the sweetest thing

I’m losing you
Oh oh oh, I’m losing you yeah
Ain’t love the sweetest thing
Ain’t love the sweetest thing
Oh oh, yeah, oh

Blue-eyed boy meets a brown-eyed girl
Oh oh oh, the sweetest thing
You can sew it up but you still see the tear
Oh oh oh, the sweetest thing
Baby’s got blue skies up ahead
And in this I’m a rain cloud
Oh this is a stormy kind of love
Oh oh oh, the sweetest thing

Oh oh, the sweetest thing
Oh oh oh, the sweetest thing

America – Sister Golden Hair

I’ve always liked the slide guitar in this song. It has a George Harrison sound to it. The song was on America’s album Hearts. The former Beatle producer George Martin produced this album.

Gerry Beckley wrote “Sister Golden Hair,” America’s second and final number one hit. Beckley has said that Jackson Brown and George Harrison inspired this song.

The song peaked at #1 in the Billboard 100, #11 in Canada, and #26 in New Zealand.

Gerry Beckley: “I very openly tip my hat there to ‘My Sweet Lord,'” “I was such a fan of all the Beatles, but we knew George [Harrison] quite well and I just thought that was such a wonderful intro.”

One interesting thing about the album… Phil Hartman, who was a graphic designer before his star turn in Saturday Night Live, designed the cover to the Hearts album.

 

From Songfacts

America’s first single, “A Horse With No Name,” went to #1 in 1972. That song was written by Dewey Bunnell, who formed the band in 1970 with Gerry Beckley and Dan Peek (the group became a duo when Peek left in 1977).

In 1975, they scored another #1 with “Sister Golden Hair,” another enigmatic track with lots of harmony. It was written and sung by Beckley, who says that it was based on a composite of different girls. When asked if it was written to anyone, Beckley said: “No, this is all poetic license. With ‘Sister Golden Hair,’ as far as my folks were concerned, I was writing a song about my sister, and I couldn’t quite fathom it; they must not have listened to the lyrics.”

“I’d like to point out that you can have a #1 record with a line that enters that darkly,” he said. “That’s kind of my thing: I try to mix these emotions and I think ‘Sister’ was a great example. Pretty good message in there. John Lennon famously said, ‘We don’t know what these songs are about till people tell us.’ So all of our songs, including ‘Horse,’ are open to interpretation. But ‘Sister’ was a relationship song and there is a variety of elements. We always combine them as songwriters so that they’re not verbatim, word for word, for a particular circumstance. Poetic license we call it.”

In our interview with Gerry Beckley, he explained that he made a demo of this song before America recorded their fourth album, Holiday, but he was happy with the songs they chose for that album so “Sister Golden Hair” sat on the shelf for a year, making the cut for their next album, Hearts.

“I can’t really tell you if it was a lack of faith in the song or not, but it was interesting to see,” he said. “It shows you that songs can have a life of their own – they might just need the right time and circumstances to surface.”

This song was used in a bloody scene in the 2001 episode of the TV series The Sopranos, “Another Toothpick.” After a mobster kills two people, the song plays on his car radio as he drives off. When he has trouble breathing and can’t reach his inhaler, he crashes the car and dies, but the song keeps playing.

“Sister Golden Hair” also appears in the movies Cherish (2002), Radio (2003) and All the Boys Love Mandy Lane (2006).

George Martin, who was The Beatles producer, produced this track and the rest of the Hearts album (he started working with America on their previous album, Holiday). It was Martin’s 20th US #1 as a producer, and his first away from The Beatles (by this point, each former Beatle had reached #1 outside of the group). Martin would have three chart-toppers: “Ebony and Ivory,” “Say Say Say” and “Candle In The Wind ’97.”

This was recorded at the Record Plant in Sausalito, California. The engineer on the session was Geoff Emerick, who worked with George Martin on much of The Beatles output.

Beckley played lap steel guitar on this track. He told Songfacts that the musical influence came from George Harrison. “I very openly tip my hat there to ‘My Sweet Lord,'” he said. “I was such a fan of all The Beatles but we knew George quite well and I just thought that was such a wonderful intro.”

The group recorded a version in Spanish called “Hermana de Cabellos Dorados.” Gerry Beckley doesn’t speak Spanish, so he did it phonetically.

Sister Golden Hair

Well I tried to make it Sunday, but I got so damn depressed
That I set my sights on Monday and I got myself undressed
I ain’t ready for the altar but I do agree there’s times
When a woman sure can be a friend of mine

Well, I keep on thinkin’ ’bout you, Sister Golden Hair surprise
And I just can’t live without you; can’t you see it in my eyes?
I been one poor correspondent, and I been too, too hard to find
But it doesn’t mean you ain’t been on my mind

Will you meet me in the middle, will you meet me in the air?
Will you love me just a little, just enough to show you care?
Well I tried to fake it, I don’t mind sayin’, I just can’t make it

Well, I keep on thinkin’ ’bout you, Sister Golden Hair surprise
And I just can’t live without you; can’t you see it in my eyes?
Now I been one poor correspondent, and I been too, too hard to find
But it doesn’t mean you ain’t been on my mind

Will you meet me in the middle, will you meet me in the air?
Will you love me just a little, just enough to show you care?
Well I tried to fake it, I don’t mind sayin’, I just can’t make it

Doo wop doo wop …

Doors – Love Her Madly

This is one of the Door’s radio hits that I like. I bought the album LA Woman at relative’s yardsale for 10 cents when I was around 12. I went through a Doors phase and even bought the An American Prayer album with a lot of spoken word poetry by Jim Morrison. That ended my fascination with Jim and the Doors. I do like some of their radio hits…my phase lasted around 6 months.

LA Woman is a good album and was the last album they recorded with Jim Morrison, who died shortly after it was released. The album peaked at #9 in 1971.

Doors guitarist Robby Krieger wrote this song on a 12-string guitar. It is about the numerous times his girlfriend…later his wife Lynn, threatened to leave him. Krieger said: “Every time we had an argument, she used to get pissed off and go out the door, and she’d slam the door so loud the house would shake,” 

The song peaked at #11 in the Billboard 100 and #3 in Canada in 1971.

 

From Songfacts

Krieger, John Densmore, and Ray Manzarek recorded a new version with Bo Diddley for the 2000 Doors tribute album Stoned Immaculate.

This was recorded in a very casual atmosphere. The musicians all played together, with no overdubs. They produced it themselves, which meant they could relax and make their own rules. The whole album was recorded in just two weeks.

The group’s longtime producer Paul Rothchild had this to say in an interview with BAM magazine: “That’s exactly the song I was talking about that I said sounded like cocktail music. That’s the song that drove me out of the studio. That it sold a million copies means nothing to me. It’s still bad music.”

Along with “Hello, I Love You,” “People Are Strange” and “Soul Kitchen,” this was used in the movie Forrest Gump. It plays in a scene where Jenny (Robin Wright) runs out of a motel with a black eye.

The title is a twist on a phrase Duke Ellington popularized. At his concerts, he would say, “we love you madly.”

The Doors didn’t have a bass player, but sometimes used one in the studio to beef up the low end. On “Love Her Madly,” Jerry Scheff, famous for his work with Elvis Presley, played.

Love Her Madly

Don’t ya love her madly
Don’t ya need her badly
Don’t ya love her ways
Tell me what you say

Don’t ya love her madly
Wanna be her daddy
Don’t ya love her face
Don’t ya love her as she’s walkin’ out the door
Like she did one thousand times before

Don’t ya love her ways
Tell me what you say
Don’t ya love her as she’s walkin’ out the door

All your love
All your love
All your love
All your love

All your love is gone
So sing a lonely song
Of a deep blue dream
Seven horses seem to be on the mark

Yeah, don’t you love her
Don’t you love her as she’s walkin’ out the door

All your love
All your love
All your love

Yeah, all your love is gone
So sing a lonely song
Of a deep blue dream
Seven horses seem to be on the mark

Well, don’t ya love her madly
Don’t ya love her madly
Don’t ya love her madly

Temptations – Since I Lost My Baby

Smokey Robinson and Warren Moore wrote this wonderful song. The Temptations and the Supremes were huge Motown artists in the sixties…they were one of the very few American artists who challenged The Beatles.

The writing of “Since I Lost My Baby” happened with Pete Moore, a member of the Miracles…a songwriting team that delivered other memorable hits for The Miracles, including “Ooo Baby Baby,” “The Tracks Of My Tears,” “My Girl Has Gone” and “Going To A Go-Go.” For the Temptations, the two also created “Fading Away,” “It’s Growing” and “No More Water In The Well.” For Marvin Gaye, they authored “Ain’t That Peculiar” and “One More Heartache.”

The lead vocals were by  David Ruffin and Melvin Franklin.

The song peaked at #17 in the Billboard 100 in 1965.

Smokey Robinson: “There’s something about that tune that I just set it aside. It wasn’t the biggest commercially, and I can’t put my finger on what I love about it.”

 

Since I Lost My Baby

Sun a-shining, there’s plenty of life
A new day is dawning sunny and bright
But after I’ve been crying all night the sun is cold
And the new day seems old
Since I lost my baby (since I lost my baby)
Since I lost my baby (since I lost my baby)

Birds are singing and the children are playing
There’s plenty of work and the bosses are paying
Not a sad word should my young heart be saying
But fun is a bore and with money I’m poor
Since I lost my baby (since I lost my baby)
Since I lost my baby (since I lost my baby)

Next time I’ll be kinder (next time I’ll be kinder)
Won’t you please help me find her (won’t you please help me find her)?
Someone just remind her (someone just remind her)
‘Bout this love she left behind her (’bout this love she left behind her)
‘Til I find her I’ll be tryin’ now, every day I’m more inclined to find her
Inclined to find her, inclined to find my baby
Been a-looking everywhere, baby, I really, really care

Oh, determination is fading fast
Inspiration is a thing of the past
Can’t see my hope’s gonna last
Good things are bad and what’s happy is sad
Since I lost my baby (since I lost my baby)
Since I lost my baby (since I lost my baby)
I feel so bad
Oh, I’ll feel so sad
Everything is wrong (since I lost my baby)
This heart is hard to carry on
(Since I lost my baby) I’m lost as can be
(Since I lost my baby) what’s gonna happen to me?