My introduction to Robert Johnson came from Eric Clapton while playing with Cream. Johnson was a great blues guitarist that supposedly sold his soul to the devil at the crossroads to be able to play the blues. Some of the songs he wrote played into this myth. He only cut 29 songs that he recorded in a two year period of 1936 and 1937.
I’m not a blues expert, nor do I play one on tv, but I love these old blues recordings. Johnson wasn’t the only one but they influenced everything I’ve liked since. They are also historical documents of the time.
Robert Johnson’s slide playing was so complete that he sounded like two guitar players instead of one on some songs. The atmosphere of those recordings is incredible to me and something that you can’t duplicate. Johnson’s influence is huge. Keith Richards, Eric Clapton, Bob Dylan. Duane Allman, and too many more to list.
Movies such as the 1980’s film Crossroads brought Johnson many more fans. My friend Ronald was one of those people and went out and bought everything he could find of Johnson in the 80s. Many people have searched out Johnson after listening to artists that were influenced by him. His voice will haunt you after you listen to his recordings. His songs are pure and timeless.
Some quotes on Robert Johnson
Keith Richards – Brian Jones had the first album, and that’s where I first heard it. I’d just met Brian, and I went around to his apartment-crash pad, actually, all he had in it was a chair, a record player, and a few records. One of which was Robert Johnson. He put it on, and it was just-you know-astounding stuff. When I first heard it, I said to Brian, “Who’s that?” “Robert Johnson”. I said, “Yeah, but who’s the other guy playing with him?” Because I was hearing two guitars, and it took me a long time to realize he was actually doing it all by himself. Eric Clapton – His music is like my oldest friend, always in the back of my head and on the horizon. It’s the finest music I’ve ever heard. I’ve always trusted its purity. And I always will.’ I don’t know what more you could say….” Robert Cray – He is a perfect example of what anybody should listen to if they want to get an understanding of the blues… and American history.’
Below is Robert Johnson and down below is Cream’s version.
Cross Road Blues
I went down to the crossroad fell down on my knees I went down to the crossroad fell down on my knees Asked the lord above “Have mercy now save poor Bob if you please” Yeeooo, standin at the crossroad tried to flag a ride ooo ooo eee I tried to flag a ride Didn’t nobody seem to know me babe everybody pass me by Standin at the crossroad babe risin sun goin down Standin at the crossroad babe eee eee eee, risin sun goin down I believe to my soul now, Poor Bob is sinkin down You can run, you can run tell my friend Willie Brown You can run, you can run tell my friend Willie Brown (th)’at I got the croosroad blues this mornin Lord babe, I’m sinkin down And I went to the crossroad momma I looked east and west I went to the crossroad baby I looked east and west Lord, I didn’t have no sweet woman ooh-well babe, in my distress
This is a very likable ballad that was a big hit in 1981. It peaked at #12 in the Billboard 100. This song developed a large following and continues to get airplay on many radio stations. The legendary Nicky Hopkins played on this track.
There’s something beautifully disarming about a song that just steps out and says it: I Love You. No poetic misdirection, no clever metaphors about moons and tides. Just three words wrapped in a melody soft enough to fall asleep on and sung with the kind of vulnerability that makes it impossible to roll your eyes.
There’s also something sneakily elegant in how the chorus sneaks in. It doesn’t hammer the title. It eases into it like an embrace. And when the saxophone solo shows up, it doesn’t break the spell; it deepens it.
Derek Holt, who was the bass player, wrote the song. None of the band liked it. They would not even tour to support it. He would have the last laugh as this came from an interview with Derek.
Derek:Up until the ‘Flying the Flag’ album, we used to split songwriting royalties four equal ways as we were all credited with writing songs. For this album, we had a meeting to discuss starting to have songwriting credit split separately. I lost the argument to keep it all the same as before and ended up gaining 100% of my own song. Ironic!
When the song became a hit (also it was the start of me then becoming a lead singer which worried the others), we had a major U.S. tour booked but both Colin and Pete didn’t want to “go on the road to promote my career”. So even with a song high up on the U.S. charts, they actually chose not to back me up instead of just being grateful for another hit. I never got to tour and sing the song live so I feel slightly cheated out of performing it. But it became a really popular radio song and of course, a lot of people fell in love because of it. I also get emails from people who actually got married because of it even had it played at their “first dance” at their reception.
Bass player Derek Holt wrote this song. He told us: “It was about meeting my first wife, meeting the lady that’s going to encourage me to do what I did best, and that was be a musician, with no qualms about it. I used to go away from home, used to leave her behind, and used to come back. I was a hippie, a drinking hippie with really long hair. We had a great time – I’m meeting my wife since then I’ve never looked back. You know, pretty much out living a dream, because, ‘Ooo, I love you.’ You could say it’s for one person, but it’s quite generic. At that particular moment in time, everything was right. You know, usually, songs appear from nowhere, and that one appeared in a couple of hours. Why I have no idea, but it did. And I guess the influence was the person I was with at the time.”
Holt: “That song was written in my house. After a couple of hours just sitting in my studio I came up with this song I Love You – words, solo, drums, the whole thing. And I thought, ‘Well, it’s a lovely song.’ We had a guy come over from L.A., an American producer called John Ryan, who arrived in Stafford to do some pre-production on an album that we were going to record in Los Angeles called Flying The Flag. So he came to England and spent probably 2 weeks with us going through all the tracks that we’d got. And he said, ‘Does anybody have any more songs?’ I’d already played my song to the band and they didn’t really like it; it was a little bit too lovey, so I said to John Ryan, ‘I’ve got this song called ‘I Love You.” He said, ‘Well, play it for me.’ So I plugged in my cassette, played it, then he said, ‘That’s a hit.’ Just like that. Everybody just sort of looked at each other and said, ‘Oh, bloody hell.’ So anyway, we ended up going to Los Angeles, and that song was recorded with just me and the drummer because the other two guys weren’t really into the song. So it’s me, the drummer, and a fantastic keyboard player named Nicky Hopkins. He’s since died, unfortunately. He was the sort of legendary keyboard player, he played with The Stones and lots of people like that, and he was great. So it was me, Nicky Hopkins and the drummer in the studio. We all sat down together and played the basic backing track. I then put the bass on it, sang it, did all the harmonies, then I got Pete – the guitarist – to play the lead solo, which was the solo that I wanted to be played. So he played the solo, because he was the guitarist – reluctantly. Then John Ryan said, ‘This song needs some strings.’ So he got a string section in at whatever cost it was, which also pissed the other guys in the band off to think that the strings were a big part of my song. Then Warner Brothers arrived to hear all the tracks, and everybody was blown away by ‘I Love You,’ this song that I believed in, the producer believed in, but none of the other guys did, and it became a hit. And it’s just unbelievable that nobody else in the band recognized it other than the producer and me. So the story’s quite phenomenal, really. And it’s also probably one of the reasons why the band split up in the end because they weren’t into playing it live, and I was. The song was in the charts, we had the tour booked, and two guys in the band said, ‘We’re not going to go to America to promote Derek Holt’s career.’ How’s that for faith?”
I Love You
When I was younger man I hadn’t a care Foolin’ around, hitting the town, growing my hair You came along and stole my heart when you entered my life Ooh babe you got what it takes so I made you my wife
Since then I never looked back It’s almost like living a dream And ooh I love you
You came along from far away and found me here I was playin’ around, feeling down, hittin’ the beer You picked me up from off the floor and gave me a smile You said you’re much too young, your life ain’t begun, let’s walk for awhile
And as my head was spinnin’ ’round I gazed into your eyes And thought ooh I want you
Thank you babe for being a friend And shinin’ your light in my life ‘Cause ooh I need you
As my head was comin’ round I gazed into your eyes And thought ooh I want you
Thanks again for being my friend And straightenin’ out my life ‘Cause ooh I need you
Since then I never looked back It’s almost like livin’ a dream Oh I got you
If ever a man had it all It would have to be me And ooh I love you
I remember hearing this a lot in 1981. The Tide Is High,” a remake of an obscure 1967 song by the Jamaican group the Paragons (Very good version by the way). It was released in 1980 but peaked in 1981 at #1 in the Billboard 100, the UK and Canada. It was written by Jamaican DJ Duke Reid in the 1930s
This is interesting. Sean Lennon said: “My father had an old Wurlitzer in the game room of our house on Long Island. It was filled with 45s, mostly Elvis and The Everly Brothers. The one modern song I remember him listening to was ‘The Tide Is High’ by Blondie, which he played constantly. When I hear that song, I see my father, unshaven, his hair pulled back into a ponytail, dancing to and fro in a worn-out pair of denim shorts, with me at his feet, trying my best to coordinate tiny limbs.”
Blondie experimented with many different sounds. They were a punk/new wave band in their early years, making a name playing clubs like CBGB’s in New York. This song was their foray into reggae, but they played around with rap on “Rapture” and with disco on “Heart Of Glass.”
Debbie Harry in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: “I first heard ‘The Tide Is High’ on a compilation tape that someone had given me while we were in London. Chris (Stein) and I both fell in love with the song and decided it was too good to resist.”
Blondie wanted to give the song a Jamaican feel, so they hired three percussion players and created a new string and horn arrangement to give it an authentic sound. According to Chris Stein, the percussion includes “eight tracks of drum sticks tapping on a piano bench.”
The Tide is High
The tide is high but I’m holdin’ on I’m gonna be your number one I’m not the kind-a girl who gives up just like that, oh no
It’s not the things you do that tease and hurt me bad But it’s the way you do the things you do to me I’m not the kind-a girl who gives up just like that, oh no
The tide is high but I’m holdin’ on I’m gonna be your number one, number one.
Ev’ry girl wants you to be her man But I’ll wait my dear till it’s my turn I’m not the kind-a girl who gives up just like that, oh no
The tide is high but I’m holdin’ on I’m gonna be your number one, number one, number one
Ev’ry girl wants you to be her man But I’ll wait my dear till it’s my turn I’m not the kind-a girl who gives up just like that, oh no
The tide is high but I’m holding on I’m gonna be your number one, number one, number one
The tide is high but I’m holding on I’m gonna be your number one The tide is high but I’m holding on I’m gonna be your number one The tide is high but I’m holding on I’m gonna be your number one
This song was played and played when it was released but I haven’t heard it a lot since. The song peaked at #2 in the Billboard 100, #14 in the Country Charts, and #8 in Canada in 1981. This song was written by Hank DeVito, who was the pedal steel guitarist for Emmylou Harris’ backing group, The Hot Band.
In 1981 I remember 3 songs that you would hear on the radio at any time after they were released. Bette Davis Eyes, The Tide Is High, and Queen of Hearts. You didn’t have to wait for it…turn on the radio and one of them would be there.
From Songfacts.
Juice Newton had the biggest success with “Queen of Hearts” after it appeared on her 1981 album, Juice. In September 1981, Newton’s version peaked at #2 on the US charts, having shifted over one million copies. In 1982, the song was nominated for the Grammy Award for Best Female Country Vocal Performance. Dave Edmunds, who first recorded “Queen of Hearts” in 1979, told Creem Newton stole his composition: “She did pinch my arrangement, note for note, but I’m not angry with that.”
The Welsh musician Dave Edmunds was the first artist to record “Queen of Hearts.” The song appears on his 1979 album, Repeat When Necessary. The track peaked at #11 in the UK, but Edmunds’ label – Led Zeppelin’s Swan Song – refused to release it in the US. Edmunds, who reached #4 US with his 1970 cover of “I Hear You Knocking,” was hoping for another American hit and was not pleased when Swan Song held back both “Queen of Hearts” and “Girls Talk” (a song written by Elvis Costello that made #4 UK for Edmunds in 1979).
Queen of Hearts
Midnight, and I’m a-waiting on the twelve-oh-five Hoping it’ll take me just a little farther down the line
Moonlight, you’re just a heartache in disguise Won’t you keep my heart from breaking If it’s only for a very short time
Playing with the queen of hearts Knowing it ain’t really smart The joker ain’t the only fool Who’ll do anything for you Laying out another lie Thinking ’bout a life of crime ‘Cause that’s what I’ll have to do To keep me away from you
Honey, you know it makes you mad Why is everybody telling everybody what you have done
Baby, I know it makes you sad But when they’re handing out the heartaches You know you got to have you some
Playing with the queen of hearts Knowing it ain’t really smart The joker ain’t the only fool Who’ll do anything for you Laying out another lie, Thinking ’bout a life of crime ‘Cause that’s what I’ll have to do To keep me away from you
Lovers, I know you’ve had a few But hide your heart beneath the covers And tell ’em they’re the only one
And others, they know just what I’m going through And it’s a-hard to be a lover When you say you’re only in it for fun
Playing with the queen of hearts Knowing it ain’t really smart The joker ain’t the only fool Who’ll do anything for you
Playing with the queen of hearts Knowing it ain’t really smart The joker ain’t the only fool Who’ll do anything for you Laying out another lie, Thinking ’bout a life of crime ‘Cause that’s what I’ll have to do To keep me away from you
Playing with the queen of hearts Playing with the queen of hearts Playing with the queen of hearts Playing with the queen of hearts
I liked Purple Rain but something about this song and the Around the World in a Day album…it showed more of a 60s psychedelic influence and I really liked it. The album wasn’t the success that Purple Rain was but still contained two top ten hits… Raspberry Beret and Pop Life.
This song peaked at #2 in the Billboard 100 and #25 in the UK in 1985. The Hindu Love Gods did an interesting cover of this song.
From Songfacts.
Prince discussed the meaning of Around the World in a Day with Rolling Stone in 1985: “I was trying to say something about looking inside oneself to find perfection. Perfection is in everyone. Nobody’s perfect, but they can be. We may never reach that, but it’s better to strive than not.”
Prince originally recorded “Raspberry Beret” in 1982, but re-worked it with his newly re-formed Revolution backing band, which had just crystalized into what would become the fan favorite lineup: Brown Mark on bass, Bobby Z on drums, Wendy Melvoin, Lisa Coleman and Doctor Fink on keyboard, backing guitar, and backing vocals. If you blinked in the mid-’80s, you missed it, because this incarnation of the Revolution broke up by 1986, with Prince firing everybody but Doctor Fink.
This stands as one of the finest examples of the “Minneapolis sound,” blending in finger-cymbals, a string section, and a harmonica as a strategy to create a well-rounded groove. This style is sometimes called “The Prince Sound,” but there were a lot of other guys making it as well, many of them working with Prince at some point. For a great explanation of that sound and how it led to Paula Abdul’s music career, check out our interview with Oliver Leiber.
This song was used in the soundtrack to Girl 6, a 1996 film about a troubled actress turned phone sex worker. It was directed by Spike Lee and has Quentin Tarantino (!) in a supporting role.
At the time this was released, Prince was under fire from Tipper Gore during the notorious PMRC witch hunt, which placed two of his songs on the list of the “filthy 15” – “Darling Nikki” was the original song that got Tipper’s goat. So this is one of the songs where Prince started making his lyrics more family friendly. Nevertheless, you can’t miss “Old Man Johnson” as a reference to his you-know-what. Normally we’d stay clear of looking for euphemisms in lyrics, but come on, this is Prince we’re talking about.
The video is an odd mashup of performance footage and animation. Simon Fields, who was one of the top music video producers at the time, said in the book I Want My MTV: “We filmed a whole video, then Prince got a Japanese animator to do a completely different video and we mashed the two up. He would mess with directors. He would give them the impression that they’d be in charge of the video, then halfway through he’d go ‘Thank you,’ take what he liked, and edit it himself.”
“Raspberry Beret” was the first single from Prince’s Around the World in a Day album, his follow-up to Purple Rain. The album sold over three million copies in the US and spent three weeks at #1 in the summer of 1985.
Raspberry Beret
I was working part time in a five-and-dime My boss was Mr. McGee He told me several times that he didn’t like my kind ‘Cause I was a bit too leisurely
Seems that I was busy doing something close to nothing But different than the day before That’s when I saw her, ooh, I saw her She walked in through the out door, out door
She wore a Raspberry beret The kind you find in a second hand store Raspberry beret And if it was warm she wouldn’t wear much more Raspberry beret I think I love her
Built like she was She had the nerve to ask me If I planned to do her any harm So, look here I put her on the back of my bike And we went riding Down by old man Johnson’s farm
I said now, overcast days never turned me on But something about the clouds and her mixed She wasn’t to bright But I could tell when she kissed me She knew how to get her kicks
She wore a Raspberry beret The kind you find in a second hand store Raspberry beret And if it was warm she wouldn’t wear much more Raspberry beret I think I love her
The rain sounds so cool when it hits the barn roof And the horses wonder who you are Thunder drowns out what the lightning sees You feel like a movie star
Listen They say the first time ain’t the greatest But I tell ya If I had the chance to do it all again I wouldn’t change a stroke ‘Cause baby I’m the most With a girl as fine as she was then
(Raspberry beret) The kind you find (The kind you find) The kind you find (In a second hand store) Oh no no (Raspberry beret) (And if it was warm) Where have all the raspberry women gone? Yeah (Raspberry beret)
I think I, I think I, I think I love her
(Raspberry beret) No no no No no no (The kind you find) (In a second hand store) (Raspberry beret) Tell me Where have all the raspberry women gone? (And if it was warm she) (Wouldn’t wear much more) (Raspberry beret)
The number 9 popped up constantly in Lennon’s life. The song peaked at #9 (what else?) in the Billboard 100, #23 in the UK and #35 in Canada in 1974. I’ve always liked this unusual song and its approriate dream-like qualities.
John Lennon was born on October 9, 1940, in Liverpool
Liverpool has 9 letters
The Beatles’ manager, Brian Epstein, first saw the Beatles play in the Cavern club on November 9, 1961.
The Beatles’ record contract with EMI was secured on May 9, 1962.
The Beatles played the Ed Sullivan show on February 9, 1964.
John Lennon met Yoko Ono on November 9, 1966.
John and Yoko lived at the Dakota apartments on West 72nd Street (7+2=9)
Construction started on the Dakota in 1881 (1+8=9 and 8+1=9, 9+9=18, 1+8=9)
Their son Sean was born on October 9, 1975.
John Lennon was murdered on December 8, 1980, in New York City at 10:50 pm, but because of the 5 hour time difference, it was December 9 in England, his place of birth.
1980: 1+9=10+8=18, 1+8=9.
He was taken to Roosevelt hospital on 9th avenue, where he was pronounced dead at 11:07 pm (1+1+7=9)
The mystery voice that calls Lennon’s name “John” during the first bridge was performed by his lover, May Pang – on the second bridge he reversed the tape of her saying his name. According to May Pang’s book Loving John, Lennon told her that he did not know what the song was about, but it was not about her. He also did not “convince” her to sing the vocals, she sang them because the female vocalist scheduled for the session did not show up. (Thanks to David Thoener, who was an engineer at the sessions.)
John admitted that he “borrowed” the string arrangement from Harry Nilsson’s “Many Rivers To Cross” from Nilsson’s album Pussy Cats – which John produced!
#9 Dream
So long ago Was it in a dream? Was it just a dream? I know, yes I know It seemed so very real Seemed so real to me
Took a walk down the street Through the heat whispered trees I thought I could hear Hear Hear Hear
Somebody call out my name (John) As it started to rain Two spirits dancing so strange Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse
Dream, dream away Magic in the air Was magic in the air? I believe, yes I believe More I cannot say What more can I say?
On a river of sound Through the mirror go round, round I thought I could feel Feel Feel Feel Music touching my soul Something warm, sudden cold The spirit dance was unfolding Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse Ah! Bowakawa, pousse pousse
The rumor of who this song is about is almost as big as the song. The rumors include Warren Beatty, Kris Kristofferson, Cat Stevens, and Mick Jagger. In 1974, she told Modern Hi-Fi and Music: “That song is about a lot of people. I mean I can think of a lot of people. The actual examples that I’ve used in the song are from my imagination, but the stimulus is directly from a couple of different sources. It’s not just about one particular person.”
Carly has played it up through the years…but it’s a great song regardless.
The song peaked at #1 in the Billboard 100, #1 in Canada, and #3 in the UK. You can hear Mick Jagger singing in the background through the chorus.
In 2003, Simon held an auction for a charity on Martha’s Vineyard where she offered to tell the high bidder who this song is about. The winning bidder was Dick Ebersol, the president of NBC Sports, who paid $50,000. Ebersol had to sign a confidentiality agreement, but was allowed to give one hint – the man’s name contains the letter “E.” Over the next few years, Simon further revealed that there is also an “A” and an “R” in the name.
Richard Perry, who produced the album, has his own ideas about the song’s subject matter. He said in the book The Record Producers: “It’s about a compilation of men that Carly had known, but primarily Warren Beatty.”
Simon started recording this with Harry Nilsson singing backup, but Mick Jagger ended up singing on it instead (listen for him on the “don’t you” parts), although he was not credited on the album.
When asked how she was able to get him, Simon said: “I guess it was kind of chance in a way. I was in London, it was 1972 and he happened to call at the studio while I was doing the background vocals with Harry Nilsson. Mick said ‘Hey, what cha doin’?’ and I said ‘We’re doing some backup vocals on a song of mine… why don’t you come down and sing with us?’ So Mick and Harry and I stood around the mic singing ‘You’re So Vain’ and Harry was such a gentleman – he knew the chemistry was between me and Mick; in terms of the singing, so he sort of bowed out saying, ‘The two of you have a real blend – you should do it yourselves.'” >>
In a 2000 interview with Charlie Rose, Simon explained the origin of this song: “There was originally a song that had the melody of what is now ‘You’re So Vain,’ called ‘Bless You Ben.’ It went ‘Bless you Ben, you came in, where nobody else left off, there I was, by myself, hiding up in my loft.’ It never went anywhere, I could never fall in love with it. And then I was at a party and somebody walked in and my friend said to me ‘Doesn’t he look like he’s just walked on to a yacht?’ So, I thought to myself – hmmm, let me write that in my notebook. And then one day, when I was playing ‘Bless You Ben’ on the piano, I substituted ‘You walked into the party, like you were walking onto a yacht’ and the exchange was equal. And it felt natural and it felt good and then I could get into that man, I knew who I was talking about.”
Simon came up with the “Clouds in my coffee” line on a cross-country flight. She explained the meaning of the phrase, saying: “Clouds In My Coffee are the confusing aspects of life and love. That which you can’t see through, and yet seems alluring… until. Like a mirage that turns into a dry patch. Perhaps there is something in the bottom of the coffee cup that you could read if you could (like tea leaves or coffee grinds).”
The phrase came courtesy of her friend and musical collaborator Billy Mernit, who was sitting next to Simon on the flight. Carly had the window seat, and Mernit noticed the clouds from the window reflecting in her coffee. He said, “look at the clouds in your coffee,” and mentioned that it looked like a shot from the 1967 French movie 2 or 3 Things I Know About Her, directed by Jean-Luc Godard. In the film, there’s a poignant shot of cream swirling in a cup of coffee. According to Mernit, he and Simon both wrote the line down in their journals, and a few weeks later, Carly called him and asked if she could use it in a song.
Glenn A. Walsh, who was Astronomical Observatory Coordinator and a Planetarium Lecturer for Pittsburgh’s original Buhl Planetarium, told us:
There actually is another part of the “You’re So Vain” mystery that few people are aware of. Most people think that most lyrics are simply creative. However, one lyric in this song is very curious:
“Then you flew your Learjet up to Nova Scotia to see the total eclipse of the sun.”
When I first heard this lyric in June of 1972, I immediately knew what it meant. I am sure that nearly ANY scientist who heard this lyric in 1972 knew exactly what it referred to!
In fact, one day in mid-June of 1972, a colleague and I were in the radio station when the record was played. When that particular lyric was heard, he turned to me and said, “that would be nice.” I knew he meant that it would be nice to fly to Nova Scotia and see the eclipse the next month.
There was a total eclipse of the Sun on July 10, 1972 and Nova Scotia would be one of the best places to observe this particular eclipse (see an image of the eclipse).
Even though Carly Simon wrote the lyric in past-tense, she was really writing about an actual event in the not-too-distant future!
This brings-up several questions: – Did she write the lyric in past-tense because she did not think the record would be released until after the eclipse? Or she did not think it would become popular until after the eclipse?
– Did this guy tell her about the upcoming eclipse and his plans to see it? Or did she know about the eclipse herself or did some other friend tell her about it as she was writing the lyrics – and she knew this guy would possibly fly to Nova Scotia to see the eclipse?
– Did this guy actually fly to Nova Scotia to see the eclipse? Or, did the release of this record actually make him decide NOT to fly to Nova Scotia to see the eclipse (AND, was this Carly Simon’s purpose in writing the lyric)?
The mystery continues with these questions!
As the mystique surrounding this song grew, Simon became more evasive about its subject, but in the ’70s and ’80s she was relatively straightforward when asked about it. Here’s what she told Bob Shannon and John Javna for their Behind The Hits book, published in 1986: “There isn’t as direct an answer as you would like, or as my public would like to hear. I mean, I can’t answer and say it is about Warren Beatty, who a lot of people think it is about. Yes, it is about Warren Beatty. But it’s not only about Warren Beatty.”
You’re So Vain
You walked into the party Like you were walking on a yacht Your hat strategically dipped below one eye Your scarf, it was apricot You had one eye on the mirror And watched yourself gavotte And all the girls dreamed that they’d be your partner They’d be your partner, and
You’re so vain You probably think this song is about you You’re so vain, I’ll bet you think this song is about you Don’t you? Don’t you?
Oh, you had me several years ago When I was still naive Well, you said that we made such a pretty pair And that you would never leave But you gave away the things you loved And one of them was me I had some dreams, they were clouds in my coffee Clouds in my coffee, and
You’re so vain You probably think this song is about you You’re so vain, you’re so vain I’ll bet you think this song is about you Don’t you? Don’t you?
Well I hear you went to Saratoga And your horse, naturally, won Then you flew your Learjet up to Nova Scotia To see the total eclipse of the sun Well, you’re where you should be all the time And when you’re not, you’re with some underworld spy Or the wife of a close friend, Wife of a close friend, and
You’re so vain You probably think this song is about you You’re so vain, you’re so vain I’ll bet you think this song is about you Don’t you? Don’t you?
Feel in love with this song the first time I heard the harmonica part. It was a big influence on John Lennon and the Beatles. The song peaked at #1 in the Billboard 100 and #2 in the UK. Delbert McClinton played harmonica on this record.
Here is a bit of trivia for ya… This was the first Hot 100 #1 with an exclamation point in its title.
Channel wrote this around 1959 with his friend Margaret Cobb. He had already been performing the tune for a couple of years before recording it amidst a series of demos for Fort Worth producer Major Bill Smith. First released locally on Smith’s label, it was picked up for national distribution by Smash.
Delbert McClinton played the harmonica part. At one Channel’s shows, he was supported by a then-unknown Liverpool group, the Beatles. John Lennon was so impressed with the harmonica intro that he asked McClinton how to play it. A year later a similar harmonica passage showed up on The Beatles “Love Me Do.”
In 2001, 20-year-old Austrian producer/DJ Gerry Friedle, who performed under the name of DJ Otzi, recorded a Euro Dance version of this with added “ooh aahs.” When he was a DJ he was always doing “ooh aahs” and he found the audience loved it. His version reached #1 in the UK, rising from #45 to replace Bob The Builder at the top, the highest ever leap to #1 in the UK. Otzi’s initial goal in life was to be a farmer; a plan he was forced to abandon due to a fear of cows. He turned to music during chemotherapy for testicular cancer. He had 2 more UK top 10 hits, following up with his version of Manfred Mann’s “Do Wah Diddy”(#9) and the following year a #10 hit with a remixed version of this to coincide with the 2002 soccer World Cup. By this time “Hey Baby” had become a song football supporters sang at matches.
Hey! Baby
Hey, hey hey baby I want to know if you’ll be my girl Hey, hey hey baby I want to know if you’ll be my girl
When I saw you walking down the street I said that’s a kind of girl I’d like to meet She’s so pretty, Lord she’s fine I’m gonna make her mine all mine
Hey, hey hey baby I want to know if you’ll be my girl
When you turned and walked away That’s when I want to say C’mon baby, give me a whirl I want to know if you’ll be my girl
Hey, hey hey baby I want to know if you’ll be my girl
When you turned and walked away That’s when I want to say C’mon baby, give me a whirl I want to know if you’ll be my girl
Hey, hey hey baby I want to know if you’ll be my girl Hey, hey hey hey hey, baby c’mon, baby now
This is a beautiful spacey song by Jimi Hendrix. Hendrix started working on this in 1967 along with “Little Wing,” which was similar. He gave up on it, but pulled it out and recorded it on July 23, 1970 – just a few months before his death on September 18, 1970. The song takes you on a ride.
It was originally released on his 1971 posthumous album The Cry of Love. It was written by Hendrix and recorded at Electric Lady Studios with drummer Mitch Mitchell and bassist Billy Cox. Rod Stewart later covered this song…of course, he has covered about every song.
The song was inspired by a dream Hendrix had about his mother, Lucille. His vocal performance here is relaxed and almost whispered in places, as if the song wasn’t meant for a crowd at all, just for the person in the dream. Mitch Mitchell keeps it light, more brush than hammer, and Billy Cox anchors it without intruding. The whole thing feels like it’s floating.
Angel
Angel came down from heaven yesterday She stayed with me just long enough to rescue me And she told me a story yesterday, About the sweet love between the moon and the deep blue sea And then she spread her wings high over me She said she’s gonna come back tomorrow
And I said, “Fly on my sweet angel, Fly on through the sky, Fly on my sweet angel, Tomorrow I’m gonna be by your side”
Sure enough this morning came unto me Silver wings silhouetted against the child’s sunrise And my angel she said unto me, “Today is the day for you to rise Take my hand, you’re gonna be my man, You’re gonna rise” And then she took high over yonder
And I said, “Fly on my sweet angel, Fly on through the sky, Fly on my sweet angel, Forever I will be by your side”
I first noticed Candian Gordon Lightfoot riding in the car with my sister …with the AM radio station playing this song. Sundown got a lot of airplay back then. It peaked at #1 in the Billboard 100, #1 in Canada, and #33 in the UK in 1974.
The inspiration for this song was his girlfriend Cathy Smith who would later have a romantic relationship with Richard Manuel of The Band and a fatal encounter with John Belushi.
The inspiration for this song came from Lightfoot worrying about his girlfriend, who was out at bars all day while he was at home writing songs. He recalled during a Reddit AMA: “I had this girlfriend one time, and I was at home working, at my desk, working at my songwriting which I had been doing all week since I was on a roll, and my girlfriend was somewhere drinking, drinking somewhere. So I was hoping that no one else would get their hands on her, because she was pretty good lookin’!”
“As a matter of fact, it was written just around Sundown,” he added, “just as the sun was setting, behind the farm I had rented to use as a place to write the album.”
Lightfoot most likely wrote this about the stormy relationship with his one time girlfriend Cathy Smith, who was later sentenced for delivering a lethal dose of heroin to John Belushi.
Sundown
I can see her lyin’ back in her satin dress In a room where ya do what ya don’t confess Sundown you better take care If I find you beenn creepin’ ’round my back stairs Sundown ya better take care If I find you been creepin’ ’round my back stairs
She’s been lookin’ like a queen in a sailor’s dream And she don’t always say what she really means Sometimes I think it’s a shame When I get feelin’ better when I’m feelin’ no pain Sometimes I think it’s a shame When I get feelin’ better when I’m feelin’ no pain
I can picture every move that a man could make Getting lost in her lovin’ is your first mistake Sundown you better take care If I find you been creepin’ ’round my back stairs Sometimes I think it’s a sin When I feel like I’m winnin’ when I’m losin’ again
I can see her lookin’ fast in her faded jeans She’s a hard lovin’ woman, got me feelin’ mean Sometimes I think it’s a shame When I get feelin’ better when I’m feelin’ no pain Sundown you better take care If I find you been creepin’ ’round my back stairs Sundown you better take care If I find you been creepin’ ’round my back stairs Sometimes I think it’s a sin When I feel like I’m winnin’ when I’m losin’ again
One of my favorite pop/rock songs. Beautifully crafted melody. In 1978 this song peaked at #8 in the Billboard 100. Walter wrote this song about Stevie Nicks and she sang on the track. The bass and drum sound in this song is fantastic.
Stevie Nicks sang on this track and provided inspiration for the lyrics. Walter Egan tells us about this song:
“In 1976 I was living in Pomona, California and I had a notion to write a song with the ‘stroll’ beat (made famous by Chuck Willis) and so began the rough outline of what was tentatively called ‘Don’t Turn Away Now.’ Now, this was also at the time of putting together my first album, Fundamental Roll, and my two new friends and producers, Lindsey Buckingham and Stevie Nicks and I were starting the recording process.
On the night when Stevie did the background vocals for my song ‘Tunnel o’ Love,’ my nascent amorous feelings toward her came into a sharper focus – I was smitten by the kitten, as they say. It was on my drive home at 3 AM from Van Nuys to Pomona that I happened to be behind a metal flake blue Continental with ground effects and a diamond window in back. I was inspired by the car’s license plate: “Not Shy.”
By the time I pulled into my driveway I had formulated the lyrics and come up with the magnet metaphor. From there the song was finished in 15 minutes.
It was especially satisfying to have Stevie sing on ‘Magnet,’ since it was about her (and me).”
This was used in the 1997 movie Boogie Nights.
This was Egan’s only Top 40 chart entry for his own recordings, though he also wrote Night’s first hit, “Hot Summer Nights,” which reached #18.
Magnet and Steel
Ooh ooh ah Now I told you so you ought to know Ooh it takes some time for a feelin’ to grow Ooh you’re so close now I can’t let you go Ooh and I can’t let go For you are a magnet and I am steel
I can’t hope that I’ll hold you for long Ooh you’re a woman who’s lost to your song Ooh but the love that I feel is so strong Ooh and it can’t be wrong
With you I’m not shy to show the way I feel With you I might try my secrets to reveal For you are a magnet and I am steel For you are a magnet and I am steel
This song was the first I heard from the Pretenders. When I think of The Pretenders I think of this song. it wasn’t their best song but it is memorable. Most Pretenders songs were written solo by Hynde, but the group’s guitarist, James Honeyman-Scott, is also a credited writer on this track. The song peaked at #14 in the Billboard 100 and #1 in the UK in 1979.
In a VH1 interview, Hynde admitted to loathing the song, and said that since so many fans love it, she continues to play it.
Lead singer Chrissie Hynde grew up in Akron, Ohio and was a student at Kent State University in 1970 when four students were killed by members of the US National Guard. She left for England in 1973, where she formed the group with three guys from Hereford.
Chrissie Hynde rarely explained what her songs were about, but she let on with this one in a 1980 interview with Sounds: “It’s very lightweight pop type of song, nothing heavy about it. It’s along the lines of the guy who is feeling very insecure, not about pulling a girl but, say, trying to be accepted by the guys down the pub. It’s a front he’s putting up. It’s like buying a pair of new boots and you feel great but then you get home and see you spots in the mirror. Or take a couple of dexies and you’re in gear for the evening but on the train home it’s different.”
She had clearly internalized the British argot. “Pulling a girl” means finding a companion for the evening; “dexies” are Dexedrine pills, which give the user a jolt of energy. At the time, dexy abuse was common in the UK, especially amongst musicians and clubgoers. The band Dexys Midnight Runners took their name from the pill.
The song’s title came about after The Pretenders first-ever UK gig, when they were in the communal dressing room with The Strangeways, who they were supporting. Chrissie Hynde wanted to know whose trousers were sprawled over the back of a chair. One of The Strangeways Ada Wilson said: “I’ll have them if there’s any brass in the pockets.”
When Chrissie inquired what he meant by brass, it was explained to her that brass is a northern slang term for money. Chrissie fell in love with the expression and was inspired to write the song.
It usually doesn’t show up in printed lyrics, but at the end of the song, Hynde coos the line, “Oh and the way you walk.” She says that’s an important part of the song; it’s her telling the insecure peacock that she approves of his offering.
In the video, directed by Mark Robinson, lead singer Chrissie Hynde plays a waitress, implying that “brass” was the change she got from tips. Hynde worked as a waitress in the US before moving to London.
This was the breakout hit from the first Pretenders album, which was a triumph by any measure. In the UK, three singles were released before the album appeared. The first was a cover of The Kinks song “Stop Your Sobbing,” which was released in January 1979 and reached #34 in March 1979. “Kid” followed in June, going to #33 in August. In November, “Brass In Pocket” was released; it rose to the top in January 1980, and stayed at #1 for two weeks.
The album was also released in January 1980, and went to #1 in the UK. In America, it took a while for the group to get noticed. “Brass In Pocket” was the first single there, going to #14 in May 1980. “Stop Your Sobbing” followed, reaching #65 in July. The album is consistently cited as one of the greatest debuts in rock.
In an interview with the Observer newspaper from December 12, 2004, Chrissy Hynde said, “When we recorded the song I wasn’t very happy with it and told my producer that he could release it over my dead body, but they eventually persuaded me. So I remember feeling a bit sheepish when it went to #1.”
Brass in Pocket
Got brass in pocket Got bottle, I’m gonna use it Intention, I feel inventive Gonna make you, make you, make you notice
Got motion, restrained emotion Been driving Detroit leaning No reason, just seems so pleasing Gonna make you, make you, make you notice
[Chorus:] Gonna use my arms Gonna use my legs Gonna use my style Gonna use my side step Gonna use my fingers Gonna use my, my, my imagination
‘Cause I gonna make you see There’s nobody else here No one like me I’m special so special I gotta have some of your attention give it to me
Got rhythm I can’t miss a beat Got new skank it’s so reet Got something I’m winking at you Gonna make you, make you, make you notice
[Chorus]
‘Cause I gonna make you see There’s nobody else here No one like me I’m special, so special I gotta have some of your attention Give it to me ‘Cause I gonna make you see There’s nobody else here No one like me I’m special, so special I gotta have some of your attention
Great guitar lick and song. The song was based on an old blues song by Buddy Moss called Hey Lawdy Mama that Cream recorded. Eric Clapton took the lead vocal in this one. They reworked the song and the writing credits went to Felix Pappalardi, Gail Collins and Eric Clapton.
The song didn’t chart in the Billboard 100 but made it to #17 in the UK charts. A great classic Cream song.
When Cream performed the early version of this song as “Lawdy Mama,” Clapton and bass player Jack Bruce would share lead vocals. The band recorded both “Lawdy Mama” and “Strange Brew” at Atlantic Studios in New York on April 3, 1967. The band had spent the previous week in the city, performing daily at the “Music In The Fifth Dimension” show at the RKO Theater. These shows were organized by the influential disc jockey Murray the K, and provided great exposure for Cream in America. Other acts on the bill for some of these shows: The Who, Wilson Pickett and the Lovin’ Spoonful. Cream would complete the Disraeli Gears album when they returned to the United States the next month.
The lyrics refer to a female, which could mean drugs or be a more literal reference to a woman. Either way, she is “killing what’s inside of you.”
Cream had a very psychedelic sound, and this song was released in the Summer of Love, where it fit in quite well.
To craft “Strange Brew,” producer Felix Pappalardi added Eric Clapton’s vocal to a take of the band’s recording of “Lawdy Mama,” which appears as a bonus track on the 2004 re-release of Disraeli Gears, but didn’t make the original album. Jack Bruce wasn’t happy about this, especially since he wasn’t able to re-record his bassline. To keep the tenuous peace in the band during Cream’s reunion concerts in 2005, “Strange Brew” was omitted from their 19-song playlist, despite being one of their best known and loved songs.
Clapton got the idea for the album title after a roadie named Mick Turner told him about the derailleur gears on his bicycle. Derailleur, pronounced “Di-rail-yer,” are the kind of gears commonly found on 10-speed bikes. The roadie pronounced it “Disraeli,” which led to the title.
On Eric Clapton’s Crossroads boxed set, this is placed next to “Lawdy Mama,” the Blues song it is based on.
Strange Brew
Strange brew, kill what’s inside of you.
She’s a witch of trouble in electric blue, In her own mad mind she’s in love with you. With you. Now what you gonna do? Strange brew, kill what’s inside of you.
She’s some kind of demon messing in the glue. If you don’t watch out it’ll stick to you. To you. What kind of fool are you? Strange brew, kill what’s inside of you.
On a boat in the middle of a raging sea, She would make a scene for it all to be Ignored. And wouldn’t you be bored? Strange brew, kill what’s inside of you.
Strange brew, strange brew, strange brew, strange brew. Strange brew, kill what’s inside of you
This song came off of the great Document album. With some REM songs it takes a few listens for me but this one… the first time was enough to know I really liked it. It was recorded in the Sound Emporium in Nashville, Tennessee. The song peaked at #69 in 1988. The song was inspired by Subterranean Homesick Blues by Bob Dylan and you can tell.
Michael Stipe said: “The words come from everywhere. I’m extremely aware of everything around me, whether I am in a sleeping state, awake, dream-state or just in day to day life. There’s a part in ‘It’s The End Of The World As We Know It’ that came from a dream where I was at Lester Bangs’ birthday party and I was the only person there whose initials weren’t L.B. So there was Lenny Bruce, Leonid Brezhnev, Leonard Bernstein… So that ended up in the song along with a lot of stuff I’d seen when I was flipping TV channels. It’s a collection of streams of consciousness.”
Stipe claims to have a lot of dreams about the end of the world, destroyed buildings and the like. His stream-of-consciousness writing style in this is very similar to the way a dream moves.
This started off as a song called “Bad Day,” and had lyrics decrying the politics of the Reagan administration. R.E.M. finally released “Bad Day” on their 2003 hits compilation album, In Time: The Best of R.E.M. 1988-2003.
When R.E.M. played this live, the audience reacted with a party vibe that threw off the band. They thought the apocalyptic lyrics would create a more subdued response.
Michael Stipe said that the lyrics were written to make people smile. The words he used tend to make your mouth smile when you speak them. >>
In the last verse, the line, “The other night I tripped at Knox” refers to Knox College in Galesburg, Illinois, where the band had a night of fun.
This appears in the movies Dream A Little Dream, Independence Day, Tommy Boy and Chicken Little. >>
The government of the Soviet Union allowed this to appear on a 1990 Greenpeace album that was distributed there.
Billy Joel had a huge hit two years later when he used the rapid-vocal, stream of consciousness lyric style on “We Didn’t Start The Fire.”
This appeared in an episode of The Simpsons when Homer and Moe are fighting about Moe’s new bar. Homer opens his own bar in his garage and then lies to REM about why they are playing there. >>
Brett Anderson, lead singer of the all-girl band The Donnas, told Rolling Stone magazine that she is an “R.E.M. geek” and can recite all of the lyrics to the song.
It’s the End of the World as We Know It (And I Feel Fine)
That’s great, it starts with an earthquake Birds and snakes, and aeroplanes And Lenny Bruce is not afraid
Eye of a hurricane, listen to yourself churn World serves its own needs, Don’t mis-serve your own needs Speed it up a notch, speed, grunt, no, strength, The ladder starts to clatter With a fear of height, down, height Wire in a fire, represent the seven games And a government for hire and a combat site Left her, wasn’t coming in a hurry With the Furies breathing down your neck
Team by team, reporters baffled, trumped, tethered, cropped Look at that low plane, fine, then Uh oh, overflow, population, common group But it’ll do, save yourself, serve yourself World serves its own needs, listen to your heart bleed Tell me with the Rapture and the reverent in the right, right You vitriolic, patriotic, slam fight, bright light Feeling pretty psyched
It’s the end of the world as we know it It’s the end of the world as we know it It’s the end of the world as we know it and I feel fine
Six o’clock, T.V. hour, don’t get caught in foreign tower Slash and burn, return, listen to yourself churn Lock him in uniform, book burning, bloodletting Every motive escalate, automotive incinerate Light a candle, light a motive, step down, step down Watch your heel crush, crush, uh oh This means no fear, cavalier, renegade and steering clear A tournament, a tournament, a tournament of lies Offer me solutions, offer me alternatives and I decline
It’s the end of the world as we know it (I had some time alone) It’s the end of the world as we know it (I had some time alone) It’s the end of the world as we know it and I feel fine (time I had some time alone) I feel fine (I feel fine)
It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it and I feel fine (time I had some time alone)
The other night I drifted nice continental drift divide Mountains sit in a line, Leonard Bernstein Leonid Brezhnev, Lenny Bruce and Lester Bangs Birthday party, cheesecake, jellybean, boom You symbiotic, patriotic, slam but neck, right, right
It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it and I feel fine (time I had some time alone)
It’s the end of the world as we know it It’s the end of the world as we know it It’s the end of the world as we know it and I feel fine (time I had some time alone)
It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it and I feel fine (time I had some time alone)
It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it (time I had some time alone) It’s the end of the world as we know it and I feel fine (time I had some time alone)
When I heard this song in 1990 I was thrilled because it sounded like the Faces of the 70s. It was clear rock and roll and had a timeless quality about it. It peaked at #26 in the Billboard 100, #40 in Canada and #45 in the UK. This song was originally recorded by Otis Redding, who wrote it with Allen Jones and Al Bell. It was the only cover song on The Black Crowes debut album, which sold over five million copies.
The two other versions that I like are Otis Redding and Grateful Dead version with Pigpen taking the lead version.
Running a compact 3:08, The Black Crows turned the song into a rocker, using guitars instead of horns and extending the song from Redding’s 2:18 original.
This was The Black Crowes’ third single, following “Twice As Hard” and “Jealous Again.” It made #45 in the US in December 1990, as the group was rapidly gaining momentum. After “She Talks To Angels” hit #30 in May 1991 – over a year after the album was released
“Hard To Handle” was reissued, this time going to #26 and becoming the highest-charting single for the band on the Hot 100. The group had been together for five years before signing a record deal with Def American, which prepared them well for the onslaught of success. Their live act had already been honed, and many who saw them remained lifetime fans as they became more of a jam band.
Hard To Handle
Baby here I am I’m the man on the scene I can give you what you want But you gotta’ come home with me
I have got some good old lovin’ And I got some more in store When I get through throwin’ it on You gotta’ come back for more
Boys will come along a dime by the dozen That ain’t nothing but ten cent lovin’ Pretty little thing, let me light your candle ‘Cause mama I’m sure hard to handle now, yessir’am
Action speaks louder than words And I’m a man of great experience I know you’ve got another man But I can love you better than him
Take my hand don’t be afraid I’m gonna prove every word I say I’m advertising love for free So you can place your ad with me
Boys will come along a dime by the dozen That ain’t nothing but ten cent lovin’ Pretty little thing, let me light your candle ‘Cause mama I’m sure hard to handle now, yessir’am
Yeah Hard to handle now Oh baby
Baby here I am I’m the man on the scene I can give you what you want But you gotta’ come home with me
I’ve got some good old lovin’ And I got some more in store When I get through throwin’ it on you You got to come a-runnin’ back for more
Boys will come along a dime by the dozen That ain’t nothing but ten cent lovin’ Pretty little thing, let me light your candle ‘Cause mama I’m sure hard to handle now, yessir’am
Hard Hard to handle now Oh yeah, yeah yeah yeah
Boys will come along a dime by the dozen That ain’t nothing but ten cent lovin’ Pretty little thing, let me light your candle ‘Cause mama I’m sure hard to handle now, yessir’am
Yeah So hard to handle now Oh yeah
Baby Good lovin’ Baby, baby Ohh, good lovin’ I need good lovin’ I got to have it, oh yeah Yeah So hard to handle, now, yeah
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