Little Feat – Rock and Roll Doctor

I love Little Feat. A musician’s band that sounds great. This song is filled with funk and southern-fried sophistication. It’s really tight at 2 minutes and 57 seconds; this track from Little Feat’s Feats Don’t Fail Me Now album is equal parts swagger, groove, and swampy gospel-tinged funk. It captures everything that made the Lowell George-led era of the band so distinct: tight arrangements, terrific guitar, and soulful vocals. 

Only Little Feat could’ve made this record. The band was already deep into their groove by 1974, but this album is where the voodoo met the vinyl with that sound. Lowell George, rock and roll’s most underrated guitarist and a man who sounded like he’d lived three lifetimes by 29, delivers a great vocal as well. “Two degrees in be-bop, a PhD in swing / He’s the master of rhythm, he’s a rock and roll king!” It’s a tongue-in-cheek tribute to the healing power of boogie, but also a serious testament to Little Feat’s freakish musical chemistry and ability. 

The whole track hangs on that in-the-pocket rhythm section.  The band is in lockstep throughout, Richie Hayward’s drumming is crisp and funky, Paul Barrere and Lowell George’s guitars weave effortlessly, and Bill Payne’s piano rides just behind the beat, and it could have carried the song alone. There’s even some gospel call-and-response in the backing vocals.  It’s a shuffle, but it’s never lazy. It’s slick, but not slick-slick.

George’s slide solo? It says something and punctuates the song. Feats Don’t Fail Me Now peaked at #36 on the Billboard Album Charts and #40 in Canada in 1974. The song peaked at #34 on the Billboard 100 later in 1981. 

Rock and Roll Doctor

There was a woman in Georgia didn’t feel just rightShe had fever all day and chills at nightNow things got worse, yes a serious bindAt times like this it takes a man with such style I cannot often findA doctor of the heart and a doctor of mind

If you like country with a boogie beat he’s the man to meetIf you like the sound of shufflin’ feet he can’t be beatIf you wanna feel real nice, just ask the Rock and Roll doctor’s advice

It’s just a country town but patients comeFrom Mobile to Moline from miles aroundNagodoches to New OrleansIn beat-up old cars or in limousinesTo meet the doctor of soul, he’s got his very own thing

Two degrees in be-bop, a PHD in swingHe’s the master of rhythm he’s a rock and roll king

If you like country with a boogie beat he’s the man to meet (he’s the man to meet)If you like the sound of shufflin’ feet he can’t be beat(I say he can’t be beat)If you…If you wannaIf you wanna feel real nice, just ask the Rock and Roll doctor’s advice

Johnny Cash – I’ve Been Everywhere

Happy 4th of July and a belated Canada Day. 

I don’t think any performer is as popular and liked across generations and genres as Johnny Cash. I’ve met hard rock, country, and blues fans who love him. He was an American Icon. This man had been everywhere, and he had the stories to back it up. 

The song originated in Australia in 1959, written by Geoff Mack, which name-checked towns like Mooloolaba and Wollongong. Lucky Starr popularized it in Australia at the time. Hank Snow gave it an American twist in the early ‘60s, with a rapid-fire list of U.S. towns delivered at a gallop, sounding like he was being chased by a state trooper and an angry tour promoter at the same time.

Hank Snow made this song popular in 1962 by taking it to #1 on the Billboard Country chart and #68 on the Billboard 100. Johnny covered this song in 1996, and it’s the version I remember. Cash had a way of making a song his own. He released it in 1996 but had been doing it for years live. 

The genius of it, though, is that despite the fast pace, it never feels like a gimmick in his hands. There’s that world-weary baritone voice, like a man unrolling a crumpled map that’s been folded a thousand times. The song becomes not just about where he’s been, but what he’s seen, motels, hotels, and empty stages. He’s been everywhere, but not always by choice.

The song was on the album American II: Unchained produced by Rick Rubin. The album peaked at #26 on the Billboard Country Album Charts and #170 on the Billboard 200 in 1996.

I hope everyone living in the U.S.  has a happy, safe Fourth of July! I know I will!

I’ve Been Everywhere
I was totin’ my pack along the dusty Winnemucca road,
When along came a semi with a high and canvas-covered load.
“If you’re goin’ to Winnemucca, Mack, with me you can ride.”
And so I climbed into the cab and then I settled down inside.
He asked me if I’d seen a road with so much dust and sand.
And I said, “Listen, I’ve traveled every road in this here land!”

I’ve been everywhere, man.
I’ve been everywhere, man.
Crossed the desert’s bare, man.
I’ve breathed the mountain air, man.
Of travel I’ve a-had my share, man.
I’ve been everywhere.

I’ve been to
Reno, Chicago, Fargo, Minnesota,
Buffalo, Toronto, Winslow, Sarasota,
Wichita, Tulsa, Ottawa, Oklahoma,
Tampa, Panama, Mattawa, La Paloma,
Bangor, Baltimore, Salvador, Amarillo,
Tocopilla, Barranquilla, and Padilla, I’m a killer.

I’ve been everywhere, man.
I’ve been everywhere, man.
Crossed the desert’s bare, man.
I’ve breathed the mountain air, man.
Of travel I’ve a-had my share, man.
I’ve been everywhere.

I’ve been to
Boston, Charleston, Dayton, Louisiana,
Washington, Houston, Kingston, Texarkana,
Monterey, Faraday, Santa Fe, Tallapoosa,
Glen Rock, Black Rock, Little Rock, Oskaloosa,
Tennessee to Hennessey, Chicopee, Spirit Lake,
Grand Lake, Devil’s Lake, Crater Lake, for Pete’s sake.

I’ve been everywhere, man.
I’ve been everywhere, man.
Crossed the desert’s bare, man.
I’ve breathed the mountain air, man.
Of travel I’ve a-had my share, man.
I’ve been everywhere.

I’ve been to
Louisville, Nashville, Knoxville, Ombabika,
Schefferville, Jacksonville, Waterville, Costa Rica,
Pittsfield, Springfield, Bakersfield, Shreveport,
Hackensack, Cadillac, Fond du Lac, Davenport,
Idaho, Jellico, Argentina, Diamantina,
Pasadena, Catalina, see what I mean-a.

I’ve been everywhere, man.
I’ve been everywhere, man.
Crossed the desert’s bare, man.
I’ve breathed the mountain air, man.
Of travel I’ve a-had my share, man.
I’ve been everywhere.

I’ve been to
Pittsburgh, Parkersburg, Gravelbourg, Colorado,
Ellensburg, Rexburg, Vicksburg, El Dorado,
Larimore, Admore, Haverstraw, Chatanika,
Chaska, Nebraska, Alaska, Opelika,
Baraboo, Waterloo, Kalamazoo, Kansas City,
Sioux City, Cedar City, Dodge City, what a pity.

I’ve been everywhere, man.
I’ve been everywhere, man.
Crossed the desert’s bare, man.
I’ve breathed the mountain air, man.
Of travel I’ve a-had my share, man.
I’ve been everywhere.

I’ve been everywhere.

Willie Nelson – Roll Me Up and Smoke Me When I Die

Wanted to have a little fun today. What better way to celebrate July 4th than with Willie Nelson and my next American Artist? The Willie Nelson set I watched on June 25th was probably the first real country act I’ve seen in concert, other than in street fairs in Nashville. Willie has done what few others have: appealed to a vast array of genres like Johnny Cash and Dolly Parton. The man is 92 and still going out there every night. 

The couple in front of us took this picture. 

If there were a Mount Rushmore for country outlaws, Willie Nelson wouldn’t just be on it, he’d be carving the damn thing with a joint in one hand and Trigger (his guitar) slung over his back. And with this song, Willie laughs at his legend and turns it into a porch-sing-along for the afterlife.

Released in 2012 on his Heroes album, this track arrived with a puff of smoke, wrapped in that unmistakable red-headed goodness. It’s a song about death that somehow feels like a party. Leave it to Willie to make his own funeral plans sound like a tailgate party. Beneath the title and chorus is something far more poignant: a man looking mortality in the eye and saying, You’re not killing my vibe.

The lineup of guests: Snoop Dogg, Kris Kristofferson, and Jamey Johnson all pile in for the chorus like it’s some high-end dive bar jam session. The vibe is half gospel, half roadhouse. The songwriters are Willie Nelson, Buddy Cannon, Rich Alves, John Colgin, and Mike McQuerry.

Roll Me Up and Smoke Me When I Die

Roll me up and smoke me when I dieAnd if anyone don’t like it, just look ’em in the eyeI didn’t come here and I ain’t leaving, so don’t sit around and cryJust roll me up and smoke me when I die

Now you won’t see no sad and teary eyesWhen I get my wings and it’s my time to flyCall my friends and tell ’em there’s a party, come on byAnd just roll me up and smoke me when I die

Roll me up and smoke me when I dieAnd if anyone don’t like it, just look them in the eyeI didn’t come here and I ain’t leaving, so don’t sit around and cryBut just roll me up and smoke me when I die

And I’d go, I’ve been here long enoughSo sing and tell more jokes and dance stuffJust keep the music playing, that will be a good goodbyeRoll me up and smoke me when I die

Roll me up and smoke me when I dieAnd if anyone don’t like it, just look ’em in the eyeI didn’t come here and I ain’t leaving, so don’t sit around and cryJust roll me up and smoke me when I die

Hey, take me out and build a roaring fireRoll me in the flames for about an hourAnd take me out and twist me up and point me towards the skyAnd roll me up and smoke me when I die

Roll me up and smoke me when I dieAnd if anyone don’t like it, just look ’em in the eyeI didn’t come here and I ain’t leaving, so don’t sit around and cryJust roll me up and smoke me when I die

Just roll me up and smoke me when I die

T-Rex – 20th Century Boy

I first heard this song on a car commercial. It was nice to hear something from T. Rex other than Bang a Gong. T Rex was never huge in America, but for a few years was very popular in the UK. They were one of the biggest UK Glam Rock bands.

It was released in 1973 as a non-album single. 20th Century Boy opens with a riff that could crack the sidewalk. It doesn’t crawl out of the speakers so much as leap from them. It’s all swagger, glam, and distortion turned up to 11.

The song sounds so modern with Tony Visconti’s production. It never cracked the Top 10 in the U.S., but in the UK it was a smash. The song found new life in commercials and soundtracks. It’s Bolan doing what he did best, selling you not just a song, but an attitude. He wasn’t offering truth or authenticity; he was offering escape. 

Their popularity soared in 1971-72, and a mania that was called “T. Rexstasy”. In 1972, Ringo Starr produced and directed a concert film called Born to Boogie about T Rex. This song peaked at #3 in the UK Charts in 1973 and #11 in 1991.

The band only charted 3 songs in the Billboard 100 with one top ten hit…Bang a Gong. In the UK, they scored 4 number ones and 21 top forty songs.

20th Century Boy

Friends say it’s fine
Friends say it’s good
Everybody says it’s just like Rock ‘n Roll
I move like a cat
Charge like a ram
Sting like a bee
Babe I wanna be your man

Well it’s plain to see you were meant for me
Yeah, I’m your boy, your 20th Century toy

Friends say it’s fine
Friends say it’s good
Everybody says it’s just like Rock ‘n Roll
Fly like a plane
Drive like a car
Hold out your hand
Babe I’m gonna be your man

And it’s plain to see you were meant for me
Yeah, I’m your toy, your 20th Century boy

20th Century toy, I wanna be your boy [4x]

Friends say it’s fine
Friends say it’s good
Everybody says it’s just like Rock ‘n Roll
Move like a cat
Charge like a ram
Sting like a bee
Babe I’m gonna be your man

And it’s plain to see
You were meant for me
Yeah I’m your toy
Your 20th Century boy

20th Century toy, I wanna be your boy [4x]

Troggs – Wild Thing

I had an obsession with this band when I was a kid. I wanted to know everything about them, but back then, you could not search Google or find many any books on The Troggs. I did learn about the Trogg Tapes, which were hilarious! A friend of mine had a bootleg cassette of them in the 80s. It’s them in a session and probably breaking the record for the number and variations of f**k in a session. It probably has more than Scarface did with Pacino. It was better than many comedy albums I bought back then. “Put a Little Bit of F***ing Fairy Dust Over the Bastard!” It doesn’t get much rock and roll than that.

Some songs arrive like lightning. This song showed up like a Molotov cocktail tossed into the tea party of mid-’60s pop, three chords, one brain cell, and more raw tension than a teenage first kiss. This is pre-punk, garage rock, and sexual threat, all crammed into 2 minutes and 34 seconds of glorious slop. The opening chord staggers into the room like a drunk on a bender.

If you were in a garage band in the sixties…or now, you probably have played this song. This is the Troggs’ claim to fame in the history of Rock and Roll. They had other good songs, but nothing that had this much influence. The song is as raw as you could get at the time. It’s also a song like ‘Louie Louie’ that every garage band has played or at least tried to play once. 

Reg Presley, one of rock’s unlikeliest frontmen (a former bricklayer with a sneer in his voice), had just enough voice to get him through. They were not stocked with great talent, but they sounded raw, and they had songs that were tailored for them. Instead of excellent musical chops, they had enthusiasm and just enough talent to make it exciting. And it worked. 

The band combined a pop touch with a garage band style, resulting in two top ten songs and four songs in the Billboard 100. This song peaked at #1 on the Billboard 100, #2 in the UK, and #2 in Canada in 1966.

Many people will remember the Jimi Hendrix version at the Monterey Pop Festival in 1967. Comedian Sam Kinison also did a version in 1989. The first version of this song was by The Wild Ones in 1965. Secondhandsongs shows 153 versions of this song. 

Chip Taylor (whose real name was Chip Voight) was a singer-songwriter who wrote this song. Taylor is the brother of actor Jon Voight and the uncle of Angelina Jolie. He has made a fortune on this song because it’s been in countless movies and TV Shows. He also wrote Angel of the Morning

Chip Taylor: “I was on the floor laughing when I was through. Wild Thing’ came out in a matter of minutes. The pauses and the hesitations are a result of not knowing what I was going to do next.”

Reg Presley: “There was a guy there (at DJM) called Dennis Berger, who had a heap of demos on his desk. The first one I picked up was Wild Thing. I took a look at the lyric sheet and read: ‘Wild Thing-you make my heart sing-you make everything groovy.’ It seemed so corny, I thought, Oh my God, what are they doing to us! Then I played Chip Taylor’s demo- just guitar and him- and it was incredible. The other boys all liked it too. Chip Taylor later told us our version was just what he wanted.”

Wild thing

You make my heart sing
You make everything groovy
Wild thing
Wild thing, I think I love you
But I wanna know for sure
Come on and hold me tight
I love you

Wild thing
You make my heart sing
You make everything groovy
Wild thing

Wild thing, I think you move me
But I wanna know for sure
So come on and hold me tight
You move me

Wild thing
You make my heart sing
You make everything groovy
Wild thing
Oh, come on, wild thing
Shake it, shake it, wild thing

Flo & Eddie – Keep It Warm

When I heard this song, I had to find out who it was. I was watching Late Night with the Devil, and this song played. I finally looked at the Soundtrack and to my surprise, it was Flo and Eddie. Flo (Phlorescent Leech) is Mark Volman, and Eddie is Howard Kaylan. Mark and Howard were the two founding members of the 1960s band The Turtles. The Turtles had a large vocal sound. Kaylan is a very good singer, and when combined with Volman, it made a unique sound for the Turtles. 

After the Turtles broke up, Howard and Mark Volman went by the name “Flo and Eddie” for legal reasons (old Turtles contract). They made a career of unusual rock-comedy albums and developed a following. They immediately began playing with Frank Zappa and the Mothers of Invention and were there when Frank was pushed off the stage at the Rainbow. They were also in the Zappa movie, 200 Motels.

Flo & Eddie were what happened when two of the strangest, funniest, and most musically savvy minds to ever pass through the Top 40 were given free rein. This song was never a hit. It didn’t even scrape the charts. But like most of the best Flo & Eddie material, it was an inside joke with enough melody to trick you into thinking it WAS a hit. It’s a song about being past your prime, sung with the kind of confidence that says you never bought into the hype in the first place. If this came on the radio between Pablo Cruise and Seals & Crofts, you might not notice anything was different until you realized it was mocking both of them while sounding just as good.

The song opens with a clean piano, all smooth and clean guitars, but the lyrics are just… off. The chorus says “keep it warm,” but what is it, exactly? A bed? A place in your heart? An old seat at the Hollywood Squares? Richard Dawson’s seat on Match Game?  Kaylan delivers it with such sincere charm that it takes a few listens before you realize it’s about disillusionment, being outdated, all the while dressed up in a Beach Boys falsetto.

The production was immaculate. Jim Pons (also ex-Turtle, ex-Zappa) lays down a bass line that fits the song perfectly. The arrangements swirl like mid-70s L.A. excess seen through a cracked, warped rearview mirror.

The song was on their 1976 album Moving Targets

 

Keep It Warm

Write another song for the moneySomething they can sing, not so funnyMoney in the bank to keep us warm

Stick another grape in the juicerOr fill your guts with grease and get looserYou are what you eat, so eat it warm

Roll another joint for the GipperGet the Gipper high, he gets hipperStick it in his mouth and keep him warm

Elect another jerk to the White HouseGracie Slick is losing her DormouseTake her off the streets and keep her warm (oh-oh)

Fight another war if they make youSqueal on a friend or they’ll take youThe future’s in your lap, so keep it warm

Warm, here in your arms (ooh-ooh, ooh-ooh)Safe from all harm, where I belong (ooh-ooh, ooh-ooh)Warm, cozy and calm (ooh-ooh, ooh-ooh)Another dawn, together warm (ooh-ooh, ooh-ooh)

My Woody’s broken down by the beach nowAnd TM’s gotten far out of reach nowTell the Mahareesh to keep it warm(We’re picking up good vibrations)

And George is suing Paul, suing RingoAnd immigration wants John and YokoAll they need is love to keep them warm

Kill another whale with your powerShoot a bunch of kids from a towerSnipe them in their cars, blood keeps them warm

Or make a better world from the old oneMake yourself a baby and hold oneHold her in your arms and keep her warm

Keep her warm, keep her warmKeep her warm, keep her warmKeep her warm, keep her warmKeep her warm, keep her warmKeep her warm…

Levon Helm – The Mountain

I remember when this album was released, it sounded so pure. Some singers you can spot a mile away. Dylan, Young, Cash, and Levon are part of that group. His strong southern roots tie him to a worn-in in earthy sound. 

Sometimes a singer is married to a feeling that no one else has, and Levon had that quality. Some songs are meant to be heard by him, and Robbie Robertson was the first to notice this and used it to its full effect.  This song was on Dirt Farmer, Levon’s 2007 comeback record and his first solo album in a quarter-century. He was battling throat cancer when he recorded it, his voice raspier than in the old Band days, but somehow more potent.

The song was written by Steve Earle, and Levon brought the song to life. Earle does a great version of it as well, but it was a perfect song for Levon to interrupt. The arrangement is a slow march of banjo, fiddle, and mandolin, paced like a funeral procession up a foggy Appalachian ridge. But it’s that voice that carries the load. Levon sings it not as a narrator but as a ghost buried with his kin under the mountain he gave his life to.

What’s remarkable about Dirt Farmer is how Helm made it in the twilight of his life, and yet it plays like the core of his legacy. He wasn’t trying to impress anyone or reinvent The Band; it’s pure Levon. It was produced by Larry Campbell and Amy Helm, his daughter. 

The album won the Grammy Award for Best Traditional Folk Album in February 2008. I usually don’t list Grammy awards, but if any album deserved an award…this one does. 

This live video is shaky but the only one I found. The sound is fine. 

The Mountain

I was born on this mountain a long long time ago
Before they knocked down the timber and stripped mined all the coal
When you rose up in the morning before it was light
To go down in that dark hole and come back up at night
I was born on this mountain, this mountain’s my home
She holds me and she keeps me from a worry and a woe
Well they took everything she gave, she gave it now she’s gone
But I’ll die on this mountain, this mountain’s my home

I was young on this mountain but now I am old
And I knew every holler, every cool swimmin’ hole
Til a one night I lay down and I woke up to find
That my childhood was over I went back down in the mine

There’s a hole in this mountain it’s dark and it’s deep
And God only knows all the secrets that it keeps
There’s a chill in the air only miners can feel
There’re ghosts in the tunnels that the company sealed

Pete Townshend – Let My Love Open The Door

A thank you to Dave for publishing this for Turntable Talk. The theme was looking for artists who left popular bands to go solo. I could have done a Beatle easily, but Pete was perfect for this. 

Pete recorded Empty Glass a little before the Who recorded their first album without Keith Moon, Face Dances. This was Pete Townshend’s only solo American Top 10 hit, but it charted as high as any Who song released in America… I Can See For Miles also peaked at #9.

This wasn’t The Who smashing guitars or railing against society. This was Pete, solo and sincere, pulling back the curtain and offering something deceptively simple: vulnerability, all wrapped in a three-minute pop song.

Pete always put his solo career on the back burner for The Who. On the surface, Let My Love Open the Door sounds like a pure pop song, but don’t be fooled. There’s gospel in its meaning. Townshend was deep in his Meher Baba-influenced spiritual quest at the time, and this song doubles as a kind of secular hymn. God, lover, self, take your pick. The message lands the same: let something bigger than your pain inside.

The song peaked at #9 on the Billboard 100, #5 in Canada, and #46 in the UK in 1980. The song was on the album Empty Glass, which peaked at #5 in the Billboard Album Charts, #2 in Canada, #21 in New Zealand, and #11 in the UK. Two of the musicians on this track, the bass player Tony Butler and drummer Mark Brzezicki, formed the Scottish rock quartet Big Country in 1981. Chris Thomas who produced this album, also worked with The Beatles, Pink Floyd, The Sex Pistols, Badfinger, and U2, among others.

Pete’s manager at the time didn’t think the song belonged on the album and fought against it. He said it didn’t sound like a Townshend song. He called to apologize after the song hit.

Let My Love Open The Door

When people keep repeating
That you’ll never fall in love
When everybody keeps retreating
But you can’t seem to get enough

Let my love open the door
Let my love open the door
Let my love open the door
To your heart

When everything feels all over
Everybody seems unkind
I’ll give you a four-leaf clover
Take all worry out of your mind

Let my love open the door
Let my love open the door
Let my love open the door
To your heart, to your heart

I have the only key to your heart
I can stop you falling apart
Try today you’ll find this way
Come on and give me a chance to say

Let my love open the door
It’s all I’m living for
Release yourself from misery
There’s only one thing gonna set you free
That’s my love
That’s my love

Let my love open the door
Let my love open the door
Let my love open the door
Let my love open the door

When tragedy befalls you
Don’t let it drag you down
Love can cure your problems
You’re so luck I’m around

Let my love open the door
Let my love open the door
Let my love open the door
To your heart

Rufus featuring Chaka Khan – Tell Me Something Good

Great song, great music, great voice. You want funk? You want soul? You want a dirty-sounding clavinet? Step right up, Rufus has got you covered. There’s something raw and unpolished here that gives the song its character. It’s not trying to be slick. It’s lean and mean, clocking in under four minutes, and still manages to say everything it needs to say. It’s still one of my favorite AM singles of the 1970s. It would fit in today as well. 

Chaka… She’s the axis this record spins on. Her voice doesn’t so much sing the lyrics; she dominates them. Stevie Wonder brought a few songs to the studio, and she stunned her bandmates by saying she didn’t like them. She was 19 and pregnant and not in the best of moods. Stevie asked her for her astrological sign, and she said Aries. He then delivered this song, which she loved. 

Tony Maiden’s talkbox guitar gives it that extra wobble, while Kevin Murphy’s clavinet lays down a foundation so nasty you could mop the floor with it. This song came off the 1974 album Rags to Rufus.  Stevie Wonder recorded it himself in 1973 but never released it. The song peaked at #3 on the Billboard 100 and #21 in Canada in 1974. The Talk-Box, which Frampton later used, sounds great in this song.

Rufus evolved from a group called The American Breed, who had a hit with “Bend Me, Shape Me.” They took their name from a column in Popular Mechanics magazine called “Ask Rufus,” later shortened to Rufus when Chaka Khan joined the band in 1972.

Tell Me Something Good

You ain’t got no kind of feeling inside
I got something that will sure ‘nough set your stuff on fire
You refuse to put anything before your pride
What I got something will knock all your pride aside

Tell me something good 
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

Got no time is what you’re known to say
I’ll make you wish there was forty eight hours to each day
The problem is you ain’t been loved like you should
What I got to give will sure ‘nough do you good

Tell me something good 
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

You ain’t got no kind of feeling inside
I got something that will sure ‘nough set your stuff on fire
You refuse to put anything before your pride
What I got something will knock all your pride aside

Tell me something good (oh, yeah, yeah)
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

Tell me something good (tell me baby baby, tell me)
Tell me that you love me, yeah, yeah, yeah yeah
Tell me something good (oh, tell me, tell me, tell me)
Tell me that you like it, yeah, yeah, don’t you like it, baby?

Nathaniel Rateliff & the Night Sweats – S.O.B.

Son of a bitch, give me a drinkOne more night, this can’t be meSon of a bitch, if I can’t get cleanI’m gonna drink my life away

While baking in the 95-degree heat at the Bob Dylan and Willie Nelson concert, I told Bailey, my son, I was going to get some shade between acts. He told me not to be late for the next act, which he had wanted to see since 2013. I ran into a Canadian couple, and we started talking. I looked down at my phone, and Bailey was calling. He was worried, so I told him to come meet them.

We all talked for a while, and then we went back to our seats when the music from Nathaniel Rateliff and the Night Sweats started. Out of all the bands we saw…they impressed me the most. Bob and Willie are what they are, and they were great, but I expected that. I didn’t expect this band, though. I do remember listening to them on Christian’s Blog. He is right up my alley… he lists Townes Van Zandt, Willie Nelson, and Dylan as his influences.

As I listened, the first thought that came to me was a 60s R&B Stax feel. I looked up their discography, and… they are signed to Stax today! They had a sax and trumpet player and a B3 Hammond Organ, and sounded great. As I looked at their discography, they have had many charting recordings, including this one. 

They closed their set with this song. Nathaniel, with his suspenders, came howling out of the speakers like a Pentecostal James Brown who’s had one too many bad nights with a bottle. It hit me like a gospel revival in a whiskey joint. The song is about detox and desperation. A song about hitting bottom that sounds like a party. Nathaniel was seeking sobriety when he wrote this. 

Bailey has known of them since he was 13. He never shared these guys, and I wish he had done that. Bailey is a huge Dylan fan, and when he saw these guys on the bill, he got the tickets for us both. They sold out Madison Square Garden with their first headlining gig in March of this year. 

This song peaked at #8 on the Billboard Hot Rock and Alternative Songs, #36 in Canada, and #2 on the Canadian Rock Charts in 2015. It was on their self-titled album, Nathaniel Rateliff & the Night Sweats, released in 2015. The album peaked at #17 on the Billboard Album Charts, #7 in Canada, #1 on the Billboard US Folk Albums, and #27 in the UK. 

S.O.B.

I’m gonna need someone to help meI’m gonna need somebody’s handI’m gonna need someone to hold me downI’m gonna need someone to care

I’m gonna writhe and shake my bodyI’ll start pulling out my hairI’m gonna cover myself with the ashes of youAnd nobody’s gonna give a damn

Son of a bitch, give me a drinkOne more night, this can’t be meSon of a bitch, if I can’t get cleanI’m gonna drink my life away

Now for 17 years I’ve been throwing them back17 more will bury meCan somebody please just tie me down?Or somebody give me a goddamn drink

Son of a bitch, give me a drinkOne more night, this can’t be meSon of a bitch, if I can’t get cleanI’m gonna drink my life awayHey, yeah

My heart was breaking, hands are shakingBugs are crawling all over meMy heart was breaking, hands are shakingBugs are crawling all over meMy heart was breaking, hands are shakingBugs are crawling all over meMy heart was aching, hands are shakingBugs are crawling all over me

Son of a bitch, give me a drinkOne more night, this can’t be meSon of a bitch, if I can’t get cleanI’m gonna drink my life away

Son of a bitch, give me a drinkSon of a bitch, this can’t be meSon of a bitch, if I can’t get cleanI’m gonna drink my life awayYeah, ah

Reverend Horton Heat – Psychobilly Freakout

This one was fun to write about. Sometimes I like to post the offbeat kind of artists, and the Reverend fits that description. This is what happens when you turn frantic Rockabilly up a notch or three. Let’s just rip the band-aid off. This thing doesn’t walk into the room, it tears the hinges off the door, screams in your face, steals your beer, and does donuts in the church parking lot. It is high-octane and has some great guitar. 

He does some Brian Setzer and Duane Eddy style guitar playing at 11. It’s NOT a storytelling song. It’s a vibe, a warning, and a shot of tequila thrown down your throat.  I love Dylan, Prine, and the other great songwriters, but this isn’t it, and it’s not meant to be. Some songs make you want to sing. Some make you want to cry. This one makes you want to smash furniture and swing from the rafters. 

He was on the record label Sub Pop, which also had Nirvana, but he sounds nothing like them. His real name is James C. Heath, and he grew up in Dallas, Texas. His influences were Junior Brown, Willie Nelson, and Merle Travis. He and his band have made 13 studio albums, and many of them charted. In the early 2000s, a friend at work named Lee played this one and a song called Wiggle Stick (live version), which, to be truthful, is more accessible than this one. I loved the sense of humor and sound right away. 

This song came off the album Smoke ‘Em If You Got ‘Em released in 1990. Reverend Horton Heat’s songs have been in movies, and he has a huge following. 

Wiggle Stick

Psychobilly Freakout

It’s a psychobilly freakout!

Well, we’re off, we’re off, we’re off!
It’s, it’s, it’s a psychobilly freakout!

Well, we’re off, we’re off, we’re off!

I’ll tell you what it is! (what is it, God dang it?)
It’s some kinda Texas psychobilly freakout
That’s what it is

Well, we’re off, we’re off, we’re off!
It’s a psychobilly freakout!

Elvis Presley – Heartbreak Hotel

One of the most perfect Rock and Roll songs ever. There are many different eras of Elvis. This is not the jumpsuit Elvis or even the great comeback Elvis. This is the mid-fifties Elvis, who I think is untouchable. 

This 1955 song found Elvis Presley right on the cusp. He’d already cut a few sides for Sun that shaped hillbilly music into something sharp and unruly, but this was his first single for RCA. The stakes were high, and the sound? Even higher. Everything about Heartbreak Hotel is drenched in echo. Not just the vocals, which slap back like they’re ricocheting off the walls, but the very mood of it.

Chet Atkins and Scotty Moore laid down little guitar stabs. Floyd Cramer’s piano combines with the emptiness. RCA execs weren’t sure about it. They wanted something upbeat. Something with bounce. But the public knew better, as they usually do.  The song was written by Hoyt Axton’s mother, Mae Boren Axton, who wrote the music, and a steel guitar player from Nashville named Tommy Durden wrote the lyrics. He said he was inspired by a newspaper article about a man who killed himself at a hotel and left a note that stated, “I walk a lonely street.” 

The song peaked at #1 on the Billboard 100 and the Country charts and #2 in the UK Charts. It also reached #10 in the UK in 1971. The first RCA sessions were held on January 10, 1956, at their Nashville studios ( The Methodist Television, Radio and TV Studios, 1525 McGavock Street, Nashville), and that’s where Elvis recorded this song. His backing musicians were his mainstays, Scotty Moore on electric guitar and Bill Black on bass, D.J. Fontana on drums, Floyd Cramer on piano, and Chet Atkins on acoustic guitar.

Heartbreak Hotel

Well, since my baby left me
Well, I found a new place to dwell
Well, it’s down at the end of Lonely Street
At Heartbreak Hotel
Where I’ll be–where I get so lonely, baby
Well, I’m so lonely
I get so lonely, I could die

Although it’s always crowded
You still can find some room
For broken-hearted lovers
To cry there in the gloom
And be so, where they’ll be so lonely, baby
Well, they’re so lonely
They’ll be so lonely, they could die

Well, the bellhop’s tears keep flowin’
And the desk clerk’s dressed in black
Well, they’ve been so long on Lonely Street
Well, they’ll never, they’ll never get back
And they’ll be so, where they’ll be so lonely, baby
Well, they’re so lonely
They’ll be so lonely, they could die

Well now, if your baby leaves you
And you have a sad tale to tell
Just take a walk down Lonely Street
To Heartbreak Hotel
And you will be, you will be, you will be lonely, baby
You’ll be so lonely
You’ll be so lonely, you could die

Well, though it’s always crowded
You still can find some room
For broken-hearted lovers
To cry there in the gloom
And they’ll be so, they’ll be so lonely, baby
They’ll be so lonely
They’ll be so lonely, they could die

Kinks – 20th Century Man

This is the twentieth centuryBut too much aggravationThis is the edge of insanityI’m a twentieth century man but I don’t want to be here

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is (drum roll please…) a song from a concept album. 

This song came from the album Muswell Hillbillies. A blogger friend of mine halffastcyclingclub, wrote up a post about it when I had the Kinks Weeks last year, it’s right here. Muswell Hillbillies is one of the many concept albums The Kinks did in the late sixties and early seventies. 20th Century Man kicks off the album. 

The song is an anthem of the over-civilized, over-documented, over-saturated age. Davies isn’t just annoyed by technology or bureaucracy; he’s exhausted by the entire machinery of progress. X-rays, radiation, political ideology, Big Brother watching from the corner of the room, Ray sees it all and wants out. Half a century later, 20th Century Man sounds eerily current. All those worries about surveillance, conformity, soulless routine? They didn’t go away, they just put on a fresh coat of Wi-Fi and Bluetooth.

Musically, it’s a leaner Kinks, with no horn section, no vaudeville flourishes, and no trimmings. Just guitars, grit, and a message that cuts you like a cold wind. Even the production feels lived-in, like it’s already been through the wringer. At the end of the song, it comes to life with a frustrated Ray Davies singing that he cannot keep up and doesn’t want to be there. 

I can really relate to what he is going through in this song. This was before the 24/7 news cycle and advertising chasing us everywhere we turn. It peaked at #106 on the Billboard 100. The album peaked at #100 on the Billboard Album Charts in 1971. Lola just came out the year before, but it would be in the mid to late seventies when they returned to more commercial success. These albums, though, were great. 

20th Century Man

This is the age of machineryA mechanical nightmareThe wonderful world of technologyNapalm hydrogen bombs biological warfare

This is the twentieth centuryBut too much aggravationIt’s the age of insanityWhat has become of the green pleasant fields of Jerusalem

Ain’t got no ambitionI’m just disillusionedI’m a twentieth century man but I don’t want, I don’t want to be here

My mama said she can’t understand meShe can’t see my motivationJust give me some securityI’m a paranoid schizoid product of the twentieth century

You keep all your smart modern writersGive me William ShakespeareYou keep all your smart modern paintersI’ll take Rembrandt, Titian, Da Vinci and Gainsborough

Girl we gotta get out of hereWe gotta find a solutionI’m a twentieth century man but I don’t want, I don’t want to die here

Girl, we gotta get out of hereWe gotta find a solutionI’m a twentieth century man but I don’t want, I don’t want to be here

I was born in a welfare stateRuled by bureaucracyControlled by civil servantsAnd people dressed in greyGot no privacy, got no liberty‘Cause the twentieth century peopleTook it all away from me

Don’t want to get myself shot downBy some trigger happy policemanGotta keep a hold on my sanityI’m a twentieth century man but I don’t want to die here

My mama says she can’t understand meShe can’t see my motivationAin’t got no securityI’m a twentieth century man but I don’t want to die here

I don’t want twentieth century, manI don’t want twentieth century, manI don’t want twentieth century, manI don’t want twentieth century, man

This is the twentieth centuryBut too much aggravationThis is the edge of insanityI’m a twentieth century man but I don’t want to be here

Los Lobos – Evangeline

Damn this song swings, and it has a great guitar intro and feel. I heard this for the first time not long ago, and it stuck with me as well as some more of their songs. With a band like this, it’s hard to pin down one song to post. 

They’ve always had that rarest of abilities: to wrap roots, rock, and border ballads into something that feels less like a style and more like a lineage. The brilliance here is in the restraint. There’s no over-arrangement, no big production, and no studio trickery. Just a man sitting with his memory. 

The song was written by David Hidalgo and Louie Pérez on the album How Will The Wolf Survive? This is truly a great album. It’s easy to overlook this song when you’ve got so much groove and grit elsewhere on the record. But give it a quiet night and some headphones, and you’ll find it’s one of the songs that stays with you longest. I covered the title cut earlier this year. 

This song proves something else… they could write songs that cut deep with almost nothing at all. No drawn-out guitar solos. No choruses built for crowd sing-alongs. Just three minutes of pure delight. The album peaked at #47 on the Billboard 100, #13 in New Zealand, #31 in Canada, and #77 in the UK in 1984. 

I gave this link in the other post. There is a documentary about Los Lobos called Native Sons that is set to be released this year. As far as I know, it still hasn’t been released. If you have any more information, I would love to hear it. 

Evangeline

Evangeline is on the roamJust barely seventeenWhen she left homeDon’t know where she isOr where she’s goingShe is the queen of make believe, Evangeline

I can still remember this little girlBlack eyes just staringAt this big old worldRan off to find some American dreamTrain ticket in one handIn her new blue jeans

Evangeline is on the roamJust barely seventeenWhen she left homeDon’t know where she isOr where she’s goingShe is the queen of make believe, Evangeline

She went out dancin’ on a Saturday nightSilk stockings and high heelsBlue liner on her eyesBut on Sunday morning she’s all aloneHead lying on the nightstandBy the telephone

Evangeline is on the roamJust barely seventeenWhen she left homeDon’t know where she isOr where she’s goingShe is the queen of make believe, EvangelineShe is the queen of make believe, Evangeline

Willis Alan Ramsey – Satin Sheets

Hallelujah let me sock it to ya
Praise the Lord, and pass the mescaline

You could spend a weekend digging through Texas songwriters and never quite land on someone as mysterious or as mythically hyped as Willis Alan Ramsey. I want to thank a commentator M.Y. for telling me about this wonderful album and artist. 

Ramsey was born in Alabama in 1951, but it was Texas where he planted his flag and his musical roots. The Lone Star State was churning out outlaw country and cosmic cowboys in the early ‘70s, and Ramsey’s 1972 self-titled debut landed right in the middle of it. The album was released on Leon Russell’s Shelter Records (home to J.J. Cale and Dwight Twilley), Willis Alan Ramsey was a swampy, soulful, blend of folk, country, and blues. 

This album, released in 1972, was his only album. It has been lauded by critics, and I can understand why. He had a contract dispute with Shelter Records and left at the end of the contract. His fans have been waiting half a century for a new album. When asked, he said, “What’s wrong with the first one?” He did start a new album in 1997 and is trying to finish it with financial help from friends and fans alike. It is still in the works. 

He did have one song that is widely known. There is a song on this album called Muskrat Candlelight. Do the math, and you know who covered it. Change Candlelight to Love, and yes, you have Captain and Tennille. I’ve listened to this album many times, and the guy can write some interesting lyrics. The ones I have at the top got my attention right away with this song. 

Give a listen to this album if you have time. 

Satin Sheets

I wish I was a millionaire
Play rock music and grow long hair
Tell your boys
‘Bout a new Rolls-Royce

Pretty women callin’ me
Give ‘em all the third degree
Give ‘em satin sheets
To keep ‘em off the streets

Hallelujah let me sock it to ya
Praise the Lord, and pass the mescaline
Trade your whole world
You’ll come over
As soon as you see me boogie-woogie ‘cross the silver screen

Hang ‘em high, hang ‘em low
Put ‘em in the ceilings wherever I go
And they’d swing all night
In the rafter light

Hallelujah, what’s it to ya?
Got your coffee, me, I got my Spanish tea
Trade your whole world
You’ll come over
As soon as you hear me playing my calliope

I wish I was a millionaire
Play rock music and grow long hair
Tell your boys
‘Bout a new Rolls-Royce

….