I remember I had the album this was on…Let Me Up (I’ve Had Enough) and I was disappointed. I always liked this song though. The album did not live up to Southern Accents the previous album.
Although this is a 1980s song…Steve Jobs, Eddie Murphy, Joe Piscopo, and Vanessa Redgrave are singled out…as well as events in the world…the idea behind it is more relevant today than 1987.
I’ve always thought this song was about information overload on our senses…being overwhelmed in the disinformation age…and this was 1987! How about now?
Mike Campbell, the guitarist for The Heartbreakers, wrote the music for this and gave Petty the demo. Tom held it for a while and didn’t do anything with it until one day when he was working with Bob Dylan. They came up with some lyrics by picking words out of a newspaper and off the television. Tom pulled out Mike’s demo, and they inserted those words over the track. The song is about the deluge of information and marketing messages that can prove overwhelming.
This song peaked at #18 in the Billboard 100, #41 in Canada, and #38 in New Zealand in 1987. It was written by Tom Petty, Bob Dylan, and Mike Campbell.
From Songfacts
Many of Petty’s songs start as demos written by Campbell. Mike also wrote the tracks for Don Henley’s “The Boys of Summer” and “The Heart Of The Matter,” and helped Petty produce this album.
In 1986, the band toured with Bob Dylan in Australia, New Zealand and Japan, which led to Dylan’s contribution on this song. In 1988, Petty and Dylan played together in The Traveling Wilburys, a band whose other members were Jeff Lynne, George Harrison and Roy Orbison.
In the lyrics, Petty mentions various places and events that were in the news and getting constant media exposure. Actors Vanessa Redgrave, Joe Piscopo and Eddie Murphy also show up.
Jammin’ Me
You got me in a corner You got me against the wall I got nowhere to go I got nowhere to fall
Take back your insurance Baby nothin’s guaranteed Take back your acid rain Baby let your T.V. bleed
You’re jammin’ me, you’re jammin’ me, Quit jammin’ me Baby you can keep me painted in a corner You can look away, but it’s not over
Take back your angry slander Take back your pension plan Take back your ups and downs of your life In raisin-land
Take back Vanessa Redgrave Take back Joe Piscopo Take back Eddie Murphy Give ’em all some place to go
You’re jammin’ me, you’re jammin’ me Quit jammin’ me Baby you can keep me painted in a corner You can walk away but it’s not over
Take back your Iranian torture And the apple in young Steve’s eye Yeah take back your losing streak Check your front wheel drive
Take back Pasadena Take back El Salvador Take back that country club They’re tr yin’ to build outside my door
I always thought of this song as the sister song to Who Are You. You Better You Bet was on Face Dances. This was the first album without Keith Moon and with Kenney Jones on drums.
Pete Townshend has said he wrote it “over several weeks of clubbing and partying” while the still-married guitarist was dating a younger woman. He said: “I wanted it to be a great song because the girl I wrote it for is one of the best people on the planet.”
The song peaked at #18 in the Billboard 100 in 1981. This was the first new Who album I ever bought. Face Dances wasn’t a bad album although they did indeed miss Keith Moon.
Roger Daltrey who was never a big proponent of Jones said: “A wonderful, wonderful song. The way the vocal bounces, it always reminds me of Elvis. But it was a difficult time, yeah. The Moon carry-on was much harder than carrying on after John, because we’re more mature now. I hate going over this but, in retrospect, we did make the wrong choice of drummers. Kenney Jones – don’t get me wrong, a fantastic drummer – but he completely threw the chemistry of the band. It just didn’t work; the spark plug was missing from the engine.”
“The first tour Kenney did with us, though, he was absolutely f–king brilliant,” Daltrey added. “But after that he settled into what he knew, which was his Faces-type drumming, which doesn’t work with The Who. In some ways I’d like to go back and re-record a lot of the songs on Face Dances, but ‘You Better, You Bet’ is still one of my favorite songs of all.”
From Songfacts
This is a love song written from the perspective of a guy who drinks and smokes too much. He and his girl have a clever rapport: when he tells her he loves her, she says, “You better.”
This was the first Who single recorded with drummer Kenney Jones, who had replaced Keith Moon after his death three years earlier.
The black-and-white music video features the band and keyboardist John Bundrick playing the song onstage. It was the fourth clip played upon MTV’s launch on August 1,1981 and was also the 54th visual to be aired on the fledgling music channel, making it the first video to be shown on MTV more than once.
The lyric, “I drunk my self blind to the sound of old T-Rex,” refers to the ’60s/’70s British glam rock band T-Rex, fronted by Marc Bolan. >>
The lead single from The Who’s Face Dances album, this was the last single by the band that reached the Top 20 on the Billboard Hot 100 and the Top 10 in the UK.
The keyboard line came from a Yamaha E70 organ Pete Townshend played using the Auto Arpeggio setting. He used the same setup to create the keyboard riff in “Eminence Front.”
You Better You Bet
You better you better you bet, ooh You better you better you bet, ooh You better you better you bet, ooh You better you better you bet, ooh
I call you on the telephone my voice too rough with cigarettes I sometimes feel I should just go home But I’m dealing with a memory that never forgets I love to hear you say my name especially when you say yes I got your body right now on my mind and I drunk myself blind To the sound of old T-Rex To the sound of old T-Rex, who’s next?
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) You better bet your life Or love will cut you like a knife
I want those feeble minded axes overthrown I’m not into your passport picture I just like your nose You welcome me with open arms and open legs I know only fools have needs but this one never begs
I don’t really mind how much you love me A little is really alright When you say come over and spend the night Tonight, tonight
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) You better bet your life Or love will cut you like a knife
I lay on the bed with you We could make some book of records Your dog keeps licking my nose And chewing up all those letters Saying you better You better bet your life
You better love me, all the time now You better shove me back into line now You better love me, all the time now You better shove me back into line now
I showed up late one night with a neon light for a visa But knowing I’m so eager to fight can’t make letting me in any easier I know that I’ve been wearing crazy clothes and I look pretty crappy Sometime But my body feels so good and I still sing a razor line everytime
And when it comes to all night living I know what I’m giving I’ve got it all down to a tee And it’s free
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet)
You better bet your life Or love will cut you just like a knife
Little Richard isn’t just a singer he is a force of nature. I think he would have been successful now or any decade. He is one of the best singers I’ve heard in rock and roll. His voice is brash, intense, rough, soulful, and magical. He takes you to the edge of the cliff and when you think he will go over he pulls it back.
The song peaked at #1 on the Billboard R&B chart, #21 on the US pop chart, and #10 on the UK charts.
Little Richard wrote this song. This was released at a time when Richard was hot…he sold millions of records in 1956 and 1957. His songs were also very successful for other artists, who sometimes outsold him with his own songs.
“Lucille” was covered by The Everly Brothers, who matched Richard’s #21 peak position on the charts with their version in 1960. Waylon Jennings had a #1 Country hit when he recorded this on his 1983 album It’s Only Rock and Roll, and other artists to cover the song include Van Halen, Deep Purple, Johnny Winter, Bill Haley & His Comets, Otis Redding, AC/DC and The Hollies.
Little Richard: “I don’t know what inspired me to write it, it may have been the rhythm.” Certainly, the lyrics serve the rhythm, with the nonsensical first line “Lucille, won’t you do your sister’s will” scanning to the beat.
From Songfacts
This song began as a ballad Richard wrote called “Directly From My Heart to You,” which he recorded as a member of The Johnny Otis band in 1955. “Directly From My Heart to You” was released by Peacock Records as a B-side, and when Little Richard recorded for Specialty Records in September 1955, he tried recording the song for his first album. It didn’t make the cut, but Richard’s career took off, and when he needed another single in 1957, he revived the song, but gave it the sound that made him a star, speeding up the tempo considerably.
The lyrics were completely rewritten, and Richard went to a common theme for his hits: a girl’s name. If Lucille was based on a real woman who broke Richard’s heart, he isn’t saying. If there was a real Lucille, it would probably be either Richard’s (female) lover Lee Angel, or his mentor Steve Reeder Jr., who performed under the name Esquerita. Little Richard hasn’t kept a lot of secrets, so it’s more likely that he did make up Lucille. His next single was also named after a girl: “Jenny, Jenny.”
In a 1999 interview with Mojo magazine, Richard explained: “The effects and rhythms you hear on my songs, I got ’em from the trains that passed by my house. Like ‘Lucille’ came from a train – Dadas-dada-dada-dada, I got that from the train.”
Other popular Lucille’s in music: B.B. King’s guitar is named Lucille, and Kenny Rogers had a hit with different song with the same title in 1977 – his is the one that goes, “You picked a fine time to leave me Lucille…”
The Everly Brothers 1960 version broke new ground but using several guitarists on the track all at once. Recorded in Nashville and arranged by Don Everly, that sound later appeared on Roy Orbison’s hit “(Oh) Pretty Woman.”
In 1993, Little Richard sang this on Sesame Street as “Rosita,” in tribute to the blue monster of the same name.
Lucille
Lucille, won’t you do your sister’s will? Oh, Lucille, won’t you do your sister’s will? Well, you ran away and left, I love you still.
Lucille, please, come back where you belong. Oh, Lucille, please, come back where you belong. I been good to you, baby, please, don’t leave me alone.
Lucille, baby, satisfy my heart. Oh, Lucille, baby, satisfy my heart. I slaved for you, baby, and gave you such a wonderful start.
I woke up this morning, Lucille was not in sight. I asked her friends about her but all their lips were tight. Lucille, please, come back where you belong. I been good to you, baby, please, don’t leave me alone.
When I heard this song it sounded so different than other songs at the time. It’s a well-written song lyrically and musically that has a folk feel to it. It could have been a hit in any era… the lyrics got my attention. While they’re standing in the welfare lines / crying at the doorsteps of those armies of salvation / wasting time in the unemployment lines / sitting around waiting for a promotion
The song remains one of my favorites from that era.
A still unknown Tracy Chapman was booked to appear down the bill at the Nelson Mandela birthday concert at Wembley Stadium on June 11, 1987. She had no reason to think her appearance would be the catalyst for a career breakthrough. After performing several songs from her self titled debut during the afternoon, Chapman thought she’d done her bit and could relax and enjoy the rest of the concert.
That would not be the case… later in the evening, Stevie Wonder was delayed when the computer discs for his performance went missing, and Chapman was ushered back onto the stage again. In front of a huge prime time audience, she performed “Fast Car” alone with her acoustic guitar. Afterward, the song raced up the charts on both sides of the Atlantic.
The song peaked at #6 in the Billboard 100, #1 in Canada, #6 in the UK, and #21 in New Zealand in 1988.
From Songfacts
Chapman (from Q magazine): “It’s not really about a car at all… basically it’s about a relationship that doesn’t work out because it’s starting from the wrong place.”
This won the Grammy Award in 1989 for Best Female Pop Vocal Performance.
This song returned to the UK singles chart in April 2011 after it was performed by contestant Michael Collings on the first edition of the fifth series of Britain’s Got Talent.
Two popular dance music cover versions were released near the end of 2015.
The producer Jonas Blue was just 21 when he released his version; he wasn’t alive when the original was released, but it was one of his mother’s favorite songs, so he heard it a lot growing up in England. He struggled to find a vocalist to bring the song to life, but he hit the mark when he tried a young singer named Dakota, whom he spotted performing in a pub. She ended up being the vocalist on the track. This version went to #1 in Australia and was a hit across Europe, reaching #2 in the UK. In America, it went to #1 on the Dance chart.
Around this same time, the Swedish remix man Tobtok (Tobias Karlsson) released his version with another mononymed vocalist, River. This version, which was accompanied by a video, was a modest hit in Australia, reaching #19.
Fast Car
You got a fast car I want a ticket to anywhere Maybe we make a deal Maybe together we can get somewhere Anyplace is better Starting from zero got nothing to lose Maybe we’ll make something Me, myself I got nothing to prove
You got a fast car I got a plan to get us out of here I been working at the convenience store Managed to save just a little bit of money Won’t have to drive too far Just ‘cross the border and into the city You and I can both get jobs And finally see what it means to be living
You see my old man’s got a problem He live with the bottle that’s the way it is He says his body’s too old for working His body’s too young to look like his My mama went off and left him She wanted more from life than he could give I said somebody’s got to take care of him So I quit school and that’s what I did
You got a fast car Is it fast enough so we can fly away We gotta make a decision Leave tonight or live and die this way
So remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car We go cruising to entertain ourselves You still ain’t got a job I work in a market as a checkout girl I know things will get better You’ll find work and I’ll get promoted We’ll move out of the shelter Buy a bigger house and live in the suburbs
I remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car I got a job that pays all our bills You stay out drinking late at the bar See more of your friends than you do of your kids I’d always hoped for better Thought maybe together you and me would find it I got no plans I ain’t going nowhere So take your fast car and keep on driving
I remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car But is it fast enough so you can fly away You gotta make a decision Leave tonight or live and die this way
Alex Ebert and Jade Castrinos starting this hippie type band in 2007. The consisted of 10-12 members at once. They tried to have a so-called campfire feel. If a musician messed up that was alright. Musicians would drop and reappear on a tour. They had one song that got a ton of airplay called Home in 2010.
This song resembles Instant Karma by John Lennon.
Janglin’ was used in commercials and it spiked its popularity in 2010.
In 2014, the band parted ways with Jade Castrinos, changing the dynamic of the band considerably…she and Ebert had broken up.
The band is named after a character from a novel Ebert was writing – Edward Sharpe is an otherworldly figure who comes to Earth to offer enlightenment to the masses, but finds himself getting distracted by the beautiful women.
Most listeners who weren’t buying this hippie vibe agreed that it was convincing, and even after they found an audience with this song, Ebert stayed steady to his creed, often blurring the lines between Edward Sharpe and his true self.
Janglin’
Well our mama’s they left us And our daddy’s took a ride And we walked out of the castle And we held our head up high Well we once were the Jesters In your Kingdom by the sea And now we’re out to be the masters For to set our spirits free – set free
[Chorus] We Want to feel ya! We don’t mean to kill ya! We come back to Heal ya – Janglin soul Edward and the Magnetic Zeros
Well your wartime is Funny Your guns don’t bother me I said we’re out to prove the truth of The man from Galilei Well your laws are for Dummies, yes Your institutions dead I say we’re out to blow the trumpet To wake you all from bed – from bed
[Chorus]
We carry the mail We carry it home We carry the Mail now We carry it home Scare up your Letters Give us your Tails Blowing like Whale now to Magnetic Ears WOW!
One of the first songs I noticed by Zeppelin when they were still a functioning band. As always in Zeppelin songs, Bonham really shines and he drives the song. BTW the B side to this song was Hot Dog. A fun rockabilly song with a hoe down guitar riff…that is the only way I know how to describe it.
Dave posted the Genesis’s song Misunderstanding the other day and I commented that I thought these two songs are sort of similar. The subject is very close (a guy waiting for the girl and both in the rain) and they do sound related…not exact copies at all but similar. Led Zeppelin’s song was recorded before and released before the Genesis song….I’m definitely not saying anything idea was ripped off… just a happy coincidence…anyway sorry about the detour.
This was on their last studio album (not counting Coda) In Through The Out Door. Fool In The Rain peaked at #21 in the Billboard 100, #12 in Canada, and #44 in New Zealand Top 50 Singles Chart in 1980.
This was the last Led Zeppelin song to chart in the US. The group didn’t release many singles, but they pegged this one for popular appeal. Zeppelin retired with six Top 40 hits in America.
From Songfacts
This song is about a guy who is supposed to meet a woman on a certain corner. When the woman doesn’t show up, he thinks he’s been stood up. It turns out he was just standing on the WRONG corner and is now a “fool in the rain.”
This song was never performed live because the group didn’t think the sound came off well. The piano was quite necessary in the song, but with John Paul Jones on piano there could be no bass, and the bass is very important in this one. There is also a twelve-string line at one point in the song and the guitar solo that has to be pulled off. The middle section was another issue.
Jimmy Page used regular distortion on this song, as well as an obscure effect called a called a blue box, which is a fuzz/octave pedal. This fuzzes (or distorts) the guitar, then drops it down two whole octaves. James Taylor’s bassist has used this effect.
Mexican rockers Mana recorded this for the Spanish language market edition of the tribute album Encomium.
Here are the two songs.
Fool In The Rain
Oh, baby Well there’s a light in your eye that keeps shining Like a star that can’t wait for night I hate to think I been blinded baby Why can’t I see you tonight? And the warmth of your smile starts a burning And the thrill of your touch give me fright And I’m shaking so much, really yearning Why don’t you show up and make it alright, yeah? It’s alright right
And if you promised you’d love so completely And you said you would always be true You swore that you never would leave me baby Whatever happened to you? And you thought it was only in movies As you wish all your dreams would come true, hey It ain’t the first time believe me baby I’m standing here feeling blue, blue ha! Yes I’m blue Oh, babe
Now I will stand in the rain on the corner I watch the people go shuffling downtown Another ten minutes no longer And then I’m turning around, ’round And the clock on the wall’s moving slower Oh, my heart it sinks to the ground And the storm that I thought would blow over Clouds the light of the love that I found, found
Light of the love that I found Light of the love that I found Oh, that I found
Hey, babe, ooh
Hand that ticks on the clock Just don’t seem to stop When I’m thinking it over Oh, tired of the light I just don’t seem to find Have you wait, yeah played Whoa, I see it in my dreams But I just don’t seem to be with you, you I gotta get it all, gotta get it all, gotta get it all I’ve got to get all
Ooh now my body is starting to quiver And the palms of my hands getting wet, oh I got no reason to doubt you baby It’s all a terrible mess And I’ll run in the rain till I’m breathless When I’m breathless I’ll run ’til I drop, hey! And the thoughts of a fool’s kind of careless I’m just a fool waiting on the wrong block, oh yeah
Hey, now, oh, oh, oh Light of the love that I found Light of the love that I found Light of the love that I Light of the love that I found Light of the hey, now light of the hey, now Light of the love that I found Light of the love that I found
What do the Monkees and Dwight Yoakum have in common? They both covered this song.
Tomorrow’s Gonna Be Another Day is a song written by Tommy Boyce and Steve Venet that appears on The Monkees, the debut album of the Monkees.
Micky sang the lead on this song. He is the only Monkee on this recording but this setup fell away quickly as the band began to take ownership of their music and come into their own as musicians and songwriters by the 3rd album. This song has the same sound as Last Train To Clarksville…it is a nice pop song.
It was not released as a single but it was a solid song for the Monkees brand of pop.
Dwight Yoakam also covered this song. The song was on his album Tomorrow’s Gonna Be Another Day and was released in the summer of 2016.
Tomorrow Is Gonna Be Another Day
I’m gonna pack up my pain, I been a keepin’ in my heart, I’m gonna catch me the fastest train And make me a brand new start But that’s okay, Tomorrow’s gonna be another day, Hey, hey, hey. And I don’t care what they say Tomorrow’s gonna be, tomorrow’s gonna be, Tomorrow’s gonna be another day. Yay, yay, yay, Yay, yay, yay.
They say there’s a lotta fish, Swimmin’ in the deep blue sea, I’m gonna catch me a pretty one And she’ll be good to me. But that’s okay, Tomorrow’s gonna be another day, Hey, hey, hey. And I don’t care what they say Tomorrow’s gonna be, tomorrow’s gonna be, Tomorrow’s gonna be another day. Yay, yay, yay, Yay, yay, yay.
Well, I ain’t gonna think about ya, ‘Cause it ain’t no use no more, I’m gonna make it fine without ya, Just like I did before, I’m on my way. Tomorrow’s gonna be another day, Hey, hey, hey. And I don’t care what they say Tomorrow’s gonna be, tomorrow’s gonna be, Tomorrow’s gonna be another day. Yay, yay, yay, Yay, yay, yay.
This song was on The Car’s great debut album that just keeps giving. “Good Times Roll” was released as the third single from the album.
Ric Ocasek wrote and sang lead on this song. None of the songs were huge hits but 6 songs off of the album still get played on radio today. Rolling Stone also ranked the album No. 284 in its “500 Greatest Albums of All Time” list.
This song peaked at #41 in the Billboard 100 and #74 in Canada in 1979.
Ric Ocasek: “I just remember when we did ‘Good Times Roll’ in the studio in England on the first record, and we heard back the vocals. I told Roy that I thought it was way, way too much. … But you know, it grew on me later and it sounded so smooth. It was a nice process to do it because Roy, you know, was fortunate enough to have a 40-track machine … so he could do layering of vocals a lot.”
Good Times Roll
Let the good times roll Let them knock you around Let the good times roll Let them make you a clown
Let them leave you up in the air Let them brush your rock and roll hair
Let the good times roll Let the good times roll Let the good times roll
Let the stories be told They can say what they want Let the photos be old Let them show what they want
Let them leave you up in the air Let them brush your rock and roll hair Let the good times roll Let the good times roll-oll Won’t you let the good times roll
Good times roll
If the illusion is real Let them give you a ride If they got thunder appeal Let them be on your side
Let them leave you up in the air Let them brush your rock and roll hair Let the good times roll Won’t you let the good times roll-oll Let the good times roll
Let the good times roll Won’t you let the good times roll Well let the good times roll Let ’em roll (good times roll)
Let the good times roll Let the good times roll Ooh let the good times roll Let ’em roll (good times roll)
Let the good times roll (Let the good times roll) Let the good times roll Good times roll (Let the good times roll) Let the good times roll Let ’em roll
Yes, this has been played to death but it still sounds good. No frills rock and roll from the early seventies.
I have a new appreciation for the song. The guys come over…well before the lockdown…and play music in my garage. Someone brought this one up and started to play it a couple of months ago and we started to play…it is a great song to play and hear live.
The song peaked at #4 in the Billboard 100, #4 in Canada, and #2 in the UK in 1970. It was featured on the Fire and Water album. In 1991, the song was remixed and re-released, reaching #8 in the UK again.
The song was written by Andy Fraser and Paul Rodgers.
This topped a 2010 online fan poll by UK radio station Planet Rock for the “Greatest Rock Singles.” Said Paul Rodgers: “When I started writing ‘All Right Now’ the lyrics and the melody flowed easily. It felt special and it’s still special to me and the fans. It’s a ‘must play’ in my solo set.”
Simon Kirke (Drummer):“‘All Right Now’ was created after a bad gig in Durham, England. Our repertoire at that time was mostly slow and medium paced blues songs which was alright if you were a student sitting quietly and nodding your head to the beat. However, we finished our show in Durham and walked off the stage to the sound of our own footsteps. The applause had died before I had even left the drum riser. When we got into the dressing room, it was obvious that we needed an uptempo number, a rocker to close our shows. All of sudden, the Inspiration struck (bass player Andy) Fraser, and he started bopping around singing ALL RIGHT NOW… He sat down and wrote it right there in the dressing room. It couldn’t have taken more than 10 minutes.”
Paul Kossoff was the guitar player and influenced a generation of guitar players before and after his early death in 1976.
From Songfacts
In the CD Molten Gold – An Anthology, Free drummer Simon Kirke explained:
Andy Fraser (Free’s Bass Player): “We’d started work on our third album, Fire and Water and things were going well. The idea for ‘All Right Now’ came about on a rainy Tuesday night in some god-forsaken minor city – I can’t remember where – in England. We were playing a college that could have held 2,000 but had something like 30 people out of their heads on Mandrax bumping into each other in front of us. They didn’t notice when we came on or when we went off.
Afterward, there was that horrible silence in the dressing room. To break the intensity, I started singing, ‘All right now…come on baby, all right now.’ As if to say, Hey, tomorrow’s another day. Everyone else started tapping along. That riff was me trying to do my Pete Townshend. We listened to everything, though: The Beatles, Stax and Motown, Gladys Knight And the Pips was one of our main influences then.
Paul (Rodgers) said he wrote the lyrics while he was waiting for us to pick him up for another gig. We used to have a dressing room amp, so every night we’d do the song and add a bit until we tested it live.”
This is the first hit song with vocals by Paul Rodgers. He later joined Bad Company and also played with The Firm and Queen.
This song really took off after Free’s performance at the Isle of Wight Festival on August 31,1970 at the East Aftom Farm, Aftom Down, where over 600,000 people attended. Los Angeles disc jockey Joe Benson told Paul Rodgers during an on air interview that “All Right Now” is playing over the airwaves somewhere around the world once every 45 seconds.
Free weren’t able to follow up this song with another hit, as the next single, “Stealer,” stalled at #49 in America and didn’t chart at all in the UK. In a Songfacts interview with Simon Kirke, he said: “It became a bit of an albatross around our necks, I have to say. Even though it elevated Free into the big leagues, it became a bit of an albatross because we couldn’t follow it. It became a huge hit all around the world, only because we wanted to have something that people could dance to, but then, of course, we had to follow it up, and Island Records were desperate for us to follow it up.
Really it was just a one-off for us, and when the follow-up to ‘All Right Now’ died a death – it was called “The Stealer” – and the album that followed, Fire and Water, from which ‘All Right Now’ was taken, when that didn’t do very well, we took it to heart and the band broke up. So, in an indirect way, ‘All Right Now’ was not very good for the band, I have to say.
But, by the same token, it’s been such a durable song. I play it in my solo shows, I played it with Ringo Starr and I think one of the highlights of my career.”
The album version is over a minute longer than the radio edit, which had a shorter guitar solo.
The song has soundtracked numerous commercials in the UK, most famously in 1990 when it featured in a TV ad for Wrigley’s chewing gum, which generated enough interest to return the tune to the UK charts. “I can’t keep track of where it’s turned up,” Paul Rodgers ruefully told The Independent April 7, 2010. “Island Records owned the publishing rights to all our songs in perpetuity. In theory, they’re supposed to call me and ask, ‘Can we use this song in this way?’ but they often don’t. I think if the money’s good enough, they just go, ‘Yes! Wrigley’s? YES!!'”
A less satisfactorily tie-in came when the song was used to advertise a foot-odor powder on television. “You use this stuff on your feet and the song comes on to signify that your feet are All Right Now, you see,” Rogers said acidly. “I rang Chris Blackwell about it. He had it taken off pretty smartly.”
The song has been covered by many bands and artists, including Mike Oldfield, Rod Stewart, Christina Aguilera, the Runaways and, ex-Wham! backing singers Pepsi & Shirlie.
When Paul Rodgers teamed up with Queen in 2004 to tour as Queen + Paul Rodgers, this was a regular part of their set list and a crowd favorite.
It’s Alright Now
There she stood in the street Smiling from her head to her feet I said hey, what is this Now baby, maybe she’s in need of a kiss I said hey, what’s your name baby Maybe we can see things the same Now don’t you wait or hesitate Let’s move before they raise the parking rate
All right now baby, it’s all right now All right now baby, it’s all right now
I took her home to my place Watching every move on her face She said look, what’s your game baby Are you tryin’ to put me in shame? I said “slow don’t go so fast, Don’t you think that love can last? She said Love, Lord above Now you’re tryin’ to trick me in love
All right now baby, it’s all right now All right now baby, it’s all right now
Yeah, it’s all right now Oh yeah
Let me tell you all about now Took her home to my place Watching every move on her face She said look, what’s your game Are you tryin’ to put me in shame? Baby,I said “slow don’t go so fast Don’t you think that love can last? She said love, Lord above Now he’s tryin’ to trick me in love
All right now baby, it’s all right now All right now baby, it’s all right now
All right now baby, it’s all right now All right now baby,baby,baby it’s all right now All right now baby, it’s all right now All right now baby, it’s all right now (All right now baby, it’s all right now) We are so happy together it’s alright,it’s alright,it’s alright (Everything alright) all right now baby, it’s all right now
I remember this song from the late 80s. The best I can remember it was on an alternative radio station. It’s a nice piece of jangly power pop that stuck with me for a while.
They are best known for this song…Crash and it was released in 1988. The song peaked at #5 in the Uk charts and #3 in the U.S. Billboard Modern Rock Tracks. They were not a one-hit-wonder though. They charted 5 top twenty songs in the U.S. Billboard Modern Rock Tracks…and charted 7 songs in the UK in their career but none as big as this one.
I f you like jangly power-pop like me…go check some of their vintage and new music out.
The Primitives formed during 1984 and created catchy and jangly songs that seemed to be influenced by 1960s pop and psychedelia. They were initially called an indie group and released their songs on their own label which was called Lazy.
The band then went on to sign with RCA records. While at RCA they released more original material but also re-recorded some of their earlier Lazy label songs.
They broke up in 1992 but reformed in 2009 and have been releasing albums and singles since then.
In 1994, the song was featured on the Dumb & Dumber movie soundtrack as “Crash (The ’95 Mix)”. This remix included additional guitars, percussion, organ, and backing vocals – none of which were performed by any of The Primitives.
Crash
Here you go, way too fast Don’t slow down, you’re gonna crash You should watch, watch your step Don’t look out, gonna break your neck
So shut, shut your mouth Cause I’m not listening anyhow I’ve had enough, enough of you Enough to last a lifetime through
So what do you want of me Got no words of sympathy And if I go around with you You know that I get messed up, too With you
Na na na na na na na na na Na na na na na na na na na
Here you go, way too fast Don’t slow down, you’re gonna crash You don’t know what’s been going down You’ve been running all over town
So shut, shut your mouth Cause I’m not listening anyhow I’ve had enough, enough of you Enough to last a lifetime through [Lyrics from: https:/lyrics.az/the-primitives/lovely/crash.html]
So what do you want of me Got no cure for misery And if I go around with you You know that I get messed up, too With you With you With you
Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash)
Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash)
This song was on the Edmunds solo album Repeat When Necessary. It was released in 1979 on Led Zeppelin’s record label Swan Song. The album peaked at #54 in the Billboard 100 in 1979.
Crawling From The Wreckage peaked at #59 in the UK when released.
The musicians on the album are Edmunds, Lowe, Billy Bremner, and Terry Williams…known as Rockpile.
This song was written by Graham Parker…below are both versions.
Crawling From The Wreckage
Got out really early from the factory Drivin’ like a nut in the rain Don’t think I was actin’ so hysterically But I didn’t see a thing until it came Met the dumb suburbos in the takeaway Beating up the Chinee at the counter I put a few inside me at the end of the day I took out my revenge on the revolution counter
Crawlin’ from the wreckage, Crawlin’ from the wreckage You’d think by now at least that half my brain would get the message Crawlin’ from the wreckage, Crawlin’ from the wreckage Into a brand new car
In walks Bud with his exploding nose He’s been giving it maximum today Shouted, How the devil, you in trouble, I suppose All you ever do is run away Gunned up the motor inta hyperdrive I wasn’t gonna take any of that Don’t get bright ideas about a suicide ‘Cause all I ever hear is, Zoom, bam, fantastic
Crawlin’ from the wreckage Crawlin’ from the wreckage You’d think by now at least that half a brain would get the message Crawlin’ from the wreckage Crawlin’ from the wreckage Into a brand new car
Crawlin’, crawlin’, crawlin’ from the wreckage Crawlin’, crawlin’, crawlin’ from the wreckage Crawlin’, crawlin’, crawlin’ from the wreckage
Crawlin’ from the wreckage, Crawlin’ from the wreckage Bits of me are scattered in the trees and in the hedges Crawlin’ from the wreckage, Crawlin’ from the wreckage Into a brand new car
Nothin’ seems to happen that ain’t happened before I see it all through flashes of depression I drop my drink and hit some people runnin’ for the door Gotta make some kind of impression ‘Cause when I’m disconnected from the drivin’ wheel I’m only half the man I should be Metal hitting metal is-a all I feel Everything is good as it poss-i-bul-ly could be
Crawlin’ from the wreckage, Crawlin’ from the wreckage You’d think by now at least that half a brain would get the message Crawlin’ from the wreckage, Crawlin’ from the wreckage Into a brand new car
Crawlin’ from the wreckage, Crawlin’ from the wreckage Bits of me are scattered in the trees and in the hedges Crawlin’ from the wreckage, Crawlin’ from the wreckage Into a brand new car
Crawlin’ from the wreckage, Crawlin’ from the wreckage
This song is really positive and positive is a good thing right now.
Ray Davies wrote this song in 1979 during the Low Budget sessions. It was written about Ray’s failing marriage to Yvonne Gunner…his second marriage. The band tried to record it for their album Low Budget that year, but couldn’t make it work.
It ended up on the Album “Give The People What They Want.” That was the first new Kinks album I ever bought. It’s a good album…some punk influence along with what the Kinks do best.
This song peaked at #92 in 1982 in the Billboard 100. The album peaked at #15 in the Billboard Album Charts in 1981.
From Songfacts
“Better Things,” written by Kinks’ frontman Ray Davies, was a single released in August of 1981 in the US, but not until January of 1982 in the UK. It is a cheerful, uplifting song, and so it fulfills what seemed to be a rule with The Kinks’ later albums, to end each album on a positive note: See also “Get Up” from Misfits, and “Life Goes On” from Sleepwalker.
The single’s initial copies came with a lagniappe 7-inch vinyl containing live versions of “Lola” and “David Watts,” which had been recorded on American tours in 1979 and 1980.
Artists who have covered this song include Bouncing Souls, Dar Williams, and Fountains of Wayne, the last of which was for a tribute album The Modern Genius of Ray Davies, arranged by the British music magazine Mojo.
The last track on Give The People What They Want, this song changes the tone of the album, which to this point is very unsettling and cynical (the penultimate song is “A Little Bit of Abuse”). “It’s just a change, a musical trick,” Ray Davies told Creem. “But I really like the song, ‘Better Things.’ It gives me hope. And after a song like ‘A Little Bit Of Abuse,’ you need some hope.”
Better Things
Here’s wishing you the bluest sky And hoping something better comes tomorrow Hoping all the verses rhyme And the very best of choruses, too Follow all the doubt and sadness I know that better things are on the way
Here’s hoping all the days ahead Won’t be as bitter as the ones behind you Be an optimist instead And somehow happiness will find you Forget what happened yesterday I know that better things are on the way
It’s really good to see you rocking out And having fun Living like you’ve just begun Accept your life and what it brings I hope tomorrow you’ll find better things I know tomorrow you’ll find better things
Here’s wishing you the bluest sky And hoping something better comes tomorrow Hoping all the verses rhyme And the very best of choruses, too Follow all the doubt and sadness I know that better things are on the way
I know you’ve got a lot of good things happening up ahead The past is gone, it’s all been said So here’s to what the future brings I know tomorrow you’ll find better things I know tomorrow you’ll find better things I hope tomorrow you’ll find better things I know tomorrow you’ll find better things I hope tomorrow you’ll find better things
Our House…that is where most of us are today and for days to come. Here is a ballad that Graham Nash wrote for the Déjà Vu album. The first album to include Crosby, Stills, Nash, AND Young.
Graham Nash wrote this sentimental tune about his relationship living with Joni Mitchell in a cottage in LA’s Laurel Canyon around 1969. Mitchell and Nash were a romantic couple during the period in which Joni wrote the songs for Ladies Of The Canyon which, like Deja Vu, was released in 1970.
Our house peaked at #30 in the Billboard 100, #13 in Canada, and #19 in New Zealand in 1970.
Graham Nash: It was one of those gray cloudy days in Los Angeles that foreshadows the spring. When we got back and put our stuff down, I said, “I’ll light a fire”—she had an open fireplace with a stash of wood in the back—“why don’t you put some flowers in that vase you just bought. It’ll look beautiful. It’s kind of a bleak day. It’ll bring some more color into the room.” Then I stopped. I thought: Whoa! That’s a delicious moment. How many couples have been there: You light a fire, I’ll cook dinner. I thought that in the ordinariness of the moment there might be a profoundly simple statement. So Joni went out into the garden to gather ferns and leaves and a couple flowers to put in the vase. That meant she wasn’t at the piano—but I was! And within the hour, the song “Our House” was finished.
From Songfacts
Biographer Dave Zimmer shared what Graham Nash told him about the song in the 2007 CSNY Historian’s interview: “He once told me: ‘The time that Joni and I were living together was really interesting because I had left my band [The Hollies] successfully, I had left my country [England] successfully, I had been accepted here [Los Angeles, California], and I was feeling great. And Joni was feeling great, too; she had started to realize who she was and the fantastic work she was doing. She was painting and designing her second album cover, doing that self-portrait. And I remember being totally in awe of her. She’d go and make some supper and come down and we’d be eating, then she’d all of a sudden space out, go to the piano … to see her sit down and write ‘Rainy Night House’ and all those other things was just mind blowing.'”
According to Graham Nash’s biography Wild Tales, a famous line in this song had a very specific inspiration. He and Joni Mitchell went to an antiques store and she picked out a vase. When they got home, Nash said, “I’ll light the fire while you place the flowers in the vase that you bought today.” He stopped dead in his tracks and went immediately to the piano.
In the earliest live performances of the song, Nash would introduce it as being “about my woman.” He never used Mitchell’s name, though.
This was used in ’80s TV spots for Eckrich sausage and the Pacific Bell telephone company.
Our House
I’ll light the fire, you place the flowers in the vase that you bought today Staring at the fire for hours and hours while I listen to you Play your love songs all night long for me, only for me
Come to me now and rest your head for just five minutes, everything is good Such a cozy room, the windows are illuminated by the evening Sunshine through them, fiery gems for you, only for you
Our house is a very, very fine house with two cats in the yard, life used to be so hard, Now everything is easy ’cause of you and our la, la, la…
Our house is a very, very fine house with two cats in the yard, life used to be so hard, Now everything is easy ’cause of you and our
I’ll light the fire, while you place the flowers in the vase that you bought today
Love the Beggars Banquet album (1968) and this song in particular. Mick remembers the working class in this song. It was written by Mick and Keith.
It’s a mostly acoustic number, with Charlie Watts playing tabla and Ric Grech sitting in on fiddle. Grech was a violinist and bass player who was a member of the band Family in the ’60s and went on to play in Blind Faith with Eric Clapton. He also played on Gram Parsons’ solo albums in the ’70s, and he appears on Ron Wood and Ronnie Lane’s 1976 Mahoney’s Last Stand project.
Dave Mason, who did some session work for Jimi Hendrix and was a member of the band Traffic, played the mandolin on this song.
The song wasn’t released as a single but it’s a great song like most of what’s on Beggars Banquet.
Drummer Charlie Watts: “On Factory Girl, I was doing something you shouldn’t do, which is playing the tabla with sticks instead of trying to get that sound using your hand, which Indian tabla players do, though it’s an extremely difficult technique and painful if you’re not trained.”
From Songfacts
This song is a great example of Mick Jagger taking on a persona, which he often did in his lyrics. Here, he sings from the perspective of a guy who is waiting for his girlfriend – a destitute, disheveled sort – to get out of work at the factory. It’s quite a contrast to Jagger’s reality: a glamorous rock star who often dated models.
Guitarist Keith Richards: “To me ‘Factory Girl’ felt something like Molly Malone, an Irish jig; one of those ancient Celtic things that emerge from time to time, or an Appalachian song. In those days I would just come up and play something, sitting around the room. I still do that today.”
Factory Girl
Waiting for a girl who’s got curlers in her hair Waiting for a girl she has no money anywhere We get buses everywhere Waiting for a factory girl
Waiting for a girl and her knees are much too fat Waiting for a girl who wears scarves instead of hats Her zipper’s broken down the back Waiting for a factory girl
Waiting for a girl and she gets me into fights Waiting for a girl, we get drunk on Friday night She’s a sight for sore eyes Waiting for a factory girl
Waiting for a girl and she’s got stains all down her dress Waiting for a girl and my feet are getting wet She ain’t come out yet Waiting for a factory girl
Bruce makes it abundantly clear that he is not going to town, nor dinner, or in any way… up…nope he is going down, down, down etc… He repeats “down” over eighty times in this song…My word count counts 90 in the song. I don’t care…its a good song and as Bruce always does he sings it with conviction.
The reason I like this song is the overall sound that Bruce got on the guitar and the echo in his voice… it’s just perfect. I can hear the Sun Records influence in this one.
Born In The USA was the album I listened to endlessly in 1984-1985. You heard it everywhere you turned. A friend of mine (big Bruce fan from the old days) saw Bruce in 85 and he was depressed that Bruce was no longer a cult performer anymore. The horse was out of the barn so to speak…The public knew and knew him well. Bruce and that bandana were all over the news and any magazine you read.
Born in the USA had 7 top ten singles… I’m Going Down peaked at #9 in the Billboard 100 and #23 in Canada in 1985. The album was released on June 4, 1984… this song was at #9 over a year later on October 25, 1985. This was the 6th of the 7 singles to go to the top 10. My Hometown being the last in January of 1986…and it peaked at #6… within 5 months of two years after the release.
Lets fire up the Delorean and go back to 1985…please…
I’m Going Down
We sit in the car outside your house
I can feel the heat coming ’round
I go to put my arm around you
And you give me a look like I’m way out of bounds
Well you let out one of your bored sighs
Well lately when I look into your eyes
Down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
We get dressed up and we go out, baby, for the night
We come home early burning, burning, burning in some fire fight
I’m sick and tired of you setting me up yeah
Setting me up just to knock-a knock-a knock-a me down
Down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down, hey now
I pull you close now baby but when we kiss I can feel a doubt
I remember back when we started
My kisses used to turn you inside out
I used to drive you to work in the morning
Friday night I’d drive you all around
You used to love to drive me wild yeah
But lately girl you get your kicks from just driving me down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, hey bopa d-d-down
Hey hey mmm bopa bopa well down
Hey babe mmm bopa bopa said down
Hey hey mmm bopa bopa well down
Hey hey mmm bopa bopa say
Hey unh say down, down, down, down, down
Hey down now, say down, down, down, down, down
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