Category: Singles

Beach Boys – God Only Knows

Simply a beautiful song written by Brian Wilson and Tony Asher. Carl Wilson sings lead on this song and it is an incredible vocal performance…one of the best in my opinion. The song peaked at #39 in the Billboard 100 and #2 in the UK in 1966. I still have a hard time believing it only made it to #39.

The Beatles’ “Here, There And Everywhere” was inspired by this song. John Lennon and Paul McCartney heard Pet Sounds at a party and went back to Lennon’s house to write it. Paul McCartney once called “God Only Knows” “The greatest song ever written.”

“God Only Knows” was voted 25th in Rolling Stone magazine’s 500 Greatest Songs of All Time,

From Songfacts

Brian Wilson wrote this song with Tony Asher, who was an advertising copyrighter and lyricist that Wilson worked with on songs for Pet Sounds. This song reflects Wilson’s interest in spirituality, and it was a big departure from previous Beach Boys songs that dealt with girls, cars and surfing. Wilson explained to Goldmine in 2011: “Tony Asher and I tried to write something very spiritually. It’s got a melody similar to the song (recites lyric to ‘The Sound Of Music’), ‘I hear the sound of music…’ (Sings lyrics to ‘God Only Knows’) ‘I may not always love you…’ It was similar to it. Tony came up with the title ‘God Only Knows.’ I was scared they’d ban playing it on the radio because of the title but they didn’t.”

This song is considered a Beach Boys classic, but it only managed to scrape the Top 40 in the United States. That’s because it was released as a B-side, partly because of fear that radio stations would refuse to play a song with “God” in the title. In the liner notes to the reissued Pet Sounds album, Tony Asher explained, “I really thought it was going to be everything it was, and yet we were taking some real chances with it. First of all, the lyric opens by saying, ‘I may not always love you,’ which is a very unusual way to start a love song.”

Carl Wilson handled lead vocals on this track. Not long after the song was released, he said, “At present our influences are of a religious nature. Not any specific religion but an idea based upon that of Universal Consciousness. The concept of spreading goodwill, good thoughts and happiness is nothing new. It is an idea which religious teachers and philosophers have been handing down for centuries, but it is also our hope. The spiritual concept of happiness and doing good to others is extremely important to the lyric of our songs, and the religious element of some of the better church music is also contained within some of our new work.”

The famous French horn on this song was played by Alan Robinson, who appeared on the scores for many films, including The Sound of Music and The Ten Commandments. He got the call for the session because he could play without music written out. Brian Wilson sang him the horn line he had in mind, and Robinson played it by ear using a glissando technique suggested by Wilson.

Brian Wilson would sometimes introduce this as “the first song in the world to have God in the title.” God is common in hymns and standards (“God Bless America,” “Nearer, My God, to Thee”), and was rare in pop songs, but not unprecedented; in 1961 Johnny Burnette made #18 US with “God, Country And My Baby.”

Brian Wilson planned to sing the lead vocal himself, but decided that his brother Carl was better suited for the track. “I was looking for a tenderness and a sweetness which I knew Carl had in himself as well as in his voice,” said Brian.

This was featured at the end of the 2003 romantic comedy Love Actually. It was also used in the films Boogie Nights (P.T. Anderson’s drama about the porn industry) and Saved (a 2004 drama about a Christian high school, where there are two versions, both covers). >>

This was the theme song for the first three seasons of the HBO television series Big Love, which ran 2006-2011.

Asked by The Guardian which Beach Boys song took the least effort to write, Brian Wilson replied: “I wrote ‘God Only Knows’ in 45 minutes. Me and Tony Asher.”

In Al Kooper’s tell-all autobiography Backstage Passes and Backstabbing Bastards, Kooper talks about his evening visiting Brian Wilson only a week before Pet Soundshit the streets: “Brian played a test-pressing of the record, jumping up and stopping cuts in the middle and starting them over to emphasize his points. He was very proud of his accomplishment, maybe even a little show-offish, but I wasn’t about to argue. Do you remember the first time you heard ‘God Only Knows’?”

A cover version of the song was broadcast simultaneously across BBC television and radio channels on October 7, 2014 to launch BBC Music. The new adaptation featured Brian Wilson himself as well as various guest stars including Pharrell Williams, Sir Elton John, Lorde, Chris Martin, Stevie Wonder, One Direction and Dave Grohl.

Brian Wilson first toyed with the idea of titling this “Fred Only Knows” before settling on “God Only Knows.”

John Legend and Cynthia Erivo played this to bookend the “In Memorium” segment at the Grammy Awards in 2017. There were an extraordinary number of musical passings that year, David Bowie, Prince and George Michael among them.

God Only Knows

I may not always love you
But long as there are stars above you
You never need to doubt it
I’ll make you so sure about it
God only knows what I’d be without you

If you should ever leave me
Though life would still go on, believe me
The world could show nothing to me
So what good would livin’ do me
God only knows what I’d be without you

God only knows what I’d be without you

If you should ever leave me
Though life would still go on, believe me
The world could show nothing to me
So what good would livin’ do me
God only knows what I’d be without you

God only knows what I’d be without you

Billy Bragg and Wilco – Secret of the Sea

This great pop song was written by Woody Guthrie in 1939. Billy Bragg and Wilco recorded their version of the song on the album Mermaid Avenue, Volume II (#88) in 2000. The album contained lyrics by Guthrie and music by Bragg and Wilco. On this song, the music was by Jay Bennett and Jeff Tweedy from Wilco.

I heard this song many times on an alternative station in Nashville…Lightning 100 in the early 2000s. This project was conceived by Guthrie’s daughter, Nora Guthrie and Mermaid Avenue (#90) came out in 1996. It has everything I like in a song. Catchy chorus and jangly guitars.

Secret of the Sea

Who can guess the secret of the sea?
Who can guess the secret of the sea?
If you can guess the secret of my love for you
Then we both could know the secret of the sea

Tell me could you ever tell the secret of the sea?
These high rolling waves along the shore
The footprints of the lovers that come here to love
By the tides washed away forever more

Who can guess the secret of the sea?
Who can guess the secret of the sea?
If you can guess the secret of my love for you
Then we both could know the secret of the sea

You claim to know the secret of a kiss and a hug
The secret of the grass and of the trees
If you can tell the secret of a warm friend’s hand
Then we all would feel the secrets of the sea

Who can guess the secret of the sea?
Who can guess the secret of the sea?
If you can guess the secret of my love for you
Then we both could know the secret of the sea
We both could know the secret of the sea

The Wonders – That Thing You Do

This was a fictitious band playing the title song to the Tom Hanks movie “That Thing You Do.” It was a nice song with an early sixties feel. The song peaked at #41 in the Billboard 100 in 1996. I really liked the movie when it came out and couldn’t help but like the song also.

Adam Schlesinger, the bass player for Fountains Of Wayne, wrote this song. He said  “That was a very long time ago. That was 1995 I think I first heard about it, or ’96, and I was just starting out. I had a publishing deal as a writer and they told me about this movie – they said that they were looking for something that sounds like early Beatles. And they knew that that was an era that I liked a lot. So I just took a shot at it and got very lucky and they used the song.” Schlesinger said he found he was more known for this song than Fountains of Wayne’s hit single “Stacy’s Mom.”

The Knack later covered this song.

From Songfacts

This was featured in the movie That Thing You Do, starring Tom Hanks as the manager of the fictional ’60s Pop band The Wonders. In the movie, the song becomes their breakout hit and makes the band a huge success with legions of teenage fans. 

The song is about heartbreak and chasing after lost love – cliché ’60s songwriting topics. The track also has a chipper sound, complete with bright guitars and harmonies, reminiscent of early Beatles.

Mike Viola, from the band The Candy Butchers, sang lead on this track. Adam Schlesinger was friends with Viola, and had him sing on the demo. The movie’s producers liked his sound and kept him for the film version. None of the actors in the movie actually played on the song.

In 1997, this was nominated for Best Original Song at the Academy Awards and Best Original Song at the Golden Globe Awards, but lost to Madonna’s “You Must Love Me” from the film Evita on both occasions.

NSYNC, New Found Glory and The Knack have all covered this song.

That Thing You Do

You, doin’ that thing you do
Breaking my heart into a million pieces, like you always do
And you, don’t mean to be cruel
You never even knew about the heartache
I’ve been goin’ through

Well, I try and try to forget you girl
But it’s just so hard to do
Every time you do that thing you do
And I, know all the games you play
And I’m gonna find a way to let you know that
You’ll be mine someday

Cause we, could be happy, can’t you see
If you’d only let me be the one to hold you,
And keep you here with me
‘Cause I try and try to forget you girl
But it’s just so hard to do
Every time you do that thing you do

I don’t ask a lot girl but I know one thing’s for sure
It’s the love I haven’t got girl
And I just can’t take it anymore (whoa!)
Cause we, could be happy, can’t you see
If you’d only let me be the one to hold you,
And keep you here with me

‘Cause it hurts me so just to see you go
Around with someone new
And if I know you, you’re doin’ that thing
Every day, just doin’ that thing
I can’t take you doin’ that thing you do

The Foundations – Baby Now That I’ve Found You

I first heard this song on an oldies station in the 80s. This song peaked at #11 in the Billboard 100 and #1 in the UK  in 1968. The Foundations were a British Soul band that was active between 1967 to 1970.

When this was first released there appeared to be little enthusiasm for the single until BBC’s newly founded Radio 1 began to play it. The song got onto the station’s playlist mainly because they wanted to avoid any records being played by the pirate radio broadcasters, so they looked back at recent releases that the pirates had missed.

From Songfacts

 The song’s co-writer Tony Macaulay recalls in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: “I woke up that morning with a stinking headache and when I got to the studio and heard The Foundations, I thought they were pretty terrible. I decided my hangover was to blame, and so I gave them the benefit of the doubt. The only song I could think of was something John McLeod and I had had for some time, ‘Baby Now That I’ve Found You.’ I didn’t have a lot of faith in the song but they recorded it with a lot of energy and I learned a lot from making that record.” It went on to become an international hit.

Clem Curtis, the lead vocalist of The Foundations recalls in the same book “Tony Macaulay gave us 2 songs. One was ‘Let The Heartaches Begin’ and the other was ‘Baby Now That I’ve Found You’ and we chose ‘Baby Now That I’ve Found You.’ Long John Baldry recorded the other one and that knocked us off the top.”

This was used in the 2001 film Shallow Hal. 

This was the first song by a multiracial band to top the UK singles chart.

A cover version by Alison Krauss was featured in the 1997 Australian comedy, The Castle.

 

Baby Now That I’ve Found You

[Chorus]
Baby, now that I’ve found you
I can’t let you go
I’ll build my world around you

I need you so
Baby, even though you don’t need me
You don’t need me.

[Chorus]

Baby, baby, since first we met (doot-doot)
I knew in this heart of mine (I want to tell you, doot-doot)
The love we had could not be bad (doot-doot)
Play it right and bide my time

Spent a lifetime looking for somebody
To give me love like you
Now you’ve told me that you want to leave me
Darling, I just can’t let you.

[Chorus: x2]

Spent a lifetime looking for somebody
To give me love like you
Now you’ve told me that you want to leave me
Darling, I just can’t let you.

[Repeat Chorus]

Young Rascals – Good Lovin’

Great song by the Young Rascals and also covered by a number of artists. The song peaked at #1 in the Billboard 100 in 1966. This song was written by Rudy Clark and Arthur Resnick. It was originally recorded in 1965 by The Olympics, a novelty/doo-wop group who had hits with “Peanut Butter,” “Western Movies” and “Hully Gully.”

Felix Cavaliere of The Young Rascals was listening to a New York Soul station when he heard The Olympics version. The Rascals liked it and played a sped-up version at their live performances. They recorded the song for Atlantic Records, and although the group did not like the outcome, famed producer Tom Dowd loved the rawness of it and that version was released, becoming a huge hit.

From Songfacts

The Young Rascals added the famous half spoken/half sung “One! Two! Three!” count-in, which was by Cavaliere.

According to Rolling Stone magazine, The Young Rascals were surprised by the success of this track. Felix Cavaliere admitted, “We weren’t too pleased with our performance. It was a shock to us when it went to the top of the charts.”

This was The Young Rascals first hit. They went on to achieve seven US Top 30 hits before becoming The Rascals in 1968. They disbanded in 1972 after recording five more American Top 30 songs.

Good Lovin

1-2-3-
(Good lovin’ )
(Good lovin’ )
(Good lovin’ )

I was feelin’ so bad,
I asked my family doctor just what I had,
I said, “Doctor,
(Doctor )
Mr. M.D.,
(Doctor )
Now can you tell me, tell me, tell me,
What’s ailin’ me?”
(Doctor )

He said, “Yeah, yeah, yeah, yeah, yeah,
(Yeah, yeah, yeah, yeah, yeah)
Yes, indeed, all you really need
(Is good lovin’)
Gimme that good, good lovin
(Good lovin’)
All I need is lovin’
(Good lovin’)
Good lovin’, baby.

Baby please, squeeze me tight (Squeeze me tight)
Now don’t you want your baby to feel alright? (Feel alright)
I said Baby (Baby) now it’s for sure (it’s for sure)
I got the fever, Baby, Baby, but you’ve got the cure
(You’ve got the cure)

I said, “Yeah, yeah, yeah, yeah, yeah,
(Yeah, yeah, yeah, yeah, yeah)
Yes, indeed, all I really need
(Is good lovin’)
Gimme that good, good lovin
(Good lovin’)
All I need is lovin’
(Good lovin’)
Good lovin’, baby.

Hank Williams – Lost Highway

This man was brilliant and so was the song but this is one song that Hank did not write. Leon Payne wrote and released this song in 1948. Blind since he was a child, Payne wrote hundreds of songs, some of which were recorded by  Hank Williams, John Prine, Elvis Presley, George Jones, and Johnny Cash, and many more.

Payne had been hitchhiking around and working jobs. One day he needed to get home to his sick mother in Alba Texas. No one would pick him so he wrote this song on the side of the road.

Hank Williams released this song in 1949 and it peaked at #12 in the Country Charts. This song is one of my favorite country songs.

From Songfacts

This song gave us two of the most famous metaphors in music: the Lost Highway and the Rolling Stone (from the line, “I’m a rolling stone, I’m alone and lost”).Both images represent a wandering spirit that keeps moving but often ends up in dark places. Many musicians who left town to pursue their dreams could relate to these concepts and used them in songs. The Lost Highway shows up in:“All I Left Behind” and “Guitar Town” by Emmylou Harris“Heart Is A Drum” by Beck (“You’re falling down across your lost highway”)“Happiness” by Lee Ann Womack (“Down by the lost highway cafe I met a man there with a map in his hands”)“Jesus Of Suburbia” by Green Day (“At the end of another lost highway. Signs misleading to nowhere.”)Those New Jersey ramblers Bon Jovi made their song “Lost Highway” the title track of their 2007 album; in 2009, Willie Nelson also released an album of that name. In 1997, director David Lynch released a suitably disconcerting movie called Lost Highway.

The saying “a rolling stone gathers no moss” dates to biblical times, but this song popularized it in the musical landscape. It was Williams’ version that gave Bob Dylan the title for “Like a Rolling Stone,” which has been the subject of many essays, including one written by Ralph Gleason, who used the phrase when he founded the magazine Rolling Stone.In 1950, Muddy Waters released the song “Rollin’ Stone,” which is where The Rolling Stones got their name from.

This became one of Hank Williams’ most famous songs, but he didn’t write it. It was written by a blind singer named Leon Payne, who released the original version in 1948. According to an interview with Payne’s widow published in the book , he wrote the song when he was hitchhiking from Texas to California when he got stuck for a stretch and was taken in by the Salvation Army.His version is surprisingly upbeat, featuring a string band and various quips by Payne throughout the song.Payne’s version didn’t reach the charts, but when Williams recorded it in 1949, that rendition made #12 on the Country chart. The song grew in popularity as Williams legend grew, as it was so associated with his itinerant lifestyle of wine, women and song.Payne, who died in 1969, also wrote the popular songs “I Love You Because” and “Psycho.”

Lost Highway was used as the title for an off-Broadway play about Williams that ran in 2003.

Artists to cover this song include Leon Russell, Tom Petty, Jerry Lee Lewis, The Osborne Brothers, Bill Frisell and Johnny Horton.

Lost Highway

I’m a rollin’ stone all alone and lost
For a life of sin I have paid the cost
When I pass by all the people say
Just another guy on the lost highway

Just a deck of cards and a jug of wine
And a woman’s lies makes a life like mine
O the day we met, I went astray
I started rolling down that lost highway

I was just a lad, nearly twenty two
Neither good nor bad, just a kid like you
And now I’m lost, too late to pray
Lord I take a cost, o the lost highway

Now boy’s don’t start to ramblin’ round
On this road of sin are you sorrow bound
Take my advice or you’ll curse the day
You started rollin’ down that lost highway

Cornelius Brothers & Sister Rose – It’s Too Late to Turn Back Now

It’s Too Late to Turn Back Now peaked at #2 in the Billboard 100 and #1 in Canda in 1972

This was the follow-up song to “Treat Her Like a Lady” that peaked at #3 in the Billboard 100 and #10 in Canada in 1971.

From Wiki…The band was a family soul singing group from Dania Beach, Florida that formed in 1970. While the group failed to find any further success on the scale of their first two singles, two releases, “Don’t Ever Be Lonely” and “I’m Never Gonna Be Alone Anymore” reached the Billboard Top 40. Their final charting single was “Since I Found My Baby” in 1974, from their third and last album. Their records were all produced by Bob Archibald at the Music Factory in Miami.

 

Too Late To Turn Back Now

My mama told me
She said, “Son, please beware
There’s this thing called love
And it’s everywhere”

She told me, “It can break your heart
And put you in misery”
Since I met this little woman
I feel it’s happened to me
And I’m tellin’ you

It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love
It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love

I found myself wantin’ her
At least ten times a day
You know, it’s so unusual for me
To carry on this way

I’m tellin’ you, I can’t sleep at night
Wantin’ to hold her tight
I’ve tried so hard to convince myself
That this feelin’ just can’t be right
And I’m tellin’ you

It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love
It’s too late to turn back now
I believe, I believe I believe, I’m fallin’ in love

It’s too late to turn back now oh, baby
I believe, I believe, I believe, I’m fallin’ in love
It’s too late, baby to turn back now I tell ya
I believe, I believe, I believe, I’m fallin’ in love

I wouldn’t mind it
If I knew she really loved me too
But I hate to think that I’m in love alone
And nothing that I can do

It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love
It’s too late, baby to turn back now I tell ya
I believe, I believe, I believe, I’m fallin’ in love
It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love

Ooh, baby, I tell ya
I believe, I believe, I believe, I’m fallin’ in love
It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love
It’s too late to turn back now
I believe, I believe, I believe, I’m fallin’ in love

Todd Rundgren – I Saw The Light

I always thought of this as a perfect pop song. The lyrics won’t challenge Dylan but they fit the melody perfectly. Todd only had 8 songs in the top 100 and one top ten hit which surprises me because I thought it would have been more. He was an excellent producer. He produced Badfinger, The New York Dolls, Grand Funk, and many more. This song peaked at #16 in the Billboard 100 in 1972.

Rundgren talked about this song: “I wrote this song in 15 minutes from start to finish. It was one of the reasons that caused me to change my style of writing. It doesn’t matter how clever a song is – if it’s written in 15 minutes, it is such a string of clichés that it just doesn’t have a lasting impact for me. And for me, the greatest disappointment in the world is not being able to listen to my own music and enjoy it.”

From Songfacts

This song is about a mixed-up young man, perhaps a teenage boy, who stumbles into his first affair and doesn’t know if he loves the girl. It was a solid hit for Todd Rundgren, but far from his favorite. He explained: “‘I Saw The Light’ is just a string of clichés. It’s absolutely nothing that I ever thought, or thought about before I sat down to write the song.” 

This was the first song on the album. According to the liner notes of Something/Anything?, Rundgren thought it would be a hit, so he placed it first just like Motown used to do with their records.

The 45 RPM single was pressed on blue vinyl.

Rundgren learned piano on his own, which gave him a nontraditional approach to the instrument. When he wrote this song, he was doing what came naturally, moving his hands up and down the keyboard. As he did it, he came up with very simple lyrics, letting one line flow into another without thinking about it at all:

It was late last night
I was feeling something wasn’t right

Rundgren knew the song had hit potential, which he later learned can often come by keeping things simple. “Sometimes when these things just come spilling out, I’ve found, sometimes they have a more broad appeal to the average listener than if you’re trying to do something impressive,” he told Red Bull Music Academy during a 2013 talk. “I thought, ‘This is a real simple, straight-ahead, easy-to-understand song. I’ll pretend it’s a single and I’ll put it first on the record.”

This was used in the TV shows Six Feet Under, Beavis and Butthead and That ’70s Show. The song was also used in the movies Kingpin and My Girl.

Rundgren wrote this song, produced it, sang it and played all the instruments on it.

Todd states that after the release of Something/Anything he evolved as an artist and reached beyond writing about love and relationships. He states that he’d been using a brief relationship from high school as song fodder, throwing around the word “love” cheaply, and he began to feel strange about it. It inspired him to dig deeper for new material.

Rundgren re-recorded this with The New Cars after joining the band. It appears on their 2006 album It’s Alive!

There is barely any chorus on this song – it’s almost entirely verses and bridge. The chorus is just either “In your eyes” or “In my head” repeated twice.

The following year, another song using lots of “ite” rhymes hit the charts: “Dancing In The Moonlight” by King Harvest. In that one, the end of ever line ends in a rhyme for “light.”

https://www.youtube.com/watch?v=WxB4weCzqGE&ab_channel=YCSMusic2

I Saw The Light

It was late last night
I was feeling something wasn’t right
There was not another soul in sight
Only you, only you
So we walked along,
though I knew there was something wrong
And the feeling hot me oh so strong about you
Then you gazed up at me and the answer was plain to see
‘Cause I saw the light in your eyes

Though we had our fling
I just never would suspect a thing
‘Til that little bell began to ring in my head
In my head
But I tried to run,
though I knew it wouldn’t help me none
‘Cause I couldn’t ever love no one, or so I said
But my feelings for you
were just something I never knew
‘Til I saw the light in your eyes

But I love you best
It’s not something that I say in jest
‘Cause you’re different, girl, from all the rest
In my eyes
And I ran out before but I won’t do it anymore
Can’t you see the light in my eyes

Supertramp – Bloody Well Right

Supertramp was one of those bands I’ve never known much about. They did have songs I liked and this is one of them. This song peaked at #35 in the Billboard 100 in 1975. “Bloody Well Right” was their first charting hit in America but it failed to chart in the UK.

Supertramp had 10 songs total in the Billboard 100 and 2 top ten hits. It was included on the 1974 album Crime of the Century, “Bloody Well Right” became one of Supertramp’s signature songs.

From Songfacts

“Bloody Well Right” was Supertramp’s first charting hit in the US, while it failed to chart in the UK. One theory on why the song didn’t chart in their UK homeland has it that Brits were still offended by the adjective “bloody” in 1975. These days it is considered a mild expletive at best all around the world.

Written by Supertramp leaders Rick Davies and Roger Hodgson, Davies sings lead on this one. The song deals with youthful confusion, class warfare, and forced conformity in the British school system (kind of like Pink Floyd’s “Another Brick In The Wall (part II)”). This anti-establishment take was a theme of the album.

The song has a unique structure, with a 51-second piano solo at the start that meanders around, playing the “Locomotive Breath” trick of starting out vaguely recognizable and giving people plenty of time to guess who and which song this is before the more familiar parts kick in. Then a grinding power guitar riff thunders by, making you think this is going to be heavy metal. Nope, guess again – the light piano and suddenly chipper lyrics on the chorus take us back to pop rock.

“Bloody Well Right” is actually an answer song to the previous song on the album, “School.” Crime of the Century is a concept album that tells the story of Rudy. In “School,” Rudy has lamented that the education system in England is teaching conformity above education (boy, Rudy, you should see America). In “Bloody Well Right” he joins a gang believing them to be the organized resistance that he longs for; instead, they’re basically apathetic punks who mock him for his higher aspirations. It’s not that Rudy’s wrong, it’s that Rudy is galvanized by something that is common knowledge to everyone else. Hello, Occupy Wall Street? We have your theme song!

Bloody Well Right

So you think your schooling’s phony
I guess it’s hard not to agree
You say it all depends on money
And who is in your family tree

Right, you’re bloody well right
You know you got a right to say
Right, you’re bloody well right
You know you got a right to say

Ha-ha you’re bloody well right
You know you’re right to say
Yeah-yeah you’re bloody well right
You know you’re right to say
Me, I don’t care anyway!

Write your problems down in detail
Take them to a higher place
You’ve had your cry, no, I should say wail
In the meantime hush your face
Right, quite right, you’re bloody well right

Right, you’re bloody well right
You know you got a right to say
Right, you’re bloody well right
You know you got a right to say

 

Beatles – The Night Before

This is a hidden gem that was never released as a single in America. I first heard this on the Rock and Roll Music compilation album. Paul wrote this song (John and Paul both confirmed this) and his voice and melody are strong. He wrote it in the family home of his current girlfriend Jane Asher where Paul was living.

The song was originally on the “Help!” soundtrack and the album showed the growth the band was making. It’s not among the masterpieces of the Beatles but a very good pop/rock song. John Lennon is playing the electric keyboard (Hohner Pianet) on this song. The Beatles performed this on the Salisbury Plain in their second film, Help!. The album was released in 1965.

Lennon said that Paul and George played the same solo together but in different octaves.

The Night Before

We said our goodbyes, ah, the night before.
Love was in your eyes, ah, the night before.
Now today I find you have changed your mind.
Treat me like you did the night before. 

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere.
Treat me like you did the night before. 

Last night is a night I will remember you by.
When I think of things we did it makes me want to cry. 

We said our goodbye, ah, the night before.
Love was in your eyes, ah, the night before.
Now today I find you have changed your mind.
Treat me like you did the night before. 

When I held you near you were so sincere.
Treat me like you did the night before. 

Last night is a night I will remember you by.
When I think of things we did it makes me want to cry. 

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere.
Treat me like you did the night before,
Like the night before.

 

 

Elvis Presley – Promised Land

I had a hard time deciding which version to use…Chuck Berry’s who wrote the song or the Elvis version. This is the version I know the best. The many reasons I really like this version is the clavinet and Ron Tutt’s drumming…and of course, that guy named Elvis does a good job. He also did a really good job on the charts. Altogether he had 109 songs in the Billboard 100, 25 top ten hits and 7 number 1 hits.

I heard this song a lot growing up along with his other hits.

Promised Land peaked at #14 in the Billboard 100 and #9 in the UK Charts. Chuck Berry wrote this when he was serving time in jail for violating the Mann Act. He had to borrow an atlas of the US from the prison library to plot his hero’s journey from Virginia to California.

 

Promised Land

I left my home in Norfolk Virginia
California on my mind
I Straddled that Greyhound,
and rolled in into Raleigh and all across Carolina

Stopped in Charlotte and bypassed Rock Hill
And we never was a minute late
We was ninety miles out of Atlanta by sundown
Rollin’ out of Georgia state

We had motor trouble it turned into a struggle,
Half way ‘cross Alabam
And that ‘hound broke down and left us all stranded
In downtown Birmingham

Right away, I bought me a through train ticket
Ridin’ cross Mississippi clean
And I was on that midnight flier out of Birmingham
Smoking into New Orleans

Somebody help me get out of Louisiana
Just help me get to Houston town
There are people there who care a little ’bout me
And they won’t let the poor boy down

Sure as you’re born, they bought me a silk suit
Put luggage in my hands,
And I woke up high over Albuquerque
On a jet to the promised land

Workin’ on a T-bone steak a la carte
Flying over to the Golden State
Oh when The pilot told me in thirteen minutes
We’d be headin’ in the terminal gate

Swing low chariot, come down easy
Taxi to the terminal zone
Cut your engines, cool your wings
And let me make it to the telephone

Los Angeles give me Norfolk Virginia
Tidewater four ten O nine
Tell the folks back home this is the promised land callin’
And the poor boy’s on the line

Stone Poneys – Different Drum

My favorite Monkee wrote this song. Micheal Nesmith wrote this song before he was picked to be a Monkee. At the time, he was developing his skills as a folk singer…a long way from what the Monkees turned into. In 1965, he met John Herald, guitarist for a bluegrass/folk group called The Greenbriar Boys. They played songs for each other, and Herald loved “Different Drum.” He brought it to his group, slowed down the tempo, and released it on the group’s 1966 album Better Late Than Never! Linda Ronstadt heard this version and recorded it with her group The Stone Poneys (named after the Charlie Patton song “Stone Pony Blues), this version is the best-known version of Different Drum.

This version peaked at #13 in the Billboard 100 in 1968. This would be their only top twenty hit. They stayed together a little while after this and even toured with the Doors with Jim Morrison who Rondstadt didn’t like too well. The Stone Poneys broke up and Rondstadt went solo.

From Songfacts

Like “Me And Bobby McGee,” this is a song written and originally recorded by a guy that switched genders when a female recorded it. With a male narrator, the girl is tying him down, and he has to leave her to strike out on his own. With Ronstadt singing it, the girl become the one who is reigned in, and leaves her man so she can do her own thing. Notice that she ends up describing the guy as “pretty,” which makes a lot more sense when it was Nesmith singing about a girl.

In this song, Ronstadt is ready to bail on a relationship, claiming they are very different people and she doesn’t want to be tied down to one person anyway. It’s a variation of both the “I want to see other people” and the “It’s not you, it’s me” breakups. Mike Nesmith wrote it in character – he was newly married and his wife was pregnant.

The Monkees were given very little control of their musical output, which didn’t sit well with Mike Nesmith, who found out after he joined the ensemble that session musicians would be playing on their albums and hired guns would write their songs. Nesmith was a talented performer and songwriter, and he proved it with this tune, which he pitched for The Monkees. He explained in 1971: “Most of the songs I did write, they didn’t want, so on the last few albums I didn’t contribute much in the way of material. I took them ‘Different Drum’ and they said all it needed was a hook. They asked me to change it and told me it was a stiff.”

The Stone Poneys were a folk trio of Ronstadt, Kenny Edwards and Bobby Kimmel. They released their first album earlier in 1967, and it went nowhere. This song was included on their second album, Evergreen Volume 2, later that year and appeared to be headed toward a similar fate. In dire financial straits, the band was driving to a meeting with their record company when their car broke down on La Brea Avenue in Los Angeles. At the gas station where they ended up, they heard this song playing on the radio – it had been added to the playlist at KRLA-AM, a huge station in LA. Suddenly, they had a hit on their hands.

Their fortunes improved, but the song only took them so far. After one more charting single (“Up To My Neck In High Muddy Water” – #93) the band broke up. Ronstadt went solo and charted a few minor hits from 1970-1974, but landed a #1 in 1975 with “You’re No Good,” launching her to stardom.

Bobby Kimmel did most of the songwriting in The Stone Poneys, who generally shared vocals like Peter, Paul and Mary. These songs rarely suited Linda Ronstadt’s voice, but when she heard “Different Drum” by The Greenbriar Boys, she thought it was a perfect fit and a great opportunity to take a lead vocal.

Mike Nesmith played a short, intentionally awful version of this song on the “Too Many Girls” episode of The Monkees TV series. The episode aired December 19, 1966, which was shortly before Ronstadt released the song.

Fittingly, this song was far different than previous Stone Poneys material, and the male members of the group, Kenny Edwards and Bobby Kimmel, didn’t even play on it. Ronstadt envisioned the song as an acoustic piece, but their producer, Nick Venet, had different ideas. When the group showed up for the three-song session at Capitol Records’ Studio B in Los Angeles, there were a number of studio musicians there. Edwards and Kimmel played on two of the songs, but when it came time to record “Different Drum,” they watched from the control room as the seasoned studio pros worked up the song under Venet’s direction. Among the musicians:

Don Randi – harpsichord
Al Viola – guitar
Jimmy Bond – bass
Jim Gordon – drums

There was also a string section conducted by Sid Sharp. Gordon and Randi also played on many of the Monkees recordings in place of the actual group.

Ronstadt did one run-through of the song before recording her vocal, start to finish, in the next take. As she developed her vocal talents, she came to hate the way she sounded on the song. “Today I will break my finger trying to get that record off when it’s on,” she said in the 2016 book Anatomy of a Song. “Everyone hears something in that song – a breakup, the antiwar movement, women’s lib. I hear a fear and a lack of confidence on my part. It all happened so fast that day.”

The Monkees were in their second (and final) season when this song reached its chart peak in January 1968. Mike Nesmith heard it for the first time on a Philadelphia radio station when the group was riding together in a limousine.

Nesmith recorded this himself in 1972 on a solo album called And The Hits Just Keep On Comin’. Nesmith had a substantial solo output after The Monkees TV series was canceled.

A Different Drum

You and I travel to the beat of a different drum
Oh, can’t you tell by the way I run
Every time you make eyes at me. Wo oh
You cry and you moan and say it will work out
But honey child I’ve got my doubts
You can’t see the forest for the trees

Oh, don’t get me wrong. It’s not that I’m knockin’
It’s just that I’m not in the market
For a boy who wants to love only me
Yes, and I ain’t sayin’ you ain’t pretty
All I’m sayin’s I’m not ready for any person,
Place or thing to try and pull the reins in on me
So goodbye, I’ll be leavin’
I see no sense in the cryin’ and grievin’
We’ll both live a lot longer if you live without me

Oh, don’t get me wrong. It’s not that I’m knockin’
It’s just that I’m not in the market
For a boy who wants to love only me
Yes, and I ain’t sayin’ you ain’t pretty
All I’m sayin’s I’m not ready for any person,
Place or thing to try and pull the reins in on me
So goodbye, I’ll be leavin’
I see no sense in the cryin’ and grievin’
We’ll both live a lot longer if you live without me

The Buckinghams – Kind of a Drag

This song peaked at #1 in the Billboard 100 and #1 in Canada in 1967. This was an American band from Chicago that formed in 1966. They scored 3 top ten hits (#5 Mercy, Mercy, Mercy, #6 Don’t you Care and this song).

The Buckingham was a band from Chicago that formed in 1966. They were very successful in 1967 and 68 and broke up in 1970. They reformed in 1980 and are still together today.

From Songfacts

“Kind of a Drag” was written by Jim Holvay, who was a friend of the band’s from Chicago. It is The Buckingham’s only #1 hit, although they peeked into the Top 10 twice more and charted a couple more times after that. Holvay went on to write “Don’t You Care,” “Susan” and “Hey Baby They’re Playing Our Song” for The Buckinghams.

Is that a song from the late-’60s/ early-’70s with a horn section? Then odds are good it’s produced by James William Guercio. Guercio produced both early Chicago and The Buckinghams, and the latter influenced the formation of Blood Sweat & Tears. Try playing “Kind of a Drag” back-to-back with “Saturday In The Park” (Chicago) and “You’ve Made Me So Very Happy” (BS&T).

Meet The Buckinghams: Dennis Tufano (vocals), Carl Giammarese (guitar), Martin Grebb (keyboard), Nick Fortuna (bass), Jon Poulos (drums). The band had dissolved by 1970, but a reunion has since taken place starting in 1980, with the only two original members now being Carl and Nick. Jon Poulos died from a drug overdose in 1980.

The Buckinghams had five charting hits, and they all occurred in 1967, prompting Billboard magazine to declare them “the most-listened-to band of the year.” So why did they fall off the map? In our interview with Tommy James, he explained that 1968 marked the emergence of album-oriented bands, with singles acts dying off. Said James: “When we left in August (1968, for the Democratic National Convention), all the big acts were singles acts. It was the Association, it was Gary Puckett, it was the Buckinghams, the Rascals, us. But the point was that it was almost all singles. In 90 days, when we got back, it was all albums. It was Led Zeppelin, Crosby, Stills and Nash, Blood, Sweat and Tears, Joe Cocker, Neil Young. And there was this mass extinction of all of these other acts. It was just incredible. Most people don’t realize that that was sort of the dividing line where so many of these acts never had hit records again.”

The modern-day version of The Buckinghams have risen to such heights as playing at President Barack Obama’s 2009 inauguration ball, and being inducted into the 2009 class of the Hit Parade Hall of Fame.

 

Kind of a Drag

Kind of a drag
When your baby don’t love you
Kind of a drag
When you know she’s been untrue

Oh oh, listen to what I’ve gotta to say
Girl, I still love you
I’ll always love you
Anyway, anyway, anyway

Kind of a drag
When your baby says goodbye
Kind of a drag 
When you feel like you want to cry

Oh oh girl, even though you make me feel blue
I still love you
I’ll always love you
Anyway, anyway, anyway

Oh, listen to what I’ve gotta say
Girl, I still love you
I’ll always love you
Anyway, anyway, anyway

Billy Preston – Nothing From Nothing

Billy Preston played with and toured with a lot of artists. Mahalia Jackson, Ray Charles, Little Richard, The Beatles, Rolling Stones, and more. He had 17 songs in the Billboard 100, six top ten hits, and three number 1’s… One of the #1’s was with the Beatles with Get Back.

This song peaked at #1 in the Billboard 100 in 1974. Preston performed this song on the very first episode of Saturday Night Live. He and Janis Ian were the musical guests on the October 11, 1975 debut.

From Songfacts

Preston started writing this one night in the dressing room of an Atlanta nightclub where he was performing. He wanted to write a song based on the saying, “Nothing from nothing leaves nothing.”

“The saloon piano gave it character,” Preston explained, “and I had a feeling it would be a hit because it was a sing-a-long kind of thing.”

Bruce Fisher, who was Preston’s songwriting partner (he co-wrote his previous American chart-topper, “Will It Go Round In Circles”), added a second verse.

The B-side of the single was another song Preston wrote with Fisher: “You Are So Beautiful,” which was later a hit for Joe Cocker.

Preston started off at the age of 10 playing keyboards for gospel legend Mahalia Jackson. Later he joined Ray Charles’ touring band before recording with The Beatles on several of their tracks including “Get Back” and “Let It Be” (The Beatles considered him to be the fifth Beatle). He also played on a number of Sly & The Family Stone recordings. Preston went on to have a successful solo career with five Top 10 US hits. In 1997 he was sent to prison on drug charges. He died in 2006 at age 59.

In the US, this was used in a TV commercial for Fidelity Investments. >>

This was used in several movies, including the 1995 thriller To Die For, starring Nicole Kidman, the 2003 comedy Elf, starring Will Ferrell, the 2008 comedy Be Kind Rewind, starring Jack Black and Mos Def, and the 2011 comedy Bad Teacher, starring Cameron Diaz and Justin Timberlake.

Nothing from Nothing

Nothin’ from nothin’ leaves nothin’
You gotta have somethin’ if you want to be with me
Nothin’ from nothin’ leaves nothin’
You gotta have somethin’ if you want to be with me

I’m not tryin’ to be your hero
‘Cause that zero is too cold for me, Brrr
I’m not tryin’ to be your highness
‘Cause that minus is too low to see, yeah

Nothin’ from nothin’ leaves nothin’
And I’m not stuffin’, believe you me
Don’t you remember I told ya
I’m a soldier in the war on poverty, yeah
Yes, I am

Nothin’ from nothin’ leaves nothin’
You gotta have somethin’ if you want to be with me
Nothin’ from nothin’ leaves nothin’
You gotta have somethin’ if you want to be with me

You gotta have somethin’ if you want to be with me
You gotta bring me somethin’ girl, if you want to be with me

Sarah McLachlan – Building a Mystery

I like the overall sound of this recording. The mix and depth are perfect. Sara’s voice is powerful and the structure of the song is great. This is a song that you turn up to 11 on your stereo, iPod, or phone with good headphones. The engineer of this song did his or her job very well.

She talked about the song and said: “basically about the fact that we all… have insecurities to hide, and we often do that by putting on a façade.” She also goes on to say that “unfortunately, if we just be who we are, that’s usually the more attractive and beautiful thing.”

Building a Mystery peaked at #13 in the Billboard 100 and #1 in Canada in 1997.

Dave from “A Sound Day” wrote about Sara’s early career.  https://wordpress.com/read/blogs/140925716/posts/2345

 

 

 Building A Mystery

You come out at night

That’s when the energy comes

And the dark side’s light

And the vampires roam

You strut your rasta wear

And your suicide poem

And a cross from a faith that died

Before Jesus came

You’re building a mystery

 

You live in a church

Where you sleep with voodoo dolls

And you won’t give up the search

For the ghosts in the halls

You wear sandals in the snow

And a smile that won’t wash away

Can you look out the window

Without your shadow getting in the way?

 

You’re so beautiful

With an edge and charm

But so careful

When I’m in your arms

 

‘Cause you’re working

Building a mystery

Holding on and holding it in

Yeah you’re working

Building a mystery

And choosing so carefully

 

You woke up screaming aloud

A prayer from your secret god

You feed off our fears

And hold back your tears, oh

Give us a tantrum

And a know it all grin

Just when we need one

When the evening’s thin

 

You’re a beautiful

A beautiful fucked up man

You’re setting up your

Razor wire shrine

 

‘Cause you’re working

Building a mystery

Holding on and holding it in

Yeah you’re working

Building a mystery

And choosing so carefully

 

Oh, you’re working,

Building a mystery

Holding on and holding it in

Yeah you’re working

Building a mystery

And choosing so carefully

Yeah, you’re working,

Building a mystery,

Holding on and holding it in,

Oh yeah you’re working,

Building a mystery

And choosing so carefully

 

You’re building a mystery.