Singles – Page 163 – PowerPop… An Eclectic Collection of Pop Culture

The Crystals – Then He Kissed Me

I always think of Goodfellas when I hear this. It is the scene where Ray Liotta takes Lorraine Bracco out to the Copacabana. The song peaked at #6 in the Billboard 100 in 1964.

Dolores “La La” Brooks is the only Crystal to perform on this song. Spector recorded the group’s first recordings in New York City, where they were from. When he relocated to Los Angeles, he had a group called The Blossoms (with Darlene Love singing lead) record the songs “He’s A Rebel” and “He’s Sure the Boy I Love,” which he issued as The Crystals.

On all following Crystals recordings, Spector flew Brooks from New York to Los Angeles to perform the lead vocals, but the other Crystals never made the trip, as Spector preferred to use local backup singers.

From Songfacts

By July 1963, Phil Spector had already made the Hot 100 with seven chart hits that he produced. He successfully ended his partnership with Lester Sill and began his marriage to Annette Merar. Shortly after his marriage, Spector traveled to New York looking for a song to follow up on The Crystals success with “Da Doo Ron Ron.” “Then He Kissed Me” was the perfect song for the group and Phil put together one of his most extravagant productions for the record. (Thanks to Kent at Forgotten Hits.)

This was also around the time when the group shrunk from five members to four, losing Mary Thomas, who left to get married.

Phil Spector produced this using his “Wall Of Sound” technique, which meant long hours in the studio for the musicians, as Spector was notoriously stingy allowing breaks. His engineer Larry Levine recalled: “He didn’t want to give them a bathroom break. Not because he wanted to work them to death, but because he didn’t want them to move microphones or bodies or anything. He wanted everything to stay as it was in the studio. But he would work for three hours or more before we ever put anything on tape. And I think the reason was he wanted to tire these great musicians so that they weren’t playing individualistic; they were too tired. And so they just melded into this wall of sound.”

This was written by Jeff Barry and Ellie Greenwich. Phil Spector also received a songwriting credit.

Crystals lead singer La La Brooks was just 15 when she recorded this song. Had she ever been kissed? “Yeah,” she replied when we asked her. “My little boyfriend at 13 years kissed me on my mouth at the door. But not kiss kiss – you know what I’m saying?”

To coax the vocal performance out of La La Brooks, Phil Spector dimmed the lights in the studio and gave her specific instructions. “He said, ‘Think of somebody kissing you,'” Brooks told us. “I was a kid, so I’m not going to think like that. So he would turn off the lights, I would have a little light on my music, on my words, and then he said, ‘Now, concentrate.’ And I said (singing), ‘Well, he walked up to me and he asked me if I wanted to dance.’ He said, ‘That’s the way you do it!’

So I guess he had to train my mind to think that I was talking about a boy. He knew how to get things out of you.”

This was The Crystals’ last US Top 40 hit, as Phil Spector soon lost interest in them and turned his attention to another girl-group called The Ronettes. The song’s first appearance on an album was on a various-artists compilation of Phil Spector’s artists entitled Today’s Hits.

In 1965, the Beach Boys recorded a version titled “Then I Kissed Her,” which reached UK #4.

The flip side of the record was an instrumental called “Brother Julius,” which was named after a hamburger stand near the Gold Star studio where the recording sessions took place. Spector usually put throwaway songs on the B-sides of his singles so the DJs wouldn’t play them instead of the A-sides.

This song opens the 1987 movie Adventures in Babysitting, where Elisabeth Shue dances to it while getting ready for a date. The song was also used in a 2006 episode of The Simpsons called “Marge and Homer Turn a Couple Play.”

Then He Kissed Me

Well, he walked up to me and he asked me if I wanted to dance
He looked kinda nice and so I said I might take a chance
When he danced he held me tight
And when he walked me home that night
All the stars were shining bright
And then he kissed me

Each time I saw him I couldn’t wait to see him again
I wanted to let him know that he was more than a friend
I didn’t know just what to do
So I whispered I love you
He said that he loved me too
And then he kissed me

He kissed me in a way that I’ve never been kissed before,
He kissed me in a way that I want to be kissed forever more

I knew that he was mine so I gave him all the love that I had
And one day he took me home to meet his mon and his dad
Then he asked me to be his bride
And always be right by his side
I felt so happy I almost cried
And then he kissed me

Then he asked me to be his bride
And always be right by his side
I felt so happy I almost cried
And then he kissed me
And then he kissed me
And then he kissed me

Roy Orbison – In Dreams

How I love this song but…no matter how hard I try I cannot get the movie Blue Velvet out of my head while listening to it. The song helped revive Roy’s career when it appeared in the movie. Here is what Roy said:

Oh God! I was aghast, truly shocked! I remember sneaking into a little cinema in Malibu, where I live, to see it, Some people behind me evidently recognised me because they started laughing when the “In Dreams” sequence came on. But I was shocked, almost mortified, because they were talking about ‘the candy coloured clown’ in relation to doing a dope deal, then Dean Stockwell did that weird miming thing with that lamp. Then they were beating up that young kid! I thought, ‘What in the world? But later, when I was touring, we got the video out and I really got to appreciate not only what David Lynch gave to the song, and what the song in turn gave to the film, but how innovative the movie was, how it really achieved this otherworldy quality that added a whole new dimension to “In Dreams”. I find it hard to verbalise why, but Blue Velvet really succeeded in making my music contemporary again.

Roy Orbison claimed in interviews that the lyrics for this song came to him in a dream he wrote the music once he woke up. The song peaked #7 in the Billboard 100 in 1963. While the song was in the charts Orbison toured Britain with a new unknown group, named the Beatles.

From Songfacts

This song is featured in a key scene in the 1986 film Blue Velvet where Dean Stockwell’s character lip-synchs to the song. Orbison initially rejected director David Lynch’s request to use this song, but later made a video for the track with scenes from the film.

The use of this song in Blue Velvet sparked a career resurgence for Orbison. Because of legal entanglements, he didn’t have access to the master recordings of many of his hits, so after the movie drummed up interest in his work, he set about re-recording his songs for a compilation called In Dreams: The Greatest Hits. When Orbison asked Lynch if he could use footage of the film in a video for the re-recorded “In Dreams,” Lynch not only agreed, but offered to help with the song. With T Bone Burnett producing, Lynch directed Orbison in his performance as he would an actor in a film, and it worked, allowing Orbison to be faithful to the original recording by doing it with no overdubs.

Shortly before he died, Roy Orbison recorded a follow-up to this song called “In The Real World” on his 1989 album Mystery Girl.

In Dreams

A candy-colored clown they call the sandman
Tiptoes to my room every night
Just to sprinkle star dust and to whisper
“Go to sleep, everything is alright”

I close my eyes then I drift away
Into the magic night, I softly say
A silent prayer like dreamers do
Then I fall asleep to dream my dreams of you

In dreams I walk with you
In dreams I talk to you
In dreams you’re mine all the time
We’re together in dreams, in dreams

But just before the dawn
I awake and find you gone
I can’t help it, I can’t help it if I cry
I remember that you said goodbye

Too bad it only seems
It only happens in my dreams
Only in dreams
In beautiful dreams.

Chris Bell – I Am The Cosmos

Alex Chilton’s songwriting partner in power-pop legend Big Star, Chris Bell was an overlooked member of an overlooked band. In London, he teamed up with longtime Beatles’ engineer Geoff Emerick at AIR Studios, where the final touches and mix were completed. Bell would spend the next two years engaged in a frustrating attempt to get a record deal in the U.S. and Europe. With those prospects dimming, he eventually abandoned his career and took a job with his family’s fast-food chain back home.

Just another sad story that came from Big Star. In 1978, amid when Big Star started to get a cult following, “Cosmos” was released as a single by fan and fellow musician Chris Stamey, on his tiny North Carolina-based Car label. The song (backed with the “You and Your Sister”) would be the only solo work released during Bell’s life. Just a few months after the record was pressed, Bell would die in a late-night single-car accident near his home in East Memphis on December 27, 1978. He was 27.

The B side…You and Your Sister

I Am The Cosmos

Every night I tell myself,
“I am the cosmos,
I am the wind”
But that don’t get you back again
Just when I was starting to feel okay
You’re on the phone
I never wanna be alone
Never wanna be alone
I hate to have to take you home
Wanted too much to say no, no,
Yeah, yeah, yeah
Yeah, yeah, yeah
Never wanna be alone
I hate to have to take you home
Want you too much to say no, no
Yeah, yeah, yeah
Yeah, yeah, yeah
My feeling’s always happening
Something I couldn’t hide
I can’t confide
Don’t know what’s going on inside
So every night I tell myself
“I am the cosmos,
I am the wind”
But that don’t get you back again
I’d really like to see you again
I really wanna see you again
I’d really like to see you again
I really wanna see you again
I’d really like to see you again
I really wanna see you again
I never wanna see you again
Really wanna see you again

The Cars – Just What I Needed

Ric Ocasek wrote this in a basement at a commune in Newton, Massachusetts where he lived. Benjamin Orr the bass player sang it. The 2-track demo recorded by the band became the most-requested song by a local band in the history of WBCN, a popular rock station in Boston.

The song peaked at #27 in the Billboard 100, #17 in the UK, and #35 in Canada in 1978. The song was on their self-titled debut album that peaked at #18 in the Billboard Album charts in 1979. The Cars set the bar high with their debut album with two songs (My Best Friends Girl, Just What I Needed) in the top 40 and one song (Let The Good Times Roll) just missing it at #41. At least 6 out of the 9 songs on the album is still being played on classic radio.

From Songfacts

This established The Cars as one of New Wave’s leading hitmakers and helped get them a deal with Elektra Records.

Lead vocals were by bass player Ben Orr, but it was written by lead singer/guitarist Ric Ocasek. Orr died of Pancreatic cancer in 2000.

This was the group’s first single. The Cars evolved from a trio called Milkwood.

The group’s manager took the Cars’ demo tape to two Boston radio stations and got it regular airplay before the group re-recorded it and released this as a single.

Seven years after it was first released, this made its second appearance on a single – this time as the B-side of the Cars’ last Top 10 hit, “Tonight She Comes.” >>

This song was used in the opening credits of the Oscar-winning film Boys Don’t Cry starring Hillary Swank.

This was used in Circuit City ads when the electronics store used the slogan, “Just What I Needed.”

Just What I Needed

I don’t mind you coming here
And wasting all my time
’cause when you’re standing oh so near
I kinda lose my mind
It’s not the perfume that you wear
It’s not the ribbons in your hair
I don’t mind you coming here
And wasting all my time
I don’t mind you hanging out
And talking in your sleep
It doesn’t matter where you’ve been
As long as it was deep
You always knew to wear it well
You look so fancy I can tell
I don’t mind you hanging out
And talking in your sleep
I guess you’re just what I needed
I needed someone to feed
I guess you’re just what I needed
I needed someone to bleed

Counting Crows – Mrs. Potter’s Lullaby

When I heard this song for the first time I liked it…the line “If dreams are like movies, then memories are films about ghosts” got my attention. It is a well-written song with great imagery.

The song peaked at #40 in the U.S. Billboard Adult Top 40 in 2000.

Adam Duritz the songwriter/singer has finally admitted to how he wrote the song Mrs. Potter’s Lullaby. According to an interview he did he admitted he wrote the song about a person who falls in love with an idealized version of someone and not who they actually are. In this particular case, the character falls in love with an actress on a screen, Monica Potter.

From Songfacts

This song deals with memories and hope (both the false ones and all the far-searching dreams). Mrs. Potter is a movie star who Adam Duritz is looking up at, admiring, and wanting her to be a part of his life. This song has a very dreamy feel about it all the way through, as does the video clip. Duritz says he wrote the song after going to a movie and wondering what it would be like to fall in love with a girl on the screen.

Duritz had some particular insights here, as he has dated a litany of actresses, including Mary Louise Parker, Jennifer Aniston, Samantha Mathis and Emmy Rossum.

It was written about Monica Potter from the movies Con Air, Patch Adams and Saw. He says that after he wrote the song, he had dinner with a couple who brought an actress friend along. She and Duritz hit it off, and he invited her to the recording session, where he announced her as “Mrs. Potter.” She went out of town for a few days, during which time Duritz wrote a few songs inspired by their quick separation and long phone calls: “Colorblind,” “Four Days” and “Kid Things.”

When she returned, they started dating. Their producer Dennis Herring had given her a tape from the sessions, which she played for Duritz when he told her that they were having trouble mixing the song. One take on the tape sounded really good, so Adam played that one for the band and used it on the recording. They realized that they had overcomplicated the song, so they stripped it down, working from that one take.

This song runs 7:46, but Adam Duritz tells us that it took him only about 8 hours to write. “It’s a longer song, but it’s one sitting,” he said. “I would always sit in that feeling for a while.”

Mrs. Potter’s Lullaby

Well I woke up in mid-afternoon cause that’s when it all hurts the most
I dream I never know anyone at the party and I’m always the host
If dreams are like movies, then memories are films about ghosts
You can never escape, you can only move south down the coast

Well, I am an idiot walking a tightrope of fortune and fame
I am an acrobat swinging trapezes through circles of flame
If you’ve never stared off in the distance, then your life is a shame
And though I’ll never forget your face,
sometimes I can’t remember my name

Hey Mrs. Potter don’t cry
Hey Mrs. Potter I know why but
Hey Mrs. Potter won’t you talk to me

Well, there’s a piece of Maria in every song that I sing
And the price of a memory is the memory of the sorrow it brings
And there is always one last light to turn out and one last bell to ring
And the last one out of the circus has to lock up everything

Or the elephants will get out and forget to remember what you said
And the ghosts of the tilt-a-whirl will linger inside of your head
And the ferris wheel junkies will spin them forever instead
When I see you a blanket of stars covers me in bed

Hey Mrs. Potter don’t go
Hey Mrs. Potter I don’t know but
Hey Mrs. Potter won’t you talk to me

All the blue light reflections that color my mind when I sleep
And the lovesick rejections that accompany the company I keep
All the razor perceptions that cut just a little too deep
Hey I can bleed as well as anyone, but I need someone to help me sleep

So I throw my hand into the air and it swims in the beams
It’s just a brief interruption of the swirling dust sparkle jet stream
Well, I know I don’t know you and you’re probably not what you seem
But I’d sure like to find out
So why don’t you climb down off that movie screen

Hey Mrs. Potter don’t turn
Hey Mrs. Potter I burn for you
Hey Mrs. Potter won’t you talk to me

When the last king of Hollywood shatters his glass on the floor
and orders another
Well, I wonder what he did that for
That’s when I know that I have to get out cause I have been there before
So I gave up my seat at the bar and I head for the door

We drove out to the desert just to lie down beneath this bowl of stars
We stand up at the Palace like it’s the last of the great Pioneertown bars
We shout out these songs against the clang of electric guitars
You can see a million miles tonight
But you can’t get very far

Hey Mrs. Potter I won’t touch and
Hey Mrs. Potter it’s not much but
Hey Mrs. Potter won’t you talk to me

Don McLean – Vincent

Just a beautiful song and it’s close to perfect. The song was obviously inspired by Vincent Van Gogh. Underneath the Van Gogh museum in Amsterdam, there is a time capsule that contains the sheet music to this song along with some of Van Gogh’s brushes. This song is often played at the museum.

The song peaked at #12 in the Billboard 100, #1 in the UK, and #3 in Canada. It was on the album American Pie.

Don McLean: “In the autumn of 1970 I had a job singing in the school system, playing my guitar in classrooms. I was sitting on the veranda one morning, reading a biography of Van Gogh, and suddenly I knew I had to write a song arguing that he wasn’t crazy. He had an illness and so did his brother Theo. This makes it different, in my mind, to the garden variety of ‘crazy’ – because he was rejected by a woman as was commonly thought. So I sat down with a print of Starry Night and wrote the lyrics out on a paper bag.”

McLean was going through a dark period when he wrote this song “I was in a bad marriage that was torturing me. I was tortured. I wasn’t as badly off as Vincent was, but I wasn’t thrilled, let’s put it that way.”

From Songfacts

The words and imagery of this song represent the life, work, and death of Vincent Van Gogh. A Starry Night is one of the Dutch impressionist’s most famous paintings.

The lyrics, “Paint your palette blue and gray” reflect the prominent colors of the painting, and are probably a reference to Vincent’s habit of sucking on or biting his paintbrushes while he worked. The “ragged men in ragged clothes” and “how you tried to set them free” refer to Van Gogh’s humanitarian activities and love of the socially outcast as also reflected in his paintings and drawings. “They would not listen/They did not know how” refers to Van Gogh’s family and some associates who were critical of his kindness to “the wretched.”

“How you suffered for your sanity” refers to the schizophrenic disorder from which Van Gogh suffered.

This song and Van Gogh’s painting reflect what it’s like to be misunderstood. Van Gogh painted “Starry Night” after committing himself to an asylum in 1889. He wrote that night was “more richly colored than the day,” but he couldn’t go outside to see the stars when he was committed, so he painted the night sky from memory.

Talking about the song on the UK show Songbook, McLean said: “It was inspired by a book. And it said that it was written by Vincent’s brother, Theo. And Theo also had this illness, the same one Van Gogh had. So what caused the idea to percolate in my head was, first of all, what a beautiful idea for a piece of music. Secondly, I could set the record straight, basically, he wasn’t crazy. But then I thought, well, how do you do this? Again, I wanted to have each thing be different.

I’m looking through the book and fiddling around and I saw the painting. I said, Wow, just tell the story using the color, the imagery, the movement, everything that’s in the painting. Because that’s him more than he is him.

One thing I want to say is that music is like poetry in so many ways. You have wit and drama and humor and pathos and anger and all of these things create the subtle tools that an artist, a stage artist, a good one, uses. Sadly, this has really gone out of music completely. So it makes someone like me a relic because I am doing things and people like me are doing things that utilize all the classic means of emotional expression.”

There could be some religious meaning in this song. McLean is a practicing Catholic and has written songs like “Jerusalem” and “Sister Fatima” that deal with his faith. The “Starry Night” could mean creation, with many of the other lyrics referring to Jesus. McLean has said that several of the songs on the American Pie album has a religious aspect to them, notably the closing track “Babylon.”

Josh Groban recorded the song for his self-titled debut album, which was released in 2001 when he was just 20 years old.

The British electronic artist Vincent Frank aka Frankmusik (check out “Better Off as Two”) was named after this song.

Irish singer Brian Kennedy sang this song at footballer George Best’s funeral.

According to the movie Tupac, the Resurrection, Gangsta rapper Tupac Shakur was influenced by Don McLean, and this was his favorite song. When he was fatally wounded in a drive-by shooting in 1996, his girlfriend put this tune into a player next to his hospital bed to ensure it was the last thing he heard.

This soundtracked the moment on the “‘Scuse Me While I Miss the Sky” episode of The Simpsons when Lisa becomes interested in astronomy.

Vincent (Starry, Starry Night)

Starry, starry night
Paint your palette blue and gray
Look out on a summer’s day
With eyes that know the darkness in my soul
Shadows on the hills
Sketch the trees and the daffodils
Catch the breeze and the winter chills
In colors on the snowy linen land

Now I understand what you tried to say to me
And how you suffered for your sanity
How you tried to set them free
They would not listen, they did not know how
Perhaps they’ll listen now

Starry, starry night
Flaming flowers that brightly blaze
Swirling clouds in violet haze
Reflect in Vincent’s eyes of china blue
Colors changing hue
Morning fields of amber grain
Weathered faces lined in pain
Are soothed beneath the artist’s loving hand

Now I understand what you tried to say to me
And how you suffered for your sanity
And how you tried to set them free
They would not listen, they did not know how
Perhaps they’ll listen now

For they could not love you
But still your love was true
And when no hope was left inside
On that starry, starry night
You took your life as lovers often do
But I could have told you, Vincent
This world was never meant
For one as beautiful as you

Starry, starry night
Portraits hung in empty halls
Frameless heads on nameless walls
With eyes that watch the world and can’t forget
Like the strangers that you’ve met
The ragged men in ragged clothes
A silver thorn, a bloody rose
Lie crushed and broken on the virgin snow

Now I think I know what you tried to say to me
And how you suffered for your sanity
And how you tried to set them free
They would not listen, they’re not listening still
Perhaps they never will

David Bowie – Rebel Rebel

The guitar riff is worth it even if Bowie wouldn’t have sung on it. When I learned this on guitar…though not hard but it sounded great. When I’ve been in bands that played it live it never fails to get a good reaction. The song peaked at #64 in the Billboard 100, #5 in the UK, and #30 in Canada in 1974.

Bowie’s guitarist, Mick Ronson, quit in 1973 in order to pursue a solo career, so Bowie played guitar on this song… Bowie said this: “When I was high school, that was the riff by which all of us young guitarists would prove ourselves in the local music store. It’s a real air guitar thing, isn’t it? I can tell you a very funny story about that. One night, I was in London in a hotel trying to get some sleep. It was quite late, like eleven or twelve at night, and I had some big deal thing on the next day, a TV show or something, and I heard this riff being played really badly from upstairs. I thought, ‘Who the hell is doing this at this time of night?’ On an electric guitar, over and over [sings riff to ‘Rebel Rebel’ in a very hesitant, stop and start way]. So I went upstairs to show the person how to play the thing (laughs). So I bang on the door. The door opens, and I say, ‘Listen if you’re going to play…’ and it was John McEnroe! I kid you not (laughs). It was McEnroe, who saw himself as some sort of rock guitar player at the time. That could only happen in a movie, couldn’t it? McEnroe trying to struggle his way through the ‘Rebel Rebel’ riff.”

From Songfacts

This song is about a boy who rebels against his parents by wearing makeup and tacky women’s clothes. It was a defining song of the “Glam Rock” era. Characterized by feminine clothes and outrageous stage shows, Glam was big in England in the early ’70s. Bowie had the most mainstream success of the glam rockers.

Three years before this was released, Bowie admitted he was bisexual. The announcement seemed to help his career, as he gained more fans and wrote more adventurous songs.

Bowie did an episode of VH1 Storytellers in 1999 where he introduced this song with this yarn:

I can tell you about the time that I first met Marc Bolan who became a very, very good friend of mine. We actually met very early on in the ’60s before either of us were even a tad pole known. We were nothing; we were just two nothing kids with huge ambitions, and we both had the same manager at the time. And we met each other firstly painting the wall of our then manager’s office.

“Hello, who are you?”

“I’m Marc, man.”

“Hello, what do you do?”

“I’m a singer.”

“Oh, yeah, so am I. Are you a Mod?”

“Yeah, I’m King Mod. Your shoes are crap.”

“Well, you’re short.”

So we became really close friends. Marc took me dustbin shopping. At that time Carnaby Street, the fashion district, was going through a period of incredible wealth and rather than replace buttons on their shirts or zippers on their trousers, at the end of the day they’d just throw it all away in the dustbin. So, we used to go up and down Carnaby Street, this is prior to Kings Road, and go through all the dustbins around nine/ten o’clock at night and get our wardrobes together. That’s how life was, you see.

I could also tell you that when we used to play the working men’s clubs up north – very rough district – and I first went out as Ziggy Stardust, I was in the dressing room in one club and I said to the manager: “Could you show me where the lavatory is, please?”

And he said: “Aye, look up that corridor and you see the sink attached to the wall at the end? There you go.”

So, I tottered briefly on my stack-heeled boots and said: “My dear man, I’m not pissing in a sink.”

“He said: “Look son, if it’s good enough for Shirley Bassey, it’s good enough for you.”

Them were the days, I guess.

In 1972, Bowie produced “Walk On The Wild Side” for Lou Reed, which is another song celebrating transgender individuals.

An alternate version appears on Bowie’s compilation album Sound And Vision. On this version, Bowie plays all the instruments, bar the congas, which are played by Geoff MacCormack.

The Diamond Dogs tour was an enormous production. It featured moving bridges, catapults, and a huge diamond that Bowie emerged from.

The album cover was painted by Dutch artist Guy Peellaert. It shows Bowie as a dog in front of a banner that says “The Strangest Living Curiosities.” The cover caused some controversy because the Bowie dog had clearly not been neutered. An alternate cover was released with the appendages airbrushed out. Mick Jagger had shown Bowie artwork that Peellaert had done for the not yet released Rolling Stones album It’s Only Rock And Roll. Bowie quickly got a hold of Peelaert and had him design the cover for Diamond Dogs, which was unleashed to the public prior to the album by The Rolling Stones. Mick Jagger was none too happy about this. David Bowie has this to say about the incident: “Mick was silly. I mean, he should never have shown me anything new. I went over to his house and he had all these Guy Peellaert pictures around and said, ‘What do you think of this guy?’ I told him I thought he was incredible. So I immediately phoned him up. Mick’s learned now, as I’ve said. He will never do that again. You’ve got to be a bastard in this business.”

The lyric, “We like dancing and we look divine,” is a reference to the famous drag queen known as Divine, who starred in many John Waters films, including Pink Flamingos and Hairspray.

The transgender musician Jayne County claims Bowie based this on her song, “Queen Age Baby,” which was recorded a month before “Rebel Rebel.” County told Seconds magazine: “After one of his shows, me and Bowie were chatting. I had just signed to MainMan at the time and had all these great ideas kicking around, and I told David I had the best idea in the world. I told him I wanted to do a whole album of all British Invasion hits. Six months later he comes out with Pin-Ups [Bowie’s cover album]. I was flabbergasted! When I would say anything to anyone, they would just laugh and say I was paranoid. I said, ‘Something’s up here.’ They took me into the studio to record. I recorded ‘Wonder Woman,’ ‘Mexican City,’ ‘Are You Boy Or Are You A Girl?,’ ‘Queen Age Baby,’ all these incredible lyrics I had come up with. So I sent him all of my tapes and not long after that, Sherry is sitting at the house in Connecticut. Bowie called her up and said that he wrote this great song called ‘Rebel Rebel’ and plays her this demo. She listened to it and said, ‘This sounds like one of Wayne’s songs.’ Basically, ‘Queen Age Baby’ is the mother of ‘Rebel Rebel.’ If he had never heard ‘Queen Age Baby,’ he would have never written ‘Rebel Rebel.'”

This song was created in a spate of spontaneous inception. Alan Parker, the guitarist on “1984,” recalled to Uncut magazine: “He (Bowie) said, ‘I’ve got this list and it’s a bit Rolling Stonesy – I just want to piss Mick off a bit.'”

“I spent about three-quarters of an hour to an hour with him working on the guitar riff – he had it almost there, but not quite,” Parker continued. “We got it there, and he said, ‘Oh, we’d better do the middle…’ So he wrote something for the middle, put that in. Then he went off and sorted some lyrics. And that was us done.”

Rebel Rebel

Doo doo doo-doo doo doo doo doo
Doo doo doo-doo doo doo doo doo
Doo doo doo-doo doo doo doo doo

You’ve got your mother in a whirl
She’s not sure if you’re a boy or a girl
Hey babe, your hair’s alright
Hey babe, let’s go out tonight
You like me, and I like it all
We like dancing and we look divine
You love bands when they’re playing hard
You want more and you want it fast
They put you down, they say I’m wrong
You tacky thing, you put them on

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Don’t ya?
Doo doo doo-doo doo doo doo doo

You’ve got your mother in a whirl ’cause she’s
Not sure if you’re a boy or a girl
Hey babe, your hair’s alright
Hey babe, let’s stay out tonight
You like me, and I like it all
We like dancing and we look divine
You love bands when they’re playing hard
You want more and you want it fast
They put you down, they say I’m wrong
You tacky thing, you put them on

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Don’t ya?
Oh?
Doo doo doo-doo doo doo doo doo
Doo doo doo-doo doo doo doo doo

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

You’ve torn your dress, your face is a mess
You can’t get enough, but enough ain’t the test
You’ve got your transmission and your live wire
You got your cue line and a handful of ludes
You wanna be there when they count up the dudes
And I love your dress
You’re a juvenile success
Because your face is a mess
So how could they know?
I said, how could they know?

So what you wanna know
Calamity’s child, chi-chile, chi-chile
Where’d you wanna go?
What can I do for you? Looks like you’ve been there too
‘Cause you’ve torn your dress
And your face is a mess
Ooo, your face is a mess
Ooo, ooo, so how could they know?
Eh, eh, how could they know?
Eh, eh

Ernie K Doe – Mother-In-Law

A fun song with a sense of humor. It stays with me on one listen. Apparently, it stayed with others because it peaked at #1 in the Billboard 100 in 1961. Unfortunately, this was Ernie’s only top 40 hit.

This song was written by Allen Toussaint, who was Ernie K-Doe’s producer. Toussaint came up with the song when he was playing piano in his family’s living room, messing around with bits of a song he had heard from the gospel group the Harmonizing Four. Trying to think up lyrics, he came up with the title and quickly fabricated the story about a guy who is put through hell by his mother-in-law.

After researching this song…I found a picture of Ernie and Led Zeppelin in New Orleans.

From Songfacts

K-Doe’s real name: Ernest Kador. Born in 1936, he remained a popular singer and radio personality in New Orleans until his death in 2001. While best known as a singer, K-Doe was also an accomplished drummer.

The song plays on the stereotype of the meddling mother-in-law who feels the man who married her daughter isn’t good enough for her. Most songs of this nature would be labeled “novelty” records, but K-Doe’s sincere delivery kept that tag off the song in most publications.

Toussaint didn’t have a mother-in-law at the time – he was single – but he kept hearing comedians making mother-in-law jokes on TV, so he knew it would get a reaction. Toussaint says that his grandmother was horrified when she heard it, but forgave him later.

The bass singer on this track who repeats the “mother-in-law” refrain was Benny Spellman. The success of this song caused a running argument between K-Doe and bass singer Spellman as to who was responsible for the hit. Spellman prevailed upon Toussaint to write a song for him to record, “Lipstick Traces (on a Cigarette).” When Spellman recorded it, K-Doe sang backup vocals.

Allen Toussaint thought Ernie K-Doe would be a good fit for this song, since Ernie was known as a showman, and for making outrageous self-promotional statements. K-Doe claimed that this song “will last to the end of the Earth, because someone is always going to get married.”

This was by far the biggest hit for K-Doe, whose other chart entries were “Te-Ta-Te-Ta-Ta” (#53, 1961), “I Cried My Last Tear” (#69, 1961), “A Certain Girl” (#71, 1961) and “Popeye Joe” (#99, 1962). His 1970 song “Here Come The Girls!” was sampled by the Sugababes for their 2008 UK hit “Girls.”

In 1994, K-Doe opened a bar and music venue in New Orleans called “The Mother-in-Law Lounge” with his wife Antionette. After Ernie died in 2001, Antionette kept the venue alive, preserving Ernie’s memory with a fully costumed, look-alike mannequin of the singer. The lounge was completely destroyed by Hurricane Katrina in 2005, but reopened a year later. Antionette K-Doe died of a heart attack on February 24, 2009, which was the day of Mardi Gras.

K-Doe claimed that he fished the song out of Allen Toussaint’s trash can and recorded it because he related strongly to its sentiments: his mother-in-law was living in his house at a time of marital turmoil. In our interview with Toussaint, he explained what happened: “I wrote four songs for him to do, because we always recorded four songs at a time, and ‘Mother-In-Law’ was one of them. When I tried it out on him the first time, he began to shout and preach at it and I really didn’t like his approach to it. I thought it was a waste of time to try to get him to do it, so I balled it up and put it in the trash can, like I did with other songs. One of the backup singers, Willie Harper, thought it was just a wonderful song, so he took it out of the trash can and said, ‘K-Doe, why don’t you calm down and listen closer to the way Allen is doing it and try to do it like that? This is a good song.’ So he calmed down and didn’t preach at it, but did it like it finally came out.”

This song was recorded in New Orleans at J&M Studios, which was also where Little Richard and Fats Domino recorded. Allen Toussaint was a regular at the studio, sometimes recording his own material, but usually doing session work.

Mother-In-Law

Mother-in-law (mother-in law), mother-in-law (mother-in-law)
The worst person I know, mother-in-law, mother-in-law
She worries me so, mother-in-law, mother-in-law
If she leaves us alone, we would have a happy home
Sent from down below
(Mother-in-law) mother-in-law, (mother-in-law), mother-in-law

Sin should be her name, mother-in-law, mother-in-law
To me, they’re about the same, mother-in-law, mother-in-law
Every time I open my mouth, she steps in, tries to put me out
How could she stoop so low?
(Mother-in-law), mother-in-law, (mother-in-law), mother-in-law

I come home with my pay, mother-in-law, mother-in-law
She asks me what I make, mother-in-law, mother-in-law
She thinks her advice is a contribution
But if she will leave that will be a solution
And don’t come back no more
(Mother-in-law), mother-in-law, (mother-in-law), mother-in-law

Mother in law, mother in law, oh

ELO – Can’t Get It Out Of My Head

The song is appropriately named because it’s hard to get it out of your head after you listen to it. The song peaked at #9 in the Billboard 100 in 1975. The song was on the Eldorado album that peaked at #16 in 1975.

Jeff Lynne recalled that he found inspiration for the song in the unfulfilled duties of an everyday guy. “It’s about a guy in a dream who sees this vision of loveliness and wakes up and finds that he’s actually a clerk working in a bank,” he said. “And he hasn’t got any chance of getting her or doing all these wonderful things that he thought he was going to do.”

From Songfacts

This is one of several fan favorites from the Eldorado, considered by many to be Jeff Lynne’s best album. The album cover shows what appears to be the scene from the movie The Wizard Of Oz, as the Wicked Witch tries to snatch Dorothy’s Ruby Red Slippers.

This was Electric Light Orchestra’s first Top 40 hit in the US, however, it did not chart in their native UK, despite their four previous Top 40 hits there.

Jeff Lynne wrote this track. Lynne had previously led The Idle and later co-founded The Move with Roy Wood and Bev Bevan before creating ELO. The album Eldorado sold gold, becoming the sixteenth Best-Selling Album in 1974 in the US.

“Can’t Get It Out Of My Head” was featured on the 1977 soundtrack of the film Joyride.

This song was later covered live by Fountains of Wayne on their 2005 Out of States Plates album and in 2007 by Velvet Revolver on their 2007 set Libertad.

Jeff Lynne revealed during an interview with Uncle Joe Benson on the Ultimate Classic Rock Nights radio show that he wrote the song to prove a point to his dad. He explained that they were arguing about something when his father said, “That’s the trouble with your tunes… They’ve got no bloody tune!'”

So Lynne said to himself, I’ll show you a tune then, and wrote “Can’t Get It Out Of My Head,” “just to show him I could write a tune!”

Can’t Get It Out Of My Head

Midnight, on the water
I saw the ocean’s daughter
Walking on a wave’s she came
Staring as she called my name

And I can’t get it out of my head
No, I can’t get it out of my head
Now my whole world is gone for dead
‘Cause I can’t get it out of my head

Breakdown on the shoreline
Can’t move, it’s an ebbtide
Morning, don’t get here tonight
Searching for her silver light

And I can’t get it out of my head
No, I can’t get it out of my head
Now my whole world is gone for dead
‘Cause I can’t get it out of my head, no how?

Bank job in the city
Robin Hood and William Tell
And Ivanhoe and Lancelot
They don’t envy me
Sitting ’til the sun goes down
In dreams the world keeps going ’round and ’round

And I can’t get it out of my head
No, I can’t get it out of my head
Now my whole world is gone for dead
‘Cause I can’t get it out of my head

And I can’t get it out of my head
No, I can’t get it out of my head
Now my whole world is gone for dead
‘Cause I can’t get it out of my head, no how, no now

Elvis Presley – Jailhouse Rock

I’ve been reading a biography of Elvis and I recently have been watching a documentary about him. My son told me Saturday he was operating the lights for a play in his High School and wanted me to go. Saturday night I go and the play is a musical called…All Shook Up…set in the fifties using Elvis songs. Everywhere I turn there is Elvis.

No telling how many times I’ve heard this song but I really paid attention to it for the first time. Yes, Elvis had a great voice we know that but this voice is untamed and wild. It has a scratchy, driving, and go for your throat voice that he seemed to lose as he got older (well he did find it on the 68 comeback special) and tried to please too many people. This is rock and roll at it’s purest form…

The song peaked at #1 in the Billboard Hot 100 in 1957 at the time but now it’s not counted as a number 1. I could not understand why it was listed as a #1 record and on the Billboard site, it does not list it as such.

I found this about the change

Billboards latest ruling is based on the fact that the Billboard Hot 100 Chart was first launched on August 4th 1958 and so number one hits counted by other means on differently named charts prior to this date [But still ‘the Billboard chart of the day’] should not be counted.

From Songfacts

This was written by Jerry Leiber and Mike Stoller, who also wrote “Hound Dog,” which became a huge hit when Elvis recorded it. Leiber and Stoller excelled at writing catchy pop songs with elements of blues music. Their songs could be very funny and clever, and often take place in unusual situations. Some of their other hits include “Love Potion #9” and “On Broadway.” Mike Stoller played piano on this track.

This was featured in the Elvis movie of the same name, where Elvis plays a wrongly accused convict who becomes a star when he gets out. The film, which is considered one of the best of his 31 movies, is famous for the scene where Elvis performs this song in an elaborate dance number taking place in prison.

The movie score was the first one that Leiber and Stoller wrote. Stoller recalled to Mojo magazine April 2009: “We flew in to New York from LA, where were living at that time, and we had a hotel suite. We had a piano put in, in case the muse struck us, and Jean Aberbach – he and his brother (Julian) owned Hill & Range Songs and they had to deal with Colonel Parker but created Gladys Music and Elvis Presley Music-handed us a script for a movie. We threw it in the corner with the tourist magazines that you get in hotels. We were having a ball in New York, going to the theatre, going to jazz clubs to hear Miles Davis and Thelonious Monk, doing a lot of drinking. On a Saturday morning- we’d been there about a week – Jean knocked on the door and said, in a very Viennese accent, ‘Vell boys, you vill haf my songs for the movie.’ Jerry said, ‘Don’t worry Jean, you’ll have them’ Jean said, ‘I know.’ And he pushed a big chair in front of the door and sat down and said, ‘ I’m going to take a nap and I’m not leaving until you have my songs.’ So we wrote four songs in about five hours and then were free to go out.”

The four songs the duo composed were “Jailhouse Rock,” “(You’re So Square) Baby I Don’t Care,” “Treat Me Nice” and “I Want to Be Free.”

The movie got its name from this song. When Leiber and Stoller wrote it, the film was titled Ghost of a Chance. The duo had the script and wrote the song for the scene where inmates put on a show in the prison.

After the song was recorded, it was clear that it was going to be a hit, so the movie was renamed Jailhouse Rock. The single was released in September 1957 and reached #1 on October 21. The film was released on November 8.

The line, “Number 47 said to number 3, You’re the cutest jailbird I ever did see,” is a sly reference to prison sex but was not offensive enough to create any controversy over the song.

This was a massive hit. It was #1 on the US pop charts for seven weeks, and also reached #1 on the country and R&B charts. In the UK, it entered the charts at #1, becoming the first song to do so.

“Jailhouse Rock” has one of the most memorable intros in rock history: two guitar chords with snare drum hits. The intro last just six seconds, but the pattern repeats throughout the verses, establishing a firm musical hook that remains the envy of songwriters.

ABC television ran a series of educational cartoons called “Schoolhouse Rock” in the ’70s. Millions of kids learned about grammar, history, and astronomy from them. The title was a play on this song.

Ozzy Osbourne played a heavy metal version in 1987 when he did a tour of prisons.

Sha-Na-Na played this at Woodstock in 1969. Very few of the attendees saw their performance, as they didn’t go on until Monday morning (the event was scheduled to end at midnight on Sunday, but ran long). Jimi Hendrix followed Sha-Na-Na to close out the festival.

January 2005 marked what would have been Elvis Presley’s 70th birthday. In commemoration, Elvis’ record label re-released this in the UK where it went straight to #1, making it the oldest recording ever to top the UK charts. It also became the third single to hit #1 twice in the UK, following “Bohemian Rhapsody” and “My Sweet Lord,” both of which were also posthumous re-releases.

In 2007, Chris Rock performed this on the Movies Rock TV special, where modern pop artists performed classic movie songs. Brown re-created Elvis’ scene from the movie.

The Cramps recorded a version of this on the CD The Last Temptation of Elvis. All profits went to a music therapy charity. >>

On November 4, 1957, this topped both the pop and R&B charts. In an odd twist, the next five positions on both charts were also the same songs: “Wake Up Little Susie” by the Everly Brothers, “You Send Me” by Sam Cooke, “Silhouettes” by the Rays, “Be-Bop Baby” by Ricky Nelson, and “Honeycomb” by Jimmie Rodgers.

This song was covered by the Blues Brothers, and featured at the end of the movie of the same name. The brothers and the band are seen playing this song to their fellow inmates.

Mötley Crüe included a live version recorded at a show in Long Beach, California on their 1987 album Girls, Girls, Girls.

Elvis’ real-life band members DJ Fontana, Scotty Moore and Bill Black played his character’s band in the movie, along with Mike Stoller on piano.

In the Leiber and Stoller autobiography Hound Dog, written with David Ritz, Leiber explained he was originally supposed to play the role in the movie because the casting director thought he looked more like a piano player than Stoller. When Leiber and Elvis both protested, the man insisted, “All he has to do is run his fingers over the keys. Any fool can do that.” But when the first day of filming started, Leiber came down with a toothache and had to visit the dentist, so Stoller stepped in. Because he wasn’t a member of the Screen Actors Guild, he wasn’t allowed any dialogue throughout the movie. He also had to shave his goatee because it was “a scene stealer.”

Ever wonder how this jail party ends? Possibly with the inmates peacefully returning to their cells, but it could also have a more violent conclusion. In the 10cc song “Rubber Bullets,” a #1 UK hit in 1973, they sing about a similar jailhouse party, but theirs ends with riot police taking action.

Jailhouse Rock

The warden threw a party in the county jail
The prison band was there and they began to wail
The band was jumpin’ and the joint began to swing
You should’ve heard them knocked-out jailbirds sing