Category: Singles

Allen Toussaint – Play Something Sweet (Brickyard Blues)

I posted a Dr. John song last week, and I mentioned Allen Toussaint, who works as a producer and writes charts for horns. I had heard about him through Robbie Robertson’s book Testimony, which is a great book—just saying. CB and I started talking, and I had no idea Toussaint was a performer and songwriter—a very successful songwriter. I thought he mostly just did horn charts for musicians so his story and the songs he wrote totally surprised me.

Allen Toussaint started his career in the 1950s. He was born in New Orleans and grew into a huge musician, songwriter, producer, and performer. Toussaint was inspired by Professor Longhair and other New Orleans piano legends. By the time he was a teenager, Toussaint was already working as a keyboardist and songwriter. He has produced, written for, arranged, had his songs covered by, and performed with music giants The Judds, Paul McCartney, Paul Simon, Elvis Costello, Patti LaBelle, Dr John, Aaron and Art Neville, Joe Cocker, The Meters, Glen Campbell, The Band, Little Feat, The Rolling Stones, Devo, Ernie K-Doe, Lee Dorsey, Irma Thomas, Etta James, Ramsey Lewis, Eric Gale and the countless others.

That list alone knocked me out. A few of his songs are Mother-in-Law by Ernie K-Doe (1961), Working in the Coal Mine by Lee Dorsey, Fortune Teller (The Rolling Stones), Southern Nights (later a hit for Glen Campbell), and many more. That is a diverse set of songs. Play Something Sweet (Brickyard Blues) I remember as a kid because I had Three Dog Night’s greatest hits and this one was a favorite of mine. Many people have covered this song including Levon Helm, Frankie Miller, B.J. Thomas, and Maria Muldaur. 

This song was released in 1974 and was covered by five artists in a year. It was the Three Dog Night version that was a hit. It peaked at #33 in the US and #25 in Canada for the band. It was released on their Hard Labor album. Toussaint was inducted into the Rock and Roll Hall of Fame in 1998 and he received the National Medal of Arts in 2013 from Former President Barack Obama.

Play Something Sweet (Brickyard Blues)

Well, I tried to run my gameShe said “Man, that’s the same old thing I’ve heard before”And I’m too tired to go for your show (again and again)

And she started to explainShe said “Man, I ain’t saying what you’re playing just can’t make itBut I just can’t take it anymore”

Play something sweet, play something mellowPlay something I can sink my teeth in like JelloPlay something I can understandPlay me some Brickyard Blues

Play something sweet and make it funkyJust let me lay back and grin like a monkeyPlay something I can understandPlay me some Brickyard Blues

Well, I started to sweatShe said “Don’t get upset ’cause you just might break a stringAnd that won’t do a thing for your show

So I said to myselfI said “Self, do you see what is sailing through my soul?”And I gotta have some more, don’t ya know

Play something sweet, play something mellowPlay something I can sink my teeth in like JelloPlay something I can understandPlay me some Brickyard Blues

Play something sweet and make it funkyJust let me lay back and grin like a monkeyPlay something I can understandPlay me some Brickyard Blues

It’s enough to make it light in the darkIt’s enough to make a bite just a barkIt’s enough to make a body move aroundIt’s enough to make a rabbit hug a dogPlay something sweet

Well, I tried to run my gameShe said “Man, that’s the same old thing I’ve heard before”And I’m too tired to go for your show (again and again)

And she started to explainShe said “Man, I ain’t saying what you’re playing just can’t make itBut I just can’t take it anymore”

Play something sweet, play something mellowPlay something I can sink my teeth in like JelloPlay something I can understandPlay me some Brickyard Blues

Play something sweet and make it funkyJust let me lay back and grin like a monkeyPlay something I can understandPlay me some Brickyard Blues

Play something sweet, play something mellowPlay something I can sink my teeth in like JelloPlay something I can understandPlay me some Brickyard Blues

Play something sweet and make it funkyJust let me lay back and grin like a monkeyPlay something I can understandPlay me some Brickyard Blues

…

Dan Hicks – I Scare Myself

A while back CB introduced me to Dan Hicks. The first thing I noticed about Dan was that he was countryish but not a standard country artist at all. He had this Country, Jazz, Bluegrass, Folk, and more thrown in there going on. I did notice he was off-centered compared to other artists. I’m thinking of a Zappa and Beefheart kind of artist with different influences.  He is one of the most fascinating artists I’ve run across. He also injected a great sense of humor in some of his songs. 

Dan HIcks was from Arkansas but his family moved to California when he was a child. He got interested in music and started off as a drummer. He transitioned to playing guitar and singing, and then he shifted toward folk and country music. He liked a little of everything from swing jazz to Western swing to folk music.

In 1965, Hicks joined The Charlatans (not the English Band), one of the pioneering bands in the San Francisco psychedelic rock scene. Though the group never achieved big commercial success, they helped create the counterculture sound. Hicks’ time with The Charlatans was short, as he eventually left to pursue his own musical direction.

In 1967 he formed Dan Hicks and His Hot Licks. Ironic that the band didn’t use a drummer. The Hot Licks broke up in 1973, but Hicks continued to perform as a solo artist and reformed the group several times in later years.

This song was on his 1972 album Striking It Rich along with another song at the bottom of the post called Moody Richard (The Innocent Bystander). He has released 16 albums between 1969 and 2013. He passed away on February 6, 2016, from liver cancer, leaving behind a legacy of musical innovation and humor that continues to resonate with fans and musicians alike.

He didn’t avoid mainstream completely. I did find a spot he did on the Flip Wilson Show. He was also an actor at times as well as he appeared in a few movies and television shows. 

I Scare Myself

I scare myself
When I’m without you
I scare myself
The moments that you’re gone
I scare myself
When I let my thoughts run

And when they’re runnin’
I keep thinking of you
And when they’re runnin’
What can I do?

I scare myself
And I don’t mean lightly
I scare myself
It can get frightenin’
I scare myself
To think what I could do
I scare myself
It’s some kinda voodoo

And with that voodoo
I keep thinking of you
And with that voodoo
What can I do?
See pop shows near Nashville
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The Laughing Song
Dan Hicks & The Hot Licks
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Dan Hicks & The Hot Licks

But it’s oh so, so, so different
When we’re together
And I’m oh so so much calmer, I feel bettеr
For the stars have crossed our paths forеver
And the sooner that you realize it, the better

Then I’ll be with you
And I won’t scare myself
And I’ll know what to do
And I won’t scare myself
And then I’ll think of you
And I won’t scare myself
And then my thoughts’ll run
And I won’t scare myself

Then I’ll be with you
And I won’t scare myself
And I’ll know what to do
And I won’t scare myself
And I’ll think of you
And I won’t scare myself
And my thoughts will run
And I won’t scare myself…

…

Steve Miller – Space Cowboy

I’m getting into this pre-fame hits, Steve Miller. The music was a little more edgier and deeper. I think Miller’s hits have been a huge victim of radio overplay and I realize that is not his fault…doesn’t mean “Jet Airliner” is not any good…we have sometimes heard those songs too much. I have songs like that…but give it some time and I can listen to them again.

In the first line of this song, he references his first real hit, Living In The USA, and he even brings in some musical elements from it. I like the bottom-end riff that drives this song. He would recycle riffs and phrases at times. The phrase “Some call me the Space Cowboy” would later be referenced in Miller’s massive 1973 hit, “The Joker”. This era of the Steve Miller Band should have received more attention in real-time. The talent he had in that band was outstanding.

The music on this album could be labeled as blues and psychedelic in some ways considering the era it was recorded in. The title itself was partly because of the countercultural movement, space exploration going on that year, and free-thinking of the American West.

His earlier songs have more of a blues feel. The former members of his band have included Boz Scaggs, Nicky Hopkins, Doug Clifford (CCR drummer), Ross Valory, Lonnie Turner, and about a page more of many more names.

The song was on The Steve Miller Band’s 1969 album Brave New World, which peaked at a respectable #22 on the Billboard Album Charts and #38 in Canada. This is the same album that featured My Dark Hour, a collaboration between Miller and Paul McCartney.

Glyn Johns produced this album and four albums altogether for Steve Miller. They worked great together. Glyn was a busy man at the time. While he was finishing up this album he would go and work on Let It Be and also cross the hall at Olympic and work on the Stones album Let It Bleed as a sound engineer. He also helped George Harrison produce an album by Billy Preston…all of these projects were at the same time.

Glyn Johns: I returned to California to start the Steve Miller Band’s third album, Brave New World. We were getting on fine until I got a call from The Beatles, asking if Steve would let me go for a couple of weeks, to return home to London to do some sessions for what became Abbey Road. They made him an offer he could not refuse, saying they would pay all the expenses incurred by the delay to his recording schedule. So the band got to hang out in a hotel in L.A. courtesy of The Beatles, while I disappeared back to London for what proved to be a somewhat grueling few days.

I went straight from the plane to Apple for a couple of days, and then to Olympic Studios for an all-night session with the Stones till six a.m. Then to Apple again in the afternoon before going on to the Albert Hall that evening to record Jimi Hendrix in concert.

Space Cowboy

I told you ’bout living in the U.S. of A.
Don’t you know that I’m a gangster of love
Let me tell you people that I found a new way
And I’m tired of all this talk about love
And the same old story with a new set of words
About the good and the bad and the poor
And the times keep on changin’
So I’m keepin’ on top
Of every fat cat who walks through my door

I’m a space cowboy
Bet you weren’t ready for that
I’m a space cowboy
I’m sure you know where it’s at
Yeah, yeah, yeah, yeah

I was born on this rock
And I’ve been travelin’ through space
Since the moment I first realized
What all you fast talkin’ cats would do if you could
You know, I’m ready for the final surprise
There ain’t no way around it
Ain’t nothing to say
That’s gonna satisfy my soul deep inside
All the prayers and surveyors
Keep the whole place uptight
While it keeps on gettin’ darker outside

I’m a space cowboy
Bet you weren’t ready for that
I’m a space cowboy
I’m sure you know where it’s at
Yeah, yeah, yeah, yeah

I see the show downs, slow downs, lost and found, turn arounds
The boys in the military shirts
I keep my eyes on the prize, on the long fallen skies
And I don’t let my friends get hurt
All you back room schemers, small trip dreamers
Better find something new to say
Cause you’re the same old story
It’s the same old crime
And you got some heavy dues to pay

I’m a space cowboy
Bet you weren’t ready for that
I’m a space cowboy
I’m sure you know where it’s at
Yeah, yeah, yeah, yeah

…

Gene Vincent – I’m Goin’ Home (To See My Baby)

I love this man’s music. He is severely overlooked by many who only know Be Bob A-Lula. His voice goes with that slapback echo better than any other singer. His influence can be heard through the decades including Springsteen in Glory Days. This song has been covered 15 times including The Zombies. 

One thing about Vincent. You can hear people emulate Elvis and Johnny Cash but no one sounded like Vincent. Besides, no one sounding like him… no one looked like him either. No pompadour. No huge hair. Just a curly sort of quiff-ish look. 

 Union restrictions prevented his own band, the Blue Caps, from crossing the Atlantic with him, Gene Vincent had been forced to use a British backing group, and the group selected for his UK tour was Sounds Incorporated. 

The song is different in some ways. I love the sax in this song and the drumming (Tony Newman). The song has some cool dynamics built in as it starts off with just Gene and a nice guitar…it then starts with the drums and plows ahead until the end. Sounds Incorporated backed him on this song and the B-side Love Of A Man. This was their big break and after this, they also backed Little Richard, Jerry Lee Lewis, Brenda Lee, and Sam Cooke.

I’ll mention Springsteen again because the man knows dynamics in songs and artists like this inspired him. The song was written by Bob Bain and was released in 1961. It peaked at #36 in the UK Charts. It was a pure single…not off an album. 

By this time the UK was where all of the 50’s rock stars went because America was too busy listening to Paul Anka, Fabion, and Pat Boone. It was a sad state of music at that time for rock and roll. The parents probably loved the no soul no trouble singers. Then thankfully…the British invasion and Motown were coming up.

 

I’m Goin’ Home Home (To See My Baby)

Well, I’m going home, to see my baby
Yeah, I’m going home, to see my gal
Well, don’t you know, she really loves me
Ah, don’t you know, she really cares

Yeah, I’m going home, to see my baby
Well, I’m going home, to see my gal
Ah, don’t you know, she really loves me
Yeah, I’m going home, to see my gal

Well, I’m going home, to see my baby
Yeah, I’m going home, to see my gal
Ah, don’t you know, she really loves me
Ah, don’t you know, she really cares

She’s there to love me every night
Don’t you know she treats me right
Yeah, she’s alright, yeah…

She’s there to love me all the time
Don’t you know I’m glad she’s mine
Yeah, she’s alright, yeah…

Well, I’m going home, to see my baby
Well, I’m going home, to see my gal
Ah, don’t you know, that she’s my baby
Well, don’t you know, that she’s my gal

She’s there to love me all the time
Don’t you know I’m glad shе’s mine

 

 

…

Replacements – Little Mascara

Great name for a song or a band…and that guitar is what I was sorely missing around this time in the 1980s. This album was in the stretch of great albums by the band. Let It Be, Tim, and Please To Meet Me. Personally, I never knew how big this song was with fans. One search on YouTube and you can find bands covering this song everywhere.

Everyone who knows me… knows I’m not a huge fan of the Top 40 in the 1980s but alternative rock is a different story. In my opinion, the two best American alternative rock bands to come out of the 80s were The Replacements and R.E.M. The Replacements were the generation’s Big Star influencing 1990s and 2000s bands. They had a secret weapon in Westerberg as a songwriter. I would safely say they were two of my favorite bands in the 80s.

This song was on their 1985 album Tim. Why was the album called Tim? There was no reference to the name on the album. The band’s manager said that he asked Paul Westerberg what the name of the album would be. Paul told him “Tim,” and the manager asked why. Paul said, “because it’s such a nice name.”

This album was their first major label release on Sire Records in 1984. This would be the last album by the original band because Bob Stinson would be kicked out a couple of years later. Stinson did a great solo in this song…very Keith Richards-like.

Tim was placed 136th on Rolling Stone’s 2003 list of the 500 greatest albums of all time, and 137 in a 2012 revised list. The album peaked at #186 in the Billboard Album Chart in 1986.

I couldn’t find any footage of them originally doing this song live so here they are when they regrouped in the teens.

Little Mascara

You and I fall togetherYou and I sleep aloneAfter all, things might be betterAfter one, and there’s one that’s long gone

For the moon you keep shootin’Throw your rope up in the airFor the kids you stay togetherYou nap ’em and you slap ’em in a highchairAll you ever wanted was someone to take care of yaAll you’re ever losin’ is a little mascaraLittle mascaraLittle mascara

Afternoon, things are quietSettle back now if you canStations clip by like a rocketDon’t you worry if you wonder why he ran

All you ever wanted was someone to take care of yaAll you’re ever losin’ is a little mascaraLittle mascaraLittle mascaraThat you cry, cryThat you cryYour eyes outThat you cryThat you cryThat you cryYour eyes out

All you ever wanted was someone Ma’d be scared ofAll you’re ever losin’ isA little mascaraLittle mascaraLittle mascaraThat you cryThat you cryThat you cryYour eyes outThat you cryThat you cryThat you cryYour eyes outThat you cryThat you cryThat you cry…

…

Fats Domino – I Want To Walk You Home

This man could take any song and make it his own. He must have loved walking… he had hits with I’m Walkin’, Did You Ever See A Dream Walking?, Walking To New Orleans, and this song I Want To Walk You Home. It was written by Fats Domino and produced by his long-time collaborator Dave Bartholomew. It peaked at #8 on the Billboard 100 and #1 on the Billboard R&B Charts. 

Antoine “Fats” Domino Jr. was not flashy and wild like some of his 1950s peers such as Elvis, Little Richard, and Jerry Lee Lewis. The first I heard of Fats Domino was on “Happy Days” and the song Blueberry Hill. I was at a relative’s yard sale when I was a kid and was given his and Chuck Berry’s greatest hits. My Aunt never knew how much those two records would influence me. 

Domino was the youngest of eight children in a musical family, he spoke Creole French before learning English. At age 7 his brother-in-law taught him how to play the piano. By the time he was 10, he was already performing as a singer and pianist.

Fat’s first hit in the Billboard 100 was the great “Aint That A Shame” in 1955 written by  Fats Domino and Dave Bartholomew which peaked at #16 and his last charting song was a cover of the Beatles’s “Lady Madonna”(great version) that peaked at #100 in 1968. He had 45 songs in the top 100 and 4 top 10 hits…many more top 10 hits in the R&B Charts.

He lived in New Orleans During Hurricane Katrina, he lost most of his possessions and he and his family were rescued by the Coast Guard. He unselfishly made many personal appearances to raise money for the hurricane relief. His house was hit hard and he lost his National Medal and gold records but George Bush gave him another medal to replace the lost one and the RIAA gave him replacement gold records.

To raise money for repairs for his own home, friends and fellow musicians recorded a tribute album, Goin’ Home: A Tribute to Fats Domino, featuring Robert Plant, Elton John, Paul McCartney, and more. He was living in New Orleans at the time of his death on October 24, 2017.

He was a huge influence on The Beatles, Elton John, Robert Plant, and Randy Newman. Elvis even called Fats “The King”…a well-deserved title. 

I Want To Walk You Home

I want to walk you homePlease let me walk you homeI wants to walk you homePlease let me walk you homeYou look so good to me, oh-ooh-eeI wish I was the lucky guy who could walk you right on down the aisle

I love the way you walkI love to hear you talkI love the way you walkI love to hear you talkI’m not tryin’ to be smart, I’m not tryin’ to break your heartBut if I ask you for a date, will you tell me that I’m not too late

I want to hold your handPlease let me hold your handI want to hold your handPlease let me hold your handYou look so good to me, oo-ooee

I saw you walking all alone, that’s why I want to walk you home

So let me walk you homePlease let me walk you homeI want to walk you homePlease let me walk you homeYou look so good to me, oh-ooh-eeI saw you walking all alone, that’s why I want to walk you homeThat’s why I want to walk you home, that’s why I want to walk you homeThat’s why I want to walk you home

…

Big Star – I’m In Love With A Girl

One thing the break I took a few months ago did for me was to reignite my love for Big Star. When I heard The Ballad of El Goodo on my “Break” post I reached for their albums again. This song is a short ballad by Alex Chilton on their second album Radio City. They had songs that were as good as The Beatles or The Kinks but just as not widely known.

When they started this album, a key member quit: Chris Bell. He wrote half of the debut album #1 Record. The failure of the first album was the key. Bell was a sensitive guy and took it hard. The problem was Stax Records who were going through financial hardships at the time.

When the record was played on the radio it got a huge popular response but when people went to the record stores…there was no album. Stax had a huge problem with distribution at the time. Plus…they didn’t know how to promote a power pop band. In my opinion, if they had been on Capitol or WB they probably would have succeeded. The debut album is about as perfect of a power pop album as you can get.

Radio City is a little edgier and some fans like it more than #1 Record. They decided to stay together with the three of them…Alex Chilton, Jody Stephens, and Alex Hummel. Chilton wrote this touching short acoustic song. It’s one of the most popular songs on the album. On Spotify, it’s second only to September Gurls on times being played with 5,544,493.

It’s a sweet short song that sticks with me.

A rare live version from 1974

I’m In Love With A Girl

I’m in love with a girlFinest girl in the worldI didn’t know I could feel this way

Think about her all the timeAlways on my mindI didn’t know about love

All that a man should do is true-ooh-oohAll that a man should do is true-ooh-ooh

I’m in love with a girlFinest girl in the worldI didn’t know this could happen to me

…

Humble Pie – Thunderbox

This guitar riff caught me right off the bat…I heard it for the first time not long ago. It’s pretty much irresistible. It reminds me of a song that Free would have one. The term “thunderbox” is British slang for a portable toilet, which reflects Steve Marriott’s sense of humor.

You know, I love Bob Dylan, Bruce Springsteen, Van Morrison, John Prine, and other performers who write deep songs. Sometimes though it’s nice to play a song like Thunderbox and let it go. The song was written by Steve Marriott and David Clempson.

Humble Pie released their seventh studio album Thunderbox in 1974. They were considered a “supergroup” at the time. Along with Small Faces Marriott, they featured former Herd lead guitarist Peter Frampton and ex-Spooky Tooth bassist Greg Ridley plus teenage drummer Jerry Shirley. The album peaked at #52 on the Billboard 100 and #58 in Canada in 1974. This was the start of the decline of the band. They got ripped off bad and Steve Marriott mentioned the mob and John Gotti being one of the beneficiaries of the band’s profits.

Humble Pie had some great songs but nothing really caught on with the masses. That’s not always a bad thing but they never had a big song identifiable to them as some other bands do. The Faces had Stay With Me but Humble Pie never had that one song. For me, it should have been 30 Days in the Hole.

They did have four top twenty albums but were more known as a live band…check out Performance Rockin’ the Fillmore …that album put them over the hump.

Thunderbox

Oh, yeah
Ooh, oh, ooh
Ooh, ooh
Oh, yeah
He’s a thunderbox, sure
You got your hot pants round your shoulders
Lick your lips and you a fox
Everybody stopped and told us
They say you got a thunderbox
You can see for yourself, I’ve got a clean bill of health
I ain’t never seen a thunderbox
Oh, oh, what do you know
Well, I get to sing–solo
He’s a thunderbox
Oh yea, he’s a thunderbox…
Well, was your claim to fame
In the same letter name
It’s your game I’m playing
While the music is swaying
Oh, I’m so glad I came in here
He’s a thunderbox
Oh yea, he’s a thunderbox…
You’re not a lot, you know, when you ain’t a gypsy
And a hooker with your wicked knots
I had to park the car and take a look to see
‘Cause I ain’t never seen a thunderbox
Oh, oh, well, I don’t know where you’ve been
But I can guess what you’ve seen
You know what I mean
He’s a thunderbox
Oh, yea, he’s a thunderbox…
Oh, oh, I can see what you’ve got
Since you sure got a lot
And, and the band’s still playing
Let the music sway
Oh, I’m so glad I came in here
He’s a thunderbox
Oh, yea, he’s a thunderbox…
Some say you from Dallas there
And you’re hooked on pork and beans
But I think it might be you’re from Louisiana
Roundabout New Orleans
I can see you don’t smell like no flower
But I can say the same for myself
Tell you girl, I know that you know that I know I’ve got my reasons
You know that you’re bad yourself
Don’t ask me for no answers
You could never ever take the shock
I’ve got the grief and I’ll take my chances
Rolling with my thunderbox
Oh, oh, I guess you may say
It’s just a casual affair
But I just got to know you all
He’s a thunderbox
Oh, yea, he’s a thunderbox…

…

Beatles – Cry Baby Cry

The king of Marigold was in the kitchenCooking breakfast for the queenThe queen was in the parlorPlaying piano for the children of the king

One song off the White Album that I found when I was 13 years old. It’s a good reason why I’m happy they kept it as a double album. I wouldn’t have this song and a few more. When the chorus kicks in it sticks in your head. That is the beauty of the White Album…it has something for everyone. Lennon had a way of delivering sometimes dark imagery, forming it around a catchy melody and it worked. It’s just part of the album’s huge tapestry.

The track includes a coda not originally part of the song… a snippet of Paul McCartney singing a few lines known as “Can You Take Me Back?” That was an unfinished song by Paul. This fragment segues into Revolution 9 on the album and adds an eerie, unresolved feeling to the end of the track. They would explore this more on the B side of Abbey Road.

Although the songs differ in style they all have that Beatles touch to them whether it be the hard Helter Skelter, country Rocky Raccoon, or even the fairytale-like Cry Baby Cry. The sessions were not the happiest time for the band (the Esher Demos were though) but they came up with the most eclectic batch of songs they ever produced. The demos they made gave another look at the song.

When John Lennon was killed in 1980 there were three albums I bought that long winter. Double Fantasy, The White Album,  and Abbey Road. I’m back there again in that 1980-81 winter and spring when I hear this album.

The White Album is as diverse as you can get… Pop, Rock, Country, Folk, Reggae, Avant-Gard, Blues, Hard Rock and some 20’s British Music Hall thrown in the mix. It has plenty of songs that you have heard of and many that the masses have not heard as much. John Lennon wrote one of his best songs for this album… Dear Prudence.

The Beatles more than many bands could bend to a style of music and play that style well.

Of all the songs I heard on this album…this is the one where I thought…hmmm… John Lennon was so different in writing songs compared to Paul. I love this example of John’s fairytale. He wrote the song in 1967, inspired by a commercial jingle he heard on Television. The lyrics play on the nursery rhyme Sing a Song of Sixpence, with lines like Cry baby cry, make your mother sigh evoking a fairy-tale atmosphere.

Ian MacDonald, in his book Revolution in the Head, described this song as “a charmingly wayward waltz” with “a whimsical, mildly satirical undertone.”

The White Album was released in 1968 and peaked at #1 in the Billboard Album Chart, #1 in Canada, #1 in the UK, and #1 about everywhere else

The demo of Cry Baby Cry. You can hear John double his voice. 

Cry Baby Cry

Cry, baby, cryMake your mother sigh

The king of Marigold was in the kitchenCooking breakfast for the queenThe queen was in the parlorPlaying piano for the children of the king

Cry, baby, cryMake your mother sighShe’s old enough to know betterSo cry, baby, cry

The king was in the gardenPicking flowers for a friend who came to playThe queen was in the playroomPainting pictures for the children’s holiday

Cry, baby, cryMake your mother sighShe’s old enough to know betterSo cry, baby, cry

The duchess of Kirkcaldy always smilingAnd arriving late for teaThe duke was having problemsWith a message at the local bird and bee

Cry, baby, cryMake your mother sighShe’s old enough to know betterSo cry, baby, cry

At 12 o’clock, a meeting ’round the tableFor a seance in the darkWith voices out of nowherePut on specially by the children for a lark

Cry, baby, cryMake your mother sighShe’s old enough to know betterSo cry, baby, cryCry, baby cryMake your mother sighShe’s old enough to know betterSo cry, baby, cry

Cry, cry, cryMake your mother sighShe’s old enough to know betterSo cry, baby, cry

.

Johnny Cash – Ring of Fire

Johnny Cash crossed genre’s probably better than anyone. I’ve met metal, punk, and rock fans who love this man. It’s probably a combination of personality and music that draws people into his orbit. He is still crossing genres even after being gone for years. 

This song was written by his best friend June Carter Cash and Merle Kilgore in 1962. The inspiration came from June’s feelings about her relationship with Johnny Cash. At the time, their relationship was intense as Johnny was struggling with addiction and the complications of his personal life. When she wrote the song, they were just close friends at the time and not married yet. They would not get married until March 1, 1968. 

Johnny wasn’t the first to record this song though. That would be Anita Carter who was June’s sister. She did a really good version of it but without those horns…it just doesn’t click like Johnny’s version does. Cash claimed that he dreamed of the song’s eventual arrangement, including the Mexican-style trumpets. He wanted the song to have a mix of country, rock, and mariachi sounds.

The song peaked at #1 on the Billboard Country Charts and #17 on the Billboard 100 in 1963. It appeared on the compilation album Ring of Fire: The Best of Johnny Cash in 1963.

Vivian Cash (Johnny’s Ex-Wife):  “She didn’t write that song any more than I did. The truth is, Johnny wrote that song, while pilled up and drunk, about a certain private female body part.”

Ring of Fire

Love is a burnin’ thing
And it makes a fiery ring
Bound by wild desire
I fell into a ring of fire

I fell into a burnin’ ring of fire
I went down, down, down
And the flames went higher
And it burns, burns, burns
The ring of fire, the ring of fire

I fell into a burnin’ ring of fire
I went down, down, down
And the flames went higher
And it burns, burns, burns
The ring of fire, the ring of fire

The taste of love is sweet
When hearts like ours meet
I fell for you like a child
Oh, but the fire went wild

I fell into a burnin’ ring of fire
I went down, down, down
And the flames went higher
And it burns, burns, burns
The ring of fire, the ring of fire

I fell into a burnin’ ring of fire
I went down, down, down
And the flames went higher
And it burns, burns, burns
The ring of fire, the ring of fire
And it burns, burns, burns
The ring of fire, the ring of fire
The ring of fire, the ring of fire

…

Dr. John – Such A Night

I remember this well from my childhood on WMAK, an AM station in Nashville that played the hits. Dr. John (Malcolm John Rebennack) had a voice that was hard to forget along with his delivery. This one was written by Dr. John not to be confused with The Drifters song Such A Night. 

This song was from the album In the Right Place released in 1973. It’s is a delight…you have John’s New Orleans-style funk and his unique voice. When I first heard it I would have sworn he was saying “Saturday Night” instead of Such a Night when I heard him on the Last Waltz doing this song. He put a little New Orleans in everything he did.

This was his breakthrough album. It peaked at #24 on the Billboard Album Charts. Before this album he was a musician’s musician but after he became a pop star as well. This song peaked at #42 on the Billboard 100 but Nashville must have liked it more than that…they played it a lot. 

Dr. John collaborated with legendary producer Allen Toussaint and The Meters, a huge New Orleans funk band and the results were gold. I knew I heard of Allen Toussaint before…he worked with The Band. Robbie Robertson wanted horns on Life Is A Carnival and Toussaint did it. After that, Robbie asked him to write horn parts for an entire live show. He did that over Christmas of 1971 and The Band’s live album Rock Of Ages came out of that collaboration. 

Such A Night

Such a night, it’s such a nightSweet confusion under the moonlightSuch a night, such a nightTo steal away, the time is right

Your eyes caught mine, and at a glanceYou let me know that this was my chanceBut you came here with my best friend JimAnd here I am, tryin’ to steal you away from him

Oh, but if I don’t do it, you know somebody else willIf I don’t do it, you know somebody else willIf I don’t do it, you know somebody else willIf I don’t do it, you know somebody else will

And it’s such a night, it’s such a nightSweet confusion under the moonlightIt’s such a night, such a nightTo steal away, the time is right

Yeah, I couldn’t believe my ear and my heart just skipped a beatWhen you told me to take you walkin’ down the streetOh yeah, you came here with my best friend JimHere I am, I’m stealin’ you away from him

Oh, but if I don’t do it, you know somebody else willIf I don’t do it, you know somebody else willIf I don’t do it, you know somebody else willIf I don’t do it, you know somebody else will‘Cause it’s such a night

…

Guy Clark – L.A. Freeway

In the past couple of years, I’ve been listening to more and more of the Texas style singer/songwriters and I can’t get enough. I keep looking for more but there are a few I always come back to…Guy Clark, Townes Van Zant, Jerry Jeff Walker, and Steve Earle.  In 1975 Guy Clark released this song on his first album Old No. 1 and eventually released 13 studio albums. 

In the 1960s, Guy Clark tried his luck in the California music scene. He also built and repaired guitars and had a shop in San Francisco in 1969. In 1971 he was signed as a songwriter by Sunbury Music in Los Angeles, he decided to relocate to the company’s Nashville office in 1971. His arrival helped usher in a migration of new songwriting talent to the city.

Clark wrote this song while living in Los Angeles in the late 1960s. He and his wife, Susanna Clark, lived in a small, rundown apartment, and they felt out of place in the city. They wanted to leave Los Angeles and return to Texas, where he felt more at home.

The idea for the song reportedly came to Clark while he was driving on the freeway, scribbling lyrics on a paper bag. The line “pack up all your dishes, make note of all good wishes” showed his desire to escape the chaotic nature of L.A. at the time.

Jerry Jeff Walker was the first to record the song on his self-titled album in 1972. Walker’s version of this song peaked at #98 on the Billboard 100 so Walker popularized it. 

L.A. Freeway

Pack up all your dishesMake note of all good wishesAnd say goodbye to the landlord for meThat son of a bitch has always bored me

Throw out them LA papersAnd that mouldy box of vanilla wafersAdios to all this concreteGonna get me some dirt road back streets

If I can just get off ofI’ll be down the road in a cloud of smokeTo some land I ain’t bought, bought, bought

And it’s, here’s to you old skinny DennisThe only one I think I will missI can hear that old bass singingSweet and low, like a gift you’re bringing

Play it for me one more time, nowGot to give it all you we can nowI believe every thing you’re sayingAnd just to keep on, keep on playing

If I can just get off of this L.A. freewayWithout gettin’ killed or caughtI’ll be down the road in a cloud of smokeTo some land I ain’t bought, bought, bought

And you put the pink card in the mailboxLeave the key in the front door lockThey’ll find it likely as notI’m sure there’s somethin’ we have forgot

Oh Susanna, don’t you cry, babyLove’s a gift that’s surely handmadeWe got somethin’ to believe inDon’t you think it’s time we’re leavin’?

If I can just get off of this LA freewayWithout gettin’ killed or caughtI’ll be down the road in a cloud of smokeTo some land I ain’t bought, bought, bought

If I can just get off of this LA freewayWithout gettin’ killed or caughtDown the road in a cloud of smokeTo some land I ain’t bought

So pack up all your dishesMake note of all good wishesAnd say goodbye to the landlord for meThat son of a bitch has always bored me

Bob Dylan – Girl From The North Country

If you go when the snowflakes storm
When the rivers freeze and summer ends
Please see if she’s wearing a coat so warm
To keep her from the howlin’ winds

This is one of the most beautiful songs that Bob Dylan ever wrote. I learned this song on guitar and harmonica when I was in my twenties. When we were playing out the equipment would break down like the guitar player’s amp or my amp…I would grab an acoustic and a harmonica with my harmonica rack and play this one. It always went over well. The song hits me deeply for some reason…you can tell this song was genuine. 

I read Robert Shelton’s book about Bob Dylan, and the song appears to be about Echo Helstrom (If I would have had a daughter…I wanted to name her Echo), a girl he knew in Hibbing, Minnesota before he made it. As with every Dylan song, there is another rumor that it’s about a folk singer and actress named Bonnie Beecher. I tend to believe the Shelton book on this one and go with Echo but who knows which one it is? He knew both in Minnesota so it could have been either one. Some say Suzy Rotolo was it but he didn’t meet her until he was in New York.

It was originally released on his 1963 album The Freewheelin’ Bob Dylan and later re-recorded as a duet with Johnny Cash for Dylan’s 1969 album Nashville Skyline. Unlike some Dylan songs…this one is not a musical novel. It’s a little over 3 minutes and gets right to the point in the most elegant way. Bob did take the melody of Scarborough Fair for this one. 

The Freewheelin’ Bob Dylan peaked at #22 on the Billboard Album Charts and #1 in the UK in 1963. It was his second album and here is where he started to get real traction with people and build an audience, especially in the UK. The folk purists would get two more albums until the electric instruments of 1965’s Bringing It All Back Home would shatter their Dylan folk singer dream. 

Johnny Cash: “I had a portable record player that I’d take along on the road, and I’d put on The Freewheelin’ Bob Dylan backstage, then go out and do my show, then listen again as soon as I came off. After a while at that, I wrote Bob a letter telling him how much of a fan I was. He wrote back almost immediately, saying he’d been following my music since ‘I Walk the Line,’ and so we began a correspondence”.

This live clip is from Hard To Handle when Dylan used Tom Petty and the Heartbreakers as his backing band. I learned it from this live version. 

Girl From The North Country

If you’re travelin’ in the north country fair
Where the winds hit heavy on the borderline
Remember me to one who lives there
She once was a true love of mine

If you go when the snowflakes storm
When the rivers freeze and summer ends
Please see if she’s wearing a coat so warm
To keep her from the howlin’ winds

Please see for me if her hair hangs long
If it rolls and flows all down her breast
Please see for me if her hair hangs long
That’s the way I remember her best

I’m a-wonderin’ if she remembers me at all
Many times I’ve often prayed
In the darkness of my night
In the brightness of my day

So if you’re travelin’ in the north country fair
Where the winds hit heavy on the borderline
Remember me to one who lives there
She once was a true love of mine

Zombies – This Will Be Our Year

I love tradition so here we are again! Happy New Year 2025. 

For the past few years, this has been my first post in the New Year. If you have followed me for a while you should know this one. Again for 2025 my first post!

Next to Auld Lang Syne, this is my favorite New Year’s Song. A favorite of mine from one of my favorite bands. Everyone… I wish you a Happy New Year in 2024.

You didn’t have to read my blog but you did and I really appreciate it…I want to thank all of you for reading and commenting in 2023.

This song sounds like it should have been a hit but it was never pushed as a single at the time. It was the B side to Butcher’s Tale  (Western Front 1914) which is an experimental song and was a big surprise to the band that it was picked as the first single. Both are from the great album Odessey and Oracle in 1968. Several songs on this album could have been in the charts but Time of the Season was the only one that made it and it was a year after the album was released.

Bruce Eder of AllMusic gave the album five stars out of five, calling it “one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom”.

On recording Odessey and Oracle…Rod Argent:

“We had the chance of going in and putting things down in the way we wanted people to hear them and we had a new studio, we walked in just after The Beatles had walked out [after recording Sgt. Pepper]. We were the next band in. They’d left some of their instruments behind … I used John Lennon’s Mellotron, that’s why it’s all over Odessey and Oracle. We used some of their technological advances … we were using seven tracks, and that meant we could overdub for the first time. And it meant that when I played the piano part I could then overdub a Mellotron part, and it meant we could have a fuller sound on some of the songs and it means that at the moment the tour we’re doing with Odessey and Oracle it means we’re actually reproducing every note on the original record by having extra player with us as well.”

This Will Be A Year

The warmth of your love
Is like the warmth of the sun
And this will be our year
Took a long time to come

Don’t let go of my hand 
Now darkness has gone
And this will be our year 
Took a long time to come

And I won’t forget 
The way you held me up when I was down
And I won’t forget the way you said, 
“Darling I love you”
You gave me faith to go on

Now we’re there and we’ve only just begun
This will be our year
Took a long time to come

The warmth of your smile
Smile for me, little one
And this will be our year
Took a long time to come

You don’t have to worry
All your worried days are gone
This will be our year
Took a long time to come

And I won’t forget 
The way you held me up when I was down
And I won’t forget the way you said, 
“Darling I love you”
You gave me faith to go on

Now we’re there and we’ve only just begun
And this will be our year
Took a long time to come

Yeah we only just begun
Yeah this will be our year
Took a long time to come

Orioles – What Are You Doing New Year’s Eve?

This song is such a pleasure to listen to. The great voice and the sparse accompaniment are great. This was released back in 1950. It was written by Frank Loesser in 1947 and was originally intended as a standalone song, not tied to Christmas or New Year’s traditions. I have heard this song a few times around this time of year. It was released back in 1949 and peaked at 

They have since been known as “The Original Kings of Harmony.” They were a successful R&B vocal group that pioneered the evolution of doo-wop music. Their first major hit, “It’s Too Soon to Know,” in 1948, is considered one of the first R&B chart-topping singles and is often regarded as a doo-wop song. The term doo-wop didn’t appear until 1961 when the Marcels covered Blue Moon. Their biggest hit was Crying In The Chapel released in 1953. To see more of the history of doo-wop…check out my friend Randy’s post on doo-wop.  

The Orioles were inducted into the Rock and Roll Hall of Fame in 1995. I’ve listened to several of their songs and heard gospel, pop, R&B, and what would be called doo-wop years later. There have been 343 different versions of this song according to secondhandsongs.com. The first recording was by Kay Kyser and His Orchestra – Vocal Chorus by Harry Babbitt and The Campus Kids in 1947. 

It peaked at #9 on the Billboard R&B Charts in 1949. 

What Are You Doing New Year’s Eve

Maybe it’s much too early in the gameOh, but I thought I’d ask you just the sameWhat are you doing New Year’sNew Year’s Eve?

Wonder whose arms are holding you so tightWhen it’s exactly twelve o’clock at nightWelcoming in the New YearNew Year’s Eve

Maybe I’m crazy to supposeI’d ever be the one you choseOut of a thousand invitationsYou received

Well, but just in case I stand one little chanceHere comes the jackpot question in advanceWhat are you doing New Year’sNew Year’s Eve?

Maybe I’m crazy to supposeI’d ever be the one that you choseOut of a thousand invitationsYou received

Well, but just in case I stand one little chanceHere comes the jackpot question in advanceWhat are you doing New Year’sNew Year’s Eve?

…