A great song that sounds like a giant statement. It still rings true today and it’s just an incredible piece of work. Dylan sings this song as if every word has a purpose to it and it does. I’ve seen Bob eight times and he has played this song twice and it was one of the highlights when he did perform it.
The song was included on the album Bringing It All Back Home released in 1965. The song was not released as a single but the album peaked at #6 in the Billboard Album Charts. The song on the album to make it into the top 40 was “Subterranean Homesick Blues” which peaked at #39.
I haven’t posted many Bob Dylan songs because the original songs on youtube were almost impossible to find but observationblogger posted Tuesday that Dylan has released his songs on youtube. You can find almost everything now.
From Songfacts
Dylan vents about subjects such as commercialism, hypocrisy and warmongering in this song. In the book, Bob Dylan, Performing Artist, author Paul Williams states this song sees Dylan acknowledge “the possibility that the most important (and least articulated) political issue of our times is that we are all being fed a false picture of reality, and it’s coming at us from every direction.”
Williams adds that Dylan portrays an “alienated individual identifying the characteristics of the world around him and thus declaring his freedom from its ‘rules’.”
This song is one of Dylan’s personal favorites. In 1980, he stated: “I don’t think I could sit down now and write ‘It’s Alright, Ma’ again. I wouldn’t even know where to begin, but I can still sing it.”
The opening line, “Darkness at the break of noon,” is referring to a nuclear explosion. After a nuclear explosion, the sky turns black and the sun disappears. >>
The line, “He who is not busy being born in busy dying” is popular with politicians. Jimmy Carter used the line in his acceptance speech at the 1976 Democratic National convention, and while campaigning for President in 2000, Al Gore told talk show host, Oprah Winfrey, that it was his favorite quote. Ironically, the song also contains the line, “But even the President of the United States sometimes must have to stand naked,” which is Dylan alluding to the fact even the most powerful people will be ultimately judged.
The album cover shows a woman lounging by a fireplace with Dylan in the foreground holding a cat. She is Sally Grossman, the wife of Dylan’s manager Albert Grossman. The photo was taken in Grossman’s house, and the cat belonged to Sally.
Bob Dylan – It’s Alright Ma I’m Only Bleeding
Darkness at the break of noon Shadows even the silver spoon The handmade blade, the child’s balloon Eclipses both the sun and moon To understand you know too soon There is no sense in trying
Pointed threats, they bluff with scorn Suicide remarks are torn From the fool’s gold mouthpiece The hollow horn plays wasted words Proves to warn that he’s not busy being born Is busy dying
Temptation’s page flies out the door You follow, find yourself at war Watch waterfalls of pity roar You feel to moan but unlike before You discover that you’d just be One more person crying
So don’t fear if you hear A foreign sound to your ear It’s alright ma, I’m only sighing
As some warn victory, some downfall Private reasons great or small Can be seen in the eyes of those that call To make all that should be killed to crawl While others say don’t hate nothing at all Except hatred
Disillusioned words like bullets bark As human gods aim for their mark Made everything from toy guns that spark To flesh-colored Christs that glow in the dark It’s easy to see without looking too far That not much is really sacred
While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the president of the United States Sometimes must have to stand naked
An’ though the rules of the road have been lodged It’s only people’s games that you got to dodge And it’s alright ma, I can make it
Advertising signs that con you Into thinking you’re the one That can do what’s never been done That can win what’s never been won Meantime life outside goes on All around you
You lose yourself, you reappear You suddenly find you got nothing to fear Alone you stand with nobody near When a trembling distant voice, unclear Startles your sleeping ears to hear That somebody thinks they really found you
A question in your nerves is lit Yet you know there is no answer fit to satisfy Insure you not to quit To keep it in your mind and not forget That it is not he or she or them or it That you belong to
Although the masters make the rules For the wise men and the fools I got nothing ma, to live up to
For them that must obey authority That they do not respect in any degree Who despise their jobs, their destinies Speak jealously of them that are free Do what they do just to be nothing more than something they invest in
While some on principles baptized To strict party platform ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say “God bless him”
While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society’s pliers Cares not to come up any higher But rather get you down in the hole that he’s in
But I mean no harm nor put fault On anyone that lives in a vault But it’s alright ma, if I can’t please him
Old lady judges watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn’t talk, it swears Obscenity, who really cares Propaganda, all is phony
While them that defend what they cannot see With a killer’s pride, security It blows the minds most bitterly For them that think death’s honesty Won’t fall upon them naturally Life sometimes must get lonely
My eyes collide head-on with stuffed graveyards False gods, I scuff At pettiness which plays so rough Walk upside-down inside handcuffs Kick my legs to crash it off Say okay, I have had enough What else can you show me?
And if my thought-dreams could be seen They’d probably put my head in a guillotine But it’s alright ma, it’s life, and life only
I remember when I was 5-6 years old and listening to this song. The verses I ignored at the time and enjoyed the chorus immensely going around singing it and being told to shut up already by my sister. I guess a six-year-old singing Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry, And them good ole boys were drinking whiskey and rye, Singin’ this’ll be the day that I die, This’ll be the day that I die… Would get old but hey…I had good taste anyway (better than my sister).
Where do I begin with this one? The song has so many references that it acts as a pop culture index by itself. We do know the song was inspired by Buddy Holly… What does it all mean? While being interviewed in 1991, McLean was asked for probably the 1000th time “What does the song ‘American Pie’ mean to you?,” to which he answered, “It means never having to work again for the rest of my life.” Now that is a great and honest answer by Mclean.
In 2015 he opened up about the song and sold the original lyrics for 1.2 million dollars. This time he answered the question seriously. “It was an indescribable photograph of America that I tried to capture in words and music.”
“People ask me if I left the lyrics open to ambiguity,” McLean said “Of course I did. I wanted to make a whole series of complex statements. The lyrics had to do with the state of society at the time.”
In later years I would buy the single and try to figure out who he was talking about. Some of the lyrics include references to Karl Marx; Vladimir Ilyich Lenin (or John Lennon), the Beatles, Bob Dylan, Buddy Holly, The Byrds; James Dean; Charles Manson; the Rolling Stones; the “widowed bride,” Jackie Kennedy, the Vietnam War and more.
This song peaked at #1 in the Billboard 100, #1 in Canada, and #2 in the UK in 1972
If you want more… here is a website PDF that breaks down line by line of their interpretation.
From Songfacts (A lot of info here)
According to McLean (as posted on his website), this song was originally inspired by the death of Buddy Holly. “The Day The Music Died” is February 3, 1959, when Holly, Ritchie Valens, and The Big Bopper were killed in a plane crash after a concert. McLean wrote the song from his memories of the event (“Dedicated to Buddy Holly” was printed on the back of the album cover).
The Beatles Sgt. Pepper album was also a huge influence, and McLean has said in numerous interviews that the song represented the turn from the innocence of the ’50s to the darker, more volatile times of the ’60s – both in music and politics.
McLean was a 13-year-old paperboy in New Rochelle, New York when Holly died. He learned about the plane crash when he cut into his stack of papers and saw the lead story.
Talking about how he composed this song when he was a guest on the UK show Songbook, McLean explained: “For some reason, I wanted to write a big song about America and about politics, but I wanted to do it in a different way. As I was fiddling around, I started singing this thing about the Buddy Holly crash, the thing that came out (singing), ‘Long, long time ago, I can still remember how that music used to make me smile.’
I thought, Whoa, what’s that? And then the day the music died, it just came out. And I said, Oh, that is such a great idea. And so that’s all I had. And then I thought, I can’t have another slow song on this record. I’ve got to speed this up. I came up with this chorus, crazy chorus. And then one time about a month later I just woke up and wrote the other five verses. Because I realized what it was, I knew what I had. And basically, all I had to do was speed up the slow verse with the chorus and then slow down the last verse so it was like the first verse, and then tell the story, which was a dream. It is from all these fantasies, all these memories that I made personal. Buddy Holly’s death to me was a personal tragedy. As a child, a 15-year-old, I had no idea that nobody else felt that way much. I mean, I went to school and mentioned it and they said, ‘So what?’ So I carried this yearning and longing, if you will, this weird sadness that would overtake me when I would look at this album, The Buddy Holly Story because that was my last Buddy record before he passed away.”
This song made the 26-year-old McLean very famous very quickly, which was difficult for the songwriter. McLean was prone to depression, losing his father at age 15 and dealing with a bad marriage when recording the album. So when the song hit, it thrust him into the spotlight and took the focus away from the body of his work. In a 1973 interview with NME, he explained: “I was headed on a certain course, and the success I got with ‘American Pie’ really threw me off. It just shattered my lifestyle and made me quite neurotic and extremely petulant. I was really prickly for a long time. If the things you’re doing aren’t increasing your energy and awareness and clarity and enjoyment, then you feel as though you’re moving blindly. That’s what happened to me. I seemed to be in a place where nothing felt like anything, and nothing meant anything. Literally, nothing mattered. It was very hard for me to wake up in the morning and decide why it was I wanted to get up.”
Contrary to rumors, the plane that crashed was not named the “American Pie” – Dwyer’s Flying Service did not name their planes. McLean made up the name.
McLean admits that this song is about Buddy Holly, but has never said what the lyrics are about, preferring to let listeners interpret them on their own. In these next few Songfacts, we’ll take a look at some logical interpretations: “The Jester” is probably Bob Dylan. It refers to him wearing “A coat he borrowed from James Dean,” and being “On the sidelines in a cast.” Dylan wore a red jacket similar to James Dean’s on the cover of The Freewheeling Bob Dylan and got in a motorcycle accident in 1966 which put him out of service for most of that year. Dylan also made frequent use of jokers, jesters or clowns in his lyrics. The line, “And a voice that came from you and me” could refer to the folk style he sings, and the line, “And while the king was looking down the jester stole his thorny crown” could be about how Dylan took Elvis Presley’s place as the number one performer.
The line “Eight miles high and falling fast” is likely a reference to The Byrds’ hit “Eight Miles High.” Regarding the line, “The birds (Byrds) flew off from a fallout shelter,” a fallout shelter is a ’60s term for a drug rehabilitation facility, which one of the band members of The Byrds checked into after being caught with drugs.
The section with the line “The flames climbed high into the night” is probably about the Altamont Speedway concert in 1969. While the Rolling Stones were playing, a fan was stabbed to death by a member of The Hells Angels who was hired for security.
The line “Sergeants played a marching tune” is likely a reference to The Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band.
The line “I met a girl who sang the blues and I asked her for some happy news, but she just smiled and turned away” is probably about Janis Joplin. She died of a drug overdose in 1970.
The lyric “And while Lenin/Lennon read a book on Marx” has been interpreted different ways. Some view it as a reference to Vladimir Lenin, the communist dictator who led the Russian Revolution in 1917 and who built the USSR, which was later ruled by Josef Stalin. The “Marx” referred to here would be the socialist philosopher Karl Marx. Others believe it is about John Lennon, whose songs often reflected a very communistic theology (particularly “Imagine”). Some have even suggested that in the latter case, “Marx” is actually Groucho Marx, another cynical entertainer who was suspected of being a socialist, and whose wordplay was often similar to Lennon’s lyrics.
“Did you write the book of love” is probably a reference to the 1958 hit “Book of Love” by the Monotones. The chorus for that song is “Who wrote the book of love? Tell me, tell me… I wonder, wonder who” etc. One of the lines asks, “Was it someone from above?” Don McLean was a practicing Catholic, and believed in the depravity of ’60s music, hence the closing lyric: “The Father, Son, and the Holy Ghost, they caught the last train for the coast, the day the music died.” Some, have postulated that in this line, the Trinity represents Buddy Holly, Ritchie Valens, and the Big Bopper. >>
Some more interpretations:
“And moss grows fat on our rolling stone” – Mick Jagger’s appearance at a concert in skin-tight outfits, displaying a roll of fat, unusual for the skinny Stones frontman. Also, the words, “You know a rolling stone don’t gather no moss” appear in the Buddy Holly song “Early in the Morning,” which is about his ex missing him early in the morning when he’s gone.
“The quartet practiced in the park” – The Beatles singing at Shea Stadium.
“And we sang dirges in the dark, the day the music died” – The ’60s peace marches.
“Helter Skelter in a summer swelter” – The Manson Family’s attack on Sharon Tate and others in California.
“We all got up to dance, Oh, but we never got the chance, ’cause the players tried to take the field, the marching band refused to yield” – The huge numbers of young people who went to Chicago for the 1968 Democratic Party National Convention, and who thought they would be part of the process (“the players tried to take the field”), only to receive a violently rude awakening by the Chicago Police Department nightsticks (the commissions who studied the violence after-the-fact would later term the Chicago PD as “conducting a full-scale police riot”) or as McLean calls the police “the marching band.”
Madonna covered this in 2000 for the movie The Next Best Thing. Her version topped the UK charts and peaked at #29 in the US. It was her friend, the English actor Rupert Everett, who suggested Madonna record a cover of this song and sang backup on her version.
On January 29, 2007 Madonna’s recording was voted the worst ever cover version in a poll by BBC 6 Music. Despite the critical derision, McLean had good things to say about Madonna’s cover, and he released this statement: “Madonna is a colossus in the music industry and she is going to be considered an important historical figure as well. She is a fine singer, a fine songwriter and record producer, and she has the power to guarantee success with any song she chooses to record. It is a gift for her to have recorded ‘American Pie.’ I have heard her version and I think it is sensual and mystical. I also feel that she’s chosen autobiographical verses that reflect her career and personal history. I hope it will cause people to ask what’s happening to music in America. I have received many gifts from God but this is the first time I have ever received a gift from a goddess.”
Madonna was supposed to perform her version at the Super Bowl in 2001, but backed out, claiming she did not have enough time to prepare. No one was too upset.
At 8 minutes 32 seconds, this is the longest song in length to hit #1 on the Hot 100. The single was split in two parts because the 45 did not have enough room for the whole song on one side. The A-side ran 4:11 and the B-side was 4:31 – you had to flip the record in the middle to hear all of it. Disc jockeys usually played the album version at full length, which was to their benefit because it gave them time for a snack, a cigarette or a bathroom break.
In 1971, a singer named Lori Lieberman saw McLean perform this at the Troubadour theater in Los Angeles. She claimed that she was so moved by the concert that her experience became the basis for her song “Killing Me Softly With His Song,” which was a huge hit for Roberta Flack in 1973. When we spoke with Charles Fox, who wrote “Killing Me Softly” with Norman Gimbel, he explained that when Lieberman heard their song, it reminded her of the show, and she had nothing to do with writing the song.
McLean (from his website): “I’m very proud of the song. It is biographical in nature and I don’t think anyone has ever picked up on that. The song starts off with my memories of the death of Buddy Holly. But it moves on to describe America as I was seeing it and how I was fantasizing it might become, so it’s part reality and part fantasy but I’m always in the song as a witness or as even the subject sometimes in some of the verses. You know how when you dream something you can see something change into something else and it’s illogical when you examine it in the morning but when you’re dreaming it seems perfectly logical. So it’s perfectly okay for me to talk about being in the gym and seeing this girl dancing with someone else and suddenly have this become this other thing that this verse becomes and moving on just like that. That’s why I’ve never analyzed the lyrics to the song. They’re beyond analysis. They’re poetry.” >>
This song did a great deal to revive interest in Buddy Holly. Says McLean: “By 1964, you didn’t hear anything about Buddy Holly. He was completely forgotten. But I didn’t forget him, and I think this song helped make people aware that Buddy’s legitimate musical contribution had been overlooked. When I first heard ‘American Pie’ on the radio, I was playing a gig somewhere, and it was immediately followed by ‘Peggy Sue.’ They caught right on to the Holly connection, and that made me very happy. I realized that it was actually gonna perform some good works.”
In 2002, this was featured in a Chevrolet ad. It showed a guy in his Chevy singing along to the end of this song. At the end, he gets out and it is clear that he was not going to leave the car until the song was over. The ad played up the heritage of Chevrolet, which has a history of being mentioned in famous songs (the line in this one is “Drove my Chevy to the levee”). Chevy used the same idea a year earlier when it ran billboards of a red Corvette that said, “They don’t write songs about Volvos.”
Weird Al Yankovic did a parody of this song for his 1999 album Running With Scissors. It was called “The Saga Begins” and was about Star Wars: The Phantom Menace written from the point of view of Obi-Wan Kenobi. Sample lyric: “Bye, bye this here Anakin guy, maybe Vader someday later but now just a small fry.”
It was the second Star Wars themed parody for Weird Al – his first being “Yoda,” which is a takeoff on “Lola” by The Kinks. Al admitted that he wrote “The Saga Begins” before the movie came out, entirely based on Internet rumors.
The line “Jack be nimble, Jack be quick, Jack Flash sat on a candle stick” is taken from a nursery rhyme that goes “Jack be nimble, Jack be quick, Jack jump over the candlestick.” Jumping over the candlestick comes from a game where people would jump over fires. “Jumpin’ Jack Flash” is a Rolling Stones song. Another possible reference to The Stones can be found in the line, “Fire is the devils only friend,” which could be The Rolling Stones “Sympathy For The Devil,” which is on the same Rolling Stones album. >>
McLean wrote the opening verse first, then came up with the chorus, including the famous title. The phrase “as American as apple pie” was part of the lexicon, but “American Pie” was not. When McLean came up with those two words, he says “a light went off in my head.”
In the liner notes to the 2003 reissue of the album, McLean said: “A month or so later I was in Philadelphia and I wrote the rest of the song. I was trying to figure out what this song was trying to tell me and where it was supposed to go. That’s when I realized it had to go forward from 1957 and it had to take in everything that has happened. I had to be a witness to the things going o, kind of like Mickey Mouse in Fantasia. I didn’t know anything about hit records. I was just trying to make the most interesting and exciting record that I could. Once the song was written, there was no doubt that it was the whole enchilada. It was clearly a very interesting, wonderful thing and everybody knew it.”
When the original was released at a whopping 8:32, some radio stations in the United States refused to play it because of a policy limiting airplay to 3:30. Some interpret the song as a protest against this policy. When Madonna covered the song many years later, she cut huge swathes of the song, ironically to make it more radio friendly, to 4:34 on the album and under 4 minutes for the radio edit. >>
This song was enshrined in the Grammy Hall of Fame in 2002, 29 years after it was snubbed for the four categories it was nominated in. At the 1973 ceremony, “American Pie” lost both Song of the Year and Record of the year to “First Time Ever I Saw Your Face.”
Regarding the lyrics, “Jack Flash sat on a candlestick, ’cause fire is the devil’s only friend,” this could be a reference to the space program, and to the role it played in the Cold War between America and Russia throughout the ’60s. It is central to McLean’s theme of the blending of the political turmoil and musical protest as they intertwined through our lives during this remarkable point in history. Thus, the reference incorporates Jack Flash (the Rolling Stones), with our first astronaut to orbit the earth, John (common nickname for John is Jack) Glenn, paired with “Flash” an allusion to fire, with another image for a rocket launch, “candlestick,” then pulls the whole theme together with “’cause fire is the Devil’s (Russia’s) only friend” (as Russia had beaten us to manned orbital flight. >>
Fans still make the occasional pilgrimage to the spot of the plane crash that inspired this song. It’s in a location so remote that tourists are few.
The song starts in mono, and gradually goes to stereo over its eight-and-a-half minutes. This was done to represent going from the monaural era into the age of stereo.
Contrary to local lore, McLean neither wrote “American Pie” on cocktail napkins at the Tin and Lint in Saratoga Springs, New York, nor debuted it on stage at Caffe Lena, a famous coffeehouse around the corner from the bar. Speaking to Saratoga newspaper The Post-Star in November 2011, McLean disclosed that he penned the song in Philadelphia and performed it for the first time at Temple University, where he was billed to perform with Laura Nyro. “I have heard this for years. I guess you can’t really control these things, but these are both not true. That is from the horse’s mouth that’s exactly what happened,” McLean said. “Unfortunately Caffe Lena or Saratoga Springs – neither of those places can lay claim to anything with regard to ‘American Pie.'”
This song was a forebear to the ’50s nostalgia the became popular later in the decade. A year after it was released, Elton John scored a ’50s-themed hit with “Crocodile Rock; in 1973 the George Lucas movie American Graffiti harkened back to that decade, and in 1978 the movie The Buddy Holly Story hit theaters.
One of the more bizarre covers of this song came in 1972, when it appeared on the album Meet The Brady Bunch, performed by the cast of the TV show. This version runs just 3:39.
This song appears in the films Born on the Fourth of July (1989), Celebrity (1998) and Josie and the Pussycats (2001).
Don McLean’s original manuscript of “American Pie” was sold for $1.2 million at a Christie’s New York auction on April 7, 2015. McLean wrote for the catalog description:
“Basically in ‘American Pie’ things are heading in the wrong direction… It is becoming less idyllic. I don’t know whether you consider that wrong or right but it is a morality song in a sense. I was around in 1970 and now I am around in 2015… there is no poetry and very little romance in anything anymore, so it is really like the last phase of ‘American Pie’.”
Despite the critical flack that Madonna received for her version, Don McLean was impressed with the Queen of Pop’s interpretation. “I think it is sensual and mystical,” he told the Mail on Sunday’s Event magazine. “I also feel that she’s chosen autobiographical verses that reflect her career and personal history.”
American Pie
A long long time ago I can still remember how That music used to make me smile And I knew if I had my chance That I could make those people dance And maybe they’d be happy for a while
But February made me shiver With every paper I’d deliver Bad news on the doorstep I couldn’t take one more step
I can’t remember if I cried When I read about his widowed bride Something touched me deep inside The day the music died So
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry And them good ole boys were drinking whiskey and rye Singin’ this’ll be the day that I die This’ll be the day that I die
Did you write the book of love And do you have faith in God above If the Bible tells you so? Do you believe in rock and roll? Can music save your mortal soul? And can you teach me how to dance real slow?
Well, I know that you’re in love with him ‘Cause I saw you dancin’ in the gym You both kicked off your shoes Man, I dig those rhythm and blues
I was a lonely teenage broncin’ buck With a pink carnation and a pickup truck But I knew I was out of luck The day the music died I started singin’
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry And them good ole boys were drinking whiskey and rye Singin’ this’ll be the day that I die This’ll be the day that I die
Now, for ten years we’ve been on our own And moss grows fat on a rolling stone But, that’s not how it used to be
When the jester sang for the king and queen In a coat he borrowed from James Dean And a voice that came from you and me
Oh and while the king was looking down The jester stole his thorny crown The courtroom was adjourned No verdict was returned
And while Lennon read a book on Marx The quartet practiced in the park And we sang dirges in the dark The day the music died We were singin’
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry Them good ole boys were drinking whiskey and rye And singin’ this’ll be the day that I die This’ll be the day that I die
Helter skelter in a summer swelter The birds flew off with a fallout shelter Eight miles high and falling fast
It landed foul on the grass The players tried for a forward pass With the jester on the sidelines in a cast
Now the half-time air was sweet perfume While sergeants played a marching tune We all got up to dance Oh, but we never got the chance
‘Cause the players tried to take the field The marching band refused to yield Do you recall what was revealed The day the music died? We started singin’
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry Them good ole boys were drinking whiskey and rye And singin’ this’ll be the day that I die This’ll be the day that I die
Oh, and there we were all in one place A generation lost in space With no time left to start again
So come on Jack be nimble, Jack be quick Jack Flash sat on a candlestick ‘Cause fire is the devil’s only friend
Oh and as I watched him on the stage My hands were clenched in fists of rage No angel born in Hell Could break that Satan’s spell
And as the flames climbed high into the night To light the sacrificial rite I saw Satan laughing with delight The day the music died He was singin’
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry Them good ole boys were drinking whiskey and rye Singin’ this’ll be the day that I die This’ll be the day that I die
I met a girl who sang the blues And I asked her for some happy news But she just smiled and turned away
I went down to the sacred store Where I’d heard the music years before But the man there said the music wouldn’t play
And in the streets the children screamed The lovers cried, and the poets dreamed But not a word was spoken The church bells all were broken
And the three men I admire most The Father, Son, and the Holy Ghost They caught the last train for the coast The day the music died And they were singing
Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry And them good ole boys were drinking whiskey and rye Singin’ this’ll be the day that I die This’ll be the day that I die
They were singing Bye, bye Miss American Pie Drove my Chevy to the levee but the levee was dry Them good ole boys were drinking whiskey and rye Singin’ this’ll be the day that I die
Are You Gonna Be My Girl is a song by the Australian rock band Jet. It was the first single from their debut record Get Born, which was released in 2003. I like this song because of the rawness of it. You can hear the amps buzz slightly when the song starts. The song’s drum beat and riff do sound like Iggy Pop’s Lust For Life.
Drummer Chris Cester said: “It’s funny because I asked him (Iggy Pop) point blank about that. He said I was crazy. He said that when he and David Bowie were writing ‘Lust for Life’, they were ripping off Motown’s beat. It’s funny that he said that to me because we also thought we were ripping off Motown more than ‘Lust for Life’.
The song peaked at #29 on the Billboard Hot 100 in 2004.
This was a hit twice in the UK, in 2003 it reached #23 in the singles chart. The following year it was re-released after being featured in the Vodaphone picture messaging TV ads and this time it rose to #16 in the charts.
From Songfacts
This was Jet’s first hit song. It was also the first song to be used in the popular iPod commercials, where a black shadow of a person, listening to a white iPod danced to this tune in front of colorful backgrounds. These ads helped boost sales of iPods and of Jet albums.
Are You Gonna Be My Girl
Go!
So one, two, three, take my hand and come with me Because you look so fine That I really wanna make you mine
I say you look so fine That I really wanna make you mine
Oh, four, five, six c’mon and get your kicks Now you don’t need that money When you look like that, do ya honey
Big black boots Long blonde hair She’s so sweet With her get back stare
Well I could see You home with me But you were with another man, yeah! I know we Ain’t got much to say Before I let you get away, yeah! I said, are you gonna be my girl?
Well, so one, two, three, take my hand and come with me Because you look so fine That I really wanna make you mine
I say you look so fine That I really wanna make you mine
Oh, four, five, six c’mon and get your kicks Now you don’t need that money With a face like that, do ya
Big black boots Long brown hair She’s so sweet With her get back stare
Well I could see You home with me But you were with another man, yeah! I know we, Ain’t got much to say Before I let you get away, yeah! I said, are you gonna be my girl?
Oh yeah, oh yeah, c’mon! I could see You home with me But you were with another man, yeah! I know we Ain’t got much to say Before I let you get away, yeah! Uh, be my girl Be my girl Are you gonna be my girl? Yeah
Buffalo Springfield is a band that never quite reached its true potential but still made a big impression in the late sixties. This song comes in with a bang. “Mr. Soul” It was written by Young after experiencing an epilepsy attack after an early show with Buffalo Springfield in San Francisco. Many people in the audience were questioning if it was part of the act.
The lyrics had reflected Young’s experience, feeling as though he was about to die. Thereupon, he was advised by his doctor to never take LSD or any other hallucinogenic drugs.
The song was the first track of their second album Buffalo Springfield Again. The song did not chart.
From Songfacts
One hardly knows where to begin with this song’s lyrics. In just three short verses with no chorus, Young practically flaunts his lyrical prowess at this early stage in his career. He invokes both Beatles and early proto-punk, in verses that manage to be both angry and whimsical at the same time. Like the team of Lennon-McCartney, Young and Stills experienced friendly rivalry with their equally matched talents that also inspired each of them to top the other, bringing their work to an edginess that drove them to brilliance.
At the time of “Mr. Soul,” Young was wavering on leaving the band. His first departure was on the eve of Buffalo Springfield’s booking to appear on The Tonight Show with Johnny Carson, which he was vehemently opposed to. Young later told British music magazine Mojo, “I thought it was belittling what the Buffalo Springfield was doing. That audience wouldn’t have understood us. We’d have been just a f–kin’ curiosity to them.”
Along with missing The Tonight Show, Young’s sudden departure also cast a cold shadow over Buffalo Springfield’s appearance at the now-legendary 1967 Monterey International Pop Festival. Buffalo Springfield brought in Doug Hastings to substitute on guitar and had Stephen Stills’ friend David Crosby drop by to assist with the Festival appearance, but even so, the group’s performance suffered so much that they were dropped from the Pennebaker documentary.
The book Neil Young: Long May You Run: The Illustrated History says that this song “was likely more indicative of where his [Young’s] head truly was. Much like the songs from the Springfield’s debut, ‘Mr. Soul’ suggests that Young’s work was still razor-sharp, even when it was coming from a very unhappy place.”
While we’re book-hopping, there are some ties between Buffalo Springfield members and Al Kooper (of Blues Project / Blood Sweat & Tears fame). In Kooper’s memoir Backstage Passes and Backstabbing Bastards, Kooper consulted with David Crosby when the idea of Blood Sweat & Tears was forming in his mind, and also recruited Jim Fielder (Frank Zappa and the Mothers alumni), who also part of Buffalo Springfield when they were seeking a replacement for Bruce Palmer’s continuous absences. And then Stephen Stills himself popped by to fill in for Mike Bloomfield when Kooper, in a panic, called him to help complete the album Super Session. There, is that enough threads weaving everything together?
Robin Lane ran in Young’s circle in the late ’60s. She also lived with him for some time and sang on “Round and Round (It Won’t Be Long).” Lane told Songfacts that the song “Mr. Soul” was inspired in some way by the death of Lenny Bruce, who died less a year before the song was recorded. In Shakey, Jimmy McDonough writes that Young himself had no recollection of the Bruce connection.
Mr. Soul
Oh, hello Mr. Soul, I dropped by to pick up a reason For the thought that I caught that my head is the event of the season Why in crowds just a trace of my face could seem so pleasin’ I’ll cop out to the change, but a stranger is putting the tease on.
I was down on a frown when the messenger brought me a letter I was raised by the praise of a fan who said I upset her Any girl in the world could have easily known me better She said, You’re strange, but don’t change, and I let her.
In a while will the smile on my face turn to plaster? Stick around while the clown who is sick does the trick of disaster For the race of my head and my face is moving much faster Is it strange I should change? I don’t know, why don’t you ask her?
Jet is an Australian band that came out in the 2000s and I really liked them. They have 60’s and 70’s sound to them. When I listened to the song the first time I liked it and noticed they borrowed from The Beatles White Album song “Sexy Sadie”….lyrically and some of the melody. Two brothers Nic Cester and Chris Cester formed the group and were influenced by their father’s 60’s and 70s albums. The drumming on this song I really like.
The band broke up in 2012 and reformed in 2016.
The song peaked at #37 in 2005 in the Billboard 100 and #14 in Australia.
Look What You’ve Done
Take my photo off the wall If it just won’t sing for you. ‘Cause all that’s left has gone away And there’s nothing there for you to prove.
Oh, look what you’ve done You’ve made a fool of everyone. Oh, well, it seems like such fun Until you lose what you had won.
Give me back my point of view ‘Cause I just can’t think for you. I can hardly hear you say What should I do? Well, you choose
Oh, look what you’ve done You’ve made a fool of everyone. Oh, well, it seems like such fun Until you lose what you had won.
Oh,look what you’ve done You’ve made a fool of everyone A fool of everyone A fool of everyone
Take my photo off the wall If it just won’t sing for you. ‘Cause all that’s left has gone away And there’s nothing there for you to do.
Oh, look what you’ve done You’ve made a fool of everyone. Oh, well, it seems like such fun Until you lose what you had won.
Oh, look what you’ve done You’ve made a fool of everyone A fool of everyone A fool of everyone.
Written by the Motown songwriting team of Eddie Holland, Lamont Dozier and Brian Holland, this was the first Top 10 hit for Martha & the Vandellas, whose lead singer, Martha Reeves, started as a secretary at Motown. Heatwave is a powerful song that has been covered by many artists but this one remains my favorite. This song peaked at #4 in the Billboard 100 and #12 in Canada in 1964.
Martha & the Vandellas became the first Motown group ever to receive a Grammy Award nomination when this song was nominated in 1964 for Best Rhythm & Blues Recording; it lost to Ray Charles’ hit “Busted.”
From Songfacts
“Heat Wave” was the group’s second hit written by Holland-Dozier-Holland, following “Come and Get These Memories.” It was also one of the first songs to create the style of music that would be known as the “Motown Sound.”
In this song, Reeves sings about a guy who turns her on so much that her temperature rises when he’s around. Like many of Motown’s hits, it’s a light and amorous pop song.
Many of the jaunty songs Holland-Dozier-Holland wrote at Motown are underpinned with heartbreaking lyrics, often inspired by real-life breakups. This one is more congruent and less personal. Lamont Dozier explained: “It was summertime and hot and sticky in Detroit. I often sat at the piano and played a warm-up riff to get my day started. This one particular day the heat was over the top and I was watching tv and the weatherman said we had a record-breaking five-day heat wave that was not going to let up. So all this funky riff needed was for me to throw a girl into the mix and this song was born.”
Whoopi Goldberg sang this in the 1992 film Sister Act.
Linda Ronstadt reached US #5 in 1975 with her cover version, which was the first single from her album Prisoner In Disguise. It was a song her band had been pushing her to perform; they finally did at a gig in Long Island when they kept getting called back for encores and ran out of material. Recording it was a challenge; Ronstadt’s producer Peter Asher tried it with a few different sets of musicians before getting the take he liked with Andrew Gold on drums and Ronstadt’s Stone Poneys bandmate Kenny Edwards on bass. Gold then overdubbed guitars, piano and an ARP string synthesizer. Asher added four tracks of hand claps.
Artists who have covered this song include Lou Christie, the Jam, Joan Osborne, the Supremes, and The Who.
Heat Wave
Heat wave Heat wave
Whenever I’m with you Something inside Starts to burn deep And my heart’s filled with fire Could be that I’m very sentimental Or is this just the way love’s supposed to be?
I got a heat wave Burning in my heart I can’t keep from crying Tearing me apart
Sometimes she calls my name Yeah, yeah, yeah, I can’t explain I feel, yeah I feel I feel this burning flame This high blood pressure’s got a hold on me ‘Cause this is the way love’s supposed to be
I got a heat wave Burning in my heart I can’t keep from crying Tearing me apart
Oh yeah Oh yeah
Oh yeah Oh yeah
Just give me another chance This could be a new romance
This one is probably my favorite of the after Army Elvis songs. Colonel Parker had no qualms about pushing Elvis to the middle of the road. This one has some bite and is a great song. Elvis had 7 number 1 hits in the Billboard 100 total…this is his last one in his career. I actually thought he had more but he did place 109 songs in the top 100 and 25 top ten hits. Suspicious Minds peaked at #1 in 1969.
Elvis’ publishing company, along with his manager Colonel Tom Parker, tried to get fifty percent of the publishing rights to this song and threatened to stop the recording if they didn’t. Elvis insisted on recording the song regardless.
This was a big comeback song for Elvis. It was seven years since his last #1 hit.
From Songfacts
Memphis singer Mark James and Chips Moman wrote this. James recorded and released his own version, but it didn’t go anywhere. Memphis Soul producer Chips Moman brought this to Presley in 1969, and Elvis immediately fell in love with it and decided he could turn it into a hit, even though it had flopped for James.
This was recorded between 4-7 in the morning, during the landmark Memphis session that helped Elvis reclaim his title of “The King.”
This song was inducted into the Grammy Hall of Fame in 1999.
Artists to cover this song include Dwight Yoakam, Waylon Jennings, The Heptones, Candi Staton (#31 UK), B.J. Thomas and even The Fine Young Cannibals, whose 1985 version not only hit #8 in the UK, but was bizarrely referenced on the American TV show Psych, when Shawn tells his partner Gus: “Don’t be Fine Young Cannibals cover of ‘Suspicious Minds.’ We’re going to find her.”
In the UK, Elvis had a hit with this song three times. First in 1969 when it was originally released, then in 2001 when a live version recorded at The International Hotel, Las Vegas, in August 1970 was issued and went to #15, then in 2007 when it was re-issued to commemorate the 30th anniversary of Elvis’ death, going to #11.
Dennis Quaid and Elizabeth Mitchell dance to this in the 2000 sci-fi drama Frequency.
According to Elvis’ good friend Marty Lacker, who convinced him to record in Memphis with Chips Moman, the song’s fake ending was a result of tampering by Elvis’ longtime producer Felton Jarvis. “When Chips cut ‘Suspicious Minds’ and mixed it, the fade and bump at the end was not there,” Lacker told Goldmine magazine. “In other words, the song fades out and then it bumps up again. It’s that part where Elvis is just repeating and repeating the last chorus. In my opinion, it might be good for the stage, a dramatic thing, but it’s not good on a record. What happened was Felton Jarvis took the master to Nashville and started fooling with it thinking he could do better. And he couldn’t. He should have left it alone. He added background voices. The voices that Chips put on in Memphis, Mary Green and all those people, they’re fantastic southern sounding R&B-ish singers. Chips used them on a lot of the hits he had.”
Waylon Jennings and Jessi Colter first covered this in 1970 and landed at #25 on the country chart. Their version was re-released to promote the 1976 album Wanted! The Outlaws, the first country album certified Platinum, with more than a million records sold. This time, the single peaked at #2 and earned the couple a Grammy nomination for Best Country Performance by a Duo or Group with Vocal.
Suspicious Minds
We’re caught in a trap I can’t walk out Because I love you too much baby
Why can’t you see What you’re doing to me When you don’t believe a word I say?
We can’t go on together With suspicious minds (suspicious minds) And we can’t build our dreams On suspicious minds
So, if an old friend I know Stops by to say hello Would I still see suspicion in your eyes?
Here we go again Asking where I’ve been You can’t see these tears are real I’m crying (Yes I’m crying)
We can’t go on together With suspicious minds (suspicious minds) And be can’t build our dreams On suspicious minds
Oh let our love survive Or dry the tears from your eyes Let’s don’t let a good thing die When honey, you know I’ve never lied to you Mmm yeah, yeah
We’re caught in a trap I can’t walk out Because I love you too much baby
Why can’t you see What you’re doing to me When you don’t believe a word I say?
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
Don’t you know I’m caught in a trap I can’t walk out Because I love you too much baby
The great Al Green. I never tire of hearing his voice. This song almost wasn’t released because Al Green hated the thin sound of his falsetto in it. Producer Willie Mitchell said: “The only fight I ever had with him was about ‘Let’s Stay Together,’ because he thought ‘Let’s Stay Together’ was not a hit.” It did pretty well for a song that Green didn’t think was a hit.
The song peaked at #1 in the Billboard 100, #7 in the UK, and #14 in Canada in 1972. Let’s Stay Together also spent nine straight weeks at the top of the Billboard Hot Soul Singles chart.
It was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are “culturally, historically, or aesthetically significant.
From Songfacts
This song is about an unconditional love where you are determined to stick it out through good times and bad. It’s a very popular wedding song.
Al Green wrote the lyrics to this song; the music was written by Al Jackson Jr., and Willie Mitchell. Jackson is a legendary soul drummer who recorded with Booker T. & the MG’s; Mitchell was Green’s producer. Green did about 100 takes before he got one he liked, and even then he wasn’t sure the song was any good. It was Mitchell who set him straight, telling him it “had magic on it.”
This has appeared in such movies as The Ladies’ Man, On the Line, How to Lose a Guy in 10 Days, and Munich. Perhaps the most famous cinematic use of the song was in the scene from the film Pulp Fiction, where it is playing in the background. It’s on the stereo in the bar, where we first confront Bruce Willis’ poker face while Ving Rhames gives him the “pride only hurts” speech. It’s a relatively quiet scene, so the song really has a chance to set the mood.
According to Rolling Stone magazine’s Top 500 songs, after Willie Mitchell gave Al Green a rough mix of a tune he and drummer Al Jackson had developed, Green wrote the lyrics in 5 minutes. However, Green didn’t want to record the song and for two days he argued with Willie Mitchell before finally agreeing to cut it.
Tina Turner’s 1983 cover of this song revitalized her career, returning her to the charts in both the UK and US for the first time for over a decade. After divorcing Ike Turner in 1976 she jumped on the disco trend with solo albums in 1978 and 1979 that went nowhere. In 1982, she released a cover of The Temptations “Ball Of Confusion” that was produced by the B.E.F. production team, which comprises Heaven 17 members Martyn Ware and Ian Craig Marsh. Turner and her manager Roger Davies liked this direction and enlisted them for more help.
In our interview with Martyn Ware, he recalled: “They said, ‘Would you be interested in writing a song for Private Dancer?’ And I said, ‘Well, we don’t really write for other people.’ We felt a bit self-conscious because we thought that what we did was our particular thing. It wasn’t just an arrogance thing; it was, like, ‘God, how would we start writing a song for Tina Turner?’ Seriously. She was a legend in our eyes. I said, ‘Well, I don’t really feel confident with that, but I really would like to do a cover version, or a couple of cover versions, so we ended up drawing up a shortlist.”
“She was staying in London at the time,” Ware continued, “and the one track I really wanted to do with her was ‘Let’s Stay Together’ because I thought she had turned her back a little bit on her soul roots – she clearly wanted to be a rock singer. I said, ‘Look, as far as I’m concerned Tina, you are still one of the greatest soul singers in the world.’ And I said, ‘What were your influences when you were growing up?’ And she said, ‘Otis Redding, Sam Cooke.’ And I said, ‘How would you feel about “Let’s Stay Together” by Al Green?’ And she jumped at the idea.”
Turner had just signed to Capitol Records, which released her version of “Let’s Stay Together” in the UK. With backing vocals by Glenn Gregory and Martyn Ware of Heaven 17 and a modern production touch supplied by B.E.F., the song took off, rising to #6 in December 1983. Issued in the US, the song became a favorite in New York dance clubs and rose to #26 in March 1984. After it hit in the UK, Capitol commissioned a full album, giving Turner two weeks to record what became [b]Private Dancer[/b], which returned Turner to stardom.
This was used in a television commercial for Tide laundry detergent.
After explaining how he idolized Al Green growing up in Tennessee, Justin Timberlake sang this with the Reverend at the Grammy awards in 2009 with Boyz II Men and Keith Urban joining in the song. This performance was a last-minute addition to the show, as Rihanna and Chris Brown, who were both scheduled to perform, canceled after an altercation the night before.
Barack Obama sang a couple of lines of the song during an appearance on January 19, 2012 at the Apollo Theater in Harlem for a fund-raising event. Al Green was the opening act and as the American president took to the stage, he noted the soul legend’s presence in the audience and surprised his staffers close by with an impromptu spot of crooning. “Those guys didn’t think I would do it,” he joked. “I told you I was going to do it. The Sandman did not come out.”
It wouldn’t be the last time Obama sang in public during his term: In 2015 he sang part of “Amazing Grace” when he delivered the eulogy for Rev. Clementa Pinckney, who was killed by a gunman at his church.
When the track at was cut at Royal, Mitchell brought in a group of neighborhood winos who used to linger outside the studio, to serve as Green’s audience. “Willie wanted Al to have people here,” recalled the song’s organist Charles Hodges to Mojo magazine. “Sometimes, when you sing about something, if you look at people, you can relate with the song a little more compassionately. You’d be surprised what you can project from that. You feed on what you’re looking at.”
Let’s Stay Together
Let’s stay together
I, I’m I’m so in love with you
Whatever you want to do
Is all right with me
Cause you make me feel so brand new
And I want to spend my life with you
Let me say that since, baby, since we’ve been together
Loving you forever
Is what I need
Let me, be the one you come running to
I’ll never be untrue
Oh baby
Let’s, let’s stay together (gether)
Lovin’ you whether, whether
Times are good or bad, happy or sad
Oh, oh, oh, oh, yeah
Whether times are good or bad, happy or sad
Why, why some people break up
Then turn around and make up
I just can’t see
You’d never do that to me (would you, baby)
Staying around you is all I see
(Here’s what I want us do)
Let’s, we oughta stay together (gether)
Loving you whether, whether
Times are good or bad, happy or sad
Come on
Let’s stay,(let’s stay together) let’s stay together
Loving you whether, whether times are good or bad
The slide guitar sounds familiar because George Harrison produced this and played slide on it. The year before, Badfinger played on Harrison’s first solo album, All Things Must Pass. Leon Russell played piano on this recording. It was mixed by Todd Rundgren. It’s a beautiful song about longing.
They were signed to the Beatle’s Apple Records which was a blessing and a curse. It got them noticed with initial excitement but also hindered their development for their own sound.
This is one of their best-known songs. This is their highest charting song and it peaked at #4 in the Billboard 100, #2 in Canada, and #10 in the UK Charts in 1972. The song was off of the Straight Up album that peaked at #31 in the Billboard album charts.
From Songfacts
Badfinger guitarist Peter Ham wrote this. A few years later, after a dispute with their record label over missing money, Ham committed suicide.
This sounds a lot like The Beatles. Badfinger was one of the first bands to sign with The Beatles’ label, Apple Records. As a result, they got to know The Beatles quite well and picked up on their sound. Badfinger signed with Warner Brothers when Apple Records folded.
This song appeared on the Fox television show The Simpsons, in the episode “Eternal Moonshine of the Simpson Mind” (Episode 9, Season 19) in which Homer tries to recollect events that happened from the night before. It had a very high rating on Fox, and is considered by fans to be as good as the original seasons episodes.
Day After Day
I remember finding out about you
Every day, my mind is all around you
Looking out from my lonely room, day after day
Bring it home, baby, make it soon
I give my love to you
I remember holding you while you sleep
Every day, I feel the tears that you weep
Looking out of my lonely gloom, day after day
Bring it home, baby, make it soon
I give my love to you
Looking out of my lonely room, day after day
Bring it home, baby, make it soon
I give my love to you
I remember finding out about you
Every day, my mind is all around you
Looking out of my lonely gloom, day after day
Bring it home, baby, make it soon
I give my love to you.
The song peaked at #14 in the Billboard 100 and #3 in the R&B Chart. B-A-B-Y was released on Stax Records in 1966. It was written by Isaac Hayes and David Porter.
Carla had 20 songs in the Billboard 100 with 4 top 40 hits and 1 top ten hit. The song was on the 2017 Baby Driver soundtrack. The song has a great soul sound to it with that Stax feel.
She is called the Queen of Memphis Soul. Carla Venita Thomas was born on December 1, 1942, in the Foote Homes Housing Project in Memphis, Tennessee. She teamed with Stax performer Otis Redding and in March of 1967, they released the album, King & Queen.
B-A-B-Y
Baby, ooh baby I love to call you baby Baby, oh oh baby I love for you to call me baby When you squeeze me real tight You make wrong things right And I can’t stop loving you And I won’t stop calling you Baby, oh baby You look so good to me baby Baby, ooh baby You are so good to me baby Just one look in your eye And my temperature goes sky high I live for you and can’t help it [Lyrics from: https:/lyrics.az/soundtracks/baby-driver/b-a-b-y-by-carla-thomas.html] You know I really don’t want to help it B.A.B.Y. baby B.A.B.Y. baby Whenever the sun don’t shine You go out to light my hind Then I get real close to you And your sweet kisses see me through I said baby, ooh baby You look so good to me baby Baby, ooh baby How I love for you to call me baby When you squeeze me real tight You know you make wrong things right And I can’t stop loving you And I won’t stop calling you B.A.B.Y. baby
The first chords come in and start the powerful riff. I love the way Bruce phrases the lyrics with an urgency to be heard. As soon as I heard lyrics
I don’t give a damn For just the in-betweens Honey I want the heart, I want the soul I want control right now
I was hooked. Springsteen was one artist who lived up to the “new Dylan” title that was given to him by the press. They are quite different artists but Springsteen managed to live up to the hype.
This was the second single off Darkness On The Edge Of Town, the first album Springsteen released after a legal battle with his first manager, Mike Appel, kept him from recording for almost 3 years. The first single was #33 Prove It All Night.
The title came from a 1973 movie of the same name starring Martin Sheen and Sissy Spacek. Springsteen got the idea from a poster in the theater lobby. Springsteen did not see the movie until after he wrote this.
The song peaked at #42 in the Billboard 100 in 1978.
From Songfacts
This was more mature songwriting from Springsteen, as much of Darkness On The Edge Of Town reflects the characters of his previous album, Born To Run, getting older and more pessimistic.
“Badlands” was considered for the name of the album. Around this time, Springsteen would come up with titles and try to come up with deserving songs for them. He told Rolling Stone in 2010: “Badlands, that’s a great title, but It would be easy to blow it. But I kept writing and I kept writing and I kept writing and writing until I had a song that I felt deserved that title.”
This is a concert favorite. It was featured on Springsteen’s 1999 reunion tour with The E Street Band, and on many of their subsequent tours.
Badlands is a US national park in South Dakota. It is famous for striking scenery and expansive prairie land.
The version on Live 1975-1985 was recorded in Arizona the night after Ronald Reagan was elected president. Bruce introduced the song by saying: “I don’t know what you guys thought of what happened last night, but I thought it was pretty terrifying.” Reagan would later misinterpret “Born In The U.S.A.” in a 1984 campaign speech.
Bill Murray and Paul Shaffer chose to open the 25th Anniversary Show of Saturday Night Live with this song, as sung by Murray’s character of Nick the Lounge Singer. According to the book Live From New York, they chose this song because Murray and Shaffer felt that there was a certain lyric in the song that best described their experience of growing up in life and in show business on Saturday Night Live in the ’70s. Murray was quoted as saying performing the harmony with Paul was one of the high points of his entire career.
Badlands
Lights out tonight Trouble in the heartland Got a head-on collision Smashin’ in my guts man I’m caught in a crossfire That I don’t understand I don’t give a damn For the same old played out scenes I don’t give a damn For just the in-betweens Honey I want the heart, I want the soul I want control right now Talk about a dream Try to make it real You wake up in the night With a fear so real Spend your life waiting For a moment that just don’t come Well don’t waste your time waiting
Badlands, you gotta live it every day Let the broken hearts stand As the price you’ve gotta pay We’ll keep pushin’ till it’s understood And these badlands start treating us good
Workin’ in the fields Til you get your back burned Workin’ ‘neath the wheel Till you get your facts learned Baby got my facts Learned real good right now Poor man want to be rich Rich man want to be king And a king ain’t satisfied Till he rules everything I want to go out tonight I want to find out what I got
I believe in the love that you gave me I believe in the hope that can save me I believe in the faith And I pray that some day it may raise me Above these badlands
Badlands, you gotta live it every day Let the broken hearts stand As the price you’ve gotta pay We’ll keep pushin’ till it’s understood And these badlands start treating us good
For the ones who had a notion A notion deep inside That it ain’t no sin to be glad you’re alive I want to find one face that ain’t looking through me I want to find one place I want to spit in the face of these badlands
Badlands, you gotta live it every day Let the broken hearts stand As the price you’ve gotta pay We’ll keep pushin’ till it’s understood And these badlands start treating us good
This song gets overlooked at times. It’s a simple song but a good pop song. I do remember hearing this on the radio quite a bit when it was released. The song was on the album George Harrison (#14) and it peaked at #16 in the Billboard 100, #51 in the UK, and #7 in Canada. This song stood out a little in this disco and punk era.
Steve Winwood is providing backup vocals and playing a PolyMoog synthesizer. The song was included in the Eric Idle film “Nuns on the Run” released in 1990.
In 2010, AOL radio listeners chose the track as one of the “10 Best George Harrison Songs”, appearing at number 2 on the list, behind “My Sweet Lord”… I don’t agree with the AOL listeners as being number 2 but I do like the song.
The original video is below…the duck baffles me but I just enjoy it.
Blow Away
Day turned black, sky ripped apart Rained for a year ’til it dampened my heart Cracks and leaks The floorboards caught rot About to go down I’d almost forgot.
All I got to do is to love you All I got to be is, be happy All it’s got to take is some warmth to make it Blow away, blow away, blow away.
Sky cleared up, day turned to bright Closing both eyes now the head filled with light Hard to remember what a state I was in Instant amnesia Yang to the yin.
All I got to do is to love you All I got to be is, be happy All it’s got to take is some warmth to make it Blow away, blow away, blow away.
Wind blew in, cloud was dispersed Rainbows appearing, the pressures were burst Breezes a-singing, now feeling good The moment had passed Like I knew that it should.
All I got to do is to love you All I got to be is, be happy All it’s got to take is some warmth to make it Blow away, blow away, blow away.
Most people today know the Lindsey Buckingham and Stevie Nicks Fleetwood Mac but the band has a long winding history. The band members at this time in 1968 were Peter Green – Guitar, Mick Fleetwood – Drums, John McVie – Bass, Jeremy Spencer – Guitar and Piano, and Danny Kirwan on guitar. Christine Perfect contributed keyboards from the second album on and then married John McVie and joined in 1970.
Peter Green is a great guitar player, good singer and a very good songwriter. The Peter Green era produced songs such as Oh Well, Albatross, and The Green Manalishi (With the Two Prong Crown).
This was a hit for Santana, and their version was a cover of this Fleetwood Mac song that hit #37 on the UK charts. Peter Green, who was a founding member of Fleetwood Mac, wrote the lyrics. The original’s music sounds very similar to the sound Santana added on his version. Mick Fleetwood once described this as “three minutes of sustain reverb guitar with two exquisite solos from Peter.”
Black Magic Woman
Got a black magic woman Got a black magic woman I’ve got a black magic woman Got me so blind I can’t see That she’s a black magic woman She’s trying to make a devil out of me
Don’t turn your back on me, baby Don’t turn your back on me, baby Yes, don’t turn your back on me, baby Stop messing about with your tricks Don’t turn your back on me, baby You just might pick up my magic sticks
You got your spell on me, baby You got your spell on me, baby Yes, you got your spell on me, baby Turnin’ my heart into stone I need you so bad Magic woman I can’t leave you alone
This song broke it open for the Beatles in the UK. After Love Me Do peaked at #17 in the UK charts…this one shot to #1 in the New Musical Express, Disc and Melody Maker charts in 1963. The song would later peak at #3 in the Billboard 100 in 1964 after Beatlemania had hit.
George Martin never cared much for Love Me Do and told the Beatles that. He did like Please Please Me and thought it had potential if they would increase the tempo. They had played it to him very slow like a Roy Orbison song. They worked on it for the next studio visit and it started to take shape.
The song was a vast improvement over Love Me Do. The quick catchy riff with those harmonies are hard to resist. The climbing “come on come on come on” led to a perfect chorus hook.
John Lennon was partly inspired by a line from a Bing Crosby song that read, “Please lend a little ear to my pleas.” He recalled: “I remember the day I wrote it, I heard Roy Orbison doing “Only The Lonely”, or something. And I was also always intrigued by the words to a Bing Crosby song that went, ‘Please lend a little ear to my pleas’. The double use of the word ‘please’. So it was a combination of Roy Orbison and Bing Crosby.”
From Songfacts
This was The Beatles first single released in America, and getting it issued in the States was a struggle. The Beatles first recorded “Please Please Me” on September 11, 1962. That version was rejected for release. They re-recorded the song on November 26, 1962 and that version was first issued in England on the EMI-owned Parlophone label on January 12, 1963. After EMI’s US affiliate, Capitol Records, rejected the song (and a lot of other early Beatles material), the small, Chicago-based Vee Jay label stepped in and released “Please Please Me” stateside on February 25, 1963 and again on January 30, 1964 and August 10,1964. The only release that charted was the second, when The Beatles finally made a name for themselves in America.
John Lennon, who was a big Roy Orbison fan, wrote this in the style of Orbison’s overly dramatic singing. Beatles producer George Martin suggested it would sound better sped up. In 2006, Martin told The Observer Music Monthly, “The songs the Beatles first gave me were crap. This was 1962 and they played a dreadful version of ‘Please Please Me’ as a Roy Orbison-style ballad. But I signed them because they made me feel good to be with them, and if they could convey that on a stage then everyone in the audience would feel good, too. So I took ‘Love Me Do’ and added some harmonica, but it wasn’t financially rewarding even though Brian Epstein bought about 2,000 copies. Then we worked for ages on their new version of ‘Please Please Me,’ and I said: ‘Gentlemen, you’re going to have your first #1.'”
This was rumored to be about oral sex. The Beatles denied this, since they had a very clean image to maintain at the time. Lennon said of the song: “I was always intrigued by the double use of the word ‘please.'”
Although in the UK this was officially a #2 record, three of the four charts used at the time – Melody Maker, NME and Disc – listed it #1. Only the Record Retailer chart had it at #2.
The group’s name was misspelled “Beattles” on the record label on the first American release of the single.
Typical for the verse in “Please Please Me,” and for many of Lennon’s songs, are the long notes (legato) that are also used in hymns – even sounding a bit like Mendelssohn’s Wedding March in A Midsummer Night’s Dream. When Lennon was a little boy he used to go to church on Sunday. Afterwards he improvised his own counterpoints to the hymns.
The climbing in the melody “Come on, come on…” is similar to parts of two traditional folk songs: “New’s Evens Song” and “Come Fair One.” >>
In the UK, this was re-released in 1983 to coincide with the 20th anniversary of it’s initial release.
The Beatles performed this on their second Ed Sullivan Show appearance in 1964. Sullivan was not a fan of many rock groups, but loved The Beatles and had them on his show whenever he could.
This was the second Beatles single released in England, the first being “Love Me Do.”
An early version of this song with session drummer Andy White playing drums instead of Ringo can be found on Anthology 1.
The Please Please Me album was The Beatles debut long player. When they recorded it at Abbey Studios in London, John Lennon was struggling with a streaming cold and all were tired after a tour supporting Helen Shapiro. However with the help and encouragement of producer George Martin within nine hours and 45 minutes they had recorded their groundbreaking LP.
The album was released to cash in on the success of this single in the UK. It took them about 12 hours to record, and was basically a re-creation of their live show, which was mostly cover songs. The album was released with the text “Please Please Me with Love Me Do and 12 other songs.” >>
The Beatles performed this on Thank Your Lucky Stars on January 19, 1963. It was their first ever UK television appearance.
The British Prime Minister Gordon Brown revealed in an interview on the British TV program GMTV that this was the first record that he ever bought.
George Martin told Music Week magazine that the first time the Beatles played this to him, he wasn’t very impressed. He recalled: “I listened to it and I said: ‘Do you know that’s too bloody boring for words? It’s a dirge. At twice the speed it might sound reasonable.’ They took me at my word. I was joking and they came back and played it to me sped up and put a harmonica on it, and it became their first big hit.”
Lennon was a great fan of Bing Crosby and when in 1978, Yoko gave him a vintage ’50s Wurlitzer jukebox for his birthday he loaded the machine with as many 78-rpm records by the easy-listening vocalist as he could find.
This is Keith Richards’ favorite Beatles song. He told Jimmy Fallon: “I’ve always told McCartney, ‘Please Please Me.’ I just love the chimes, and I was there at the time and it was beautiful. Mind you, there’s plenty of others, but if I’ve got to pick one, ‘Please Please Me’… oh, yeah!”
Lennon-McCartney was the standard alphabetical credit for their Beatles songwriters compositions except on Please Please Me, where for reasons unknown, the names were reversed.
Please Please Me
Last night I said these words to my girl I know you never even try, girl Come on, come on, come on, come on Please, please me, woah yeah, like I please you
You don’t need me to show the way, love Why do I always have to say, love Come on, come on, come on, come on Please, please me, woah yeah, like I please you
I don’t want to sound complaining But you know there’s always rain in my heart I do all the pleasing with you, It’s so hard to reason with you Woah yeah, why do you make me blue?
Last night I said these words to my girl I know you never even try, girl Come on, come on, come on, come on Please, please me, woah yeah, like I please you Woah yeah, like I please you Woah yeah, like I please you
The song can bring tears to your eyes while watching the video. Zevon recorded this when he knew he was dying and it is a touching song. The song was off of the album The Wind which peaked #12 in the Billboard 200 album charts in 2003.
This was the final song Zevon wrote and recorded before dying of mesothelioma (a form of lung cancer) in September of 2003. This was also the only song on Zevon’s final album The Wind that he wrote entirely after learning of his terminal illness. With the exception of the cover of “Knockin’ On Heaven’s Door,” all of the remaining songs on the album were songs Zevon had already at least started writing beforehand.
Zevon saved the recording of this song for last. His deteriorating health rendered him too weak to continue commuting to the studio where the other tracks had been recorded, so he had a makeshift studio set up at his home to record this song.
Keep Me In Your Heart
Shadows are fallin’ and I’m runnin’ out of breath Keep me in your heart for a while If I leave you it doesn’t mean I love you any less Keep me in your heart for a while
When you get up in the mornin’ and you see that crazy sun Keep me in your heart for a while There’s a train leavin’ nightly called “When All is Said and Done” Keep me in your heart for a while
Keep me in your heart for a while
Keep me in your heart for a while
Sometimes when you’re doin’ simple things around the house Maybe you’ll think of me and smile You know I’m tied to you like the buttons on your blouse Keep me in your heart for a while
Hold me in your thoughts Take me to your dreams Touch me as I fall into view When the winter comes Keep the fires lit And I will be right next to you
Engine driver’s headed north up to Pleasant Stream Keep me in your heart for a while These wheels keep turnin’ but they’re runnin’ out of steam Keep me in your heart for a while
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