Slade – Skweeze Me, Pleeze Me

I bet English teachers hated this band! This is such a fun band and it’s too bad they were not heard in America until the 1980s. Slade was not like The Small Faces who never toured the US. They toured extensively with bands like Humble Pie, ZZ Top, J Geils Band, Black Sabbath, Santana, and Aerosmith opened for them in a few places until Toys in the Attic hit…and then they reversed it.

Slade was very successful in the UK with 6 number ones, 16 top ten, and 24 top 40 singles. They could not duplicate their success in America where they only had two top forty singles…Run, Runaway, and My, Oh My both in the 80s.

Jim Lea was at a pub watching a pianist named Reg Kierle perform and it inspired him to write this song. He got with Noddy Holder to finish it. They were the primary songwriters for Slade, responsible for many of their hits. Noddy’s voice is the key to Slade…only a few can sound like he does.

The song peaked at #1 in the UK and high in other countries besides America and Canada.

It was produced by former Animals bass player Chas Chandler, who had been instrumental in shaping Slade’s sound and had previously worked with Jimi Hendrix. Chandler’s production emphasized the raw energy and the fun that characterized Slade’s music.

Skweeze Me, Pleeze Me

You know how to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh)

And I thought you might like to knowWhen a girl’s meaning “Yes”, she says, “No”

You got rude talkYou got one walkAll your jokes are blueYou’ve got long nailsYou tell tall talesSome you think are true

And there’s nowhere to go, you won’t goIf there’s nowhere to run, you go slowIf you move up to me, then I’ll showYou the wayThen you’ll know

How to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, oooh)

And I thought you might like to knowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh)

And I thought you might like to knowWhen a girl’s meaning “Yes”, she says, “No”

You got a sweet tongueYou sing love songsCan’t you learn to spell?Take me back homeYou got it all wrong‘Cause we sing that as well

And there’s nowhere to go, you won’t goIf there’s nowhere to run, you go slowIf you move up to me, then I’ll showYou the wayThen you’ll know

How to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh)

And I thought you might like to knowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh)

And I thought you might like to knowWhen a girl’s meaning “Yes”, she says, “No”

Oh, you know how to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, oooh)

And I thought you might like to knowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh)

And I thought you might like to knowWhen a girl’s meaning “Yes”, she says, “No”

You know how to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, yeah)

And I thought you might like to know nowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, yeah, you do)

And I thought you might like to know nowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh, ooh)

And I thought you might like to (na, na, na, na, na, na, na) knowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)You’re learnin’ it easy(Woah, oh, ooh)

I thought you might like to knowHow to squeeze me(Woah, oh)You know you please me (woah, oh)Oh, oh, yes(Woah, oh)Yes, yes, you knowHow to squeeze me(Woah, oh)You know how to please me(Woah, oh)

Bill Haley – Crazy Man, Crazy

In my first 6 years of blogging, I posted one Bill Haley song. Now in the past 5-6 months, this makes my 3rd. That’s what happens when Max reads books.

If there was ever a fifties phrase…this is it. This song was released in 1953…two years before the popularity of Rock Around The Clock. It was Haley’s first time in the top twenty. He said he got this phrase from a teenager when he asked her if she liked what she heard in rock and roll.

The song has that western swing/big band sound to it…but also had its toe in the rock and roll water. This song peaked at #12 on the Hot 100 and #66 on the R&B Charts in 1953.

Haley always dreamed of fame but he was extremely private. Those two things don’t go together well. He turned down opportunities to make himself more known time after time. He originally said no to having Rock Around The Clock in a movie. He had to be talked into it. Coke also offered him 250,000 dollars (2,667,967.13 now) to appear in a few advertisements when he and the Comets needed the money….he again said no. All in all, he was unable to capitalize on his popularity like his peers were able to do.

Things started to fall apart in the late ‘50s, mostly due to mismanagement and Bill’s loyalty to friends from the neighborhood who were way over their heads in business affairs.

He has a lot to be remembered for…he joined Country, Big Band,  and R&B and called it “Country Jive.” He remained popular in the UK. His last tour there in 1979  included an appearance before the Queen on the Royal Variety Performance.

The B-Side… What’cha Gonna Do?

Crazy Man, Crazy

Crazy man crazyCrazy man crazyCrazy man crazyOh, man, that music’s gone, goneSaid crazy man crazyCrazy man crazyCrazy man crazyOh, man, that music’s gone, gone

When I go out and I want a treatI find me a band with a solid beatTake my chick and we dance aboutWhen they start rockin’, boy, we start to shout, we shout

Crazy man crazyCrazy man crazyCrazy man crazyMan, that music’s gone, goneGo, go, go everybodyGo, go, go everybodyGo, go, go everybodyGo, go, go, go, go, go, go

Crazy man crazyCrazy man crazyCrazy man crazyMan, that music’s gone, goneSaid crazy man crazyCrazy man crazyCrazy man crazyMan, that music’s gone, gone

They play it soft, they play it strongThey play it wild and they play it longThey just keep playin’ ’til the break of dayTo keep them rockin’ all you gotta say is

Crazy man crazyCrazy man crazyCrazy man crazyMan, that music’s gone, goneGo, go, go everybodyGo, go, go everybodyGo, go, go everybodyGo, go, go, go, go, go, go

Rush – Tom Sawyer

The influence of this song came from the year 1876. The book was  The Adventures of Tom Sawyer by Mark Twain.

My cousin had many of their albums including this one. He told me back in 1981 or so…hey you have to listen to this…he called it “science rock.” I thought how exciting can “science rock” be? This was one of the first songs he played for me by them. I was impressed…I was just beginning to play bass and I liked the song right off the bat.

When the track was finished, Geddy Lee didn’t like the track, he said: “I remember being disappointed in the studio, thinking we really didn’t capture the spirit of the song. We thought it was the worst song on the record at the time – but it all came together in the mix. Sometimes you don’t have the objectivity to know when you’re doing your best work.” 

This was on their album Moving Pictures released in 1981. The band just got off a 10-month-long tour. They were going to release their second live album but Neil Peart was excited about the new ideas of songs developed at sound checks throughout the tour. They canceled plans for the live album and started to focus on making this one.

They were helping another Canadian band Max Webster by playing a song called Battlescar on their album Universal Juveniles. A lyricist named Pye Dubois was working with Max Webster on their songs and suggested some lyrics to Rush that were developed into Tom Sawyer. The track is credited to Rush and Pye Dubois.

Their intro to the song live on their 2007 tour was the animated South Park characters singing the song with Cartman making up words in their band Lil Rush. I’ll have the video above the studio version.

The song peaked at #24 in Canada, #44 on the Billboard 100, and #8 on the Billboard Mainstream Rock Charts in 1981. The album Moving Pictures peaked at #1 in Canada, #3 on the Billboard Charts, and #3 in the UK.

This song became one of Rush’s most popular songs and received a lot of radio play. Its success helped the Moving Pictures album achieve widespread acclaim and commercial success. This is about the time I found out about Rush.

Neil Peart: “Tom Sawyer was a collaboration between myself and Pye Dubois, an excellent lyricist who wrote the lyrics for Max Webster. His original lyrics were kind of a portrait of a modern day rebel, a free-spirited individualist striding through the world wide-eyed and purposeful. I added the themes of reconciling the boy and man in myself, and the difference between what people are and what others perceive them to be – namely me I guess.”

Geddy Lee: “The one song that we have to play for the rest of our lives. When we wrote it, we had no idea that it would touch such a nerve with people. In many ways, it’s the quintessential Rush song.”

Tom Sawyer

A modern-day warrior
Mean, mean stride
Today’s Tom Sawyer
Mean, mean pride

Though his mind is not for rent
Don’t put him down as arrogant
His reserve a quiet defense
Riding out the day’s events
The river

What you say about his company
Is what you say about society
Catch the mist
Catch the myth
Catch the mystery
Catch the drift

The world is, the world is
Love and life are deep
Maybe as his skies are wide
Today’s Tom Sawyer, he gets high on you
And the space he invades, he gets by on you

No, his mind is not for rent
To any god or government
Always hopeful, yet discontent
He knows changes aren’t permanent
But change is

And what you say about his company
Is what you say about society
Catch the witness
Catch the wit
Catch the spirit
Catch the spit

The world is, the world is
Love and life are deep
Maybe as his eyes are wide

Exit the warrior
Today’s Tom Sawyer
He gets high on you
And the energy you trade
He gets right on to
The friction of the day

Deep Purple – Woman from Tokyo

Thanks to Dave for posting this song. It was a response to Dave asking us about songs that mention a city on Turntable Talk. This one and Nashville Cats came to mind…but I went with the Purple.

This song is all about the riff…it is a memorable riff… The song has drive and suspense. The dynamics are great after the middle section when the intro riff is reintroduced. What made Deep Purple different from other hard rock bands at the time was the Hammond C3 organ played by Jon Lord. In this song the Hammond sounds as mean as the guitar.

The song was inspired by Deep Purple’s first tour of Japan in 1972. The band was struck by the contrast between the crowded bustling, modern city of Tokyo and the traditional aspects of Japanese culture. Tokyo is personified as a woman.

Woman from Tokyo was on the album Who Do We Think We Are released in 1973. The band members were dealing with exhaustion from constant touring and the pressure to deliver another hit album. The album did quite well peaking at #4 in the UK, #15 on the Billboard Album Charts, and #11 in Canada.

Deep Purple wasn’t a singles band, but this one got a lot of airplay on radio. The song peaked at #60 on the Billboard 100 and #55 in Canada in 1973. That surprises me because I did hear this one a lot growing up.

The band never liked it very much. They didn’t start playing it live until they re-formed in 1984 after their 1976 split. Roger Glover insists that no real live versions of this song existed until the 80s despite being on live compilation albums from their 1970s period.

Because of endless touring and fatigue, Ian Gillan gave a six-month notice stating that he was leaving the band after fulfilling all his commitments in 1973. After lead singer Ian Gillian left Deep Purple in 1973, they had two other lead singers before reforming in 1984…and they were David Coverdale and Joe Lynn Turner. To me though…Ian Gillian is the singer I think of when I think of Deep Purple.

Ritchie Blackmore: “We were in Japan, and it was an incredible experience for us. The song came out of our admiration for the country and the fans there. Tokyo had a lasting impression on us.”

Ritchie Blackmore: “I wanted ‘Woman from Tokyo’ to have a strong, catchy riff that would stay with the listener. The middle section was intended to give it a different feel, almost like taking the listener on a journey.”

Ritchie Blackmore: “The recording sessions for ‘Who Do We Think We Are’ were tough. There was a lot of tension in the band, but ‘Woman from Tokyo’ was one of the moments where things came together well.”

Woman from Tokyo

Fly into the rising sun
Faces, smiling everyone
Yeah, she is a whole new tradition
I feel it in my heart

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me

Talk about her like a Queen
Dancing in a Eastern Dream
Yeah, she makes me feel like a river
That carries me away

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me

But I’m at home and I just don’t belong 

So far away from the garden we love
She is what moves in the soul of a dove
Soon I shall see just how black was my night
When we’re alone in Her City of light

Rising from the neon gloom
Shining like a crazy moon
Yeah, she turns me on like a fire
I get high

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me

Sam The Sham and the Pharaohs – Wooly Bully

Uno dos, one two tres quatro!

This 1965 song still works…it can light up a party in a heartbeat. This is one of those songs that you can play without rehearsing if you are in a band. A fun rock and roll song that doesn’t take itself seriously.

The exact meaning of Wooly Bully is left ambiguous, fitting the song’s fun nature. Others must agree because according to secondhandsongs.com it has 190 cover versions. Those versions include Dave Edmunds, Lindisfarne, and of course…Billy Bacon and The Forbidden Pigs. I don’t know much about them but with that name…I had to include them.

The song peaked at #2 on the Billboard 100. They were kept out of the top spot by those two upstart bands…The Rolling Stones with Satisfaction and The Beatles with Help!. The song peaked at #2 in Canada as well in 1965 and #11 in the UK.

They were not a one-hit wonder though. They had one other top ten song (#2) with Li’l Red Riding Hood. They had 6 top-40 hits between 1965 and 1970. Look at the variety of the 1960s. Satisfaction, Help!, Like A Rolling Stone, and Wooly Bully all within a couple of years.

sam_the_sham_and_pharaohs_performing

The band’s leader, Domingo “Sam” Samudio, was born in Dallas, Texas. He first started performing in the late 1950s. Sam joined various bands before forming The Pharaohs in 1961 and another version in 1963 and that time it stuck. Samudio wrote this song as well.

In 1970, Sam started a solo career and was awarded a Grammy in 1971 for Best Album Liner Notes to his record Sam, Hard and Heavy. He later started to cover gospel and country as well.

Wooly Bully

Uno dos, one two tres quatro

Ay, wooly bullyWatch it now, watch it

Here he comes, here he comesWatch it now, he get ‘cha

Matty told HattyAbout a thing she sawHad two big hornsAnd a wooly jawWooly bullyWooly bullyYeah driveWooly bullyWooly bullyWooly bullyHatty told MattyLet’s don’t take no chanceLet’s not be L-sevenCome and learn to danceWooly bullyWooly bullyWooly bullyWooly bullyWooly bullyWatch it now, watch it watch it watch itAy…Ay, drive, drive, drive

Matty told HattyThat’s the thing to doGet you someone reallyPull the wool with youWooly bullyWooly bullyWooly bullyWooly bullyWooly bullyWatch it now, watch it, here he comesYou got it, you got it

….

King Crimson – 21st Century Schizoid Man

This is my first King Crimson post. I’ve heard their debut album the most and I like it. I went exploring, found some others I liked, and wrote up one song (publishing later) but I decided to start with this. I have been a Robert Fripp fan from way back. This song is the opening track to their debut album In the Court of the Crimson King. I found out about this band through a big brother of a friend I have…the same one who introduced me to Big Star and The Grateful Dead.

The song was written by the original lineup of King Crimson, which included Robert Fripp (guitar), Greg Lake (bass and vocals), Ian McDonald (saxophone, flute, keyboards), Michael Giles (drums), and Peter Sinfield (lyrics). The debut album was called In The Court of the Crimson King. The album was a hit. It peaked at #5 in the UK, #27 in Canada, and #28 on the Billboard Album Charts in 1969.

For me to like progressive rock it has to have a good melody to it. King Crimson, ELP, and some of Yes do…, especially the live cuts. The musicianship on these albums is out of this world. I like this song’s changing time signatures and the rock, jazz, and classical feel.

This live cut is short but it’s the only thing I could find in this era. I always try to include a live version in the era it was released. 

21st Century Schizoid Man

Cat’s foot iron clawNeuro-surgeons scream for moreAt paranoia’s poison door.Twenty first century schizoid man.

Blood rack barbed wirePolititians’ funeral pyreInnocents raped with napalm fireTwenty first century schizoid man.

Death seed blind man’s greedPoets’ starving children bleedNothing he’s got he really needsTwenty first century schizoid man.

Beat Farmers – There She Goes Again

I started to listen to The Beat Farmer’s debut album Tales of the New West a few months ago. I came across this song and liked it with the first listen…it took me a second but I realized it was an old Velvet Underground song.

I can’t recommend this album enough. I first heard of the band through a more of a novelty song called Happy Boy. I just recently started to listen to them and they are fantastic.

The Beat Farmers formed in San Diego California in 1983. They went to a studio with a $4000 budget, and they recorded Tales Of The New West. The album was released in 1985. The members were Country Dick Montana, Jerry Raney on guitar, Rolle Dexter on bass, Buddy Blue on guitar, and Joey Harris on guitar. They did a tour opening up for the Blasters and then signed a 7 Record Deal with CURB Records…which turned out to be a mistake…they fought for years to get away from them.

Together they released 6 albums and 15 singles + EPs. The band came to a halt on November 8, 1995, when Country Dick Montana died on stage. They have occasionally got together since then.

This song was on the Velvet Underground debut album The Velvet Underground & Nico and was released in 1967. Lou Reed wrote There She Goes Again. The lyrics to this song must have sounded outrageous to the listeners in 1967. The album only charted at #129 in the Billboard 100 and that would be the best charting LP of all of their 5 original albums.

There She Goes Again

There she goes again (There she goes)Yeah, I see her walkin’ on down the streets again (There she goes)Well, she’s down on her knees again (There she goes)But she’ll never ask you please again (There she goes)

Now take a look, there’s no tears in her eyesShe won’t take it from just any guy. What can you do?

Yeah, when you see her walkin’ on down the streets(There she goes) Yeah, I see her lookin’ at all the boys that she’s gonna meet(There she goes) If I see her messin’ ’round, I don’t know what I’m gonna do

Well, there she goes again (There she goes)Yeah, I see her walkin’ on down the streets again (There she goes)Well, she’s down on her knees again (There she goes)Yeah, but she’ll never ask me please (There she goes) again

Now take a look, there’s no tears in her eyesShe won’t take it from just any guy. What can you do?

Yeah, when you see her walkin’ on down the streets(There she goes) Yeah I see her lookin’ at all the pretty boys that she’s gonna meet(There she goes) Oh, when I see that stuff, I just don’t know

Now take a look, there’s no tears in her eyesLike a bird, she’s a-gonna fly. What can you do?

Yeah, when you see her walkin’ on down the streets(There she goes) Yeah, I see her lookin’ at al the boys that she’s gonna meet(There she goes) Yeah, I know that she isn’t down on her feet(There she goes) Yeah, but she’ll never ask you please (There she goes) Oh-ho!

Rolling Stones – Time Waits For No One

You could blindfold me and I could tell you if Mick Taylor was playing with The Stones live. He had his own unique sound because of the Les Paul he played. He made those songs in the classic Stones period go.

Many people think that Mick Taylor went uncredited on this and many songs. The melody doesn’t sound like a Keith melody but in any case, Jagger/Richards get credited with this one. They rarely if ever play it live.

The solo in this song is great by Mick Taylor. It reminds me a little of Carlos Santana. He quit shortly after this album was released and it was the end of the classic Stones era. They would never sound the same again after this. The song was on It’s Only Rock and Roll which was a good album but not up to the level of the five preceding albums. A big reason was because of the absence of producer Jimmy Miller.

So why did Mick Taylor leave the band? I’ve read different things from him and others. Taylor felt underappreciated and frustrated that he didn’t receive proper credit for his contributions to the band’s music. He claimed to have co-written several songs, such as Sway and Moonlight Mile but Jagger and Richards would not give a songwriting credit to him. I do believe that because Brian Jones and Ronnie Wood also had the same problem.

His health and well-being were also factors in his decision to leave. The intense touring schedule and the pressures of being in The Stones took a toll on him. Besides pot…he said he didn’t take drugs when he joined the band but like others before and after him…he slowly started to do harder drugs while with the band. When he quit the band it took him a while to get off of heroin.

The song is a favorite among many Stones fans I know and it should be more well known.

Time Waits For No One

Yes, star-crossed in pleasure, the stream flows on byYes, as we’re sated in leisure, we watch it fly, yes

And time waits for no one, and it won’t wait for meAnd time waits for no one, and it won’t wait for me

Time can tear down a building or destroy a woman’s faceHours are like diamonds, don’t let them waste

Time waits for no one, no favors has heTime waits for no one, and he won’t wait for me

Men, they build towers to their passingYes, to their fame everlastingHere he comes, chopping and reapingHear him laugh at their cheating

And time waits for no man, and it won’t wait for meYes, time waits for no one, and it won’t wait for thee

Drink in your summer, gather your cornThe dreams of the nighttime will vanish by dawn

And time waits for no one, and it won’t wait for meAnd time waits for no one, and it won’t wait for meNo, no, no, not for me, no, not for me

Gene Chandler – Duke Of Earl

Well we might as well close out July with this classic.

When I hear this song I automatically think of the 1950s. One problem with that thought…it was released in late 1961 but it doesn’t matter…it’s pretty damn awesome. This is one of the songs that I missed on my Max’s Picks. The song has a magical quality about it…I have to smile when I hear it.

The song originated from warm-up exercises by the doo-wop group The Dukays. The group’s members would sing “doo doo doo” to prepare their voices, which evolved into “duke duke duke.” The song was written by Gene Chandler, Earl Edwards, and Bernice Williams. The song was recorded in one take.

The song established Gene Chandler’s career and became his signature hit. He adopted the persona of the “Duke of Earl,” often appearing in a cape and top hat during performances. Chandler went on to have a long career. He released music until 1986. He had a lot of success on the Billboard R&B charts and had some more top 40 singles as well, but nothing as big as The Duke of Earl.

This song is just one of those songs that you know the instant it starts. It’s one of the most famous openings of any song from the rock ’n’ roll era. Chandler was inducted into the Grammy Hall of Fame in 2002 for “The Duke of Earl” and the Rhythm and Blues Music Hall of Fame in 2014.

The song peaked at #1 on the Billboard 100 and #1 in Canada (from all I’ve found) in 1962. There are 35 cover versions of this song but it would be impossible to wipe away the memory of the original.

Duke Of Earl

Duke, Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl

Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl

As I walk through this world
Nothing can stop the Duke of Earl
And-a you, you are my girl
And no one can hurt you, oh no

Yes-a, I, oh I’m gonna love you, oh oh
Come on let me hold you darlin’
‘Cause I’m the Duke of Earl
So hey yea yea yeah

And when I hold you
You’ll be my Duchess, Duchess of Earl
We’ll walk through my dukedom
And a paradise we will share

Yes-a, I, oh I’m gonna love you, oh oh
Nothing can stop me now
‘Cause I’m the Duke of Earl
So hey yeah yeah yeah

Well, I, oh I’m gonna love you, oh oh
Nothing can stop me now
‘Cause I’m the Duke of Earl
So hey yeah yeah yeah

Status Quo – Ice in the Sun

This song was on the band’s debut album Picturesque Matchstickable Messages from the Status Quo. I’m just learning about them but they started off with a psychedelic phase with this album. I really admire their career…their discography reads like War and Peace. They released their last album Backbone in 2019. This album was before their shift to boogie music of the 1970s.

Picturesque Matchstickable Messages from the Status QuoIce in the Sun peaked at #8 in the UK, #29 in Canada, and #70 on the Billboard 100. It charted well in the rest of the world. The song was written by Marty Wilde (a popular British rock and roll singer in the 50s) and Ronnie Scott (a British pop promoter). It’s a cool blend of psychedelic pop and rock. I really love the 1965-1968 era in rock because you had psychedelic, pop, rock, hard rock, folk, Americana, country, and a little bit of everything.

When Pictures of Matchstick Men hit the American charts, the group made the decision to remain in Europe, focusing their efforts on the UK market…they would regret this later on. It paid off in the UK as Status Quo became one of the most popular bands in Britain, charting over 60 singles but they missed out in America. Their only other chart entry here was Ice In The Sun.

The album received positive, especially for its single Pictures of Matchstick Men, which peaked at #7 on the UK Singles Chart and #12 on the Billboard 100. Ice in the Sun has stuck in their live repertoire through the years.

Status Quo

I’m not a little boyI’ve lived alone and loved so many moreBut when she touches me I’m on the wayI’m underneath the floor

Like ice in the sun I melt awayWhenever she comes I melt awayLike ice in the sun I melt away

I sit down in a chair andRead a book as if I couldn’t thereBut she is in a room andI must look I see her everywhere

Like ice in the sun I melt awayWhenever she comes I melt awayLike ice in the sun I melt away

She opens up her eyes as if to speakShe looks at me and I am weakHer eyes they seem much bigger than beforeI cannot think anymore

Like ice in the sun I melt awayWhenever she comes I melt awayLike ice in the sun I melt away

Like ice in the sun I melt awayWhenever she comes I melt awayLike ice in the sun I melt away

Like ice in the sun I melt awayWhenever she comes I melt awayLike ice in the sun

Creedence Clearwater Revival – Cotton Fields

The first time I heard this song I loved it. Many people have covered it but I know it primarily through CCR. Huddie Ledbetter, better known as Lead Belly, wrote this song and recorded it in 1940. Back when I was playing in a band…around one am, a couple of hours before closing we would do this song. People would be singing along with us. 

Some bands and artists seem to cross genres and CCR is one of those bands. Yes, I’ve met people who didn’t love them but most like something they do. I’ve met metal heads, hard rock fans, country, bluegrass, pop, and rock fans who like them. Most can’t believe they came from California and not the swamps of Louisana. They looked like blue-collar workers going to work every day…and by their music…they were. 

I visited secondhandsongs.com and found that this song has 187 versions of it. It’s been covered by Harry Belafonte, Odetta, Bill Monroe, Buck Owens, The Staple Singers, The Beach Boys, Van Morrison, and so many more. 

Creedence covered it on the Willy and the Poor Boys album released in 1969. It was not released as a single in America but it peaked at #1 in Mexico in 1970. The album had the well-known hits Fortunate Son, Down On The Corner, The Midnight Special, and the fan favorite It Came Out of the Sky. The album peaked at #3 on the Billboard Album Charts, #2 in Canada, and #10 in the UK.

Creedence had 18 songs in the top 100 and 9 top 10 hits yet no number 1’s in the Billboard 100 until Have You Ever Seen The Rain in 2021!

Cotton Fields

When I was a little bitty babyMy mama would rock me in the cradleIn them old cotton fields back home

It was down in LouisianaJust about a mile from TexarkanaIn them old cotton fields back home

Oh, when them cotton bolls get rottenYou can’t pick very much cottonIn them old cotton fields back home

It was down in LouisianaJust about a mile from TexarkanaIn them old cotton fields back home

When I was a little bitty babyMy mama would rock me in the cradleIn them old cotton fields back home

It was down in LouisianaJust about a mile from TexarkanaIn them old cotton fields back home

Oh, when them cotton bolls get rottenYou can’t pick very much cottonIn them old cotton fields back home

It was down in LouisianaJust about a mile from TexarkanaIn them old cotton fields back home

When I was a little bitty babyMy mama would rock me in the cradleIn them old cotton fields back home

It was down in LouisianaJust about a mile from TexarkanaIn them old cotton fields back home

In them old cotton fields back home

J Geils Band – Looking For A Love

Peter Wolf was doing his thing in this song. Wolf is the complete package as a lead singer. He can give you a great voice to drive the songs and move around the stage like he is on fire. I would put him up as one of the best in rock. In the era of Roger Daltrey, Robert Plant, Rod Stewart, and Mick Jagger. Peter Wolf could keep up with the best…and still can.

The song Looking for a Love was originally recorded by The Valentinos, a soul group featuring Bobby Womack, in 1962. It became an R&B hit (#8) at the time and was written by J. W. Alexander and Zelda Samuels. The J Geils Band took the song and lit it up with energy. It’s some fantastic fun R&B that the band covered great. That was their strong suit…infectious driving live band who had soul and some funk to boot.

The J. Geils version peaked at #25 in Canada and #39 on the Billboard 100 in 1971. It was on the band’s second album called The Morning After. It peaked at #63 on the Billboard Album Charts and #73 in Canada.

Bobby Womack re-recorded it in 1974 and had a massive hit with it that peaked at #1 on the R&B Charts and #10 on the Billboard 100.

The J. Geils Band was formed in 1967 in Worcester, Massachusetts. The band came out of the Boston club scene in the late sixties. I always thought they should have been bigger than they were in the 1970s. They didn’t hit their commercial peak until the early 80s with Love Stinks, Come Back, and then the hugely popular Freeze-Frame album in 1983 but their 70s output gets lost at times and that is a big shame.

J Geils Full House

Also, there are a couple of you who recommended their live album Full House…that would be CB and John Holton…I appreciate it because it’s one of the best live albums I’ve heard.

Looking For a Love

Somebody help meSomebody help me nowSomebody help me now

Somebody help meFind my babySomebody help meFind my baby right now

I`m looking for a loveI`m looking for a loveI`m looking here and thereI`m searching everywhereI`m looking for a loveTo call my own

Gonna get up in the morningAnd rub my headI`m looking for a loveTo call my own

Fix my breakfastAnd bring it to my bedI`m looking for a loveTo call my own

Do my loveDo it all the timeI`m looking for a loveTo call my own

With lots of love and kissesBut people until thenI`m looking for a loveTo call my own

I`m looking for a loveI`m looking for a loveI`m looking here and thereI`m searching everywhereI`m looking for a loveTo call my own

Stay in my cornerAll the way, yeahI`m looking for a loveTo call my own

Stick by me, babyNo matter what they sayI`m looking for a loveTo call my own

I`ll give my loveTo her all the timeI`m looking for a loveTo call my own

Loving, kissingPeople on the wayI`m looking for a loveTo call my own

I`m looking for a loveI`m looking for a loveI`m looking here and thereI`m searching everywhereI`m looking for a loveTo call my own

Somebody help meTo find my babyI said I`ve got to findMy baby right now

I`m looking in the morningI`m looking at nightGot to find my babyBut she`s nowhere in sight

Somebody help meTo find my babyI said I`ve got to findMy baby right now

I`m looking in the morningI`m looking at nightGot to find my babyShe`s nowhere in sight

I`m looking, I`m lookingI`m looking, I`m looking……

James McMurtry – Choctaw Bingo

Strap them kids in, give ’em a lil bit of vodkaIn a cherry Coke, we’re goin to OklahomaTo the family reunion for the first time in yearsIt’s up at Uncle Slaton’s ’cause he’s getting on in years

I ran across McMurty’s name when I wrote up a post about a temporary band that John Mellencamp put together called The Buzzin’ Cousins. I listened to Sweet Suzanne by them and YouTube recommended a member named James McMurtry. I listened to this song and liked it right away. It has some great writing with a big dose of Americana. It’s not a long folk song…it has some kick to it. His other music is well written as well.

McMurtry is another Texas songwriter who I admire. He was born in Fort Worth Texas in 1962. He is the son of the famous novelist and screenwriter Larry McMurtry, known for works like “Lonesome Dove,” and Jo Scott McMurtry, an English professor and writer. Growing up in a literary family, McMurtry was exposed to storytelling from a young age.

He began playing guitar at seven years old. His early exposure to literature and music heavily influenced his later work as a songwriter. McMurtry has released 13 albums over the years, each contributing to his reputation as a keen observer of America.

James released his first album, Too Long in the Wasteland, in 1989. It was produced by none other than John Mellencamp. His debut album showed everyone just how good he was at writing songs that feel like mini-movies.

When he sings this song live he sometimes says it’s about the North Texas-Southern Oklahoma crystal methamphetamine industry.” Choctaw Bingo was released in 2002 on his Saint Mary of the Woods album.

Ray Wylie Hubbard covered the song as well.

Choctaw Bingo

Strap them kids in, give ’em a lil bit of vodkaIn a cherry Coke, we’re goin to OklahomaTo the family reunion for the first time in yearsIt’s up at Uncle Slaton’s ’cause he’s getting on in yearsYou know he no longer travels but he’s still pretty spryHe’s not much on talk and he’s just too mean to dieAnd they’ll be comin’ down from Kansas and West ArkansasIt’ll be one great big old party like you’ve never saw

Uncle Slaton’s got his Texan prideBack in the thickets with his Asian brideHe’s got an airstream trailer and a Holstein cowStill makes whiskey, ’cause he still knows howHe plays that Choctaw Bingo every Friday nightYou know he had to leave Texas but he won’t say whyHe owns a quarter section up by Lake EufaulaCaught a great big ol’ Bluecat on a driftin’ juglineSells his hardwood timber to the chippin’ millCooks that crystal meth because his shine don’t sellHe cooks that crystal meth because his ‘shine don’t sellYou know he likes that money, he don’t mind the smell

My cousin Roscoe, Slaton’s oldest boyFrom his second marriage up in IllinoisHe’s raised in east St. Louis by his mamma’s peopleWhere they do things different, thought he’d just come on downHe’s goin’ to Dallas, Texas in a semi truckCaught from that big McDonald’sYou know that one that’s built up on thatGreat big old bridge across the Will Rogers turnpikeTook the big cabin exit, stopped and bought a carton of cigarettesAt that Indian smoke shop with the big neon smoke ringsIn the Cherokee nation, hit Muskogee late that nightSomebody ran the stoplight at the Shawnee BypassRoscoe tried to miss ’em but he didn’t quite

Bob and Mae come up fromSome little town way down byLake Texoma, where he coaches footballThey were two-A champions for two years runningBut he says they won’t be this yearNo, they won’t be this yearAnd he stopped off in Tushka at the pop knife and gun placeBought a SKS rifle and a couple full cases of that steel core ammoWith the Berdan primers from some East bloc nationThat no longer needs ’emAnd a Desert Eagle, that’s one great big old pistolI mean, fifty caliber made by bad-ass HebrewsAnd some surplus tracers for that old BAROf Slaton’s as soon as it gets dark, we’re gonna have us a timeWe’re gonna have us a time

Ruth-Anne and Lynn come from Baxter SpringsThat’s one hell-raisin’ townWay up in Southeastern KansasGot a biker bar next to the lingerie storeThat’s got the Rollin’ Stones’ lipsUp there in bright pink neonAnd they’re right downtown where everyone can see ’emAnd they burn all nightYou know they burn all nightYou know they burn all night

Ruth-Anne and Lynn, they wear them cut-off britchesAnd then skinny little halters and they’re second cousins to meMan, I dont care, I want to get between themWith a great big ‘ol hard-onLike an ol’ Bodark fencepostThat you can hang a pipe rail gate fromDo some sister twisters till the cows come homeAnd we’ll be having us a time

Uncle Slaton’s got his Texan prideBack in the thickets with his Asian brideHe’s cut that corner pasture into acre lotsHe sells ’em owner financed strictly to themIt’s got no kind of credit ’cause he knows they’re slackersAnd they’ll miss that payment and then he takes it backHe plays that Choctaw Bingo every Friday nightAnd drinks his Johnny Walker at that club 69

We’re gonna strap them kids in, and give ’em a lil’ bitty bitIn a cherry Coke, we’re goin to OklahomaGonna have us a timeGonna have us a time

….

Billy Bragg and Wilco – At My Window Sad and Lonely

Since I did the Car Songs post and obbverse recommended Black Nova, I’ve been listening to Wilco much more. I first heard of Wilco when I heard the song “Secret of The Sea” which was on the album Mermaid Avenue Volume II. This song was on the first volume.

Mermaid Avenue was a collaborative album by the band Wilco and the British singer-songwriter Billy Bragg. It features previously unpublished lyrics by the legendary folk musician Woody Guthrie. The album was released in 1998 and is named after the street in Coney Island, New York, where Guthrie lived. There were 3 albums in all.

I can’t imagine the pressure Bragg and Wilco felt doing this. Having the legendary Woody Guthrie lyrics in front of you and writing melodies around them. They brought in a new generation of fans to Woody Guthrie. In this song, Jeff Tweedy wrote the music around Guthrie’s lyrics. Many of these lyrics were written in the 1930s – 1940s and finished in 1997.

The project was started by Woody Guthrie’s daughter, Nora Guthrie, who wanted to breathe new life into her father’s huge collection of unpublished lyrics. She invited Billy Bragg to set the lyrics to music, and Bragg, in turn, invited Wilco to join the project. They did a fantastic job on these albums.

The album was well-received by critics, who praised Bragg and Wilco for their ability to honor Guthrie’s legacy while bringing his lyrics into a modern musical context. Mermaid Avenue was nominated for a Grammy Award for Best Contemporary Folk Album.

The album peaked at #34 in the UK and #90 on the Billboard 100 in 1998.

Billy Bragg: I hate to draw comparisons, but it’s what Dylan and the Band were doing in the Basement Tapes. They took those old folk songs, that had deep roots, and they messed around with them and made a great record. We were able to apply that same idea to these songs, although we were perhaps more radical, because we had the whole history of rock music between when Woody wrote the songs, and us, whereas Dylan was quite early on in that tradition. That’s the trick with these Woody Guthrie compilations, is not to be too reverent to the material. Don’t worry about Woody’s words – they’re going to work. Bring yourself in – do what you think he would do. Do what you think you should do. Meet him half way.

There’s a hundred different ways to write a song. And every way is the right way, as long as you end up with a song. Some of those songs that Woody wrote, who knows what tunes he had for them? Maybe we were miles off, maybe we were close, I don’t know. But ultimately it’s what the guy was saying that matters – not the way he was saying it. And what he was saying is preserved. We were fortunate enough to put a frame around his artistic endeavors.

At My Window Sad and Lonely

At my window sad and lonelyOft times do I think of theeSad and lonely and I wonderDo you ever think of me?

Every day is sad and lonelyAnd every night is sad and blueDo you ever think of me, my darlingAs you sail that ocean blue?

At my window, sad and lonelyI stand and look across the seaAnd I, sad and lonely wonderDo you ever think of me?

Will you find another sweetheartIn some far and distant land?Sad and lonely now I wonderIf our boat will ever land

Ships may ply the stormy oceansAnd planes may fly the stormy skyI’m sad and lonely but rememberOh, I will love you ’til I die

T-Rex – Hot Love

***I feel like this is an every other week announcement but lately, it has been crazy at work. I’m traveling on Sunday and won’t be back until Friday so I won’t be posting until I return. I’ll be too busy to comment back so I’ll hold off.***

Since I took a week and dedicated it to the UK a few months ago I’ve been listening to T-Rex quite a bit. The songs were commercial but very good commercial.

America missed the boat on T-Rex. The only substantial hit they had here was Bang a Gong. This song was their second release as T. Rex…it peaked at #1 in the UK, #7 in New Zealand, #47 in Canada, and #72 on the Billboard 100 in 1071. The song was a non-album single. It was written by Marc Bolan and produced by Tony Visconti who would go on to produce Bowie, Badfinger, Gentle Giant, The Moody Blues, and The Boomtown Rats among others. He also scored the orchestral arrangements for  Band on the Run by McCartney.

This was the band’s second big hit single and it gave Marc Bolan what he had always dreamed of… his first No.1 hit. Bolan was influenced by Elvis Presley’s Heartbreak Hotel and the coda repeating structure from The Beatles Hey Jude. Bolan was smart with this song, he kept the rhythm simple and didn’t deviate from that.

T. Rex was huge in the UK starting around 1970 but then declining in 1974. They did have a documentary made about them produced and directed by Ringo Starr called Born to Boogie. Bolan has been credited with starting Glam Rock.

Bolan went on to host a musical TV show called Marc in which he hosted a mix of new and established bands and performed his own songs. Marc’s final show was recorded on September 7, 1977, with special guest David Bowie…who was a friend of Bolan. I have a video of this appearance at the bottom of the post.

Bolan would die in a car wreck 9 days later on September 16, 1977.

Marc Bolan: “I know it’s like a million other songs, but I hope it’s got a little touch of me in it too.”

Hot Love

Well, she’s my woman of goldAnd she’s not very old, a-ha-haWell, she’s my woman of goldAnd she’s not very old, a-ha-haI don’t mean to be bold, a-but a-may I hold your hand?

Well, she ain’t no witchAnd I love the way she twitch, a-ha-haWell, she ain’t no witchAnd I love the way she twitch, a-ha-haI’m a laborer of love in my Persian gloves, a-ha-ha

Well, she’s faster than mostAnd she lives on the coast, a-ha-haWell, she’s faster than mostAnd she lives on the coast, a-ha-haI’m her two penny prince and I give her hot love, a-ha-haTake it out on me, mama

Aw!Aw!Oh!

Well, she ain’t no witchAnd I love the way she twitch, a-ha-haWell, she ain’t no witchAnd I love the way she twitch, a-ha-haI’m her two penny prince and I give her hot love, a-ha-ha

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh, oh, do what you do

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh, lay it all down

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh, lay it all down

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh, jetzt kommt sie doch

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la laOoh, ba-ba-ba

La la la, la-la-la laLa la la, la-la-la laLa la la, la-la-la la (yeah)La la la, la-la-la laOoh, yeah