I was so much older then, I’m younger than that now
This is my favorite song by the Byrds. I like the Byrds’ arrangement of this great Bob Dylan song. Roger McGuinn’s voice plus Rickenbacker is always a winning combination. Dylan recorded his version in 1964 on his Another Side of Bob Dylan album. I fell for the song because of the line, I was so much older then, I’m younger than that now. Just a great phrase from a catalog that is full of them.
On the countless Dylan songs that are covered, I will usually like Dylan’s version better…on this one, I prefer the Byrds. The song peaked at #30 on the Billboard 100 in 1967. It’s one of those songs that I so wish I could have written. Even the title is cool because “My Back Pages” is not uttered in the song.
Bob Dylan helped the Byrds a lot with Mr. Tambourine Man and other songs. The Byrds, in turn, helped widen Bob’s popularity to the new rock audience that was developing, which may not have heard some of these songs as much.
In 1992 the Bob Dylan 30th Anniversary Concert happened, and my cousin had the complete concert on VHS. He had a satellite, so I didn’t have to wait for it to be released almost a year later. I’ll never forget this song being played with Roger McGuinn sharing the stage with Dylan, Tom Petty, George Harrison, Eric Clapton, and Neil Young.
Roger McGuinn: “I don’t try to interpret what Bob meant when he wrote the song. He doesn’t do that, and to do that, you spoil it for people who have a different meaning of the song.”
The song being played at Bob Dylan’s 30th Anniversary concert. Bob Dylan, Roger McGuinn, Neil Young, George Harrison, Eric Clapton, and a bunch more.
My Back Pages
Crimson flames tied through my ears Rollin’ high and mighty traps Countless with fire on flaming roads Using ideas as my maps We’ll meet on edges, soon, said I Proud ‘neath heated brow
Ah, but I was so much older then I’m younger than that now Half-wracked prejudice leaped forth Rip down all hate, I screamed Lies that life is black and white Spoke from my skull I dreamed Romantic facts of musketeers Foundationed deep, somehow Ah, but I was so much older then I’m younger than that now
In a soldier’s stance, I aimed my hand At the mongrel dogs who teach Fearing not that I’d become my enemy In the instant that I preach Sisters fled by confusion boats Mutiny from stern to bow Ah, but I was so much older then I’m younger than that now
Ah, but I was so much older then I’m younger than that now
My guard stood hard when abstract threats Too noble to neglect Deceived me into thinking I had something to protect Good and bad, I define these terms Quite clear, no doubt, somehow Ah, but I was so much older then I’m younger than that now
I had forgotten about this song until I read about it in a biography. I remember working in the 1980s and listening to an oldies channel, and I heard this one quite a bit. I just learned the title from the book. It’s a song that just makes you feel good.
This song has been covered and sampled by many. Unlike Motown and Stax…Wood came in from left field with a whole different vibe in the late 1960s. He is known primarily for The Oogum Boogum Song and this song. He was born Alfred Jesse Smith and adopted the stage name of Brenton Wood…possibly from the Los Angeles neighborhood Brentwood.
He stayed active from the sixties on and released his last album in 2009 called Lord Hear My Prayer. He had a few more top 40 songs in the 60s, but never hit the top ten again.
This song peaked at #9 on the Billboard 100, #17 in Canada, #8 in the UK, and #20 in New Zealand in 1967. Giimme Little Sign was written by Alfred Smith, Joe Hooven, and Jerry Winn. Brenton got a resurgence in popularity in the new century with his songs’ inclusion in various films and television shows, such as Almost Famous, Don’t Worry Darling, and Big Little Lies.
We lost Mr. Wood on January 3, 2025, at the age of 83.
Gimme Little Sign
If you do want me, gimme little sugar If you don’t want me, don’t lead me on girl But if you need me, show me that you love me And when I’m feeling blue and I want you There’s just one thing that you should do
Just gimme some kind of sign girl Oh, my baby To show me that you’re mine girl Oh, yeah
Just gimme some kind of sign girl Oh, my darling To show that you’re mine girl All right
If you do want me, gimme little sweet talk If you don’t want me, don’t lead me on girl But if you need me, show me that you love me And when I’m feeling down, wearing a frown You be there when I look around
Just gimme some kind of sign girl Oh, my baby To show me that you’re mine girl All right
Just gimme some kind of sign girl Oh, my baby To show me that you’re mine girl All right
Just gimme some kind of sign girl Oh, my baby To show me that you’re mine girl Oh, yeah
Just gimme some kind of sign girl Oh, my darling To show me that you’re mine girl All right
Just gimme some kind of sign, sign Just gimme some kind of sign girl Oh, my baby To show me that you’re mine girl All right
The first thing I noticed was the guitar part at the beginning. I thought to myself, the style sounded familiar. Two people came to mind, and I can’t believe I guessed it. The two people that I thought of were Curtis Mayfield and Jimi Hendrix. After researching the song, I was batting 500…it was Jimi Hendrix, but 2 years before he was The Jimi Hendrix.
I read about Don Covay and how he wrote Chain of Fools for Aretha Franklin and more songs in the ’60s through the ’80s. Covay wrote the number 1 hit for Chubby Checker called Pony Time and also co-wrote Peter Wolf’s first solo album in the early eighties with good success.
Covay was the son of a Baptist preacher. He began his musical career singing gospel with his family’s group, the Cherry Keys.Following his father’s death, the family relocated to Washington, D.C., where Covay’s musical interests expanded into the soul/R&B genre.
He was a great songwriter. His songs have been covered by Gene Vincent, Wanda Jackson, Chubby Checker, Connie Francis, Steppenwolf, The Daughters of Eve, Bobby Womack, the Rolling Stones, Wilson Pickett, Small Faces, Grant Green, Bonnie Raitt, and Peter Wolf.
The song peaked at #35 on the Billboard 100 in 1964. The Rolling Stones covered this song on their album Out of Our Heads in 1965. It was the lead-off track of the album.
Curtis Knight: Jimi Hendrix, and I all used to live in the same apartment building – around 81st Street [near the A1 Studio] … Don Covay came around shopping for a record deal. He used to go down to the Harlem clubs looking for somebody to use … on songs he was looking to sell to Atlantic [Records]. He’d say, ‘I got this tune I want you to help me with … come on down to the studio … Can you sing this part? Can you play this part?
Steve Cropper: I hadn’t worked with Don [Covay] yet, but I asked Jimi to show me that great lick he played. [Later] Jimi took my guitar and started playing that sucker upside down. I laughed and told him, ‘I can’t learn that lick by looking at it that way.
Mercy, Mercy
Have mercy Have mercy, baby Mmm, have mercy Have mercy on me
Well, I went to see a gypsy and had my fortune read She said, “Don, your baby’s gonna leave you” Her bag is packed up under the bed and I cried
Have mercy Have mercy, baby, yeah Have mercy, yeah Have mercy on me
I said if you leave me, baby, girl, if you put me down Well, I’m a goin’ to the nearest river, child And jump (jump) overboard And drown, but don’t leave me (jump, jump, jump, jump)
Have mercy Have mercy, baby, mercy Yeah, have mercy Have mercy on me
Well, now, hey, hey baby, hey, hey now What you tryin’ to do, huh? Hey, hey, baby, hey, hey now Please don’t say we’re through
I said if you stay here, baby, I tell you what I’m gonna do I’m gonna work two jobs seven days a week And bring my money home to you (bring it, bring it)
Well, I said mercy (mercy), mercy (mercy) Mercy (mercy), mercy (mercy) Mercy (mercy)
Standing in the middle of nowhere Wondering how to begin Lost between tomorrow and yesterday Between now and then
Great riff and rock song by the Kinks. It starts with a chord reminiscent of the A Hard Day’s Night intro. I was in high school when it was released, and it was great to hear a guitar-driven song at that time on the radio. I remember our band following another band, and they did this song. I was jealous we didn’t get to it first. Do It Again was released in 1984 as the opening track on their album Word of Mouth.Written by lead singer Ray Davies
The band had a resurgence in the late seventies and early eighties with 3 straight albums in the top 20. They also had a top ten hit off of State of Confusion with Come Dancing. I bought my first real-time Kinks album in 1980 with Give The People What They Want.
Working on their twentieth album Word of Mouth, conflicts between drummer Mick Avory and guitarist Dave Davies led to Avory’s leaving during the recording of the album.As a result, Avory played drums on just three tracks: Missing Persons, Sold Me Out, and Going Solo.The remaining tracks featured Bob Henrit on drums. Dysfunction seemed to fit this band and others like The Who and The Replacements. It made them who they were. Another song off of this album is the Dave Davies song Living On A Thin Line. The song grew in popularity when played repeatedly in The Sopranos third season episode University.
Ray Davies wrote this about the stressful working schedules the Kinks were going through. The song peaked at #41 on the Billboard 100 in 1984. I saw this line on a review of the song in Rolling Stone: The record kicks off with “Do It Again,” a tune that’s a love letter to every poor bastard out there grinding their teeth to dust in this cruel little hamster wheel of existence. I thought that fit well with this song.
Ray Davies: The saddest day for me was when Mick left. Dave and Mick just couldn’t get along. There were terrible fights, and I got to the point where I couldn’t cope with it anymore. Push came to shove, and to avoid an argument I couldn’t face. … we were doing a track called “Good Day” and I couldn’t face having Mick and Dave in the studio, so I did it with a drum machine. Dave said he wanted to replace Mick, and … I took Mick out, and we got very, very drunk. We were in Guildford, and after about five pints of this wonderful scrumpy, Mick said if any other band offered him a tour, he wouldn’t take it, because he didn’t want to tour. And I remember him getting the train back – because he was banned from driving; it was a very bad year for Mick – and he walked to the station and disappeared into the mist.
Do It Again
Standing in the middle of nowhere Wondering how to begin Lost between tomorrow and yesterday Between now and then
And now we’re back where we started Here we go round again Day after day I get up and I say I better do it again
Where are all the people going Round and round till we reach the end One day leading to another Get up go out do it again
Then it’s back where you started Here we go round again Back where you started Come on do it again
And you think today is going to be better Change the world and do it again Give it all up and start all over You say you will but you don’t know when
Then it’s back where you started Here we go round again Day after day I get up and I say Come on better do it again
The days go by and you wish you were a different guy Different friends and a new set of clothes You make alterations and [a fact in you knows] A new house a new car a new job a new nose But it’s superficial and it’s only skin deep Cause the voices in your head keep shouting in your sleep Get back, get back
Back where you started, here we go round again Back where you started, come on do it again
Back where you started, here we go round again Day after day I get up and I say, do it agaiiinnn Do it again Day after day I get up and I say, do it again
When I hear this song, I think of it as an early punk song. It’s a song that garage bands can sink their teeth into. I Fought The Law is pure rebellion. At the same time, it has a Buddy Holly feel, and there is a reason for that. The Crickets’ Sonny Curtis wrote this song, and he played with Holly off and on, and when Buddy died, he took over the lead guitar for The Crickets. Earl Sink was brought in to sing it and to sound like Buddy. Thanks to Randy for that info!
The Crickets recorded this song in 1959 with Sonny Curtis playing guitar and singing. In 1962, Paul Stefen and the Royal Lancers recorded it, and it was a local hit in Milwaukee, but it didn’t break nationally. Sammy Masters released a version in 1963 as well.
Bobby Fuller was a Texas-born rock & roller heavily influenced by Buddy Holly. He formed The Bobby Fuller Four in El Paso before moving to L.A. Bobby was DIY before DIY was cool, he built a home studio in his parents’ house in El Paso and recorded local singles there with his brother Randy Fuller.
In the early ’60s, Bobby moved to Los Angeles to chase bigger opportunities. He signed to Mustang Records (run by Bob Keane, who also discovered Ritchie Valens). He then formed The Bobby Fuller Four with his brother Randy and other rotating members. In 1965, the band recorded I Fought the Law with a tighter arrangement, crisp guitar work, and Fuller’s vocals. It was released in late 1965 but hit the charts in 1966.
Fuller was found dead in the front seat of his mother’s car shortly after I Fought The Law became a national hit. His death was ruled a suicide, but there were signs of foul play, and the investigation was tainted, leaving the circumstances of his death a mystery, and rumors continue to run rampant to this day. The song peaked at #9 on the Billboard 100, #11 in Canada, and #33 in the UK in 1966. Sonny Curtis would later write “Love Is All Around,” The Mary Tyler Moore Theme.
The Clash covered this song in 1979 and changed the lyrics from “I left my baby” to “I killed my baby.” So they made it quite a bit darker. Their version got them noticed in the US.
Rick Stone (roadie for Fuller): My mom, Mary Stone, wrote music with Bobby at our home at 7420 Catalpa Lane in El Paso, Texas. Bobby did NOT have gas in his mouth when he was found in the car, but he did die of asphyxiation. Bobby had “I Fought The Law” released on his own label in El Paso two years earlier where it was a Top 10 Hit regionally. The original lyric was “Robbin’ people with a six gun,” but he would sing it as “Zip Gun,” “Shotgun” or “Six Gun,” and joked about other guns when he sang it live.
I Fought The Law
I’m breakin’ rocks in the hot sun I fought the law and the law won I fought the law and the law won
I needed money ’cause I had none I fought the law and the law won I fought the law and the law won
I left my baby and I feel so sad I guess my race is run But she’s the best girl I’ve ever had I fought the law and the law won I fought the law and the law won
Robbin’ people with a six-gun I fought the law and the law won I fought the law and the law won
I miss my baby and the good fun I fought the law and the law won I fought the law and the law won
I left my baby and I feel so sad I guess my race is run But she’s the best girl I’ve ever had I fought the law and the law won I fought the law and the law won
When I’m reading a music bio, everyone knows what I’m reading by reading my blog. I just finished the Peter Wolf book, and I cannot recommend it enough. I have never posted this song before, and I’m shocked that I haven’t. I’ve always liked this song and was reminded of it when I watched the movie The Wedding Singer. I remember in the 70s listening to J Geils with Must Have Got Lost and Give It To Me on AM radio, and they sounded great.
Of all the songs that I did vocals onstage with…this one has to be the most fun I had with a song. The crowd always roared back in the chorus…you could count on it. I was going to post this on Valentine’s Day, but forgot about it.
The J Geils Band started in 1967. They were originally called The J Geils Blues Band, and Peter Wolf saw them perform and joined with his band’s (The Hallucinations) drummer, Stephen Jo Bladd. A fan named Seth Justman soon joined on keyboards. Wolf and Justman soon became the two prominent songwriters of the band. The members were John Geils guitarist, Peter Wolf lead singer, Seth Justman keyboards, Danny Klein bass player, Richard Salwitz harp, trumpet, and saxophone.
They signed a contract with Atlantic Records that was VERY friendly to Atlantic Records. They started to open up for The Allman Brothers, BB King, The Who, The Stones, The Byrds, and just about everyone on the music scene at the time. They built their live reputation up and had a loyal fanbase. They were constantly touring and were known for high-energy shows and music. Peter Wolf was one of the best, if not the best, frontmen in rock. You also had Richard Salwitz (Magic Dick) playing blues harp, trumpet, and saxophone and gave the band a sound.
By their third album, Bloodshot, released in 1973, scored a hit with Give It To Me and the album peaked at #10 on the Billboard 100 and #17 in Canada. The album that set that album up was Live Full House. That album is one of the best live albums I’ve ever listened to. It was released in 1972 and established their live reputation for the rest of their career. As the decade went on, they did have some hits like my favorite Must Of Got Lost. Their Atlantic record contract was up in 1977.
They signed with EMI, and their commercial fortunes turned around with the new label. Their first album with EMI was Sanctuary, and it had a hit called One Last Kiss. Then came the Love Stinks album, and although there were no top 10 hits, this album had two songs that hit and are still played today: Love Stinks and Come Back hit the top 40, and their audience started to grow.
It was their 10th studio album, Freeze Frame, that blew the lid off. Some songs were the #1 Centerfold, #4 Freeze Frame, top 40 Angel in Blue, and a popular dance track called Flamethrower. Their popularity was at an all-time high. They opened for the Stones’ massive tour that year. They had been headlining since Love Stinks…but then…it was all over.
Peter Wolf didn’t like the way they were going into synth pop and wanted to get back to their roots. They pretty much told him to go his way, and they would go their way. They kept rejecting songs he brought, and many of the songs they rejected ended up on his album Lights Out. Listening to Freeze Frame now…you can hear the R&B in the song Freeze Frame and some of the others.
They decided to make an album called Even While I’m Gettin’ Odd, without Peter, and when I listen to it, I can see why Wolf didn’t want to go that way. They wanted to go much further into the 80s pop production than Freeze-Frame. The punch and live feeling of Freeze-Frame and Love Stinks was gone. The album failed and it would be their last. They have regrouped off and on through the years for live shows but never made another album.
The Love Stinks album was released in 1980 and peaked at #18 on the Billboard Album Charts and #4 in Canada. The title track peaked at #15 in Canada and #38 on the Billboard 100.
Peter Wolf on the breakup: Frank Barsalona, our agent, took me out for dinner after his final meeting with the other band members. In disbelief, he said, “After all these years, the band finally made it. It’s really quite unbelievable. I’ve dealt with the craziest of the crazies; the drugs, the girlfriends, the managers—nothing even comes close to this. Nothing as stupid, as senseless, and as wasteful in what these guys are insisting on doing. So, Peter, let’s start thinking about your solo career.”
Here is a version that I love…a bluegrass rendition of the song by Peter Wolf, and I like it.
Here they are in the Netherlands in 1980, live. Peter Wolf has a black eye and broken ribs after being ambushed in a pub. They headlined the Pinkpop Festival.
Love Stinks
You love her But she loves him And he loves somebody else You just can’t win And so it goes ‘Til the day you die This thing they call love It’s gonna make you cry
I’ve had the blues The reds and the pinks One thing for sure (Love stinks)
Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah
Two by two, and side by side Love’s gonna find you, yes, it is You just can’t hide You’ll hear it call Your heart will fall Then love will fly It’s gonna soar
I don’t care for any casanova thing All I can say is (Love stinks)
Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah
I’ve been through diamonds I’ve been through minks I’ve been through it all (Love stinks)
Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah
Love stinks Love stinks, yeah, yeah (Love stinks) Love stinks (love stinks), yeah, yeah (Love stinks)
Love stinks, yeah, yeah (Love stinks) Love stinks, yeah, yeah (Love stinks) Love stinks (love stinks), yeah, yeah (Love stinks) Love stinks (love stinks), yeah, yeah (Love stinks) Love stinks (love stinks)
Randy had a series called Three Piece (Suits Me) that ran a few weeks ago. Thank you, Randy, for inviting me to do this! I’ll take any excuse to write about Cream. When I think of a power trio…no offense to ZZ Top, but Cream is the first one that comes to mind. It was an all-star band that was super aggressive live and translated well in the studio. Either one of the members could have been musically the star of any band.
Cream was widely regarded as the first supergroup in rock history. They consisted of three legendary musicians: Eric Clapton, Jack Bruce, and Ginger Baker. Cream was formed in July 1966 when Clapton, Bruce, and Baker—all already established musicians—came together to create a band that fused blues, rock, jazz, and psychedelia. The name “Cream” signified that they were the “cream of the crop” in the British music scene. They each had a rich history before Cream.
Clapton had played with The Yardbirds and John Mayall’s Bluesbreakers..Bruce and Baker had been part of The Graham Bond Organization. Bruce also had briefly worked together with Manfred Mann. Clapton and Baker were forming the band and Eric had just played with Jack Bruce and wanted him in this. Clapton said: When Ginger invited me to join, I asked him who else was in the band. He said, “I don’t know yet. So I suggested Jack. He said, “No, what did you have to go and mention him for?” I said, “Because I just played with him and he’s a great bass player and you guys played together with Graham Bond and Alexis, so I thought you’d be pleased.” And he said, “No, we don’t get on very well at all.” So I withdrew at that point. Then I said I would only go in with Ginger if he would go in with Jack. So he had to say OK.
Eric Clapton was confident in his guitar playing but less so in his singing. Early on, it was decided that Jack Bruce would take on the role of the band’s primary singer and songwriter. However, as time went on, Clapton contributed more as both a writer and vocalist. Bruce collaborated with poet Pete Brown to write the band’s songs.
Cream’s debut album, Fresh Cream, was released in 1966, featuring tracks like I Feel Free, NSU, and Spoonful. While the album made an impact, it was their second release, Disraeli Gears, that truly propelled them to fame, with standout songs like “Sunshine of Your Love” and “Strange Brew.”
Released in 1968, Wheels of Fire featured Cream’s iconic cover of Crossroads and White Room, which became one of their signature songs. However, behind the scenes, tensions between Jack Bruce and Ginger Baker were escalating, proving too much for the more laid-back Eric Clapton.
By the end of the year, the band decided to call it quits, playing a farewell concert at the Royal Albert Hall and releasing a final album fittingly titled Goodbye. The album included Badge, one of my favorite Cream songs, co-written by George Harrison.
Cream had a huge influence on rock, blues, metal, and bands such as Led Zeppelin, Deep Purple, Black Sabbath, Rush, and Van Halen. At the time the only other band like them was another trio called The Jimi Hendrix Experience with Hendrix, Mitch Mitchell, Noel Redding, and later Billy Cox replacing Redding.
They did reunite a few times through the years. The first time was not publicized or open to the public. In 1979 Eric Clapton married Pattie Boyd and he invited Cream, three Beatles, Mick Jagger, Bill Wyman, Elton John, and David Bowie. Cream did play and so did Paul, George, and Ringo. Pattie said that somehow Lennon wasn’t sent an invite but he said he would have gone if he would have known.
In 1993 they reunited at the Rock and Roll Hall of Fame when they were inducted. They also reunited for two sets of shows in 2005. One with four shows at the Royal Albert Hall and three shows at Madison Square Garden. Yes, there was still friction between Bruce and Baker at that time. That fact made it impossible for them to do any more shows. Bruce passed away in 2014 and Baker in 2019…effectively ending Cream.
I will say they made the most out of their short window. They influenced countless rock and roll bands through the years. Eric Clapton never sounded as good again as he did with Cream. Part of that reason is he was pushed because of the trio format that we are celebrating today!
One of my great loves in life is baseball. It lends itself to music and movies better than any other sport, in my opinion. I’ve been asked what are my favorite baseball songs. This one is in my top 5. It uses baseball as a metaphor, but I count it. Some other songs are Centerfield by John Fogerty, Talkin’ Baseball by Terry Cashman, Did You See Jackie Robinson Hit That Ball?, and so many more. Also, the Baseball Project, which has Mike Mills from REM as a member. I first heard this song in Ken Burns’ documentary “Baseball” in the mid-nineties. It was also in the movie about Jackie Robinson called 42.
Sister Wynona Carr had such a powerful, soulful voice. This song is also known as Life Is A Ballgame. It’s a gospel song recorded by Sister Wynona Carr in 1952.The song uses baseball as a metaphor for life’s challenges, depicting Jesus as the coach and Satan as the opposing pitcher, with bases representing stages of temptation, sin, and tribulation.
Wynona Carr started her musical career in gospel, forming the Carr Singers around 1945.She later signed with Specialty Records, where she recorded around twenty gospel tracks between 1949 and 1954, including this song.Despite its initial success, Carr moved to popular music in the mid-1950s, exploring R&B and rock and roll genres.
She was influenced by Sister Rosetta Tharpe in bringing in jazz, gospel, and blues influences. Sister Wynonna Carr also wrote this song, which is incredible. I think it’s one of the best songs to use baseball as the subject.
I was talking to my friend Ron, and he mentioned a country duo in the 80s called Foster and Lloyd. This aligns with Dwight Yoakam and the new sound that was coming at the time. The Nashville establishment didn’t like this because it wasn’t pop with a country accent…it had its roots in older country music. Nashville loves to eat its own at times, but that has changed some through the years.
Radney is from Del Rio, Texas, and started to play guitar and write songs at 12. Later on, he moved to Nashville to start a career in music after college. He became the staff songwriter at MTM Publishing Company in 1985, where he met Bill Lloyd.
The duo formed Foster & Lloyd and signed with RCA Records Nashville in 1986. They had 4 top ten hits on the Billboard Country Charts and were also successful on the Canadian Country Charts. Their first song Crazy Over You peaked at #4, and their second single, Sure Thing, peaked at #8 on the Billboard Country Charts and Canadian Country Charts in 1987.
This song was after they broke up, and Radney released it in 1992, and it was very successful. It peaked at #10 on the Billboard Country Charts in 1992 and also at #54 on the Canadian Country Charts. It was on his album Del Rio, TX 1959.
Foster & Lloyd did reunite in 2011 and released an album called It’s Already Tomorrow.
Just Call Me Lonesome
Just call me lonesome Heartbroke and then some ‘Cause I ain’t got no one Since you’ve been gone You called me baby Now I’ve got a new name Don’t need my old one Call me lonesome from now on
You used to call me, your one and only But now you only call me someone you once knew You were my angel, before some stranger Stole your heart and stole my world when he stole you
Just call me lonesome Heartbroke and then some ‘Cause I ain’t got no one Since you’ve been gone You called me baby Now I’ve got a new name Don’t need my old one Call me lonesome from now on
I see you with him, and fall apart again Remembering when I was the only man you needed We said forever, We’d be together He came between us and now forever lies in pieces
Don’t need my old one Call me lonesome from now on
Good times come and they go Even a good man’ll break He’ll let his troubles bury him whole Even though he knows what’s at stake
I’m just starting to explore Justin’s music lately. I’m going over some of his catalog, and I really love what I’ve been hearing. It’s pure music at its finest with a great marriage of music and lyrics. Around a month ago, I was cruising around YouTube and I found him singing this song on The David Letterman song around 2020…I kept listening to it over and over.
When I heard this song, I stopped what I was doing just to listen. This sounds corny, but I did get lost in the moment and listened carefully. I don’t usually do that with songs on the first listen…but this I did. I love its gospel, blues, rock, and overall feeling. It’s a very somber song, but he packages it with an upbeat music attack. He was born in 1982 to Carol Ann Hunter Earle, and his father was singer/songwriter Steve Earle. He was born in Nashville and named in honor of his father’s mentor, Townes Van Zant.
When he got older, he started to help out his dad touring, and he was in a couple of bands in Nashville. A rock band called The Distributors and a bluegrass band called the Swindlers, and he continued to play in The Dukes, his father’s backup band. He had his own style, and I admired him for that.
In 2007, he released his first EP called Yuma, and then he released his first album, The Good Life, in 2008. Harlem River Blues came off the album of the same name in 2010. It was his highest charting album in the US. It peaked at #47 on the Billboard Album Charts, #18 on the Billboard Rock Album Charts, #9 on the Billboard Indie Charts, and #3 on the Billboard Folk Charts.
The song received acclaim and earned Earle the Song of the Year award at the 2011 Americana Music Honors & Awards. Justin Townes Earl passed away in 2020 at 38 years old.
I had to include three versions…all of them have something to offer.
Harlem River Blues
Lord, I’m goin’ uptown to the Harlem River to drown Dirty water gonna cover me over And I’m not gonna make a sound
I’m on a roll, mama, I gotta go Gotta get there while I still can Troubled days are behind me now And I know they’re gonna let me in When you see me walkin’ up the FDR Just a-singin’ and a-clappin’ my hands Tell my mama I love her, tell my father I tried Give my money to my baby to spend
‘Cause Lord, I’m goin’ uptown to the Harlem River to drown Dirty water gonna cover me over And I’m not gonna make a sound
Good times come and they go Even a good man’ll break He’ll let his troubles bury him whole Even though he knows what’s at stake So I’m taking no chances Carrying over while I’m still good in His grace Sayin’ I’m no fool, mama I know the difference between tempting and choosing my fate
So Lord, I’m goin’ uptown to the Harlem River to drown Dirty water gonna cover me over And I’m not gonna make a sound
Lord, I’m goin’ uptown to the Harlem River to drown Dirty water gonna cover me over And I’m not gonna make a sound
Lord, I’m goin’ uptown to the Harlem River to drown Dirty water gonna cover me over And I’m not gonna make a sound
I’ve never posted a song on Ronnie Hawkins, and it was about time. I always loved his aggression on stage. I see these old clips of him, and he is everywhere.
He was born in Huntsville, Arkansas, and became an important in the U.S. and Canadian music scenes. The guy could appear unhinged live, and I love that fact. From the film clips I’ve seen, he was all over the place. In the clip at the bottom, you will see a young blonde-headed Levon Helm on drums.
In 1958, Hawkins toured Canada with The Hawks and decided to settle there, where he found a huge music scene. He became a Canadian citizen and remained in the country for much of his career. His decision to stay in Canada played a huge part in its rock and roll development.
Chuck Berry wrote 30 Days or Thirty Days (To Come Back Home) in 1955. Ronnie rewrote it as 40 days. Ernest Tubb, Cliff Richard, and The Tractors have covered it. It did really well in Canada, peaking at #4 and #45 on the Billboard 100 in 1959.
A young Robbie Robertson, then a member of the Suedes, opened for Hawkins and the Hawks at the Dixie Arena in Toronto. He was impressed by Hawkins’ dynamic performance, and Robertson was eager to contribute material when he overheard Hawkins expressing a need for new songs for an upcoming recording session. He stayed up all night to write Someone Like You and Hey Boba Lu, both of which Hawkins recorded for his album Mr. Dynamo. He would join the Hawks in 1961.
Ronnie is best known for the latter Hawks. In 1961, Robbie Robertson, Levon Helm, Rick Danko, Richard Manuel, and a 24-year-old kid named Garth Hudson would be the Hawks…and eventually break away from Hawkins and form The Band.
40 Days
I’m gonna give you 40 days To get back home I done called up a gypsy woman on the telephone I’m gonna send out a world-wide who-do-that And do the very thing that I should, yeah I’m gonna sentence you to be back home in 40 days
Whew! 40 days! (40 days) Whew! 40 days! (40 days) I’m gonna sentence you to be back home in 40 days (40 days)
I’m gonna send out a world-wide who-do-that And do everything that I should, yeah I’m gonna sentence you to be back home in 40 days (40 days)
I heard ’em talkin’ to the judge in private Early this mornin’ I heard they took it to the Sherriff Office to signed a warnin’
They’re gonna go and call a charge against you That’d be the very thing that I’ll send you I’m gonna sentence you to be back in 40 days
Whew! 40 days! (40 days) Whew! 40 days! (40 days) I’m gonna sentence you to be back home in 40 days (40 days)
I’m gonna send out a world-wide who-do-that And do everything that I should I’m gonna sentence you to be back home in 40 days (40 days)
Whoa, 40 days (40 days) Whew! 40 days (40 days) I’m gonna sentence you to be back home in 40 days (40 days)
I’m gonna go and call a charge against you That’ll be the very thing that I send you I’m gonna sentence you to be back home in 40 days (40 days)
For the longest time, this is the only song I knew by The Faces. I found out how good they were not just by this one but by their other songs. This is the Rod Stewart I think of when I think of him. Absolutely killer on stage at this time with this band powering it on.
I usually don’t like gimmicky instruments, like in the 1980,s they had guitars with what looked like hockey sticks. I have one of those, and the strings break like crazy. Or the guitars with no headstocks…I hated those. One guitar I did like in the late sixties, early seventies was the one that Ron Wood is playing in the live video clip. The “See-Through” Ampeg Dan Amstrong Guitar. Keith Richards played one as well, and they sound dirty and raunchy. They are now worth 2-6 grand. All of you non-guitar fans…sorry. The one below can be had for $5500.
This song was written by Ronnie Wood and Rod Stewart, which became the Faces’ biggest hit. Stay With Me peaked at #17 in the Billboard 100, #6 in the UK, and #4 in Canada in 1972. I’ve always liked the dirty, filthy sound of the song. It’s not my so called favorite song by them. That would be Ooh La La by the Faces in 1973.
This band was formed from the Small Faces when Steve Marriott quit and Ron Wood and Rod Stewart took his place. Steve was both a great guitarist and even better singer. I remember seeing a clip of the 1993 Brit Awards on some TV show and saw a reunion of the Faces with Bill Wyman of the Stones filling in for Ronnie Lane.
Stay With Me
In the morning Don’t say you love me ‘Cause I’ll only kick you out of the door
I know your name is Rita ‘Cause your perfume smelling sweeter Since when I saw you down on the floor guitar
Won’t need to much persuading I don’t mean to sound degrading But with a face like that You got nothing to laugh about
Red lips hair and fingernails I hear your a mean old Jezebel Lets go up stairs and read my tarot cards
Stay with me Stay with me For tonight you better stay with me
Stay with me Stay with me For tonight you better stay with me
So in the morning Please don’t say you love me ‘Cause you know I’ll only kick you out the door
Yea I’ll pay your cab fare home You can even use my best cologne Just don’t be here in the morning when I wake up
Stay with me Stay with me ‘Cause tonight you better stay with me Sit down, get up, get down
Stay with me Stay with me Cause tonight your going stay with me Hey, whats your name again Oh no, get down
I want to thank Lisa for inviting me to write for herWomen Music March. She posted this on March 20, 2025. She has been doing this for years and it gets better and better. Thanks, Lisa! She has had some great artists this month.
Joe Elliott: “I had no idea who they were, but this four minutes of music, and I was hooked.”
Kathy Valentine: They made 5 records. The Go Gos get a lot of attention for what we did and we only made 3 records.
Earl Slick: It’s always the ones that start it gets f**ked
David Bowie: They were one of the finest fucking rock bands of their time, they were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody’s ever mentioned them. They’re as important as anybody else who’s ever been, ever; it just wasn’t their time.
When you hear about an all-female band…the Bangles, Runaways, and Go-Go’s come to mind but this band was completely different. These women rocked…not pop-rock but some hard blues rock. They were pioneers and had a huge impact on those other female bands, and those bands all cited Fanny as an influence.
They had a blues edge about them and weren’t as commercial. They never got that one big hit single to break them to the masses. They had a few songs with a pop flavor that really should have made it, such as All Mine… that would get my vote.
Early Life and Musical Beginnings:
They were formed in the late sixties in Sacramento by two Filipina sisters (their family left the Philippines in 1961 while kids), Jean and June Millington. June Millington was the lead guitar player and her sister Jean was the bass player. They started out in high school with the name The Svelts and then Wild Honey but the band was then renamed Fanny, not with a sexual connotation but to denote a female spirit.
Career
Fanny released their self-titled debut album in 1970, making them one of the first all-female bands to be signed to a major label and record a full album with complete creative control. Their blend of rock, funk, blues, and pop set them apart. They would be the first all-female band to release an album on a major label (Reprise) and land four singles on the Billboard Hot 100 and two in the top 40.
Like any other band, they had to pay their dues. They opened up for artists such as Jethro Tull, Humble Pie, Slade, Leon Russell, Van Morrison, Chuck Berry, Deep Purple, and many more. When you are opening for artists of that caliber, you are very good. Their range was incredible. They played on Barbra Streisand’s 1971 album Barbra Joan Streisand. So they could play almost anything.
They went on to release an album every year from 1970 to 1974, making it 5 studio albums in total in the 1970s, while touring relentlessly. By their third album,m Mother’s Pride, guitarist June Millington quit after it was released because she felt restrained by the band. After some changes, with her sister Jean still playing bass, the band released their last 1970s album, Rock and Roll Survivors. The album contained their highest charting single with Butter Boy, which charted at #29.
Fanny broke up in 1975, reunited in 2018, and released an album titled Fanny Walked the Earth. I simply adore these women because they could keep up with anyone in any field. One night Deep Purple missed a gig and Fanny filled in for them for that night without complaints.
Discography: (wiki)
Studio Albums
Fanny (1970)
Charity Ball (1971) (No. 150)
Fanny Hill (1972) (No. 135)
Mothers Pride (1973)
Rock and Roll Survivors (1974)
Fanny Walked the Earth (2018, as Fanny Walked the Earth)
Live Albums
Fanny Live (1998; recorded 1972) (reissued as Fanny: Live in 1972)
Live on Beat-Club ’71-’72 (2024)
Singles
“Ladies’ Choice” / “New Day” (1970)
“Nowhere to Run” / “One Step at a Time” (1970)
“Changing Horses” / “Conversation with a Cop” (January 1971)
“Charity Ball” / “Place in the Country” (September 1971) (No. 40)
“Ain’t That Peculiar” / “Think About the Children” (March 1972) (No. 85)
In recent years, Fanny has participated in reunion events, introducing their songs to new audiences. These performances have served both as a tribute to their historical impact and as a celebration of their music. They have a documentary out…watch it! It’s called FANNY: The Right To Rock that I placed at the top.
I remember hearing it as a kid, and I loved it as much then as now. Edmunds first heard this song on his car radio back in 1970 while in Britain. He was going to cover Let’s Work Together but it had just been covered by Canned Heat. He heard this song and thought…the backing track to both songs is so close, so he did this one.
I first saw Dave Edmunds in the film Stardust when it was shown as a late-night TV movie. He was part of the fictional Stray Cats in the film with Keith Moon as the drummer. The movie was a sequel to That’ll Be The Day.
This song is stripped-down rock at its best. Dave Edmunds released this song in 1970, and it peaked at #4 on the Billboard 100, #1 in the UK, #3 in Canada, and #3 in New Zealand. It sold over 3 million copies. During the instrumental break, Edmunds paid homage to several recording artists by shouting their names: “Fats Domino, Smiley Lewis, Chuck Berry, Huey Smith.”
Dave had more tracks added to the song, but changed his mind and stripped it down and released it. It was the best decision. It was written by Dave Bartholomew and Earl King and released by Smiley Lewis in 1955, and it went to #2 on the R and B Charts.
I Hear You Knocking
You went away and left me long time ago Now you’re knocking on my door I hear you knocking, but you can’t come in I hear you knocking, go back where you been
I begged you not to go but you said goodbye And now you’re telling me all your lies I hear you knocking, but you can’t come in I hear you knocking, go back where you been, oh yeah
Fats Domino, Smiley Lewis, Chuck Berry, Huey Smith
You better get back to your used-to-be ‘Cause you’re kinda love ain’t good for me I hear you knocking, but you can’t come in I hear you knocking, go back where you been
I told you way back in Fifty-two That I would never go with you I hear you knocking but you can’t come in I hear you knocking, go back where you been
I’m reading Peter Wolf’s autobiography, and he mentioned this song being his and his first love’s song. I listened to it and instantly liked the guitar’s haunting mood and slight tremolo. It’s a doo-wop song from 1954, and it sounds heavenly. Many of the slow 50s doo-wop songs do sound haunting now. I think it was the production that helped as well.
The record also mentioned “featuring Nolan Strong” on the record, and it’s posted as Nolan Strong and the Diablos. He was an outstanding singer. The Diablos were a Detroit-based doo-wop group formed in the early 1950s. They had tight harmonies and Strong’s falsetto at the time set them apart. They recorded for Fortune Records, a label known for its gritty, cheap, and raw production style.
This was their biggest song and a cult classic. While it didn’t chart nationally, it became a staple on jukeboxes and a huge influence in Detroit. Nolan Strong became well-known among other musicians. Smokey Robinson said, “There was a guy who lived in Detroit and had a group called the Diablos. His name was Nolan Strong. They were my favorite vocalists at that time.” When Smokey Robinson says that…I automatically listen. Lou Reed added: “If I could really sing, I’d be Nolan Strong.”
Berry Gordy had wanted to bring the Diablos into his growing Motown complex and is said to have offered Jack & Devora Brown $5,000 for the Diablos contract, but the deal never transpired, much to the disappointment of the group, who felt that Motown could have done a better job in promoting and recording them.
The song has been covered a few times, most notably by Laura Nyro in 1971 and a live version by her was released in 2002. The Chenille Sisters also covered it in 1991.
Bobby Rogers (A Miracle Member): Smokey and I used to go see Nolan all the time at the Warfield Theater over on Hastings, He was a great singer. I don’t know, some people are just ahead of their time.’
When the cool summer breeze Sends a chill down my spine When I long for my love’s sweet caress I know she has gone, but my love lingers on In a dream that the winds bring to me I remember as we kissed in the cool summer breeze As she lay warm and tender in my arms
Darling, when a star falls, I wish for you And, darling, when I see lover’s making love Then I long for you And when the sun and her stars are shimmering across the mountains and the valleys Then, darling, I look for you And even until the Heavens above can no longer exist Even until then, shall I still love you
I know she has gone, but my love lingers on In a dream that the winds bring to me
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