Ricky Nelson

On Turn Table Talk, the topic was It’s No Act! . We all can think of musicians who’ve tried to make the leap to acting – David Bowie, Cher, Sting, among many others – but this month we’re looking at actors/actresses or other celebrities who’ve decided to try to launch a music career after being noted in other entertainment fields. I picked Ricky Nelson. Thanks Dave!

I think Ricky Nelson is one of the few examples of actors who went into music and were remembered as musicians. He was a good actor, but he will be remembered more as a musician.

I went through a Ricky Nelson phase when I graduated in 1985. I purchased a greatest-hits package and was learning more of his songs. I wanted to go see him perform that year, and I kept waiting for him to appear somewhere because I heard he was touring. This was before the internet, and you had to read the newspapers for announcements and listen to the radio. Musicians would play at places, and you would never know sometimes.

I never got a chance to see him because on December 31, 1985, his chartered jet crashed, killing him and six other passengers. Ricky was a rockabilly guy and a great one. He gets lost in the shuffle because he was a huge teenage actor at the time on his family’s show…The Adventures of Ozzie and Harriet. In the rock world, being a teen idol knocks you down the respect ladder.

Before Ricky Nelson became one of the biggest teen idols of the 1950s, he was already a television star. He was born in 1940 into a show business family. His parents, Ozzie Nelson and Harriet Nelson, starred in the popular radio and television series The Adventures of Ozzie and Harriet. Ricky appeared on the show as himself beginning in the early 1950s. Millions of viewers watched him grow up on screen each week. By the time he reached his teenage years, he was already one of the most recognizable young faces in America.

Music came almost by accident. Ricky wanted to impress a girl (she was a massive Elvis fan) and claimed he was a recording artist. To make the story true, he recorded Fats Domino’s I’m Walkin’ in 1957. The song became a hit. Soon he was recording regularly and turning out hits such as Poor Little Fool, Travelin’ Man, and Hello Mary Lou. Unlike many teen stars of the era, Nelson worked with strong musicians and was full tilt in rockabilly and early rock and roll.

As the 1960s arrived, Nelson continued acting while building a successful music career. He later dropped the “Ricky” and became known as Rick Nelson. His sound matured and moved toward country rock before the style became popular. While television gave him his start, music became his legacy. He is remembered as one of the few entertainers who successfully made the jump from television star to respected recording artist.

The sad part is that his music wasn’t taken as seriously later on because he was a teen idol. That started to change over time, and he was elected to the Hall of Fame in 1987. I always considered Rick Nelson a musician and a great rockabilly artist, along with country rock. I always considered him the real deal.

I’ve heard the phrase “The universal language is not music, nor love; it is loneliness,” and this song fits it perfectly.

Mick Taylor – Broken Hands

Mick Taylor was in the Stones during their most successful period. That wasn’t a coincidence. He was probably the most talented guitar player they ever had. That’s not a knock on Brian Jones or Ron Wood; he was just that good. I had no clue that he could sing as well, so this was a treat when someone sent me a link to this. You can hear his style and connect the dots to that sound. When he left the Stones, it was never replaced. Ronnie Wood plays in a different style altogether.

This song is one of the standout tracks from Mick Taylor’s self-titled debut solo album, released in 1979. The album arrived five years after Taylor left the Rolling Stones, where he had earned a reputation as one of the best guitarists in rock music. While the record never became a commercial success, it gave Taylor a chance to step out from the shadow of the Stones and show what he could do as a songwriter, singer, and bandleader. This song was tucked away near the end of side one and remains one of the album’s hidden gems.

The sessions for the album spanned several years, from 1976 to 1979. Recording took place at several studios in England, including Island Studios, Ramport Studios, Ridge Farm, and the Rolling Stones Mobile Studio. Taylor produced the album himself and played many of the instruments. On this song, he handled guitar, vocals, and bass guitar duties. The song has a loose rock feel with traces of blues and the melodic style that he did with the Stones.

Like much of the album, the song arrived at the wrong time commercially. By 1979, punk and new wave were dominating the music press while Taylor was delivering a blues-rock record. The album stalled on the charts, but over the years it has gained a loyal following among Rolling Stones fans and guitar enthusiasts. He was a complete musician who just happened to spend his most famous years standing next to some very large shadows that included John Mayall, Keith Richards, and Mick Jagger.

Broken Hands

Yeah, I got broken hands, God

Feel so loose and I feel so free
Running so fast that you can’t catch me
Play the night like a dream machine
Play my guitar ’cause I feel so mean

Drivin’ down the highway
Trying to get ahead
And I shake the blues away, yeah
Yeah, broken hands, I’m a broken man

Ah baby, where are we?
Howling winds on a heavy sea
Always think that you got it made
I can never see you behind your shades

Fools are around me, the devils inside
So much craziness to exercise
Let’s get small and get some lovin’ done
This life’s so hard, hit and run

There’s nothin’ happenin’ here, anyway
If we sit around much longer we’re gonna slide away
Mesmerizing, washed out eyes
Users and losers, hypnotized

I like music that sounds so sweet
I like to dance and move my feet
When I hear such a heavy sound
Come on baby, let’s get down

Drivin’ down the highway
I’m just trying to get ahead
And shake these blues away
There’s nothin’ happenin’ here, anyway

Yeah, broken hands, I’m down and out
Gimme a smile and I’ll pull ya out
Yeah, broken hands

Yeah, broken hands, I’m a broken man
Yeah, broken hands, I’m down and out
Gimme a smile and I’ll pull ya out

Drifters – There Goes My Baby

Sometimes I need a 1950s song, and the Drifters are a group that can give it. Some songs are timeless and could have been released at any time. Some are tied to an era. This one is, and in the best possible way. This is a transport song, a song that transports you to a certain era even if you weren’t there. Well, at least to your version of the era. These songs have cool chord structures, and many are both depressing and uplifting at the same time.

There Goes My Baby was a turning point for the Drifters and for rhythm and blues music itself. Released in 1959, the song sounded unlike anything else on the radio. The group had already enjoyed success, but this record took them in a completely new direction. It blended R&B, pop, and orchestral music in a way that was almost unheard of at the time. Today it is considered one of the most influential records of the late 1950s.

The song was written by Ben E. King along with Lover Patterson and George Treadwell. Producer Jerry Leiber and Mike Stoller wanted to create something different from the standard R&B records of the day. The session featured strings and a Latin-flavored rhythm. Some people in the music business thought the record sounded strange and would never become a hit. Fortunately, they were wrong. You have the great Ben E. King’s lead vocal. His voice gave the song both power and its heartbreak.

The song became a major hit and helped reshape popular music. The song reached the Top 10 and opened the door for more ambitious productions in soul and pop music. Looking back, it is easy to hear how records from the 1960s were influenced by it. More than sixty years later, it still sounds fresh. Not bad for a song that many people thought was too unusual to succeed.

The song peaked at #2 on the Billboard 100 and #2 on the Billboard R&B Charts in 1959.

I’ve only done this once, but sometimes I run across amateurs doing a cover of a song. Rarely do I stop and think, oh I must post this. She is far from perfect in this, but she knows what the song is about. This is really a simple version, but she finds the essence of this song. You can hear cars pass by while she is doing this. It shows you how great the song is when you can express it perfectly over a lone acoustic and a voice. She goes by “Blazin’ Blair” and this was like 15 years ago. She has appeared on local tv stations where she lives. It’s lo-fi and raw, but the spirit is there. Something about it…hit me the right way…especially the intro.

There Goes My Baby

Bom-bom (do-do-do-do-do)
There she goes (do-do-do-do-do)
There she goes (do-do-do-do-do)
Bom-bom (do-do-do-do)
Bom-bom (do-do-do-do)

There goes my baby, movin’ on down the line
Wonder where, wonder where, wonder where she is bound?
I broke her heart and made her cry
Now I’m alone, so all alone
What can I do, what can I do?

There goes my baby (whoa-oh-oh-oh-oh)
There goes my baby (yeah-yeah-yeah-yeah)
There goes my baby (whoa-oh-oh-oh)
There she goes, yeah, there she goes

I wanna know if she loved me
Did she really love me?
Was she just playing me for a fool?
I wonder why she left me
Why did she leave me so all alone?
So all alone?
I was gonna tell her that I loved her
And that I need her
Beside my side to be my guide

I wanna know, where is my – (do-do-do-do-do)
Where is my baby? (Do-do-do-do-do)
I want my baby (do-do-do-do-do)
I need my baby (do-do-do-do-do)
Yeah, whoa-oh-oh

There goes my baby
Whoa-oh-oh-oh-oh
There goes my baby

Sonny Rollins – St. Thomas

Sonny Rollins passed away not long ago, and I hate to admit it, but I only knew him for playing sax on Waiting On A Friend by the Stones. Christian always runs a jazz song on his Sunday Six posts, and I find myself getting excited to hear another jazz song to start my Sunday. This post took me a while to write. I went out of my comfort zone with this one, but it was worth it, and I would like to do more in the future.

Sonny Rollins spent years learning from some of the giants of the era. He was born in New York City in 1930; Rollins came of age during the rise of bebop. By the early 1950s, he had already recorded with legends such as Miles Davis, Thelonious Monk, and Charlie Parker. Rollins quickly developed a style of his own. His playing was powerful and melodic. He became known for taking simple melodies and turning them into something completely new through improvisation.

This one was recorded on June 22, 1956, during the sessions for the album Saxophone Colossus. Rollins was backed by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. The tune was based on a Caribbean folk melody that Rollins had heard from his mother’s family. His parents were from the Virgin Islands, and the song reflected those roots. The calypso rhythm immediately set it apart from many jazz recordings of the period.

What I’m hearing is Rollins using a melody as a launching point for a series of inventive solos. Max Roach drives the recording while Flanagan and Watkins provide a steady foundation. I’ve noticed in these recordings that the musicians leave plenty of space for one another, which gives tracks a loose and natural feel. It is one of those recordings that sounds new no matter how many times you hear it because it’s unpredictable in the best way.

This song introduced many listeners to Rollins and became his signature tune. More than seventy years later, it is still played by jazz musicians around the world. Like so many great recordings, it takes something simple and familiar and turns it into something you remember. I understand why Sonny Rollins is regarded as one of the true giants of jazz.

Souther, Hillman, Furay Band – Fallin’ In Love

I was searching for bands to cover and ran across this one. I’ve heard of them a lot but never really listened to their music. The minute I played this one, I remembered it. This song has a bite to it, with that intro guitar. They keep an edge over the Southern California style of that time. It’s catchy without being too sweet. It works as a nice pop song.

They were formed in 1974 when J. D. Souther, Chris Hillman, and Richie Furay joined together after their earlier bands had already helped shape country rock. Furay had come from Buffalo Springfield and Poco; Hillman had been in The Byrds and the Flying Burrito Brothers; and Souther was already becoming known as a songwriter closely tied to the Southern California music scene. This song appeared on their 1974 debut album and became the group’s biggest single.

J. D. Souther wrote the song, and his style is all over it… a polished sound, different from what Furay and Hillman did earlier. The recording sessions were handled with producer Tom Sellers. Top Studio players helped give the record a commercial sound, but with some edge still in there as well.

Even though this song gave the band a hit, Souther-Hillman-Furay Band never fully broke through the way many expected. The music business was changing quickly, and country rock was becoming more polished and corporate by the mid-1970s. The group released two albums before splitting up in 1975. Still, this remains a good snapshot of that California country-rock era.

This song peaked at #27 on the Billboard 100 in 1974.

Fallin In Love

Here I go again, it’s all right
Full moons grown to brighten the night
I’ve been lookin’, now seein’ the light
It’s sure shinin’ bright, yea

Well, honey, believe in it, it bein’ free mm
Nothin’ to love’s like nothin’ to be
You’ve got once a lifetime
To see just how much of your dream

Honey, to feel like fallin’ in love, just to know
Honey, to feel like fallin’ in love

Turnin’ home, runnin’ free as the wind
Stretchin’ my stride, wanna hold you again
Well, it’s time to be taken in
Let me know where I’ve been, yea

Honey, to feel like fallin’ in love, just to know
Don’t you know what it feels like fallin’ in love

Honey to feel like fallin’ in love

Turnin’ home, runnin’ free as the wind
Stretchin’ my stride, wanna hold you again
Well it’s time to be taken in
Let me know where I’ve been

Gary U.S. Bonds – This Little Girl

That opening G#m chord is simple but so effective. That strum on that chord alone drew me into this song and still does. When I was 14, I bought this single and wore it out. Finding the single sleeve that went with it for this post brought back so many memories. At that time I knew Gary US Bonds vaguely for Quarter to Three. Now this one is the first song I think of when his name comes up. This guitar sound is perfect, and I love the bounce of the song.

Springsteen wrote the song, and it sounds like it could have fit on one of his own records. The recording sessions took place at the Power Station in New York. Members of the E Street Band played on the track. Bonds brought his voice, while Springsteen supplied the song and the energy behind it. Springsteen and Van Zandt ended up producing the album.

The song accomplished something that is not easy to do. It sounded modern for the early 1980s but still carried some early 60s rock and roll sound. Older listeners would like it, and so would the teens of the day. This teen certainly did. This song was one of my favorite early 80s hits. It has a timeless sound that is hard to pin down in a time period.

This was released as a single in 1981; it became Bonds’ biggest hit in nearly twenty years. It reached the Top 20 in the United States and helped introduce him to a new generation of listeners. More importantly, it proved that Bonds was far more than an oldies act. The success of the song led to more recordings and appearances for him. It was cool to see Bruce work with an older influence, and their sound went together well.

It peaked at #11 on the Billboard 100, #15 in Canada, #43 in the UK, and #11 in New Zealand.

This Little Girl (Is Mine)

Here she comes walkin’ down the street
You know she’s walkin’ just like
She’s walkin’ to come and see me
Oh she’s so young and she’s so fine

I know what’s on your mind
Know what you want to do
But if you mess with her
I’m gonna mess with you
You better watch your step
You better stay in line

This little girl is mine
Oh this little girl is mine
Oh this little girl
This little girl
This little girl is mine

Well if the world was mine to do with
What I want to do sir
Well I’d wrap it up in a bow
And give it all to her yeah
And all my love
All of the time

You know I’d hold her tight
I’d never let her go
And late at night
You know I’d love her so
Yeah I’d treat her right
So she’d never mind

This little girl is mine
Oh this little girl is mine
Oh this little girl
This little girl
This little girl is mine
Mine, mine, mine

Hey you better watch out
I’m telling you the score
Are you going to be sweeping your
Broken heart up off the floor
Oh and that ain’t all
I’m telling you my friend

I know what’s on your mind
I know what you want to do
But if you mess with her
I’m gonna mess with you

You like the way she moves
You like to watch her walk
You better listen up
‘Cause man this just ain’t talk
You better watch yourself
You better stay in line

Now mister I said
This little girl is mine
Oh this little girl is mine
This little girl
This little girl
This little girl is mine

Oh this little girl is mine
This little girl
This little girl is mine
Oh this little girl is mine
This little girl
This little girl is mine
Oh this little girl is mine

Yeah, yeah
This little girl
This little girl
Oh this little girl is mine
Yeah yeah yeah yeah

This little girl is mine
Oh this little girl is mine
Oh this little girl is mine
This little girl is mine
This little girl she’s mine all mine

Now this little girl is mine
Oh this little girl is mine
Oh I said this little girl
This little girl
This little girl is mine, mine, mine
This little girl is mine
Oh this little girl is mine

Bronco – Time (So Long Between)

Ever since hearing Robbie Blunt, who played with Robert Plant on his first 3 albums, I wanted to know more about him. Bronco was the first major band he was in, and I love the results. His style was so unique and helped make Plant’s signature sound after Zeppelin. One listen to Big Log, and you can hear the uniqueness of his guitar playing. He didn’t have that sound in this, but really tasteful guitar playing.  Bronco wasn’t formed for hits; they made really good, solid albums. My UK readers, do you remember this band? 

Bronco never really became a well-known band, but for a few years in the early seventies, they were one of those British bands that blended country rock, blues, and folk in a way that fit right alongside bands like Buffalo Springfield, The Flying Burrito Brothers, and The Band. They formed in 1969 around singer Jess Roden after he left The Alan Bown Set. They signed with Island Records during the label’s peak years, when they had many roots-style bands. This song and album are very seventies-sounding, which makes sense, of course. 

Robbie Blunt joined on guitar alongside Kevyn Gammond, and even then, you could hear the tasteful style that later became so important. Blunt is not a super flashy player. He worked more in mood, tone, and feel.

Their first album, Country Home, came out in 1970 and had a laid-back country-rock sound with harmony vocals and touches of blues.  Around this period, Bronco toured the US and played shows at places like the Whisky a Go Go in Los Angeles. Blunt later talked about seeing Duane Allman during that trip, something that left a real impression on him as a guitarist.

This song is off the Country Home album. Jess Roden and Robbie Blunt wrote this song. 

Steve Van Zandt – Until The Good Is Gone

I listened to some tracks of Van Zandt, Miami Steve, or Little Steven… any of his monickers gives you heartfelt Americana soul music. One band he always pushes is The Rascals, and I can see why. You hear that influence in his music, along with the Jersey Shore sound he helped create. This song is so tuneful, and some tasty guitar licks are going on, especially in the intro. Listening to this album was a pleasure, song after song. His passion really comes through his voice in this one.

This song came from Little Steven’s 1982 album Men Without Women. At that point, Steven Van Zandt was still a major part of the E Street Band, but he wanted something of his own. He grew up loving soul records, girl groups, and the Phil Spector sound. Those influences were all over this album. The sessions took place at the Power Station in New York. Van Zandt wanted the record to sound alive. Not polished to death. He wanted horns, echoes, and emotion.

The recording is hard into soul music. The horns punch through the mix while the guitars and rhythm section keep it grounded in rock and roll. Van Zandt and horns have a great history, like Sixteenth Avenue Freeze Out. There are stories that Springsteen added backing vocals during parts of the sessions, which gave the album even more of that Asbury Park spirit without turning it into an E Street record.

A lot of the material on Men Without Women had been around since the Southside Johnny days. Van Zandt was writing constantly then. Songs moved around between projects depending on where they fit best. This song ended up fitting perfectly on this album because it captured that mix of street soul and rock-and-roll. The record did not become a massive commercial hit, but over the years fans have come back to it. The song still sounds real today. It feels like musicians in a room, playing for the song rather than for the charts.

Until The Good Is Gone

Hmm-hmm hmm-hmm hmm-hmm hmm

Yeah, we always stood on the same block way back then
Waiting to find out where in the world we fit in
Then something on the radio changed everything we’d been
Ever since, I need it, over and over again

Where it comes from baby, I don’t know
That same old something just won’t let me go
It’s too late baby, it’s been too long
Don’t try to stop me ’till the good is gone

Now listen, it seems like only yesterday I could hear big mama call, (yes)
Get the boys and meet me down at the union hall, (yes)
And always in the background even after everybody’s gone
It was something on the radio saying, “Come on, come on”

Where it comes from baby, I don’t know, no no
That same old something ain’t gonna let me go
Oh it’s too late baby, it’s been too long
Don’t try to stop me ’till the good is gone

Let me hear you now
Say yeah, yeah, alright
Come on

Oh, yeah yeah yeah
Now baby
Oh
Woah

So many others never beat the city line
They weren’t so different, they just ran out of time
You need something in your soul baby that’s gonna keep you strong
Oh that kind of good never ever ever never gonna go wrong

Where it comes from baby I don’t know, don’t know
That same old something just won’t let me go
Oh it’s too late baby, it’s been too long
Don’t try to stop me ’till the good is gone
Say one more time
Don’t try to stop me ’till the good is gone
One more time
Don’t try to stop me ’till the good is gone
Oh let me hear you say it
Yeah, yeah, yeah
Let me hear you say it
Say yeah, yeah, yeah
One more time
Yeah, yeah, yeah, oh yeah honey
Oh yeah (yeah), yeah (yeah), yeah (yeah yeah), sing
Say yeah (yeah), yeah (yeah), yeah (yeah), say everybody say
Yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah)
Say one more time
Yeah (yeah)…

Elvis Costello – 13 Steps Lead Down

I remember being so curious when I saw Elvis Costello’s debut album. My first thought at 10 years old was, who is this skinny guy with Buddy Holly glasses named Elvis? I found out quickly who the skinny guy was…

Costello had been away from The Attractions for years in the studio. This album Brutal Youth felt like a return. An album with the band chemistry that helped make those late 70s records so sharp. The Attractions, Steve Nieve, Bruce Thomas, and Pete Thomas played on much of the album. Costello later said songs like this reminded him how powerful the band could still sound together.

The song itself came fast. Costello said he wrote it during a one-day burst where he also came up with songs like Rocking Horse Road and Pony St. He would crank up his guitar loud and ad lib and then go back and see what was worth saving. He said: “I would work for about half an hour with the guitar cranked up really loud, and make a tape of just anything that came into my head. I did it in bursts, and then I listened to see if any of it was interesting. A lot of it was gibberish.”

The title of this song came from the Tomb of the Spanish Kings at El Escorial, where thirteen steps supposedly created a feeling of dread as people descended. Some said the song poked at the growing culture of twelve-step recovery programs that were everywhere in the early 90s.

The recording captured the late seventies energy. The guitars are jagged and loud. The ending guitar solo sounds almost out of control, which I love! Critics at the time heard it as Costello reconnecting with the energy of This Year’s Model and Armed Forces.

13 Steps Lead Down

When nobody knows she puts on secret clothes
And lies in the meadow with her hands tied behind her back
I won’t refuse if you know how to use it
Just stop playing that ugly drug music

Thirteen steps lead down
Thirteen steps lead down
There’s commoners and kings
And everyone’s a prisoner of
Paper and glue
And a decent pair of scissors
So tonight I’m drinking to your health
Because I just can’t stand myself

Thirteen steps lead down
Thirteen steps lead down
Thirteen steps lead down
Thirteen steps lead down

She stands and fails
On fashion fingernails
Her lovers have her walking ’round
On instruments of torture
And one of them is poisonous
The other is a thief they say
So what one could give to her
The other cannot take away

When nobody knows she puts on secret clothes
And lies in her splendor for a picture opportunity
Cover up that bruise, put on patent leather shoes
Just stop playing that bad mood music baby

Thirteen steps lead down
Thirteen steps lead down
There’s commoners and kings
And everyone’s a prisoner of
Paper and glue
And a decent pair of scissors
So tonight I’m drinking to your health
Because I just can’t stand myself

Thirteen steps lead down
Thirteen steps lead down
Thirteen steps lead down
Thirteen steps lead down

Grateful Dead – Stella Blue

I want to thank Jim Adams at https://jimadamsauthordotcom.wordpress.com/. I helped Jim with a computer problem a while back, and he sent me something worth far more than the time we spent repairing it. He sent me my favorite Grateful Dead album, Wake of the Flood. When I heard Mississippi Half-Step Uptown Toodeloo a few years ago, I knew I had to check that album out.

Most of what I know about the Grateful Dead I credit to Jim. After a few listens to the album, I realized it stacked up well against American Beauty and Workingman’s Dead. In time, I started to move it toward the top. This song is one of the album’s standouts. It was written by Robert Hunter and Jerry Garcia.

The sessions were important because it was the first Grateful Dead studio album released on their own label after leaving Warner Bros. Keith Godchaux’s piano and Garcia’s guitar gave it that late-night feeling that fit Hunter’s lyrics perfectly. Instead of building toward a huge climax, the band let the song breathe. That became part of its power.

The song was influenced by a nightmarish acid trip that Hunter had in 1969. The Dead usually placed it late in the second set after long jams and space sections. I’ve gone back and listened to a lot of live versions of this song. Garcia’s guitar solos on the song changed from night to night. Some versions were calm and soft. Others became explosive by the end.

The song would not show up live until June 17, 1972, at the Hollywood Bowl in Los Angeles. That night was also the final show for Pigpen with the band. From the start, it sounded different from a lot of the Dead’s material. It was quieter and more reflective.

The song was played live 328 times by the Grateful Dead between 1972 and 1995. Its final performance came on July 6, 1995, only weeks before Garcia died.

Stella Blue

All the years combine
They melt into a dream
A broken angel sings
From a guitar
In the end there’s just a song
Comes crying like the night (wind)
Through all the broken dreams
And vanished years

Stella Blue
When all the cards are down
There’s nothing left to see
There’s just the pavement left
And broken dreams
In the end there’s still that song
Comes crying like the wind
Down every lonely street
That’s ever been

Stella Blue
I’ve stayed in every blue-light cheap hotel
Can’t win for trying
Dust off those rusty strings just
One more time
Gonna make em shine

It all rolls into one
And nothing comes for free
There’s nothing you can hold
For very long
And when you hear that song
Come crying like the wind
It seems like all this life
Was just a dream
Stella Blue

Chocolate Watchband – I’m Not Like Everybody Else

My friend Greg sent me this band in a text message. I listened to it and some of their other songs; the lead singer sounds more like Jagger than Jagger does in some songs. I love the late sixties with the cool band names. The Incredible Grateful Shrinking Chocolate Marshmallows. Wow…if only it were still the late 60s! Little did I know when I heard this song that it has a KINKS connection.

This song was written by Ray Davies in 1966. The original version was sung by Dave Davies and released as a B-side to Sunday Afternoon in England. The Chocolate Watchband took the song and pushed it into rougher territory. It fit right in with the late 1960s garage scene where bands wanted fuzz guitars, attitude, and songs about not fitting in. The Watchband that mixed garage rock with psychedelia. This song became one of the tracks fans connected with because it sounded defiant without trying too hard.

This is really strange. The song was on the album The Inner Mystique, which had an odd history because producer Ed Cobb used session musicians and outside singers on the first side of the album. The actual band members mainly appeared on the second side, which included this song. The band had largely fractured and disintegrated. Taking advantage of this, their producer/manager Ed Cobb hired anonymous session musicians to record the instrumentals and other tracks to fulfill the record requirements.

The second side helped give those tracks more of the real Chocolate Watchband sound. Rough guitars. Garage rock energy. Less polished than what the label wanted.

I’m Not Like Everybody Else

I won’t take all that they hand me down
And make out a smile, though I wear a frown
‘Cause I’m not gonna take it all lying down
‘Cause once I get started, I go to town

‘Cause I’m not like everybody else
I’m not like everybody else
I’m not like everybody else
I’m not like everybody else

And I don’t want to walk about like everybody else
And I don’t want to live my life like everybody else
And I won’t say that I feel fine like everybody else
‘Cause I’m not like everybody else
I’m not like everybody else

But darling, you know that I love you true
Do anything that you want me to
Confess all my sins like you want me to
There’s one thing that I will say to you

I’m not like everybody else
I’m not like everybody else
I’m not like everybody else
I’m not like everybody else

And I don’t want to walk about like everybody else
And I don’t want to live my life like everybody else
And I won’t say that I feel fine like everybody else
‘Cause I’m not like everybody else
I’m not like everybody else

Like everybody else
Like everybody else
Like everybody else
Like everybody else

If you all want me to settle down
Slow up and stop all my running ’round
Do everything like you want me to
There’s one thing that I will say to you

I’m not like everybody else
I’m not like everybody else
I’m not like everybody else
I’m not like everybody else

And I don’t want to walk about like everybody else
And I don’t want to live my life like everybody else
And I don’t want to stay confined like everybody else
‘Cause I’m not like everybody else
I’m not like everybody else

Like everybody else (Like everybody else)
Like everybody else (Like everybody else)
Like everybody else (Like everybody else)
Like everybody else

Ennio Morricone – The Good, The Bad, The Ugly Theme

I’ve always wanted to acknowledge this guy. Ever since I saw and heard The Good, the Bad, and the Ugly. His scores are excellent and are just as important to the movies as the actors were. It was hard to pick one, but this one has never left me, and it made the movie what it was as much as Clint Eastwood did.

When the film was released in 1966, the music spread far beyond movie theaters. Radio stations played the theme like a hit single. Rock bands admired it because it sounded raw and modern instead of a Hollywood-finished score. You can hear its influence in everything from surf music to punk and alternative rock. Over the years, the theme has been sampled and used in commercials, sports events, and television shows. Morricone later became one of the most respected film composers in history. He won a competitive Academy Award for The Hateful Eight in 2016. Still, this song remains the one most tied to his name.

This was one of those pieces of music that changed the sound of movie scores. Before it came along, westerns usually used big orchestras or a western guitar. He tried something completely different. He used coyote-like howls, whistling, electric guitar, cracking snare drums, bells, and chanting voices. The strange sound matched the dusty world that director Sergio Leone was creating in his spaghetti westerns. Morricone and Leone had known each other as kids in Rome, and when Leone started making westerns in the 1960s, he turned to Morricone to build something different. Even people who never saw the movie recognized those opening notes.

The recording sessions mixed trained orchestra players with unusual sounds and effects. Singer Alessandro Alessandroni provided the whistle and vocal parts that helped make the track what it is. Leone often played Morricone’s music on the set before scenes were filmed, which was unusual at the time. It helped actors and camera crews move with the rhythm and mood of the score.

The album peaked at #4 on the Billboard Album Charts while staying on the charts for over a year. I went to Aphoristic New Music Reviews on Thursday. He featured an artist named Jessie Ware. When I clicked on play…there was this theme she worked into her song, so it still works after all these years. Graham also showed me a link to the MANY different artists that have sampled this.

Green On Red – Keith Can’t Read and Gravity Talks

I usually just pick one song out, but I couldn’t decide which one. So I thought, hmmm, my blog, my rules today, so we are going to have a two-for-one Saturday! I’ve read where someone said about this band…it’s alt country meets the Replacements. In some songs, that is true. Some of their songs sound epic, and they were reaching for something big…and many times pulled it off.

I have to give WordPress credit for knowing about this band. I missed them in real time, or I would have been buying their records. I found out about them through a fellow blogger and have been listening to them ever since. This is what I wanted the mainstream to be in the 80s and why I listened to more alternative and heartland rockers. Green On Red had a quality that I talked about in earlier posts. You can hear a car wreck coming, but they pull it between the lines just in time!

They had everything I like in a band. A raw sound that was in no way polished. They were always one of those bands that critics loved but radio mostly ignored. They came out of the Paisley Underground scene in the early 1980s, but unlike some of their peers, they were harder into country-rock and the Stones-style rock. They were made up of Dan Stuart (vocals/guitar), Jack Waterson (bass), Van Christian (drums, later of Naked Prey), and Chris Cacavas (organ). It’s basically a marriage of classic rock, punk, psychedelia, country, and garage rock.

Keith Can’t Read never became a hit, but that was the story of Green on Red. They influenced a lot of bands that came later in alt-country and Americana, yet they stayed underground. Dan Stuart had a way of writing about losers, addicts, drifters, and broken friendships without turning it into self-pity. He is a very underrated songwriter. The song was on the album Here Comes The Snakes released in 1989.

Gravity Talks was the title track of the 1983 debut album by Green on Red, and it captured the band right at the point where garage rock, psychedelia, country, and desert atmosphere all collided together. The song never became widely known, but it became one of those tracks roots-rock fans have praised for years. That whole album had a reputation as a lost classic. Critics later described it as reckless, ragged, and impossible to neatly categorize. I love the organ in this one and Dan’s voice. His voice is instantly recognizable.

Keith Can’t Read

Get outta the street right now
Your in the way
The red light has turned to green
I ain’t got all day

There ain’t no pictures in this book
Just dirty pages take a look

If you think your woman is good to you
Think about when you’re away from her
What you put her through

There ain’t no pictures in this book
Just dirty pages take a look

Get off of your knees right now
Your looking up my nose
Girl that ain’t gonna cut no ice
Heaven knows

Gravity Talks

Suppose you really knew
What’s it all about
And someone you thought you knew
He asked you out

I’m not easy I know
Gravity talks

Suppose you really thought
You had it in the bag
And an old man he walked up
And he took it all

I’m not easy I know
Gravity gravity talks

Suppose you really knew
What’s it all about
And someone you thought you knew
He asked you out

I’m not easy I know
Gravity gravity talks

Jerry Lee Lewis – Rockin’ My Life Away

Jerry Lee wasn’t called The King or The King of Pop. No, his nickname was …The Killer. He took no prisoners, and his fifties live performances are among the best. He was the original punk and did exactly what he wanted. He had that rock and roll spirit like no other. He wasn’t universally loved because of it, but that is the point!

This song came from an interesting period in the career of Jerry Lee Lewis. By 1979, Lewis had already been through the wild Sun Records years, country chart success in the late 1960s and 1970s, and years of heavy touring. That kept him working even when trends changed around him. Elektra Records signed him during that time and released the self-titled album Jerry Lee Lewis in 1979. The record tried to bring Lewis back toward a tougher rock and roll sound while still keeping his country roots. This song fit him perfectly.

The song was written by Mack Vickery. The recording sessions happened in Los Angeles in 1979 with producer Bones Howe. Lewis was backed by a great group of session players that included Elvis’s ex-guitarist James Burton (love the solo in this one by Burton) and drummer Hal Blaine. Instead of smoothing out Lewis’s sound too much, the sessions kept things driving. Lewis attacked the piano hard, and his vocal sounded rough in that Jerry Lee way.

The arrangements mixed rockabilly, country, and straight rock and roll without trying to modernize him too much for the late 1970s. That was probably one reason the track still holds up well today. It didn’t have that late-seventies smooth professional sound that was big in LA. Although the album was not a massive commercial success, it brought a lot of attention, and this song became one of the songs people remembered most from the record.

The song sounds like Lewis singing about himself. Years later, when another genre discovered Jerry Lee Lewis through documentaries and the Great Balls of Fire! movie, this song found a new audience. The song peaked at #18 on the Billboard Country Charts and #34 in Canada in 1979.

Rockin’ My Life Away

Fourteen ninety-five, and nineteen fourty-eight
I threw a rockabilly party on my last birthday
But it was good, rockin’ my life away
I just movin’ and groovin’
And gettin’ it both night and day
I got a gal called Milly, she’s chilly pepper hot
She know how to roll, and she know how to rock
I’m rockin’, rockin’ my life away
Oh, and a boogie woogie baby
I like to do it both night and day
Ah ah oh

Steamliner, fleetliner, military brass
She knows the general’s daughter but the killer’s got brass
I’m rockin’, rockin’ my life away, ah ah
I’m just movin’ and a-groovin’
And rockin’ both night and day

And I’m rockin’, rockin’ my life away
I’m just movin’ and groovin’
And boogyin’ both night and day
I’m just rockin’, rockin’ my life away
I’m just rockin’ and rollin’ my life away
My name’s Jerry Lee Lewis and I’m damn sure here to stay

Marah – Walt Whitman Bridge

My friend Ron (Hanspostcard) recommended this band to me not long ago. I had mentioned the V-Roys, and he asked if I had heard of these guys. This is another band that Steve Earle signed to his E-Squared Records in the 1990s. Like the V-Roys song from yesterday, this one took one listen, and I was sold. Ron had said that live, they were a lot like the Replacements but just more alt-country.

They came out of Philadelphia in the late 1990s. The band centered around brothers Dave Bielanko and Serge Bielanko. They mixed rock, folk, soul, and bar-band energy into something that sounded rough around the edges but real. Early records like Let’s Cut The Crap and Hook Up Later Tonight built a small following, but Kids in Philly in 2000 really put them on the map. That album captured city streets, broken people, late nights, and hope, all wrapped inside loud guitars and singalong choruses.

The band toured hard for years. They became known for long, wild live shows and a loyal fan base. Bruce Springsteen even praised them during that period. Marah never quite broke into the mainstream, but they built a reputation as one of those bands that people discovered and held onto like The Replacements, Big Star, and others. They kept pushing their mix of heartland rock and the personal Philadelphia stories.

This song came off the 2005 If You Didn’t Laugh, You’d Cry album. This was recorded after a difficult stretch for the band. They had dealt with industry pressure and changing lineups, and the record felt more stripped down and personal because of it. Dave Bielanko wrote songs about Philadelphia, working-class life, and trying to keep going when things were falling apart around you.

This song captured that feeling perfectly. The Philadelphia bridge itself became a symbol for movement and escape. You are tied to the city, no matter how far you drove. Acoustic guitars, rough vocals, and a live feel. The band never wanted things to be too clean. They liked records that sounded lived-in and not crystal clear. That approach gave the song its emotional weight.

The album did not sell in big numbers, but fans connected deeply with it. This song became their signature song.

Walt Whitman Bridge

Got seven dollars to my name
Got sixteen cigarettes somehow I just ain’t smoked yet
Got two shoelaces and two shoes
I should toss ‘em on the telephone wire as a monument to my blues

I’m goin’ down to get a coffee
Gonna mean one less buck
Maybe six will bring me luck
Got a little shake I kept in the fridge
Gonna drink my bean and walk out smoking on the Walt Whitman Bridge

Faraway from these winter streets
On a cloudless day
Your memory
Blows away

Got a leather wallet on a chain
Got a picture of my lover’s lips before they dried up under my kiss
A prayer in my heart I’m too scared to recite
Oughtta toss that stale loaf of words to the birds as a monument to my whole life

Faraway from these winter streets
On a cloudless day
Your memory, Your memory, Your memory
Blows away

Your memory, Your memory, Your memory
Blows away