Category: Singles

AC/DC – Highway To Hell

This was the first AC/DC song to chart in the US. It helped drive huge sales for the Highway To Hell album, which has sold over seven million copies in America. It was AC/DC’s sixth album, and the last with vocalist Bon Scott, who died in 1980. The song charted at #37 in Billboard 100 in 1979.

Angus Young described Highway to Hell about touring in American but Highway to Hell’s origin was the nickname for the Canning Highway in Australia. It runs from where lead singer Bon Scott lived in Fremantle and ends at a pub/bar called The Raffles, which was a big rock ‘n roll drinking hole in the ’70s. As Canning Highway gets close to the pub, it dips down into a steep decline.

 

Brian Johnson: “It was written about being on the bus on the road where it takes forever to get from Melbourne or Sydney to Perth across the Nullarbor Plain. When the Sun’s setting in the west and you’re driving across it, it is like a fire ball. There is nothing to do, except have a quick one off the wrist or a game of cards, so that’s where Bon came up with the lyrics.”

 

From Songfacts

So many people where killed by driving fast over that intersection at the top of the hill on the way for a good night out, that it was called the highway to hell, so when Bon was saying “I’m on the highway to hell” it meant that he was doing the nightly or weekly pilgrimage down Canning Highway to The Raffles bar to rock and drink with his mates: “Ain’t nothing I would rather do. Going down, party time, my friends are gonna be there too.”

Mutt Lange, who has also worked with The Cars, Bryan Adams, and Def Leppard (and Shania Twain, who he was married to from 1993-2008), produced the album. Lange took over after after failed sessions with Eddie Krammer, who had a solid resumé that included work with Led Zeppelin and Jimi Hendrix, but whose procedural style didn’t work for AC/DC.

Lange was able to enhance the band’s sound without altering their essence. On this song, he added robust background vocals to the choruses – something AC/DC didn’t do on their previous efforts. This and other production refinements helped made the song a hit and expand their audience.

Recorded in London, Highway To Hell was the first AC/DC album recorded outside of Australia. The album cover had Angus Young on the cover wearing his schoolboy uniform and devil horns. Some religious groups found this quite offensive.

Serial killer Richard Ramirez claimed this album compelled him to murder. He believed AC/DC stood for “Anti Christ/Devil’s Child.”

In the film School of Rock Jack Black teaches the riff to the guitarist in the band. The song was also featured in the Movie Little Nicky, starring Adam Sandler.

The AC/DC bluegrass tribute band Hayseed Dixie covered this on their 2001 album, A Hillbilly Tribute To AC/DC.

AC/DC performed this at the Rock and Roll Hall of Fame ceremony when they were inducted in 2003. Aerosmith lead singer Steven Tyler inducted them, saying, “There is no greater purveyor of the power chord.”

The chorus to the song was used in the 2010 movie Percy Jackson and the Olympians: the Lightning Thief. 

A campaign to make the this the top song on the UK singles chart for Christmas 2013 resulted in a #4 placing and AC/DC’s first top 10 British hit in a 40-year career. The Anglo-Australian hard rockers had previously been the most successful act never to have had a Top 10 hit single in the UK, having achieved a grand total of 30 chart entries, none of which have ever peaked any higher than #12 (that honor went to 1988 hit “Heatseeker”).

When this song was released, there really was a “Highway to Hell” in America: Route 666. This section of highway ran through Arizona and Utah; it was later renumbered after various ghost stories emerged about unexplained happenings on the road.

AC/DC, who didn’t win their first Grammy Award until 2010 (Best Hard Rock Performance for “War Machine”), played this at the 2015 ceremony. They opened the telecast with “Rock or Bust,” then segued into “Highway.”

This is the song that gets Peter Griffin banished from Amish country on the Season 10 episode of Family Guy titled “Amish Guy.” Looking to introduce the Amish to rock and roll, he produces a boom box and plays the song for their leader, who does not approve.

When AC/DC was accused of backmasking Satanic messages on their Highway To Hell record, Angus Young responded: “You didn’t need to play [the album] backwards, because we never hid [the messages]. We’d call an album Highway To Hell, there it was right in front of them.”

Highway To Hell

Livin’ easy
Lovin’ free
Season ticket on a one way ride
Askin’ nothin’
Leave me be
Takin’ everythin’ in my stride
Don’t need reason
Don’t need rhyme
Ain’t nothin’ that I’d rather do
Goin’ down
Party time
My friends are gonna be there too

I’m on the highway to hell
On the highway to hell
Highway to hell
I’m on the highway to hell

No stop signs
Speed limit
Nobody’s gonna slow me down
Like a wheel
Gonna spin it
Nobody’s gonna mess me around
Hey, Satan
Payin’ my dues
Playin’ in a rockin’ band
Hey, mamma
Look at me
I’m on the way to the promised land

I’m on the highway to hell
Highway to hell
I’m on the highway to hell
Highway to hell

Don’t stop me

I’m on the highway to hell
On the highway to hell
I’m on the highway to hell
On the highway to hell

(highway to hell) I’m on the highway to hell
(highway to hell) highway to hell
(highway to hell) highway to hell
(highway to hell)

And I’m goin’ down
All the way
I’m on the highway to hell

Martin Briley – Salt In My Tears

With a line like “You Ain’t Worth The Salt In My Tears” in a song…how could you not listen? This song was released in 1983 and reached #36 on the Billboard Charts. I liked the song because it had a catchy guitar riff that stood out at the time with all the synth music going on.

This was Briley’s only charting single as a solo artist. He released 3 albums on the Mercury label in the early 1980s and was in the groups Mandrake Paddle Steamer, Liverpool Echo, Greenslade, and Ian Hunter’s band. He also worked as a session guitarist and singer for artists like Andy Williams and Meatloaf. He wrote songs for Kenny Loggins, Pat Benatar, and Celine Dion.

Martin Briley is a talented musician… below is from Wikipedia

Briley has received orchestral commissions, and has written songs for such artists as Céline Dion, *NSYNC, Dream, Michael Bolton, Mietta, Kenny Loggins, Pat Benatar, Jessica Andrews, Five Star, Jeff Healey, Rebecca St. James, Nana Mouskouri, Willie Nile, Gregg Allman, Night Ranger, David Hasselhoff, Patrick Swayze, Michael Monroe, Chastity Bono, Peter Tork, Nikki Webster, Hope Partlow, Natascha Sohl, Ballas Hough, Phil Stacey, Orianthi, The Maine and Barry Manilow.

Salt In My Tears

I never did it, no, I won’t admit it
Why should I lie for you anymore
You never loved me
You pushed and shoved me
I see the woman I never saw

I saw you laugh when the knife was twisted
It still hurts but the pain has shifted
I’m looking back at the time that drifted by
But I won’t cry for the wasted years
Cause you ain’t worth the salt in my tears

Feeling neglected, used and rejected
You need a shoulder to lean upon
Baby you picked him, found your next victim
Don’t worry, someone will come along

I broke the spell that you kept me under
I had enough of the rain and thunder
I lost track of the time and I wonder why
But I won’t cry for the wasted years
Cause you ain’t worth the salt in my tears

I’ll sit around and drink a few more beers
Until the memory just disappears
Cause you ain’t worth the salt in my tears

I saw you laugh when the knife was twisted
It still hurts but the pain has shifted
I’m looking back at the time that drifted by
But I won’t cry for the wasted years
Cause you ain’t worth the salt in my tears

Cause you ain’t worth the salt in my tears
Cause you ain’t worth the salt in my tears

Faces – Ohh La La

What a great song from The Faces. The song was written by Ronnie Lane and Ronnie Wood and sung by Wood. That is strange because The Faces had one of the best lead singers around at the time…Rod Stewart.

Stewart by this time was soaring as a solo artist and his interest in the Faces was waning. He claimed the song was not in his key to sing. He did do vocals for it then and Lane but Wood ended up singing the released version.

The Faces had one big hit…Stay With Me but this song is their greatest song to me. Rod Stewart finally covered the song in 1998 for a tribute to Ronnie Lane. Ronnie Lane did his own version with his band Slim Chance. Ronnie Wood also does it live in solo shows.

A song between Granddad and Son about the ways of love. The song never ages because the subject matter never changes and it is continually passed along. The song creates an atmosphere and Wood who is not known for his singing ability did a great job on this one.

The song was included in the 1998 film Rushmore and enjoyed renewed popularity.

It’s one of my favorite songs of all time. Just a beautiful melody and words.

Ohh La La

Poor old granddad
I laughed at all his words
I thought he was a bitter man
He spoke of woman’s ways

They’ll trap you, then they use you
Before you even know
For love is blind and you’re far too kind
Don’t ever let it show

I wish that I knew what I know now
When I was younger
I wish that I knew what I know now
When I was stronger

The can can’s such a pretty show
They’ll steal your heart away
But backstage, back on earth again
The dressing rooms are gray

They come on strong and it ain’t too long
Before they make you feel a man
But love is blind and you soon will find
You’re just a boy again

When you want her lips, you get a cheek
Makes you wonder where you are
If you want some more and she’s fast asleep
Then she’s twinkling with the stars
Poor young grandson, there’s nothing I can say
You’ll have to learn, just like me
And that’s the hardest way
Ooh la la, ooh la la la yeh
I wish that I knew what I know now
When I was younger
I wish that I knew what I know now
When I was stronger

 

 

Bob Dylan – Rainy Day Women #12 And 35

I would say this is a little out of character for Bob. A very commercial song with laughter and what sounds like a drunken Salvation Army band.  With the popular sing-along chorus of “Everybody Must Get Stoned,” many people thought it was a drug song at the time. Dylan has denied it saying “I never have and never will write a drug song. I don’t know how to. It’s not a drug song, it’s just vulgar. I like all my songs. It’s just that things change all the time.”

Bob’s story was that while he was recording the song, two females happened to come into the studio to get out of heavy rain that was falling. As the story goes, Dylan correctly guessed their ages to be 12 and 35. I t was recorded in Nashville.

Whatever is true…it didn’t hurt it’s climbing up the charts. it peaked at #2 in the Billboard 100, #3 in Canada, #13 in New Zealand and #7 in the UK in 1966. It was banned on some radio stations but that probably only made it more popular.

 

 

From Songfacts

With the line, “Everybody Must Get Stoned,” this song is often associated with smoking marijuana, although Dylan insists it isn’t, stating, “I have never and never will write a ‘drug song.'” It is more likely about trials of relationships with women, and Dylan has hinted that it could have a Biblical meaning. Answering a question about people interpreting this song to be about getting high, Dylan told Rolling Stone in 2012: “These are people that aren’t familiar with the Book of Acts.”

The Book of Acts is from the Gospel of Luke, and contains an account of a stoning: “Stephen, full of the Holy Spirit, looked up to heaven and saw the glory of God, and Jesus standing at the right hand of God… And when they had driven him out of the city, they began stoning him, and the witnesses laid aside their robes at the feet of a young man named Saul.”

In this story, Stephen received his sentence after giving a speech to authorities who were going to kill him no matter what he said. This relates to how Dylan felt about his critics, who were going to figuratively “stone” him no matter what he did. (More on the meaning of “stoned” in popular songs.)

A less official explanation: The song is about two women who came into the studio on a rainy day. Dylan apparently read an article about punishment for women in Islamic states – hence “Everybody must get stoned” because relationships are a trial and error thing. 

If you multiply 12 by 35, you get 420, a number commonly associated with smoking marijuana. 420 came about because five high school students in California could only smoke at 4:20 in the afternoon. This time was after school and before their parents came home, so it was a good time for them to get high. 

This was one of the few songs Dylan released that was a traditional hit record, reaching the Top 10 in both the US and UK, and spending a week at #2 in America behind “Monday Monday” by The Mamas & The Papas. Perhaps relishing the opportunity to turn a song that repeats “everybody must get stoned” into a radio hit, Dylan cut the song down to 2:26 for the single release. On the Blonde On Blonde album, where it is the first track, the song runs 4:33. The single cuts out two verses and some instrumental passages.

Many radio stations received a publication called the Gavin Report that discussed new songs, and this one was described as a “drug song.” Many stations refused to play it, but Dylan was so influential at the time that the song had no trouble getting plenty of airplay.

You can hear Dylan burst out laughing in this song. According to Down the Highway: the Life of Bob Dylan by Howard Sounes, the musicians were having a lot of fun in the studio, passing around joints and swapping instruments as they kept the mood light and jovial.

This song was covered by The Black Crowes for the 1995 album Hempilation, a collection of songs about marijuana. 

Guitarist and bassist Charlie McCoy played the trumpet on this. He recalled to Uncut magazine March 2014: “(Producer, Bob) Johnston said,’Tonight he wants to do a song with a Salvation Army sound – we need a trumpet and trombone.’ I said, ‘Does the trumpet need to be good?’ He’s said, ‘no!’ I kept track: It took 40 hours to cut Blonde on Blonde.”

This was included on the soundtrack to the 1994 movie Forrest Gump.

Rainy Day Women #12 & 35

Well, they’ll stone ya when you’re trying to be so good,
They’ll stone ya just like they said they would.
They’ll stone ya when you’re tryin’ to go home.
Then they’ll stone ya when you’re there all alone.
But I would not feel so all alone,
Everybody must get stoned.

Well, they’ll stone ya when you’re walkin’ ‘long the street.
They’ll stone ya when you’re tryin’ to keep your seat.
They’ll stone ya when you’re walkin’ on the floor.
They’ll stone ya when you’re walkin’ to the door.
But I would not feel so all alone,
Everybody must get stoned.

They’ll stone ya when you’re at the breakfast table.
They’ll stone ya when you are young and able.
They’ll stone ya when you’re tryin’ to make a buck.
They’ll stone ya and then they’ll say, “good luck.”
Tell ya what, I would not feel so all alone,
Everybody must get stoned.

Well, they’ll stone you and say that it’s the end.
Then they’ll stone you and then they’ll come back again.
They’ll stone you when you’re riding in your car.
They’ll stone you when you’re playing your guitar.
Yes, but I would not feel so all alone,
Everybody must get stoned.

Well, they’ll stone you when you walk all alone.
They’ll stone you when you are walking home.
They’ll stone you and then say you are brave.
They’ll stone you when you are set down in your grave.
But I would not feel so all alone,
Everybody must get stoned.

Free – A Little Bit Of Love

Free ended up being the blueprint for Bad Company. Two of the band members were in the latter group. With a voice Paul Rodgers possesses, I’ve wondered why he isn’t more of a household name outside of the world of rock. He was in successful rock groups such as Free, Bad Company, The Firm, The Law and toured with Queen.

Free was known as a great live band but I’ve only known them as the band before Bad Company. To my surprise by the time they disbanded, they had sold more than 20 million albums around the world. I have never been a fan of some of Rodgers’s songwriting but his voice can carry any song.

Paul Kossoff was the guitar player and influenced a generation of guitar players before and after his early death in 1976.

This song peaked at #13 in the UK charts in 1972. The band formed in 1968 and disbanded in 1973. They are known for their hit All Right Now.

I first heard A Little Bit Of Love on the Life On Mars BBC television show that I have shamelessly plugged since I’ve been posting. It’s only 16 episodes long…if you get a chance to watch it I think you will enjoy it…The UK version NOT the American version.

A Little Bit Of Love

I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Well in my mind
It’s easy
To lose sight of the truth
But in my heart
I can’t deny
My feeling inside

‘Cos I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Man in the sky
You say you are flying
To lose sight of the world
You wanna stay high
Then don’t deny
Your feeling inside

‘Cos I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh oh oh
Has gotta come your way.

Yeahh!
Whooo!

I believe
If you give
A little bit of love
To those you live with
A little bit of love
Oh!
Has gotta come your way.

I believe
If you give
A little bit of love
To those you live with
A little bit of love
Whooooo
Has gotta come your way 

 

Bee Gees – Jive Talkin’

The rhythm of this song drew me in when I was younger. Jive Talkin’ has a strong R&B feel to it. This song started it all for the disco era Bee Gees. This was the first big disco hit for The Bee Gees. They became icons of the era, singing in falsetto harmonies over dance beats.

You couldn’t go anywhere without hearing them blare out of the radio at that time. This song peaked at #1 in the Billboard 100, #1 in Canada, 5 in the UK, and #4 in New Zealand in 1975.

The Bee Gees had an incredible 9 Number 1 hits, 15 Top Ten hits, and 43 songs in the Billboard 100. They have sold more than 220 million records worldwide, making them one of the world’s best-selling artists of all time

 

 

From Songfacts

This was called “Drive Talking” in its early stages, but producer Arif Mardin suggested the change to “jive” to play to teenage sensibilities. “Jive Talkin'” is a term for slang.

The rhythm was inspired by the chunka-chunka-chunka sound of a car rolling over a bridge crossing Biscayne Bay near Miami. Robin Gibb explained to The Mail On Sunday November 1, 2009: “We’d already thought up the title for this song, but it wasn’t until Barry, Maurice and I drove from Biscayne Bay to Miami that we realized what the tune was going to be. We had the idea as we passed over a bridge. Some tar noises made a rhythmic sound on the wheels of our car, which created the feel to the type of song we wanted to write. We finished the song at the Criteria studios that day.”

They had seven more #1 hits in the disco era, but the band went out of style at the same time as white leisure suits. The group, which had considerable success before the disco era, took a lot of heat in the press. This criticism would weigh on them in later years as they felt that accusations of selling out and creating popular schlock were out of line. They would often point out that disco became homogenized in the years after they got to it, and that their sound was really an extension of R&B.

This was a comeback song for the group. They were very successful as contemporary singers in the late ’60s and early ’70s, but the two albums they released before Main Course flopped, and it looked like their careers were over.

Knowing that a new Bee Gees single would be met with skepticism by radio programmers, their label sent promotional singles to stations with plain, white labels, giving no indication as to what the name of the song was, or who it was by. The plan worked: the song was added to playlists and revived the fortunes of the group.

Along with several other Bee Gees hits, this was featured on the soundtrack to Saturday Night Fever in 1977. Along with “You Should Be Dancing,” it was one of two previously released Bee Gees songs used – they wrote five more specifically for the film. The set became the best-selling soundtrack album of all time, until it was outsold by The Bodyguard soundtrack.

This was an R&B track that did very well in the black charts in America. The Bee Gees were one of the first white groups to explore that territory.

Former Fugees singer Pras sampled this on his song “Blue Angels.”

Jive Talking

It’s just your jive talkin’
You’re telling me lies, yeah
Jive talkin’
You wear a disguise
Jive talkin’
So misunderstood, yeah
Jive talkin’
You really no good

Oh, my child
You’ll never know
Just what you mean to me
Oh, my child
You got so much
You’re gonna take away my energy

With all your jive talkin’
You’re telling me lies, yeah
Good lovin’
Still gets in my eyes
Nobody believes what you say
It’s just your jive talkin’
That gets in the way

Oh my love
You’re so good
Treating me so cruel
There you go
With your fancy lies
Leavin’ me lookin’
Like a dumbstruck fool
With all your

Jive talkin’
You’re telling me lies, yeah
Jive talkin’
You wear a disguise
Jive talkin’
So misunderstood, yeah
Jive talkin’
You just ain’t no good

Love talkin’
Is all very fine, yeah
Jive talkin’
Just isn’t a crime
And if there’s somebody
You’ll love till you die
Then all that jive talkin’
Just gets in your eye

Jive talkin’
You’re telling me lies,yeah
Good lovin’
Still gets in my eyes
Nobody believes what you say
It’s just your jive talkin’
That gets in the way

Love talkin’
Is all very fine, yeah
Jive talkin’, just isn’t a crime
And if there’s somebody
You’ll love till you die
Then all that jive talkin’
Just gets in your eye, yeah yeah

Oh jive talkin’
Jive talkin’
Oh jive talkin’

Van Morrison – Into The Mystic

This song changes my mood as soon as it plays. Into the Mystic flows through you…wait… hold on… I’m sounding like a sixties guru but the song is a special one. It was on his album Moondance released in 1970. The album peaked at #29 in the Billboard Album Charts.

Van’s output from the late sixties to mid-seventies was just incredible in quantity and quality. He continues to this day releasing music. In the last 10 years, he has had 3 top ten albums.

I’ve never really tried to interpret this song…I just go where it takes me.

Van Morrsion: “‘Into the Mystic’ is another one like ‘Madame Joy’ and ‘Brown Eyed Girl’. Originally I wrote it as ‘Into the Misty’. But later I thought that it had something of an ethereal feeling to it so I called it ‘Into the Mystic’. That song is kind of funny because when it came time to send the lyrics in WB Music, I couldn’t figure out what to send them. Because really the song has two sets of lyrics. For example, there’s ‘I was born before the wind’ and ‘I was borne before the wind’, and also ‘Also younger than the son, Ere the bonny boat was one’ and ‘All so younger than the son, Ere the bonny boat was won’ … I guess the song is just about being part of the universe.”

 

From Songfacts

This is about a sailor at sea thinking about returning to his lover, who is back on land. Normally a foghorn signals danger, but in this case it means he is close to home and his love.

There is room for interpretation beyond the superficial meaning. It might be interpreted as expressing an understanding that life is finite (the ship sailing on its round trip) and must be lived to its fullest (“I want to rock your Gypsy soul”), and an acceptance of its inevitable end (“We will magnificently float into the mystic, when the foghorn blows I will be coming home”). When you have seen the world and loved someone, you should have no reason to fear the end because you have lived your life to the fullest. 

The original title was “Into the Misty.”

According to Morrison, he couldn’t decide whether the first line should be “We were born before the wind” or “We were borne before the wind.”

This was played in the 1989 Mary Stuart Masterson movie Immediate Family. She played a woman who was young and pregnant and planning to give her baby to Glenn Close and James Woods, who couldn’t have a baby of their own. 

According to a BBC survey, because of this song’s cooling, soothing vibe, this is one of the most popular songs for surgeons to listen to whilst performing operations.

Jen Chapin, the daughter of Cat’s In The Cradle singer-songwriter Harry Chapin, covered this on her 2008 CD Light of Mine.

Into The Mystic

We were borne before the wind
Also younger than the sun
Ere the bonnie boat was won
As we sailed into the mystic

Hark, now hear the sailors cry
Smell the sea and feel the sky
Let your soul and spirit fly into the mystic

And when that foghorn blows
I will be coming home
And when the foghorn blows
I want to hear it

I don’t have to fear it and I want to rock your gypsy soul
Just like way back in the days of old
And magnificently we will flow into the mystic

When that fog horn blows
You know I will be coming home
And when that fog horn whistle blows
I got to hear it

I don’t have to fear it and I want to rock your gypsy soul
Just like way back in the days of old
And together we will flow into the mystic
Come on, girl

Too late to stop now

Greg Kihn – The Breakup Song ….Powerpop Friday

The great hook here that keeps you listening…then comes the catchy chorus that is hard to forget.

The Breakup song was released in 1981 and peaked at #15 in the Billboard 100. Greg Kihn would later have a top hit ten hit “Jeopardy” when it reached #2 in 1983. Kihn had 7 songs in total in the top 100.

The song was off of the album  RocKihnRoll.

This is an interview with Greg Kihn in 2011 about writing the song.

Oh, yeah. There are times in your life that the way is clear. I remember coming home from a gig with the guys. We were in a van, and we pulled up to where I used to live. All of my stuff was piled up on the lawn, and it was raining.

I thought, “Oh, God. My first wife had done it.” We pulled up to the house, and I remember Steve, the bass player, looked at me and just went, “Well, you might as well just keep on going. You’re not going in there.”

There was a Japanese restaurant. I went up there with Stevie, and we were pounding down hot sake. I didn’t know where else to go. It was a cold, rainy night, and we were getting toasted. There was an old Japanese dude there at the sake bar, and he kept saying, “They don’t write ‘em like that anymore.” I thought, Yeah, damn. They don’t, do they? So we got the idea, we wrote that song probably in 15 minutes. All of the great songs are written quickly, by the way.

You have to take a lesson that the stuff that’s real, it’s in you and it’s got to come out like that song. I’d really broken up that very day. It wasn’t like I was trying to feel like what’s a guy like when he’s broken up. I was living it. When things are real, they’re always better than when they’re fiction, if you can dig what I’m saying.

 

The Breakup Song

We had broken up for good just an hour before
Ah ah ah, ah ah ah ah ah
And now I’m staring at the bodies as they’re dancing ‘cross the floor
Ah ah ah, ah ah ah ah ah
And then the band slowed the tempo and the music took me down
Ah ah ah, ah ah ah ah ah
It was the same old song, with a melancholy sound
Ah ah ah, ah ah ah ah ah

They don’t write ’em like that anymore
They just don’t write ’em like that anymore

We’d been living together for a million years
Ah ah ah, ah ah ah ah ah
But now it feels so strange out in the atmospheres
Ah ah ah, ah ah ah ah ah
And then the jukebox plays a song I used to know
Ah ah ah, ah ah ah ah ah
And now I’m staring at the bodies as they’re dancing so slow
Ah ah ah, ah ah ah ah ah

They don’t write ’em like that anymore
They don’t write ’em like that anymore
Oh

Hey
Now I wind up staring at an empty glass
Ah ah ah, ah ah ah ah ah
‘Cause it’s so easy to say that you’ll forget your past
Ah ah ah, ah ah ah ah ah

They don’t write ’em like that anymore, no
They just don’t write ’em like that anymore
They don’t write ’em like that anymore
They just don’t write ’em like that anymore
They just don’t, no, they don’t
No, no, uh-uh

The Go-Go’s – Our Lips Are Sealed ….Powerpop Friday

In Jr. High the Go Go’s broke out and got my attention. This song peaked at #20 in 1981 in the Billboard 100. It was on the album Beauty and the Beat that peaked at #1 in the Billboard Album Charts. The album had some good hooks and the songs were mostly written by the band members.

The Go-Go’s are the first all-girl band to write the songs and play the instruments on a #1 US album. The group formed in 1978 in Los Angeles, California. Frontwoman Belinda Carlisle was briefly a member (drummer) of the influential punk band The Germs, but Charlotte Caffey was the only member with much experience – she had been in a band called The Eyes. The group learned on the fly with constant gigs.

Jane Wiedlin on why the band started as punk but soon went to pop: “We, from the beginning, were always kind of enamored with the pop/punk style, like our favorite band, the band that we always tried to emulate was The Buzzcocks, who had that great pop song done in a punky style. So that was kind of what we were going for from the beginning. And for the first few years when we were just learning how to play, I think we sounded probably a lot worse than we meant to, just because we didn’t know what we were doing. And then, slowly as we learned to play, the songs started coming out more and more. It was always trying to sort of straddle the line between pop and punk.”

From Songfacts

Go-Go’s guitarist Jane Wiedlin wrote this with British musician Terry Hall, who was lead singer of The Specials. Wiedlin told Songfacts: “In 1980 we were playing at The Whisky on Sunset Strip, and The Specials were in town from England, and they came to see us, and they really liked us and asked us if we would be their opening act on their tour. I met Terry Hall, the singer of The Specials, and ended up having kind of a romance. He sent me the lyrics to ‘Our Lips Are Sealed’ later in the mail, and it was kind of about our relationship, because he had a girlfriend at home and all this other stuff. So it was all very dramatic. I really liked the lyrics, so I finished the lyrics and wrote the music to it, and the rest is history. And then his band, The Fun Boy Three, ended up recording it, too – they did a really great version of it, also. It was like a lot gloomier than the Go-Go’s’ version.”

Speaking about her relationship with Terry Hall, Wiedlin adds: “Like I said, he had a girlfriend in England, and they were talking about getting married and all this stuff. So I don’t know how I got in the picture. And, you know, that’s something that I did as a teenager, maybe I was 20. That’s something I would never do now, knowingly enter into a relationship with someone who was with someone else. I mean, it was completely screwed on my part. Although I think when people do that, you really have to look at the person who’s in the relationship, and they have to take the burden of the responsibility as well. Anyways, it was one of those things with the tragic letters, ‘I just can’t do this.’ You know, ‘I’m betrothed to another.’ All that kind of stuff.”

This was the first hit for the Go-Go’s, who started as a punk band in the late ’70s, but became pop superstars with the release of their first album, Beauty And The Beat. Unlike most other female pop groups, the Go-Go’s wrote their own songs and were serious musicians. Despite their pure pop sound, they had a confidence and attitude that gave them lots of credibility and set them apart from other bands on the fledgling MTV network.

Jane Wiedlin said in her Songfacts interview: “We’d been together about two years when I wrote that. Some of the songs from the very beginning were songs that ended up part of our repertoire. Others fell by the wayside. I remember when I wrote it, I was really afraid to show it to the band in case they didn’t like it and all this stuff. But luckily they did like it.”

The video was directed by Derek Burbidge, who did the early videos for The Police. It’s low-budget but effective, showing the band performing the song in a small club and also having carefree fun outside on a sunny day. For much of the video they are playing around in a fountain, a trope later popularized in the opening credits of the TV series Friends.

Jane Wiedlin explained: “That was the first single in America. But before we got our record deal with IRS, we actually put out one single in England so that when we toured we had something to sell, and we had like a one single deal with Stiff Records, who were the record company that had signed The Specials and Madness, who also we toured with. We also toured with Madness in England. And then that single was a previous version of ‘We Got The Beat.'” (In our interview with Jane Wiedlin, she talks about another song inspired by a “Euro-guy,” and what happened when she tried to be “The Good Wife.” Her website is janewiedlin.com.)

Terry Hall’s version with his group The Fun Boy Three hit #7 in the UK.

In 2004, Hilary and Haylie Duff recorded this for the movie A Cinderella Story, which starred Hilary.

In the 2002 movie Home Room, high school classmates Alicia (Busy Philipps) and Deanna (Erika Christensen) argue over the meaning of the song. Alicia says, “It’s about a bunch of chicks trying to stay virgins,” and Deanna claims, “It’s about a bunch girls trying to keep a secret.”

Our Lips Are Sealed

Can you hear them?
They talk about us
Telling lies
Well, that’s no surprise

Can you see them?
See right through them
They have no shield
No secrets to reveal

It doesn’t matter what they say
In the jealous games people play
Our lips are sealed

There’s a weapon
That we must use
In our defense
Silence reveals

When you look at them
Look right through them
That’s when they’ll disappear
That’s when we’ll be feared

It doesn’t matter what they say
In the jealous games people play
Our lips are sealed

Pay no mind to what they say
It doesn’t matter anyway
Our lips are sealed

Hush, my darling
Don’t you cry
Quiet, angel
Forget their lies

Can you hear them?
They talk about us
Telling lies
Well, that’s no surprise

Can you see them?
See right through them
They have no shield
No secrets to reveal

It doesn’t matter what they say
In the jealous games people play
Our lips are sealed

Pay no mind to what they say
It doesn’t matter anyway
Our lips are sealed
Our lips are sealed
Our lips are sealed

The Undertones – Teenage Kicks ….Powerpop Friday

The Undertones were a Northern Irish punk band led by Feargal Sharkey. This song got them a record deal when British DJ John Peel played it on his show. Peel was a very influential and well-respected DJ, and he raved about this, even playing the song twice in a row, something he never did before. With Peel’s endorsement, it became a punk anthem and got the group signed to Sire Records.

The song peaked at #31 in the UK in 1978. The Undertones had 7 Top 49 UK hits.

 

From Songfacts

Sharkey: “Our only hope was John Peel, and we sent him a copy – that was the only copy we sent anyone”

Peel died October 25, 2004. This was played at his funeral. 

Guitarist John O’Neill (from Q Magazine): “In 1978 we didn’t think ‘Teenage Kicks’ was the best song. True Confessions was the one we thought people would go for and we only named the EP after it because we were teenagers and it seemed appropriate. When John Peel played it twice on his show we were in shock. I came-up with the title. I was an MC5 fan and they had a song called Teenage Lust and we used to cover Route 66, so with the licks in the chorus I just made the connection. I was actually shocked that there wasn’t already a song called Teenage Kicks because it’s an obvious cliché. To be honest, I still don’t think the song;s that good – it’s the band’s performance on record that gives it the special quality. We were just the right age at the right time. It’s the strength of the voice, and the urgency of the drums and guitars, it seemed to capture the moment.”

A boy band called Busted performed this at the Brit Awards in 2003.

The Undertones went on to have several UK hits, including “My Perfect Cousin.” They split in 1983, but reformed in 1999 with Sharkey replaced by former Carralines singer Paul McLoone when Sharkey refused to participate. Sharkey had a solo hit with his cover of the Maria McKee song “A Good Heart,” which went to #1 in the UK in 1985. In the ’90s, Sharkey worked in the business end of the music industry as A&R manager for Polydor Records.

The line, “teenage dreams so hard to beat” from this song was carved on John Peel’s gravestone. His widow, Sheila Ravenscroft said: “We have put the words on the stone that he would have wanted. I wouldn’t dare do anything else.”

Bass player Mickey Bradley never rated the song. He told Mojo magazine April 2013: “We didn’t mind it being released, but we didn’t think it was special on its own. I remember someone at the Casbah saying, ‘Teenage Kicks’ – that’s your big song isn’t it?’ So we recorded some newer songs, which we thought were as good. But they weren’t.”

 

Teenage Kicks

Are teenage dreams so hard to beat?
Everytime she walks down the street
Another girl in the neighbourhood
Wish she was mine, she looks so good

I wanna hold her, wanna hold her tight
Get teenage kicks right through the night

I’m gonna call her on the telephone
Have her over ’cause I’m all alone
I need excitement, oh, I need it bad
And it’s the best I’ve ever had

I wanna hold her, wanna hold her tight
Get teenage kicks right through the night, all right

Are teenage dreams so hard to beat?
Everytime she walks down the street
Another girl in the neighbourhood
Wish she was mine, she looks so good

I wanna hold her, wanna hold her tight
Get teenage kicks right through the night, all right

I’m gonna call her on the telephone
Have her over ’cause I’m all alone
I need excitement, oh, I need it bad
And it’s the best I’ve ever had

I wanna hold her, wanna hold her tight
Get teenage kicks right through the night, all right

I wanna hold her, wanna hold her tight
Get teenage kicks right through the night, all right

Sam & Dave – Hold On, I’m Comin

I hope everyone had a great safe New Year holiday. Now the Thanksgiving, Christmas, and New Year holidays are over…we are back to normal…well as normal as it gets. I’ve been listening to a lot of Stax lately so here ya go with Sam and Dave.

This song was featured in the 1980 movie The Blues Brothers. It plays from a cassette in Jake and Elwood’s car during the first police car chase. John Belushi and Dan Aykroyd modeled their act on Sam & Dave.

On the album and on subsequent compilations, this song is listed as “Hold On, I’m Comin’.” On the single release, it was titled “Hold On! I’m A Comin'” in an effort to make it sound less lascivious.

The song peaked at #21 in the Billboard 100 and #1 in the R&B charts.

From Songfacts

While songwriter/producer David Porter was in the toilet, his songwriting partner Isaac Hayes (later a solo star with “Theme From Shaft”) yelled at him to hurry up so they could get back to work, as he was frustrated by the lack of progress they had made that day. Porter responded, “Hold on man, I’m coming.” The immediately inspired Porter quickly finished his business and excitedly told Hayes that “Hold On, I’m Coming” would be a great title for a song. Hayes has repeated this story in various interviews, including one with Reuters in 2005.

With a frothy delivery by Sam & Dave and a title that is something often heard in the bedroom, this song was deemed too prurient to air by many radio stations, and it stalled at #21 in the US. The lyrics are actually quite innocent, with the duo offering emotional support to help the lady through some tough times – what could be wrong with that?

Sam & Dave recorded for Stax Records, which was a popular soul music label in the ’60s and early ’70s. Isaac Hayes was also on the label, which created a very loose and comfortable atmosphere for their artists – at least until they had a financial meltdown in the mid-’70s. While Motown worked hard on the visual styles and choreography of their artists, Stax left most of that up to the singers, which meant that most of them just came out and sang. Sam & Dave were the exception, doing lots of crazy dancing and improvisation in their stage shows, which was always on display when they performed this song.

Aretha Franklin covered this for her 1981 album, Love All The Hurt Away and earned a Grammy Award for Best Female R&B Vocal Performance – her first Grammy win since her 1974 rendition of “Ain’t Nothing Like The Real Thing” won in the same category.

Hold On I’m Coming

Don’t you ever feel sad,
Lean on me when times are bad.
When the day comes and you’re down,
In a river of trouble and about to drown

Just hold on, I’m comin’,
Hold on, I’m comin’.

I’m goin’ my way, your lover.
If you get cold I’ll be your cover.
Don’t have to worry `cause I’m here,
No need to suffer baby, I’m here.

‘Cause hold on, I’m comin’
Hold on, I’m comin’
Hold on, I’m comin’
Hold on, I’m comin’

Reach out to me for satisfaction,
Call my name now for quick reaction.

Don’t you ever feel sad,
Lean on me when times are bad.
When the day comes and you’re down,
In a river of trouble and about to drown,

Just hold on, I’m comin’
Hold on, I’m comin’

Just hold on, I’m comin’
Hold on, I’m comin’

Just hold on, I’m comin’
Hold on, I’m comin’

John Lennon – Stand By Me

This is the version I like best…and I love Ben E. King’s version. I think it’s the reverb and John’s voice that makes this one the one I listen to the most.

“Stand By Me” was the name of a gospel hymn written by the Philadelphia minister Charles Albert Tindley in 1905. His hymn became popular in churches throughout the American South and was recorded by various gospel acts in the 1950s. The most popular adaptation was by The Staple Singers, who recorded it in 1955. It was this version that Ben E. King heard; he pushed The Drifters to record it, but the group’s manager rejected it.

Ben E. King, Jerry Leiber, and Mike Stoller wrote the song based off the old hymn.

This was on John Lennon’s Rock and Roll album (made up of entirely covers of mostly 50s Rock and Roll). This version peaked at #20 in the Billboard 100 in 1975 for John…and at #4 in 1961 for Ben E. King.

Ben E King:  “David Ruffin from the Temptations did a great version of it. And, of course, the one that held up in my head the most was John Lennon’s version. He took it and made it as if it should have been his song as opposed to mine.

From Songfacts

Ben E. King recorded this shortly after leaving The Drifters in 1960. It gave him a solid reputation as a solo artist.

After leaving The Drifters, King auditioned for the wildly successful songwriting/production team of Jerry Leiber and Mike Stoller, singing a few popular songs before doing what he had of “Stand By Me,” which was just a few lines of lyrics with some humming to fill in the words. He agreed to collaborate on the song with Leiber and Stoller, who gave it a more contemporary sound and polished it into a hit. The bassline at the beginning was Stoller’s idea.

The song was credited as being written by Leiber, Stoller and King. Charles Albert Tindley, who composed the original hymn, was left off the composer credits as his work had been sufficiently transformed. This wasn’t the first time Tindley was omitted from the credits of a song he originated: he also wrote “I’ll Overcome Someday,” which eventually became “We Shall Overcome.”

In an interview with the TV station WGBH, Jerry Leiber explained: “Ben E. is not a songwriter, he’s a singer, he might have written two songs in his whole career. I would guess that this comes out of church. The whole ‘stand by me’ and the way the release takes out, it sounds like a gospel-type song.”

This was used in the 1986 movie of the same name starring River Phoenix. The film was based on a short novel by Stephen King called The Body, but that title was a little to gruesome for a movie hoping to appeal to a wide audience.

Rob Reiner, who directed the film, met the song’s co-writter Mike Stoller at a party, and convinced him to play some of his classic songs on a piano while Reiner sang along. Months later, Reiner got the idea to use “Stand By Me” as the title and incorporate it into the movie when he heard the song at his house. This played up the friendship of the young boys in the film and downplayed the role of the dead body they find, which was a good move at the box office. The movie was a hit and propelled the song back to the charts, introducing the track to a new generation.

When this was first released in 1960, it charted US #4 and UK #27. When it was re-released to coincide with the movie, it hit US #9 and UK #1. Now a hit with two generations, the song started showing up at weddings and other special occasions, becoming a timeless classic.

The movie Stand By Me is set in 1959 – a little before this song was released, but pretty close. When Rob Reiner asked to use the song, its composers Leiber and Stoller thought he would want to re-record it with a contemporary artist like Tina Turner, but Reiner wanted the original so it fit the era. It was surprising then when the song vaulted up the charts, since it was the exact same song released in 1961.

According to BMI, this was the fourth most-played track of the 20th Century on American radio and TV.

This song has made an astounding nine appearances on the US Hot 100, plus two more that “bubbled under.” Here’s the breakdown:

1961, #4 – Ben E. King
1964, #102 – Cassius Clay
1965, #75 – Earl Grant
1967, #12 – Spyder Turner
1970, #61 – David & Jimmy Ruffin
1975, #20 – John Lennon
1980, #22 – Mickey Gilley
1985, #50 – Maurice White
1986, #9 – Ben E. King (re-release)
1998, #82 – 4 The Cause
2010, #109 – Prince Royce

Sean Kingston sampled this on his 2007 hit “Beautiful Girls.” Other songs that have used pieces of “Stand By Me” include “A Little Bit of Soap” by De La Soul (1989), “My Darlin'” by Miley Cyrus feat. Future (2013), and “Marvin Gaye” by Charlie Puth (2015).

Dionne Warwick sang backup on this song as part of a trio known as The Gospelaires. Soon after, songwriter Burt Bacharach helped Warwick launch a successful solo career. 

This was not released on an album until it had been out as a single for two years.

Cassius Clay (who would later change his name to Muhammad Ali) recorded this in 1963 on an album called I Am The Greatest!. In 1964, when he beat Sonny Liston to become the heavyweight boxing champ, Clay’s version of “Stand By Me” was released as a single, with his spoken-boast song called “I Am The Greatest” as the flip side. The single made the Billboard charts, bubbling under at #102 on the Hot 100.

During an interview with Spinner UK,  Now there’s a [Dominican] singer named Prince [Royce] – he has a version out there that I think is brilliant. And then there’s Sean Kingston, with ‘Beautiful Girls’ [chuckles] – that’s another one that did well. So many of them have done well. As a songwriter, it pleases me a lot – you don’t always have a chance to write a song that people can relate to.”

The Bachata singer Prince Royce released a cover of this song (with mostly Spanish lyrics) in 2010 as his first single. Royce had been selling cell phones in New York City when he started shopping his demo CD around. When he got little reaction to the songs he wrote, he decided to record one that was familiar, and he chose “Stand By Me” because it was one of his favorite songs. The ploy worked, as it garnered attention and jumpstarted his career.

Florence + The Machine covered the song for Final Fantasy XV. Her version features in the video game’s trailer. “I’ve always seen Final Fantasy as mythical, beautiful and epic,” Florence Welch said. “‘Stand By Me’ is one of the greatest songs probably of all time and you can’t really improve on it, you just have to make it your own. For me it was just about bringing the song into the world of Florence + The Machine and the world of Final Fantasy.”

In England, this was used in commercials for Levi’s jeans in 1987 before the movie was released there. The exposure helped lift the song to #1 UK. “When A Man Loves A Woman” by Percy Sledge, used in the same group of Levi’s ads, went to #2 at the same time.

Budweiser used a version of this song by Skylar Grey in a commercial that aired during the 2018 Super Bowl between the Philadelphia Eagles and New England Patriots. The spot shows the beermaker’s plant in Cartersville, Georgia transforming to process water as part of disaster relief efforts in the wake of hurricanes and wildfires.

This has been played at countless weddings, but none more prominent than the royal wedding between Prince Harry and Meghan Markle on May 19, 2018. Before exchanging their vows in Windsor Castle, Karen Gibson and The Kingdom Choir performed a stirring gospel rendition of the song, which was chosen by the couple.

An ambient version by the artist Bootstraps (Jordan Beckett) got the attention of music supervisors and landed a number of placements, including the Power Rangers movie (2017) and episodes of MacGyver, Lethal Weapon and Hawaii Five-0.

Bootstraps included the song on his 2016 album Homage at the last minute. In a Songfacts interview, he explained why it works so well in visual media. “A lot of my songs that have done really well in the sync world are pretty linear – they don’t have these big, huge chorus hits,” he said. “‘Stand By Me,’ which has hands down been the biggest sync song I’ve done, has no kick drum. It has a lot of atmospherics, and the chorus is kind of slowly growing into a swell. So it’s really good for an editor, and that’s just the pragmatics of TV and film.”

 

Stand By Me

When the night has come
And the land is dark
And the moon is the only light we see
No I won’t be afraid
No I won’t be afraid
Just as long as you stand, stand by me

And darling, darling stand by me
Oh, now, now, stand by me
Stand by me, stand by me

If the sky that we look upon
Should tumble and fall
And the mountain should crumble to the sea
I won’t cry, I won’t cry
No I won’t shed a tear
Just as long as you stand, stand by me

And darling, darling stand by me
Oh, stand by me
Stand by me, stand by me, stand by me

Whenever you’re in trouble won’t you stand by me
Oh, now, now, stand by me
Oh, stand by me, stand by me, stand by me

Darling, darling stand by me
Stand by me
Oh stand by me, stand by me, stand by me

Zombies – This Will Be Our Year

Since it’s the new year I’m re-posting this one. A favorite of mine from a favorite band of mine. Everyone I wish you a Happy New Year in 2020. Maybe they will be the roaring 20’s like the last… Thanks for reading in 2019.

This sounds like it should have been a hit but it was never pushed as a single at the time. It was the B side to Butcher’s Tale  (Western Front 1914) which is an experimental song and was a big surprise to the band that it was picked as the first single. Both are from the great album Odessey and Oracle in 1968. There are several songs on this album that could have been in the charts but Time of the Season was the only one that made it and it was a year after the album was released.

Bruce Eder of AllMusic gave the album five stars out of five, calling it “one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom”.

On recording Odessey and Oracle….Rod Argent

“We had the chance of going in and putting things down in the way we wanted people to hear them and we had a new studio, we walked in just after The Beatles had walked out [after recording Sgt. Pepper]. We were the next band in. They’d left some of their instruments behind … I used John Lennon’s Mellotron, that’s why it’s all over Odessey and Oracle. We used some of their technological advances … we were using seven tracks, and that meant we could overdub for the first time. And it meant that when I played the piano part I could then overdub a Mellotron part, and it meant we could have a fuller sound on some of the songs and it means that at the moment the tour we’re doing with Odessey and Oracle it means we’re actually reproducing every note on the original record by having extra player with us as well.”

This Will Be A Year

The warmth of your love
Is like the warmth of the sun
And this will be our year
Took a long time to come

Don’t let go of my hand 
Now darkness has gone
And this will be our year 
Took a long time to come

And I won’t forget 
The way you held me up when I was down
And I won’t forget the way you said, 
“Darling I love you”
You gave me faith to go on

Now we’re there and we’ve only just begun
This will be our year
Took a long time to come

The warmth of your smile
Smile for me, little one
And this will be our year
Took a long time to come

You don’t have to worry
All your worried days are gone
This will be our year
Took a long time to come

And I won’t forget 
The way you held me up when I was down
And I won’t forget the way you said, 
“Darling I love you”
You gave me faith to go on

Now we’re there and we’ve only just begun
And this will be our year
Took a long time to come

Yeah we only just begun
Yeah this will be our year
Took a long time to come

Otis Redding & Carla Thomas – New Year’s Resolution

Stax’s house band, Booker T & the MGs, provides the backing.  Note Booker T’s subtle but effective organ lending the song a spiritual element, while Donald “Duck” Dunn’s bass and Steve Cropper’s tasteful guitar licks ground the track’s rhythm

Stax was hoping to replicate the success of Marvin Gaye and Tammi Terrell. Stax paired two of their greatest stars for the 1967 album King & Queen, which produced the hit “Tramp.” The album featured their takes on classics such as “Knock on Wood,” “When Something Is Wrong with My Baby,” “Bring It on Home to Me,” and “It Takes Two”

This song was on the King and Queen album released in 1967. This is the only album they got to make because Otis died in a plane crash on December 10, 1967.

New Year’s Resolution

I hope it’s not too late
Just to say that I’m sorry, honey
All I want to do
Is just finish what we started, baby

Let’s turn over a new leave
And baby let’s make promises
That we can keep
And call it a New Year’s resolution, hmmm

Oh, I’m a woman
And woman makes mistakes too
But will you, will you forget the changes
That I put you through

let’s try it again
Just you and me
And, baby, let’s see how happy honey, yeah
That we can be
And call it a New Year’s resolution, yeah, yeah, yeah

Many times we had our ups and downs
And times you needed me I couldn’t be found
I’m sorry
And I’m sorry too
I’ll never, never do it again, no, no, no
So baby before we fall out
Let’s fall on in, yeah, yeah
Oh, and we’re gonna try harder
Not to hurt each other again, oh
Love me baby, huh
Week after week
And baby let’s make promises
That we can keep
And call it a New Year’s resolution, yeah, oh
I know we can do it Carla
I’m gonna keep my promises
I’m gonna hold on that we can do it, baby
Oh, it’s not too late
You’re gonna love me
Nobody else
Oh Otis let’s finish what we started
Talk no mean

Bruce Springsteen – Better Days

Here is to better days to all of you…. in the New Year starting tomorrow.

On March 31, 1992, I purchased two albums by Bruce. Lucky Town and Human Touch…both albums released on the same day. I’ve always liked Lucky Town more than Human Touch. Better Days kicked off the album.  It was originally released in the United States in March 1992 as a double A-side with “Human Touch”, and peaked at #16 on Billboard 100.

Bruce Springsteen: “With a young son and about to get married (for the last time) I was feelin’ like a happy guy who has his rough days rather than vice versa.”

From Songfacts

This was the only track from Lucky Town included on Springsteen’s 1995 Greatest Hits album.

This is the first track on Lucky Town, which was released the same day as Human Touch. Springsteen decided to do this after Guns N’ Roses simultaneously released their albums Use Your Illusion I and II.

Better Days

Well my soul checked out missing as I sat listening
To the hours and minutes tickin’ away
Yeah just sittin’ around waitin’ for my life to begin
While it was all just slippin’ away
I’m tired of waitin’ for tomorrow to come
Or that train to come roarin’ round the bend
I got a new suit of clothes a pretty red rose
And a woman I can call my friend

These are better days baby
Yeah there’s better days shining through
These are better days baby
Better days with a girl like you

Well I took a piss at fortune’s sweet kiss
It’s like eatin’ caviar and dirt
It’s a sad funny ending to find yourself pretending
A rich man in a poor man’s shirt
Now my ass was draggin’ when from a passin’ gypsy wagon
Your heart like a diamond shone
Tonight I’m layin’ in your arms carvin’ lucky charms
Out of these hard luck bones

These are better days baby
These are better days it true
These are better days
There’s better days shining through

Now a life of leisure and pirate’s treasure
Don’t make much for tragedy
But it’s a sad man my friend who’s livin’ in his own skin
And can’t stand the company
Every fool’s got a reason for feelin’ sorry for himself
And turning his heart to stone
Tonight this fool’s halfway to heaven and just a mile outta hell
And I feel like I’m comin’ home

These are better days baby
There’s better days shining through
These are better days
Better days with a girl like you

These are better days baby
These are better days it’s true
These are better days
Better days are shining through