A garage band song released in the wake of the Beatles… It was written by written by guitarist Ron Elliott. They were as among the first wave of San Francisco groups to make the Charts. Laugh Laugh resembled the British Invasion songs that were dominating the charts at the time.
At the height of the band’s popularity, the Beau Brummels were seen as teen idols. The band appeared on several television productions such as American Bandstand, Shindig!, Hullabaloo and the cartoon series The Flintstones (as the animated version of themselves, the Beau Brummelstones). They appeared in movies as well, such as Village of the Giants andWild, Wild Winter.
“Laugh, Laugh” became the Beau Brummels’ first hit, peaking at #15 on the Billboard 100 in 1965.
Laugh Laugh
I hate to say it but I told you so, don’t mind my preachin’ to you I said “don’t trust ’em, baby” now you know You don’t know ev’rything there is to know in school. Wouldn’t believe me when I gave advice, I said that he was a tease If you want help you better ask me now So be sincere, convince me with a “pretty please”
Laugh, laugh, I thought I’d die It seemed so funny to me Laugh, laugh you met a guy who taught you how it feels to be Lonely, oh so lonely
Don’t think I’m bein’ funny when I say you got just what you deserve I can’t help feeling you found out today You thought you would, you could, you had a lot of nerve
Won’t say I’m sorry for the things I said. I’m glad he packed up to go You kept on braggin’ he was yours instead Found you don’t know ev’rything there is to know
Laugh, laugh, I thought I’d die It seemed so funny to me Laugh, laugh you met a guy who taught you how it feels to be Lonely, oh so lonely
Before I go I got to say one thing, don’t close your ears to me Take my advice and you find out that he Is just another guy who’ll cause you misery Don’t say you can’t get any boy to call, do be so smug or else You’ll find you can’t get any boy a’tall You’ll wind up an old lady sittin’ on the shelf.
Laugh, laugh, I thought I’d die It seemed so funny to me Laugh, laugh you met a guy who taught you how it feels to be Lonely, oh so lonely
One of my favorite Dylan songs of the 1980s. Tweeter and the Monkey Man has a cool story and he sprinkles references to Bruce Springsteen songs all through it. The songwriting credit went to all of the Wilburys and George Harrison remembered Bob and Tom writing it and George didn’t understand a lot of it because of the American references. Jeff Lynne and George contributed to the chorus.
It’s a story of two drug dealers, Tweeter and the Monkey Man and an undercover cop chasing them…and to add more drama the undercover cop who had a sister named Jan…and she loved the Monkey Man. it also contains an excellent lyric… In Jersey anything’s legal as long as you don’t get caught.”
Tom Petty talked about the Bruce Springsteen references, “It was not meant to mock him at all. It started with Bob Dylan saying, ‘I want to write a song about a guy named Tweeter. And it needs somebody else.’ I said, ‘The Monkey Man.’ And he says, ‘Perfect, ‘Tweeter and the Monkey Man.” And he said, ‘Okay, I want to write the story and I want to set it in New Jersey.’ “I was like, ‘OK, New Jersey.’ And he was like, ‘Yeah, we could use references to Bruce Springsteen titles.’ He clearly meant it as praise.”
Tweeter and the Monkey Man
Tweeter and the Monkey Man were hard up for cash They stayed up all night selling cocaine and hash To an undercover cop who had a sister named Jan For reasons unexplained she loved the Monkey Man
Tweeter was a boy scout before she went to Vietnam And found out the hard way nobody gives a damn They knew that they found freedom just across the Jersey Line So they hopped into a stolen car took Highway 99
And the walls came down, all the way to hell Never saw them when they’re standing Never saw them when they fell
The undercover cop never liked the Monkey Man Even back in childhood he wanted to see him in the can Jan got married at fourteen to a racketeer named Bill She made secret calls to the Monkey Man from a mansion on the hill
It was out on thunder road – Tweeter at the wheel They crashed into paradise – they could hear them tires squeal The undercover cop pulled up and said “Everyone of you’s a liar If you don’t surrender now it’s gonna go down to the wire”
And the walls came down, all the way to hell Never saw them when they’re standing Never saw them when they fell
An ambulance rolled up, a state trooper close behind Tweeter took his gun away and messed up his mind The undercover cop was left tied up to a tree Near the souvenir stand by the old abandoned factory
Next day the undercover cop was-a hot in pursuit He was taking the whole thing personal He didn’t care about the loot Jan had told him many times it was you to me who taught In Jersey anything’s legal as long as you don’t get caught
And the walls came down, all the way to hell Never saw them when they’re standing Never saw them when they fell
Someplace by Rahway prison they ran out of gas The undercover cop had cornered them said “Boy, you didn’t think that this could last” Jan jumped out of bed said “There’s someplace I gotta go” She took a gun out of the drawer and said “It’s best if you don’t know”
The undercover cop was found face down in a field The monkey man was on the river bridge using Tweeter as a shield Jan said to the Monkey Man “I’m not fooled by Tweeter’s curl I knew him long before he ever became a Jersey girl”
And the walls came down, all the way to hell Never saw them when they’re standing Never saw them when they fell
Now the town of Jersey City is quieting down again I’m sitting in a gambling club called the Lion’s Den The TV set was blown up, every bit of it is gone Ever since the nightly news show that the Monkey Man was on
I guess I’ll go to Florida and get myself some sun There ain’t no more opportunity here, everything’s been done Sometime I think of Tweeter, sometimes I think of Jan Sometimes I don’t think about nothing but the Monkey Man
And the walls came down, all the way to hell Never saw them when they’re standing Never saw them when they fell
I’ve always liked the original version of this song the best. The studio version of this song was never released as a single (no tracks on the album were), but it is one of the most remembered songs on McCartney’s first solo album McCartney. “Maybe I’m Amazed” was written in 1969 just after The Beatles broke up about Linda.
A live version was released as a single in 1977 to promote the Wings Over America live album it went to #10 in the Billboard 100 in 1977.
The Faces did this song live with Ronnie Lane singing the first few lines and Rod Stewart finishing it up.
From Songfacts
Paul McCartney wrote this song about his wife Linda, who died of breast cancer in 1998. McCartney never wavered in his love for Linda, and even made her part of his band so she could tour with him.
McCartney, an animal rights activist, appeared on The Simpsons episode 3F03, “Lisa The Vegetarian.” McCartney helps Lisa become a vegetarian and tells her that if you play this song backwards, you hear a recipe for lentil soup. Over the closing credits of that episode, if you listen carefully, you can hear the backwards message. As an extra feature on The Simpsons DVD, you can hear McCartney read the recipe and say, “There you have it Simpsons lovers, oh and by the way, I’m alive.”
The lentil soup recipe Paul speaks backwards is: – one medium onion, chopped – two tablespoons of vegetable oil – one clove of garlic, crushed – one cup of carrots, chopped – two sticks of celery, chopped – half a cup of lentils – one bay leaf – one tablespoon of freshly chopped parsley – salt and freshly ground pepper to taste – two and a quarter cups of vegetable stock or water
With the exception of John Lennon, each Beatle has been on at least one episode of The Simpsons. George Harrison was on the episode “The B- Sharps” and Ringo was on the “The Letter.”
This was the standout track from McCartney’s first solo album. Unlike George Harrison, who had 3-discs worth great songs (mostly rejected by The Beatles) for his first solo effort, Paul had little in the way of leftovers to work with. He worked up the album in his kitchen, and played all of the instruments himself. The only other performer on the album was his wife Linda, who lent backing vocals (she also took the cover photo).
Critics derided the album as an unfinished work, usually citing “Maybe I’m Amazed” as the exception. The review in Melody Maker called the other tracks “sheer banality.” McCartney was annoyed that he wrote a rebuttal to the paper defending the album.
Artists who covered this song include The Faces, Petula Clark, Elkie Brooks, Black Oak Arkansas, Jem, Joe Cocker, and Gov’t Mule. The cover by Jem was used in the season finale of the first season in the show The O.C.
Actor Jamie Dornan, who plays Christian Grey in the Fifty Shades movies, recorded his take of the song for the soundtrack of Fifty Shades Freed. The film involves an impromptu piano and singing performance of “Maybe I’m Amazed” from Christian, which surprises his lover Anastasia, sister, Mia, and brother, Elliot.
Maybe I’m Amazed
Maybe I’m amazed at the way you love me all the time Maybe I’m afraid of the way I love you Maybe I’m amazed at the the way you pulled me out of time And hung me on a line Maybe I’m amazed at the way I really need you
Maybe I’m a man and maybe I’m a lonely man Who’s in the middle of something That he doesn’t really understand
Maybe I’m a man and maybe you’re the only woman Who could ever help me Baby won’t you help me understand
Maybe I’m a man and maybe I’m a lonely man Who’s in the middle of something That he doesn’t really understand
Maybe I’m a man and maybe you’re the only woman Who could ever help me Baby won’t you help me understand
Maybe I’m amazed at the way you’re with me all the time Maybe I’m afraid of the way I leave you Maybe I’m amazed at the way you help me sing my song Right me when I’m wrong Maybe I’m amazed at the way I really need you
It’s hard to believe this voice was coming out of a teenager… An 18-year-old Alex Chilton was singing this song with the Box Tops. The song peaked at #2 in the Billboard 100, #15 in the UK, and #3 in Canada. The band was successful with 10 songs in the top 100, 2 top ten songs and a number 1 (The Letter). The Box Tops were formed in Memphis in 1967. The most famous member would be future Big Star member Alex Chilton.
A bizarre personal story…a one in a million shot…Back in the 90s, I was trying to call a musician that was recommended but I dialed a wrong number and talked to Gary Talley the guitar player for the Box Tops for a good 45 minutes. He laughed and told me that I at least reached a guitar player but in Nashville, my odds were good getting one with any number. He was really cool and we talked about guitars and his touring etc… He was giving guitar lessons at the time. He told me that other people have called him looking for Garry Tallent the bass player for Bruce Springsteen.
Cry Like a Baby was recorded at American Studios in Memphis, which was run by Chips Moman, who produced the album. Spooner Oldham played keyboards on the track in addition to co-writing it.
The Box Tops still tour with members Gary Talley and Bill Cuningham.
From Songfacts
This was written by Dewey “Spooner” Oldham and Dan Penn, whose other credits together include the hits “I’m Your Puppet” (a hit for James and Bobby Purify), “It Tears Me Up” (a hit for Percy Sledge) and “A Woman Left Lonely.” In our interview with Spooner Oldham, he told the story: “Dan Penn was producing The Box Tops, he had produced a #1 record called ‘The Letter.’ He recorded that in Memphis when he and I were both living there. So he calls me one day and says, ‘Spooner, will you help me try to write a song for Alex (Chilton) and the Box Tops?’ He says, ‘People have sent me some songs, but I don’t think any of them really fit. This record company’s been after me about three weeks for a follow-up single.’ And I said, ‘Sure, I’ll try to help write a song for you.’ We got together in the studio one evening with our little notes of our five or ten best ideas or titles. We each pulled one out and they eventually ended up in the garbage.
The next morning, we were getting tired and decided to call it quits. So we locked the doors, turned out the lights in the studio, turned off the instruments. Went across the street to the little café – name was Porky’s or something like that – and ordered breakfast. I remember I was putting my head on the table. There was nobody in there, I don’t think, but us and the cook. And I tiredly put my head on the table, my arms under my head, just for a few seconds. Then I lifted my head up and looked at Dan, and because I felt sorry that he needed another record and we were no help to each other that evening, I said, ‘Dan, I could just cry like a baby.’ And he says, ‘What did you say?’ And I said it again. He says, ‘I like that.’ So unbeknownst to me, we had a song started. By the time we walked across the street back to the studio, we had the first verse written. When we got in, he turned on the lights and the recorder, and I turned on the Hammond organ. He got his guitar out, and we put on a quarter-inch 90-minute tape, and we finished the song, just recorded a demo.
The next day or two in the morning Alex Chilton came in. I was so tired and weary I didn’t know what we had, if anything. I played the little tape demo to him and he smiled and reached out his hand, shook my hand, so I knew he liked it, anyway. And then we got in the studio and recorded it shortly, I think that day.”
In the tale of this song, a man previously took for granted the love of his caring, faithful girlfriend. He regrets how terribly he had treated her now that she’s left him. He now cries every time he sees her or even thinks of her.
This song is notable for its electric sitar, which was provided by guitarist Reggie Young.
It wasn’t worth crying over, but this song stayed at US #2 for two weeks, kept out of the top spot by Bobby Goldsboro’s “Honey,” which held the top spot for five weeks.
Cry Like A Baby
When I think about the good love you gave me I cry like a baby Living without you is driving me crazy I cry like a baby Well, I know now, that you’re not a plaything Not a toy, or a puppet on a string
As I look back on a love so sweet I cry like a baby Oh, every road is a lonely street I cry like a baby I know now that you’re not a plaything Not a toy, or a puppet on a string
Today we passed on the street, and you just walked on by how my heart just fell to my feet and like a fool I began to cry
Oh when I think about the good love you gave me I cry like a baby Living without you is driving me crazy I cry like a baby I know now,that you’re not a plaything I cry like a baby, cry like a baby
Every road is a lonely street I cry like a baby, cry like a baby Living without you is driving me crazy I cry like a baby, cry like a baby I cry, I cry, I cry
I thought I would do an album track today. If someone asked me what is your favorite Van Morrison song…I might say this one. It’s an epic piece of work that I get lost in. Van’s imagery in this song reminds me of a few of Dylan’s songs. Everything from Edith Piaf to Hank Williams to Safeway Supermarkets gets a nod.
The album of the same name was released in 1972 and it is not a song on it that I don’t like. From the soulful Jackie Wilson Said (I’m in Heaven When You Smile) to another epic song that still blows me away, Almost Independence Day.
The album was the follow up to Tupelo Honey released in 1971. Van used some of the same musicians on both albums and the same producer, Ted Templeman. This song was not released as a single. The album peaked at #15 in the Billboard 100 in 1972.
What’s hard to believe is this album was his highest charting album until “Keep It Simple” in 2008…after that he had two more top ten albums.
I saw this interview that Van did with Rolling Stone talking about this song right before he recorded it.
RS: Are you sometimes surprised by some of the things that come out when you’re writing? Really. There are times when I’m mystified. I look at some of the stuff that comes out, y’know. And like, there it is and it feels right, but I can’t say for sure what it means. Like take…take “Crazy Face.” Y’know, where does that come from?
RS: There’s unquestionably a strong mystical and visionary quality to your music. Yeah, it’s there. That’s what it is, I guess. It’s strange because I don’t see myself as a mystical type person. But then every now and then these weird experiences happen. Like I’ll be lying down on the bed with my eyes closed and all of a sudden I get the feeling that I’m floating near the ceiling looking down. I couldn’t say whether that’s supposed to be astral projection but it’s pretty freaky when it happens.
RS: Have you ever had any similar experiences that seem related to your writing?
I had one just recently. I’d been working on this song about the scene going down in Belfast. And I wasn’t sure what I was writing but anyway the central image seemed to be this church called St. Dominic’s where people were gathering to pray or hear a mass for peace in Northern Ireland. Anyway, a few weeks ago I was in Reno for a gig at the University of Nevada. And while we were having dinner I picked up the newspaper and just opened it to a page and there in front of me was an announcement about a mass for peace in Belfast to be said the next day at St. Dominic’s church in San Francisco. Totally blew me out. Like I’d never even heard of a St. Dominic’s church.
RS: How did the song turn out?
Great. In fact I’m gonna be recording it in a couple of days.
RS: What did you end up titling it?
“St. Dominic’s Preview.” You know something? I haven’t a clue to what it means.
Saint Dominic’s Preview
Shammy cleaning all the windows
Singing songs about Edith Piaf’s soul
And I hear blue strains of no regredior
Across the street from Cathedral Notre Dame
Meanwhile back in San Francisco
We’re trying hard to make this whole thing blend
As we sit upon this jagged
Storey block, with you my friend
And it’s a long way to Buffalo
It’s a long way to Belfast city too
And I’m hoping the choice won’t blow the hoist
‘Cause this town, they bit off more than they can chew.
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on
Saint Dominic’s Preview
Saint Dominic’s Preview
Saint Dominic’s Preview
All the orange boxes are scattered
Against the Safeway’s supermarket in the rain
And everybody feels so determined
Not to feel anyone else’s pain
No one’s making no commitments
To anybody but themselves
Talkin’ behind closed doorways
Tryin’ to get outside, get outside of empty shells
And for every cross cuttin’ country corner, country corner
For every Hank Williams railroad train that cried
And all the chains, badges, flags and emblems
And every strain on brain and every eye
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on
Saint Dominic’s Preview
Saint Dominic’s Preview
Saint Dominic’s Preview
And the restaurant tables are completely covered
The record company has paid out for the wine
You got everything in the world you ever wanted
Right about now your face should wear a smile
That’s the way it all should happen
When you’re in, when you’re in the state you’re in
You’ve got your pen and notebook ready
I think it’s about time, time for us to begin
And meanwhile, we’re over in a 52nd Street apartment
Socializing with the wino few
Just to be hip and get wet with the jet set
But they’re flying too high to see my point of view
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on
Saint Dominic’s Preview
Saint Dominic’s Preview
Saint Dominic’s Preview
See them freedom marching
Out on the street, freedom marching
Saint Dominic’s Preview
Out in the street
Look at the man
Turn around
Come back, come back
Turn around
Look at the man
Says hold on
Saint Dominic’s Preview
Saint Dominic’s Preview
Says hold me in
Saint Dominic’s Preview
I’ve been posting some garage band songs lately…the style of this one is close. Tommy Boyce and Bobby Hart wrote this but intended it for Paul Revere And The Raiders. Boyce and Hart also wrote The Monkees hits “Last Train To Clarksville” and “Valleri.” The song peaked at #20 in the Billboard 100 in 1967. This was a B side to I’m A Believer.
The Monkees influenced many to pick up an instrument and want to be in a band. I am one of those people…I watched them in syndication and from them, I found The Beatles. They made it look fun and exciting…of course, they didn’t show the egos and the arguments but that is alright. Artists such as Michael Stipe and Andy Partridge have talked about how the Monkees influenced them.
The Rock and Roll Hall Of Fame seems determined to keep them out which I think is wrong considering some of the bands that they have in there. The influence alone should get them in… Not to mention 20 songs in the Billboard 100, 6 top ten hits, and 3 number 1’s.
This is about a girl who walks all over a guy who decides he’s not going to take it any more.
Monkees drummer Micky Dolenz sang lead, and was the only Monkee to perform on the song. In their early years, The Monkees songs were usually recorded by top session musicians. The Monkees had a popular TV show where their songs (including this one) aired, which helped them climb the charts.
In their later years, The Sex Pistols performed this with Sid Vicious singing lead.
British group The Farm had their first hit with a 1990 remake of this called “Stepping Stone.”
Monkees keyboardist/bass guitarist Peter Tork on the song’s relevance: “The songs that we got [in the ’60s] were really songs of some vigor and substance. ‘(I’m Not Your) Stepping Stone’ is not peaches and cream. It comes down hard on the subject, poor girl. And the weight of the song is indicated by the fact that the Sex Pistols covered it. Anybody trying to write ”60s songs’ now thinks that you have to write ’59th St. Bridge.’ [Sings] ‘Feeling groovy!’ Which is an okay song, but has not got a lot of guts. ‘Stepping Stone’ has guts.”
(I’m Not Your) Steppin’ Stone
I-I-I-I-I’m not your steppin’ stone I-I-I-I-I’m not your steppin’ stone
You’re trying to make your mark in society You’re using all the tricks that you used on me You’re reading all them high-fashion magazines The clothes you’re wearing, girl, they’re causing public scenes
I said, I-I-I-I-I’m not your steppin’ stone I-I-I-I-I’m not your steppin’ stone
(No!)
Not your steppin’ stone Not your steppin’ stone
When I first met you, girl, you didn’t have no shoes But, now you’re walking around like you’re front-page news You’ve been awful careful ’bout the friends you choose But, you won’t find my name in your book of “who’s-who?”
I said, I-I-I-I-I’m not your steppin’ stone (No, girl, not me!) I-I-I-I-I’m not your steppin’ stone
(No!)
Not your steppin’ stone I’m not your steppin’ stone
Not your steppin’ stone (step-step-steppin’ stone) Not your steppin’ stone (step-step-steppin’ stone) Not your steppin’ stone (step-step-steppin’ stone) Not your steppin’ stone (step-step-steppin’ stone)
No, girl, I’m not your steppin’ stone Not your steppin’ stone (step-step-steppin’ stone) Not your steppin’ stone (step-step-steppin’ stone)
1960’s garage band music with a Psychedelic edge. This group came from Los Angeles first named The Sanctions and in 1966 renamed themselves to the Electric Prunes. The first two hit singles, “I Had Too Much To Dream (Last Night)” and”Get Me To The World On Time.” were on their first album (The Electric Prunes).
The entire album and those two songs were recorded in late summer and the fall of 1966. They were released before Christmas of 1966 and climbed up the Billboard charts very slowly. The first hit, “Too Much To Dream” peaked in February of ‘1967 at #11 in the Billboard 100.
the song was written by Annette Tucker and Nancie Mantz.
I had Too Much To Dream (Last Night)
Last night your shadow fell upon my lonely room I touched your golden hair and tasted your perfume Your eyes were filled with love the way they used to be Your gentle hand reached out to comfort me Then came the dawn And you were gone You were gone, gone, gone
I had too much to dream last night Too much to dream I’m not ready to face the light I had too much to dream Last night
The room was empty as I staggered from my bed I could not bear the image racing through my head You were so real that I could feel your eagerness And when you raised your lips for me to kiss
Came the dawn And you were gone You were gone, gone, gone
Oh, too much to dream Oh, too much to dream Too much to dream last night Oh, too much to dream
The most aggressive love song I’ve ever heard. The song did not chart but it was on the classic album Who’s Next. There is not a weak song on the album. Bargain has some of Moon’s best drumming and a strong performance from Daltrey. Townshend has said that the song was influenced by Meher Baba and the subject of the song is God.
Townshend’s use of the ARP synthesizer on Who’s Next was groundbreaking. He didn’t just add texture with it but the ARP became part of the structure of the songs. This was not like today’s synthesizer where you just took it out of the box. It had to be programmed and connected together…and not many people knew how to do it. He took a risk using it because of technology in general always moving ahead, Who’s Next could have sounded dated in a few years afterward but it still sounds fresh and interesting today…unlike some 1980s synth music.
Pete Townshend’s lead guitar was played on a vintage Gretsch, a gift from Joe Walsh, who had just formed Barnstorm that same year and would later join the Eagles.
From Songfacts
Pete Townshend wrote this as an ode to Meher Baba, who was his spiritual guru. Meher Baba was from India, where he worked with the poor and served as spiritual adviser to Mahatma Gandhi. He developed a worldwide following by the ’60s, and died in 1969 at age 75. Townshend believed in his message of enlightenment, which was a big influence on Who songs like “Baba O’Riley” and “See Me, Feel Me.”
The song is about losing all your material goods for spiritual enlightenment, thus being a “bargain.”
Roger Daltrey sings most of this, but Townshend sings the part that starts, “I sit looking ’round, I look at my face in the mirror…”
The first line of the song, “I’d gladly lose me to find you” is from one of the teachings of Meher Baba.
Bargain
I’d gladly lose me to find you I’d gladly give up all I had To find you I’d suffer anything and be glad
I’d pay any price just to get you I’d work all my life and I will To win you I’d stand naked, stoned and stabbed
I’d call that a bargain The best I ever had The best I ever had
I’d gladly lose me to find you I’d gladly give up all I got To catch you I’m gonna run and never stop
I’d pay any price just to win you Surrender my good life for bad To find you I’m gonna drown an unsung man
I’d call that a bargain The best I ever had The best I ever had
I sit looking ’round I look at my face in the mirror I know I’m worth nothing without you And like one and one don’t make two One and one make one And I’m looking for that free ride to me I’m looking for you
I’d gladly lose me to find you I’d gladly give up all I got To catch you I’m gonna run and never stop
I’d pay any price just to win you Surrender my good life for bad To find you I’m gonna drown an unsung man
I’d call that a bargain The best I ever had The best I ever had
In 1970, when Motown was riding high, it let the Spinners go. And that was after the band was coming off its biggest hit for the label, the Stevie Wonder-penned and -produced “It’s a Shame.”
The Spinners soon signed with Atlantic Records and were paired with producer Thom Bell, one of the founders of the early and mid-’70s Philadelphia sound. The combination reeled off hits “I’ll Be Around,” “One of a Kind (Love Affair),” “Could It Be I’m Falling in Love,” “The Rubberband Man.”
This song peaked at #3 in the Billboard 100 and #6 in Canada in 1972.
From Songfacts
This song of devotion is heartbreaking on a deeper level. The lyrics, written by the aptly named Phil Hurtt, find our hero unable to move on from a relationship that has ended. There is an air of desperation as he offers himself up to his lost love unconditionally. He might be bowing out gracefully, but he can’t leave her behind.
It was The Spinners’ producer Thom Bell who came up with the music and the title for the song. In our interview with Phil Hurtt, he explained: “When Thommy said ‘I’ll be around,’ I started thinking about a scenario and a story. Thommy was telling me, ‘Whenever you call me, I’ll be there.’ That’s one of the things he did give me. And I’m thinking, okay, great. So the guy broke up and he wants her back, whenever you call me I’ll be there, whenever you need me, I’ll be there. So, okay, great. And then the next thing I know, this is our fork in the road. And that’s the way it happens.
I’m just so proud and happy and blessed that that song has crossed over into that company of being referred to as ‘classic.’ You hear a great melody and a great idea for a song, and then all you’ve got to do is write the story. I mean, wow, what an opportunity.”
Phil Hurtt assured us he was not going through any personal trauma when he wrote the lyric. “That’s what part of the job requires you to do,” he said. “I was an early reader, so I read a lot of stories from the age of 3. I’m always on the edge of a new story, so if I hear a rhythm, sometimes I can hear lyrics.”
The Spinners were signed to Motown Records in 1963, but were never one of the top acts at the label. In 1972, they moved to Atlantic Records, and recorded some successful sessions with producer Jimmy Roach.
Atlantic recorded some of their top R&B acts, including Archie Bell & The Drells and Dusty Springfield, at Sigma Sound Studios in Philadelphia. A top producer at Sigma was Thom Bell, so Atlantic sent him a list of their artists to see if there was one he would like to work with. The very last name on the list was The Spinners, which Bell had been listening to since the early ’60s. He took them on and wrote the music to “I’ll Be Around” for their first session at Sigma Sound. Bell needed lyrics for the song, but his usual writing partner, Linda Creed, was out of town. He tracked down a songwriter he had gone to high school with named Phil Hurtt, who agreed to compose the words, with instructions by Bell to fit them exactly to the melody. Hurtt delivered, and Bell recorded the song with the group for their first single. When Atlantic issued the single, “I’ll Be Around” was the B-side of another song they cut with Bell, “How Could I Let You Get Away.” When disc jockeys flipped it and played “I’ll Be Around,” Atlantic made it the A-side on future pressings, and The Spinners were off and running at their new label. The song was a #1 R&B hit, and led to many more hits, including “Could It Be I’m Falling in Love” and “Then Came You.”
The musicians on this track were the Sigma Sound Studios house band, MFSB, who scored a #1 hit with the Soul Train theme song. Some of the musicians on this track were Norman Harris on guitar, Ronnie Baker on bass, and Earl Young on drums. According to producer Thom Bell, the musicians laughed at the arrangement because it was so simple. He says they had the track recorded in 40 minutes.
The lead vocals on this one were by Bobby Smith, who was an original member of the group. Philippé Wynne, who sang lead on some of The Spinners hits, was with the group at the time, but he did tenor backing vocals on this track.
Cover versions made the US Hot 100 in the each of the three decades after The Spinners first charted with the song:
In 1985, the Todd Rundgren-produced group What Is This? took the song to #62.
In 1995, a rap version by Rappin’ 4-Tay with The Spinners hit #39.
In 2005, Hall & Oates’ cover went to #97.
The song has also been liberally sampled. Examples included “Any Emcee” by Nine, “You Made Your Choice” by Papoose, and “Tru Homies” by TRU.
I’ll Be Around
This, is our fork in the road Love’s last episode There’s nowhere to go, oh no
You made your choice, now it’s up to me To bow out gracefully Though you hold the key, but baby
Whenever you call me, I’ll be there Whenever you want me, I’ll be there Whenever you need me, I’ll be there I’ll be around
I, knew just what to say Now I found out today That all the words had slipped away, but I know
There’s always a chance A tiny spark remains, yeah And sparks turn into flames And love can burn once again, but I know you know
Whenever you call me, I’ll be there Whenever you want me, I’ll be there Whenever you need me, I’ll be there I’ll be around yeah
Whenever you call me, I’ll be there Whenever you want me, I’ll be there Even if I have to call, I’ll be there I’ll be around
Just call me at home, I’ll be there I’ll never leave you alone, I’ll be there Just call out your name you know I know you know I’ll be around
Whenever you call me, I’ll be there Whenever you want me, I’ll be there Whenever you need me, I’ll be there I’ll be around
Betty really belts out this song. The song peaked at #6 in the Billboard 100 and #34 in the UK in 1964. I have heard this song most of my life but never knew who sang it.
This was written by Rudy Clark, whose credits include “Good Lovin'” and “Got My Mind Set On You.” Like “The Shoop Shoop Song,” the original artist didn’t fare very well on those, but cover versions were very successful “Good Lovin'” was first released by The Olympics in 1965, but it was The Young Rascals 1966 cover that went to #1. “Got My Mind Set On You” was originally by James Ray in 1962, but George Harrison’s 1987 cover was the hit, also going to #1.
Everett was reluctant to record this song at first and was urged by Calvin Carter, her producer to do so. She felt that the song would flop.
From Songfacts
How can you tell if a guy loves you? His eyes can deceive, and you certainly can’t trust what he says, so the only way to for sure is with his kiss, which acts as a kind of truth serum for love, according to this song.
Merry Clayton, a onetime Raelette who can be heard on the Rolling Stones song “Gimme Shelter,” was the first to release this song, issuing it in 1963. Ramona King from the doo-wop group The Fairlanes was the next to release it, but it wasn’t until Everett’s 1964 cover that the song finally hit.
The song has spanned decades with more successful cover versions. In 1975, Linda Lewis reached #107 US; James Taylor’s younger sister, Kate Taylor, hit #49 US in 1977; Cher took it to #33 US in 1991. Her version also hit #1 in the UK.
The song received its name on account of backup vocals that sing, “shoop shoop shoop…” These gibberish words are heard every time the line, “If you wanna know if he loves you so,” is sung.
Everett’s version stood out in large part because of the xylophone solo – something you don’t hear very often in a pop song.
This was Everett’s third single and her first Top 40 hit. Her first failed to chart and her second single (“You’re No Good,” later covered by Linda Ronstadt) climbed only to #51 on the Hot 100. Everett recorded for Vee Jay Records, a Motown competitor.
The backup vocals were provided by a local female group from Chicago called the Opals.
Cher recorded her version for the 1990 film Mermaids, which she starred in along with Winona Ryder and Christina Ricci. Both Cher’s version and Everett’s version are featured in the film, but Cher’s is the only version featured on the soundtrack. >>
Cher’s version was produced by Peter Asher, a longtime Beatles associate who produced most of James Taylor’s and Linda Ronstadt’s hits. In a Songfacts interview with Asher, he explained: “The song was already chosen. They were going to sing it in the movie anyway and they just wanted a proper record version for the end titles.
That one I cut without Cher’s input entirely. I just did it the way I thought she should do it. I had one conversation with Cher about the key, and that was it. And then she showed up and it was all done. She liked it, luckily.”
Salt-N-Pepa got their shoop on in 1993 for their song “Shoop.” In 1995, Whitney Houston appropriated the Shoop for her song “Exhale (Shoop Shoop),” which was a massive hit from the movie Waiting To Exhale.
Linda Rondstadt sometimes performed this song, and sang it on an episode of The Muppets, with Kermit the Frog the object of her affection.
Betty Everett – The Shoop Shoop Song (It’s In His Kiss)
Does he love me, I want to know How can I tell if he loves me so
(is it in his eyes) Oh no, you’ll be deceived (is it in his eyes) Oh no, he’ll make believe If you want to know if he loves you so It’s in his kiss (that’s where it is, oh yeah)
(or is it in his face) Oh no, it’s just his charm (in his one embrace) Oh no, that’s just his arm If you want to know if he loves you so It’s in his kiss (that’s where it is) Oh oh, it’s in his kiss (that’s where it is)
Oh oh oh, kiss him and squeeze him tight And find out what you want to know If it’s love, if it really is It’s there in his kiss
(how ’bout the way he acts) Oh no, that’s not the way And you’re not listenin’ to all I say If you want to know if he loves you so It’s in his kiss (that’s where it is) Oh yeah, it’s in his kiss (that’s where it is)
Whoa oh oh, kiss him and squeeze him tight And find out what you want to know If it’s love, if it really is It’s there in his kiss
(how ’bout the way he acts) Oh no, that’s not the way And you’re not listenin’ to all I say If you want to know if he loves you so It’s in his kiss (that’s where it is) Oh yeah, it’s in his kiss (that’s where it is) Oh oh, it’s in his kiss (that’s where it is)
ABBA dominated the charts in the seventies. Love them or hate them, Bjorn Ulvaeus and Benny Andersson could write catchy and well-produced pop songs. This song charted at #3 in the Billboard 100 and #1 in the UK in 1978.
Agnetha Fältskog and Anni-Frid Lyngstad sang lead on most of the songs. They had a total of 20 songs in the top 100, 4 top ten songs and 1 number one song which was Dancing Queen. They have sold over 375 million singles and albums as of 2010.
Bjorn Ulvaeus enjoyed jogging and as he ran he sang a “tck-a-ch”-style rhythm to himself. This evolved into the line “Take a Chance on Me,” around which he wrote the rest of the words.
From Songfacts
Ulvaeus in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: “I remember that Benny didn’t like the line, ‘We could go dancing, we could go walking,’ but in the end we went with it.”
This was also #1 in Austria, Belgium, Ireland and Mexico.
Although unlike “Dancing Queen” this didn’t top the US chart, it did sell more than the chart topper.
The working title was “Billy Boy.”
In 1992 Erasure recorded Abba-esque, an EP made up of 4 ABBA songs. It became their first UK #1 and kick-started an Abba revival. One of the songs on it was “Take A Chance On Me,” which they did Techno style spliced up with a Ragga section. Andy Bell in 1000 UK #1 Hits recalls: “The ABBA EP was commercial and fun, but a throwaway project for us to do because it was only 4 songs. And because they were written by the same writers it was easy for us to do. The ABBA stuff was originally going to be an album project, but then we were glad we didn’t do that, because we were pretty swamped by ABBA anyway.” >>
John McCain is a huge ABBA fan and after being elected as the Republican candidate for the 2008 presidential elections, he vowed to have ABBA songs played “in elevators all over the White House” if elected. McCain apparently pumps himself up by listening to this song at full volume before making a big speech and he contacted the Swedish group to get permission to use this number as his official campaign anthem. However it appears they priced him out of the market, as McCain was forced to admit to reporters: “It gets expensive in a big hurry.” It’s possible that ABBA just didn’t want to be associated with the Republican Party.
This song appeared, among others, in the Mamma Mia! soundtrack and musical starring Pierce Brosnan, Meryl Streep and Colin Firth. The song is performed in the movie by Julie Walters and Stellan Skargaard.
Take A Chance On Me
If you change your mind, I’m the first in line Honey I’m still free Take a chance on me If you need me, let me know, gonna be around If you’ve got no place to go, if you’re feeling down If you’re all alone when the pretty birds have flown Honey I’m still free Take a chance on me Gonna do my very best and it ain’t no lie If you put me to the test, if you let me try
Take a chance on me (That’s all I ask of you honey) Take a chance on me
We can go dancing, we can go walking, as long as we’re together Listen to some music, maybe just talking, get to know you better ‘Cos you know I’ve got So much that I wanna do, when I dream I’m alone with you It’s magic You want me to leave it there, afraid of a love affair But I think you know That I can’t let go
If you change your mind, I’m the first in line Honey I’m still free Take a chance on me If you need me, let me know, gonna be around If you’ve got no place to go, if you’re feeling down If you’re all alone when the pretty birds have flown Honey I’m still free Take a chance on me Gonna do my very best and it ain’t no lie If you put me to the test, if you let me try
Take a chance on me (Come on, give me a break will you?) Take a chance on me
Oh you can take your time baby, I’m in no hurry, know I’m gonna get you You don’t wanna hurt me, baby don’t worry, I ain’t gonna let you Let me tell you now My love is strong enough to last when things are rough It’s magic You say that I waste my time but I can’t get you off my mind No I can’t let go ‘Cos I love you so
If you change your mind, I’m the first in line Honey I’m still free Take a chance on me If you need me, let me know, gonna be around If you’ve got no place to go, if you’re feeling down If you’re all alone when the pretty birds have flown Honey I’m still free Take a chance on me Gonna do my very best, baby can’t you see Gotta put me to the test, take a chance on me (Take a chance, take a chance, take a chance on me)
Ba ba ba ba baa, ba ba ba ba baa Honey I’m still free Take a chance on me Gonna do my very best, baby can’t you see Gotta put me to the test, take a chance on me (Take a chance, take a chance, take a chance on me)
Ba ba ba ba baa, ba ba ba ba baa ba-ba Honey I’m still free Take a chance on me
This is one of my favorite pop songs of the 1960s. The vocals are reminiscent of the Beach Boys. It’s a sunny and bright song musically about a guy writing to his girl…in prison. The song doesn’t express or explain why she is in prison just that he will be with her when her stay is over.
The song is arranged beautifully. with the vocal only arrangements, You can hear Brian Wilson and Paul McCartney’s influence on this recording. Chris White’s (Zombies bass player) bass playing is phenomenal in this song.
It is on the album Odessey and Oracle, one of the best albums of the sixties. The hit song on the album is Time of the Season but it is full of great songs. It charted a year after it was released at #95 in the Billboard 200 album charts in 1969. The song/album would be on my desert island list.
Rod Argent (Zombies keyboard player) talks about recording the album: We didn’t think, “Oh, we have to do something like Pet Sounds,” but I think it did inspire us. There wasn’t any attempt to copy the elements that were in there so much as the creativity of it and the feeling of pushing pop music forward into different spaces than it had been before. I think Pet Sounds was an indirect influence, as it was on Sgt. Pepper. Since then, Paul McCartney’s said the same thing; they felt they had to do something similar.
This uptempo pop symphony is about a guy writing to his girlfriend, who is in prison. The group’s main songwriter Rod Argent recalled in Mojo Magazine February 2008: “It just appealed to me. That twist on a common scenario, I just can’t wait for you to come home to me again.”
This was released as the first single from the Odessey And Oracle album in the UK, but it didn’t make the charts, which surprised vocalist, Colin Blunstone. He said in his Songfacts interview, “It’s a wonderfully crafted song. I think it’s got an incredible lyric, wonderful chord sequence and a great melody – it’s just got everything.”
Blunstone was shocked by the song’s lack of popular appeal, as he thought it was a very commercial track. Soon after it stiffed, the band split up and Blunstone took a job in the Burglary Department of a London insurance office. Bassist Chris White admitted: “We tried to promote ‘Care Of Cell 44,’ but there was no positive reaction. It was downhill from then on.” However the band did have a surprise hit in America a year after their breakup when “Time Of The Season” peaked at #3.
Care of Cell 44
Good morning to you, I hope your feeling better baby Thinkin of me while you are far away Counting the days until they set you free again Writing this letter, hoping your okay Sent to the room you used to stay in every Sunday The one that is warmed by sunshine every day And we’ll get to know each other for a second time Then you can tell me about your prison stay
Feels so good your coming home soon
Its gonna be good to have you back again with me Watching the laughter play around your eyes Come up and getcha, saved up for the train fare money Kiss and make-up and it will be so nice
Feels so good your coming home soon
Walking the way we used to walk And it could be so nice Talkin the way we used to talk And it could be so nice
Its gonna be nice to have you back again with me Watching the laughter play around your eyes Come up and getcha, saved up for the train fare money Kiss and make-up and it will be so nice
I had forgotten about this song and band. The Knickerbockers were basically a Beatles knock-off band. This is not a great song by any means but at the time some people passed this off as a rare unheard Beatles track. For me and I’m sure many more, it is not too hard to tell this is not a Beatles track…but it’s a fun song.
The Knickerbockers were found Jerry Fuller in a bar in Albany, New York and he relocated them to Los Angeles and they soon became a popular club attraction.
This was their only top forty recording… it peaked at #20 in the Billboard 100 in 1966.
Lies
Lies, lies, you’re tellin’ me that you’ll be true Lies, lies That’s all I ever hear from you Tears, tears
I shed a million tears for you Tears, tears And now you’re lovin’ someone new Someday I’m gonna be happy
But I don’t know when just now Lies, lie-ies A-breakin’ my heart You think that you’re such a smart girl
And I’ll believe what you say But who do you think you are, girl To lead me on this way hey Lies, lies
I can’t believe a word you say Lies, lies Are gonna make you sad someday Some day you’re gonna be lonely
But you won’t find me around Lies, lie-ies A-breakin’ my heart Someday I’m gonna be happy
But I don’t know when just now Lies, lie-ies A-breakin’ my heart You think that you’re such a smart girl
And I’ll believe what you say But who do you think you are, girl To lead me on this way hey Lies (ah!), lies (yeah baby)
I can’t believe a word you say Lies, lies Are gonna make you sad someday Some day you’re gonna be lonely
But you won’t find me around Lies, lie-ies A-breakin’ my heart I said, baby, now (breakin’ my heart)
Oh, yeah, you’re still breakin’ my heart (breakin’ my heart)
The dynamic of the intro really works in this song. The wall of distortion and feedback starts and then it snaps into the song. It is incredibly catchy and bouncy for being a harder song. This song was on Steppenwolf’s “Second” album and the song peaked at #3 in the Billboard 100 in 1968. I’ve always liked John Kays voice and he also has a great stage presence.
Steppenwolf had 13 songs in the Billboard 100 and 3 top ten hits. This was the second big hit for Steppenwolf. “Born To Be Wild” was released a few months earlier. They were on different albums, with “Born To Be Wild” on their first and this on their second, although this was released well before their second album came out.
From Songfacts
The group wrote this based on the bass line their bass player, Rushton Moreve, came up with. The only words he had written for it were, “I like my job, I like my baby.” Lead singer John Kay wrote the rest of the lyrics. He got inspired when he put the demo tape in a home stereo system he bought with the royalties from their first album. That’s where he came up with the line, “I like to dream, right between my sound machine.”
John Kay of Steppenwolf teamed up with Grandmaster Flash and the Furious Five to do a 1988 rap-rock remake of this song. It was similar to the Run-D.M.C./Aerosmith mash-up of “Walk This Way,” which was released in 1986.
This song first appeared in a 1968 movie called Candy by the French director Christian Marquand. It starred Ewa Aulin, Marlon Brando, Richard Burton, Ringo Starr and Charles Aznavour. It’s an extremely strange movie, definitely of it’s time and kind of gives context to the song, intended or not. The movie was based on a popular counterculture novel.
In 2004, this was used in the “America Revolution” series of Chevy car commercials.
Magic Carpet Ride
I like to dream, yes, yes Right between the sound machine On a cloud of sound I drift in the night Any place it goes is right Goes far, flies near To the stars away from here
Well, you don’t know what We can find Why don’t you come with me little girl On a magic carpet ride
Well, you don’t know what We can see Why don’t you tell your dreams to me Fantasy will set you free
Close your eyes now Look inside now Let the sound Take you away
Last night I hold Aladdin’s lamp So I wished that I could stay Before the thing could answer me Well, someone came and took the lamp away
I looked Around A lousy candle’s all I found
Well, you don’t know what We can find Why don’t you come with me little girl On a magic carpet ride
Well, you don’t know what We can see Why don’t you tell your dreams to me Fantasy will set you free
Close your eyes now Look inside now Let the sound Take you away
This song was written by Allen A. Jones and Willie David Young. The Gentrys were from Memphis and best known for this 1965 hit which rose to the Top 10 and became a million seller. It’s not a great song but it’s a fun one.
The song is interesting for the fact that it is actually one short recording repeated, to stretch the record out to the length of the typical pop single of its day. The second half of the song, after the false fade, beginning with Wall’s drum fill, is the same as the first. Many modern recordings today more or less use the same trick on songs.
Keep on Dancing peaked at #4 in the Billboard 100 in 1965. The Gentrys did manage an appearance in the 1965 movie It’s a Bikini World and kept releasing singles up to 1971 but they had no other top 40 single and the Gentrys disbanded.
I owned a Gentrys single before…they did a cover of Neil Young’s Cinnamon Girl which I placed below the Keep On Dancing video. It’s odd that its the same group that did Keep On Dancing.
I’m not a wrestling fan at all but this band included Jimmy Hart who would make his name as a bad guy wrestling manager.
Keep On Dancing
I keep on dancin’ (keep on) Keep on doin’ the jerk right now Shake it, shake it, baby Come on & show me how you work
Yellin’ in motion Keep on doin’ the locomotion, yeah Don’t worry, little babe Shake it, shake it, shake it, shake it, yes!
[Chorus:] Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah)
[Organ Solo]
I keep on dancin’ (keep on) Keep on doin’ the jerk Shake it, shake it, baby Come on & show me how you work
Yellin’ in motion Keep on doin’ the locomotion, yeah Don’t worry, little babe Shake it, shake it, shake it, shake it, yes!
[Chorus:] Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah)
[Organ solo, temporarily fadin]
I keep on dancin’ (keep on) Keep on doin’ the jerk right now Shake it, shake it, baby Come on & show me how you work
[Chorus:] Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah) Keep on dancin’ & a-prancin’ (ah)
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