Singles – Page 168 – PowerPop… An Eclectic Collection of Pop Culture

The Romantics – What I Like About You

I remember this song in the 80s as a throwback to a familiar riff in many 60’s songs. The song peaked at only #49 in the Billboard 100 in 1980. The Romantics’ two Top 40 hits were “Talking In Your Sleep” (#3) and “One In A Million” (#37). Both came in 1983, from their fourth album In Heat.

The Romantics formed in East Detroit in early 1977. The original line-up consisted of singer/guitarist Wally Palmar, singer/drummer Jimmy Marinos, guitarist Mike Skill, and bassist Rich Cole. The band has said their name came from an article on Bryan Ferry in Creem magazine. They were all big fans of Ferry’s band, Roxy Music, and the word “romantic” was used throughout the article.

The group formed in Detroit, Michigan, in 1977. The band’s first show was on Valentine’s Day at My Fair Lady Club, in Detroit, opening for the New MC5 in 1977.

From Songfacts

The Romantics, so named because they formed on Valentine’s Day 1977 in Detroit, have had only two US Top 40 hits – and this, now their best-known song, wasn’t one of them. It attracted little attention and was only a minor hit when first released in 1980 on their debut album, but found new life later in the decade when it became a popular choice for an advertising jingle, particularly for Budweiser beer. Since then the song has also become a fixture at sporting events, bars and nightclubs, and parties and celebrations of all kinds, and has taken its place as one of the most popular rock anthems of all time.

In another ironic twist, the licensing of this song for advertising, the very thing that sparked the song’s comeback, was apparently handled illegally. It was secured from the band’s management without the band’s knowledge or approval, which sparked a lawsuit lasting several years. Despite now having faded into obscurity, the band stayed together during this time, albeit with several lineup changes, and remain active as of 2012. >>

This song’s resurgence had a lot to do with MTV. The band made a simple performance video for the song that MTV put in rotation when they launched in 1981. It fit the criteria the network was looking for: American band, rock, catchy song, acceptable production quality. Since few American artists made videos at the time, MTV made do with lots of European imports when they started.

The Romantics, who were often compared to The Knack when this song was released, were a four-piece that split lead vocals between their guitarist Wally Palmar and drummer Jimmy Marinos, and it was Marinos who sang lead on this one.

Marinos and Palmar wrote this song with their other guitarist, Mike Skill.

The Texas singer Michael Morales took this song back to the charts in 1989 when his version hit #28 in the US. The song was also covered by 5 Seconds of Summer, who released it in 2014 on their EP She Looks So Perfect. They performed the song at the American Music Awards that year.

What I Like About You

Hey, uh huh huh
Hey, uh huh huh

What I like about you, you hold me tight
Tell me I’m the only one, wanna’ come over tonight, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like)
That’s what I like about you (that’s what I like)

What I like about you, you really know how to dance
When you go up, down, jump around, think about true romance, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like)
Wahh!

What I like about you, you keep me warm at night
Never wanna’ let you go, know you make me feel alright, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like)
That’s what I like about you (that’s what I like)

That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like about you)

Hey, uh huh huh, hey hey hey
Hey, uh huh huh, brrr
Hey, uh huh huh, hey

Ike and Tina Turner – Nutbush City Limits

Tina Turner wrote this song named after a place near where she was born. Tina’s voice is one of a kind and she is electric. Ike and Tina only had one top ten hit and that was Proud Mary. What surprises me is they had 6 top 40 songs and 20 songs in the Billboard 100. Nutbush City Limits peaked at #22 in the Billboard 100 in 1973.

Anna Mae Bullock was born November 26, 1939 in a hospital in Brownsville, a short drive from Nutbush, Tennessee where she grew up. She would eventually marry songwriter and musician Ike Wister Turner, taking the name Tina Turner. In November 1973 the duo released “Nutbush City Limits.” Far from being a city, Nutbush is a hamlet on Highway 19, Tennessee.

From Songfacts

In this song, Turner recalls her memories of Nutbush, painting a picture of a friendly little town with a strong community. She once said that she didn’t turn any heads in Nutbush, as many women there had the goods.

Marc Bolan of the ’70s British glam rock band T-Rex played guitar on this track. Bolan was a fan of Ike’s guitar playing and in his teenage years he had had a crush on Tina Turner.

Tina Turner didn’t write many songs, but she is the sole composer on this one, which was her biggest hit as a songwriter. As her career progressed, Turner did less songwriting, putting her energies into vocal arrangements and performance. As a solo artist, she surrounded herself with top talent and developed a reputation for her strong work ethic, always getting it right in the studio. She certainly could have written more songs had she chosen to.

Turner re-recorded the song as a house number in 1991 for her compilation album Simply The Best. A single release peaked at #23 in the UK. Two years later she re-worked it again for the What’s Love Got to Do with It? soundtrack album.

Bob Seger released a live version on his 1976 album Live Bullet. Released as a single, it went to #69 in the US.

Nutbush City Limits

A church house, gin house
A school house, outhouse
On highway number nineteen
The people keep the city clean
They call it Nutbush, oh Nutbush
They call it Nutbush city limits
Nutbush city

Twenty-five was the speed limit
Motorcycle not allowed in it
You go t’the store on Friday
You go to church on Sundays
They call it Nutbush, oh Nutbush
Said they call it Nutbush city limits
Nutbush city

You go to the fields on week days
And have a picnic on Labor Day
You go to town on Saturday
But go to church every Sunday
They call it Nutbush, Nutbush
They call it Nutbush city limits
Nutbush city

No whiskey for sale
You get drunk, no bail
Salt pork and molasses
Is all you get in jail
They call it Nutbush, oh, Nutbush
They call it Nutbush city limits
Nutbush city

A lil old town on the Tennessee
Quiet little old community, one-horse town
You got to watch what they’re puttin’ down
Old Nutbush. They call it Nutbush
They call it Nutbush
Oh, Nutbush. They call it Nutbush

Rare Earth – Get Ready

This song was written by Smokey Robinson. The Temptations took the song to #29 in the Billboard 100 in 1966. Rare Earth took a 3-minute version of the song edited down from 21 minutes to #4 in the Billboard 100 in 1970.

The song was on their album Get Ready that peaked at #12 in 1970. When they started to record this album they ran out of material so they recorded a 21-minute version of this song to fill up space. The album wasn’t going anywhere until the edited version of the single was released and then it took off.

From Songfacts

Rare Earth recorded an unusual version of this song that stretched over 21 minutes and took up the entire second side of their first Motown album, which was issued in the fall of 1969. This version was based on Rare Earth’s live version of the song, where every member of the band would get a solo. In 1970,

Motown released a 3-minute edit as a single, which peaked at #4 in the Billboard 100 in 1970. The song also did well on R&B stations, even though some DJs refused to play it when they found out the group wasn’t black – they were one of the first white groups signed to Motown.

This was written by Smokey Robinson, who was the main songwriter for The Temptations. In the Motown stable, The Temptations were considered the premier group, and there was a lot of competition among the songwriters to have their compositions recorded by the band. When this song underperformed on the charts, Motown chief Berry Gordy gave the next Temptations single, “Ain’t Too Proud To Beg,” to Norman Whitfield, and he became their primary writer.

Get Ready

Never met a girl could make me feel the way that you do
You’re alright
Whenever I’m asked what makes a my dreams real
I tell ’em you do
You’re outta’ sight

Well twiddley dee, twiddley dum
Look out baby ’cause here I come

I’m bringing you a love that’s true
Get ready, get ready
Start makin’ love to you
Get ready, get ready
Get ready, ’cause here I come
Get ready, ’cause here I come

You wanna’ play hide and seek with love, let me remind you
You’re alright
Lovin’ you’re gonna’ miss, and the time it takes to find you
You’re outta’ sight
Well fee fi, fo fo fum
Look out baby, ’cause here I come

I’m bringing you a love that’s true
Get ready, get ready
Start makin’ love to you
Get ready, get ready
Get ready, ’cause here I come
Get ready, ’cause here I come

Baby all my freedoms should you want me to I think i’ll understand
You’re alright
Hope I get to you before they do, ’cause that’s how I planned it
You’re outta’ sight

Well twiddley dee, twiddley dum
Look out baby ’cause here I come

I’m bringing you a love that’s true
Get ready, get ready
Start makin’ love to you
Get ready, get ready
Get ready, ’cause here I come

Beatles – Got To Get You Into My Life

This song still sounds fresh today. Got To Get You Into My Life was on Revolver released in 1966. It was not released as a single at the time. Any other band would have released it as a single.

In 1976 it was released as a single and peaked at #7 in the Billboard 100…not bad for a song that was 10 years old. It was released off of the horribly packaged compilation album Rock and Roll Music. Capital Records seemed to forget The Beatles represented the 60s, not the 50s that the album cover represented. They probably wanted to capitalize on the 50s revival that was going on at the time… Bad Choice.

I owned this album and Hey Jude Again for my first exposure to the Beatles.

There is a 5 piece horn section on this recording that sounds great. Paul McCartney has said the song was about pot…

“’Got To Get You Into My Life’ was one I wrote when I had first been introduced to pot. I’d been a rather straight working-class lad but when we started to get into pot it seemed to me to be quite uplifting. It didn’t seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana. I didn’t have a hard time with it and to me it was mind-expanding, literally mind-expanding.”

“So ‘Got To Get You Into My Life’ is really a song about that, it’s not to a person, it’s actually about pot. It’s saying, ‘I’m going to do this. This is not a bad idea.’ So it’s actually an ode to pot, like someone else might write an ode to chocolate or a good claret. It wouldn’t be the first time in history someone’s done it, but in my case it was the first flush of pot.”

From Songfacts

This beatific love song is actually about marijuana. Paul McCartney cleared this up in his 1998 book Many Years From Now when he explained that it was not about a particular person, but his desire to smoke pot. “I’d been a rather straight working-class lad but when we started to get into pot it seemed to me to be quite uplifting,” he said.

There are no obvious drug references in the song, so it appears to be about a guy who is blissfully in love:

Ooh, then I suddenly see you
Ooh, did I tell you I need you
Every single day of my life

A British rock group called Cliff Bennett & The Rebel Rousers released this song as a single around the same time it appeared on the The Beatles Revolver album. Bennett & The Rebel Rousers were an opening act for The Beatles on their European tour in early 1966; since there were no plans to release “Got To Get You Into My Life” as a single, Paul McCartney encouraged them to record it and produced the session.

Revolver appeared on August 5, 1966 and the Cliff Bennett & The Rebel Rousers version of this song showed up on the UK chart for the first time on August 17, rising to #6 on September 21. It ended up being the biggest hit for the group, which made #9 in 1964 with “One Way Love.”

Session musicians played trumpets and sax. It was the first time horns were used in a Beatles song.

Earth, Wind & Fire recorded a funky new version for the 1978 movie Sgt. Pepper’s Lonely Hearts Club Band. Beatles producer George Martin was in charge of the music, and the soundtrack was a success, but the movie, which starred Peter Frampton, The Bee Gees and Aerosmith, was a huge flop. Earth, Wind & Fire’s version of this hit #9 in the US.

The first group to chart with this song was Blood, Sweat & Tears, whose horn-heavy version made #62 in the summer of 1975. The Beatles version wasn’t issued as a single until 1976, when Capitol Records issued it in America backed with “Helter Skelter.”

This version went to #7 in July that year, becoming the first Beatles song to chart in the US since 1970. Later in 1976, Capitol issued “Ob-La-Di, Ob-La-Da,” which made #49.

John Lennon thought this was some of McCartney’s best work.

In the ’60s, Joe Pesci was an aspiring singer known as Joe Ritchie. He recorded a version of this that can be found on Rhino’s “Golden Throat” Series. His version merits the “Stick to Acting” award. >>

This song rarely licensed for movies or TV. The only time the Beatles rendition was used in a film is the 2015 movie Minions, where it plays under the end credits. In 2009, a version by Matthew Sweet and Susanna Hoffs appeared in the Eddie Murphy movie Imagine That, and in 2013 Kurt Hummel and Chris Colfer sang it on the “Love, Love, Love” episode of the TV series Glee.

Got To Get You Into My Life

I was alone, I took a ride
I didn’t know what I would find there
Another road where maybe I
Could see another kind of mind there
Ooh, then I suddenly see you
Ooh, did I tell you I need you
Every single day of my life

You didn’t run, you didn’t hide
And had you gone, you knew in time
We’d meet again for I had told you
Ooh, you were meant to be near me
Ooh, and I want you to hear me
Say we’ll be together every day
Got to get you into my life

What can I do, what can I be
When I’m with you I want to stay there
If I’m true I’ll never leave
And if I do I know the way there
Ooh, then I suddenly see you
Ooh, did I tell you I need you
Every single day of my life
Got to get you into my life

Boz Scaggs – Lido Shuffle

I have always liked this song. It was forever before I knew the name. Lido Shuffle peaked at #11 in the Billboard 100, #5 Canada, #13 in the UK in 1977.

Boz Scaggs met Steve Miller in 1959 and they played in various bands together. He then traveled to London, Sweden, and San Francisco and hooked back up with Miller again and played in the Steve Miller Band for their first two albums. He signed with Columbia Records in 1972. This song was on his platinum album Silk Degrees released in 1976 which peaked at #2 in the Billboard album charts.

Boz Scaggs wrote this song with David Paich, who was also his co-writer on “Lowdown.” Scaggs said: “‘Lido’ was a song that I’d been banging around. And I kind of stole… well, I didn’t steal anything. I just took the idea of the shuffle. There was a song that Fats Domino did called ‘The Fat Man’ that had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to Paich and he helped me fill it out. It ended up being ‘Lido Shuffle.'”

From Songfacts

The song is about a drifter looking for a big score. Scaggs and Paich were both very good at crafting songs with intriguing storylines using words and phrases that don’t often show up in a lyric: “A tombstone bar,” “makin’ like a beeline…”

The name Lido is very unusual as well. From the perspective of songcraft, it’s very versatile, allowing the singer to get clear vocal sounds and follow with the “whoa-oh-oh-oh” hook. Kenny Loggins did something similar on his song “Footloose,” writing the character “Milo” into it (“Woah… Milo, come on, come on let’s go”).

The last single from Silk Degrees, this wasn’t released until about a year after the album was issued. The first single, “It’s Over,” peaked in May 1976; “Lido Shuffle” didn’t reach its chart peak until May 1977. The Silk Degrees album was a slow burner, gradually gaining momentum and selling over 5 million copies.

The song’s co-writer David Paich played keyboards on this track. Scaggs played guitar, bass was handled by David Hungate, and Jeff Porcaro played drums. Paich, Hungate and Porcaro would soon form the band Toto.

Lido Shuffle

Lido missed the boat that day he left the shack
But that was all he missed
And he ain’t comin’ back

At a tombstone bar, in a juke joint car he made a stop
Just long enough to grab a handle off the top

Next stop Chi town, Lido put the money down, let ’em roll
He said one more job ought to get it
One last shot ‘fore we quit it
One for the road

Lido
Whoah oh oh oh
He’s for the money, he’s for the show
Lido’s waitin’ for the go, Lido
Whoah oh oh oh oh oh
He said one more job ought to get it
One last shot ‘fore we quit it
One more for the road

Lido will be runnin’, havin’ great big funnin’ till he got the note
Sayin’ toe the line or blow it and that was all she wrote

He’ll be makin’ like a bee line, headin’ for the border line, goin’ for broke
Sayin’ one more hit ought to do it
This joint ain’t nothin’ to it
One more for the road

Lido
Whoah oh oh oh
He’s for the money, he’s for the show
Lido’s waitin’ for the go, Lido
Whoah oh oh oh oh oh
One more job ought to get it
One last shot then we quit it
One more for the road

Lido
Woah oh oh oh
He’s for the money, he’s for the show
Lido’s waitin’ for the go, Lido
Woah oh oh oh oh oh
One more job ought to get it

Joe Cocker – You Are So Beautiful

A beautiful song by Joe Cocker. It was written by Billy Preston and Bruce Fisher. Billy’s inspiration was his mom. The song was on Preston’s on his 1974 album The Kids and Me and was the B-side of his hit single “Nothing From Nothing.” Producer Jim Price created a slow arrangement for Cocker’s cover. The song was on Cocker’s album was on I Can Stand a Little Rain.

This was originally released as the B-side of “Put Out the Light,” which was the first single from the album. After a few weeks, A&M Records flipped the songs, and “You Are So Beautiful” became the A-side.

You Are So Beautiful peaked at #5 in the Billboard 100 in 1975. The song is beautiful and the slowed down tempo fits Joe Cocker’s voice perfectly. It is one of those songs that is instantly recognizable.

From Songfacts

This Billy Preston/Bruce Fisher song was first recorded by Preston

Fisher was Preston’s songwriting partner and he co-wrote both of Preston’s American chart-toppers, “Will It Go Round In Circles” and “Nothing From Nothing.”

This is one of the more romantic songs out there, but Billy Preston wrote it as a tribute to his mother, a fact that embarrassed Sam Moore, half of the soul duo Sam & Dave, who often performed the tune to attract girls. After bragging to Preston about his exploits with the song, Preston finally set him straight. “You never understood after that how stupid I felt,” Moore told BBC Radio 4 in 2010. Moore still recorded it for his 2006 solo album, Overnight Sensational, with Preston on keyboards and Eric Clapton and Zucchero on guitar.

Legend surrounding “You are So Beautiful” claims that Dennis Wilson of the Beach Boys helped Preston complete it. Wilson received no songwriting credits but he sang this song for many years at Beach Boys concerts.

This was used in the 1993 movie Carlito’s Way and in the 1981 film Modern Romance.

Cocker sang this at Billy Preston’s funeral in 2006.

This is one of the most-recognized songs in America, but it didn’t crack the chart in Joe Cocker’s native UK.

You Are So Beautiful

You are so beautiful
To me
You are so beautiful
To me
Can’t you see

You’re everything I hope for
You’re everything I need
You are so beautiful to me
You are so beautiful to me

You are so beautiful
To me
Can’t you see
You’re everything I hope for
You’re every, everything I need
You are so beautiful to me

Kinks – A Well Respected Man

Musically this is a sing-along song but the lyrics are full of social satire and anger. The Kinks record company Pye did not release this song in the UK at the time because they wanted harder songs like “You Really Got Me.” It was released in other countries and peaked at #13 in the Billboard 100 in 1965.

I first heard this song on a Kinks complication album along with “Dedicated Follower of Fashion” and The Kinks earlier songs. A Well Respected Man marked a turning point in Davies’s writing from rock/punk to more satirical, character-driven songs.

From Songfacts

Kinks frontman Ray Davies wrote this song after the group’s 1965 tour of the United States. The tour did not go well, with infighting, fatigue and a conflict with the musician’s union that kept them from performing in the country for another four years.Davies recovered from the tour with a vacation at the English resort town of Torquay, Devon. There, a wealthy hotel guest recognized him and asked Ray to play a round of golf. Far from being flattered by the invitation, he took great offense. “I’m not gonna play f–king golf with you,” he told him. “I’m not gonna be your caddy so you can say you played with a pop singer.”

Dense with lyrics describing the pretentious gentleman born to good fortune, Ray Davies says this was the first “word-oriented” song he wrote.

A Well Respected Man

Cause he gets up in the morning,
And he goes to work at nine,
And he comes back home at five-thirty,
Gets the same train every time.
‘Cause his world is built ’round punctuality,
It never fails.

And he’s oh, so good,
And he’s oh, so fine,
And he’s oh, so healthy,
In his body and his mind.
He’s a well respected man about town,
Doing the best things so conservatively.

And his mother goes to meetings,
While his father pulls the maid,
And she stirs the tea with councilors,
While discussing foreign trade,
And she passes looks, as well as bills
At every suave young man

‘Cause he’s oh, so good,
And he’s oh, so fine,
And he’s oh, so healthy,
In his body and his mind.
He’s a well respected man about town,
Doing the best things so conservatively.

And he likes his own backyard,
And he likes his fags the best,
‘Cause he’s better than the rest,
And his own sweat smells the best,
And he hopes to grab his father’s loot,
When Pater passes on.

‘Cause he’s oh, so good,
And he’s oh, so fine,
And he’s oh, so healthy,
In his body and his mind.
He’s a well respected man about town,
Doing the best things so conservatively.

And he plays at stocks and shares,
And he goes to the Regatta,
And he adores the girl next door,
‘Cause he’s dying to get at her,
But his mother knows the best about
The matrimonial stakes.

‘Cause he’s oh, so good,
And he’s oh, so fine,
And he’s oh, so healthy,
In his body and his mind.
He’s a well respected man about town,
Doing the best things so conservatively.

The Beau Brummels – Laugh Laugh

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 and Wild, 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

Lonely, oh so lonely

The Traveling Wilburys – Tweeter and the Monkey Man

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