This song was released in 1986…it sounds more like 1966. This intro reminds me of the intro to CCR’s Up Around The Bend with that searing guitar riff. I missed a lot of this music in the 1980s and I regret it but I’m making up for lost time now.
That Petrol Emotion was formed in Derry, Northern Ireland, after the disbandment of The Undertones. Damian and John O’Neill left the Undertones to form That Petrol Emotion. The band was formed in 1984 and consisted of Steve Mack (vocals), John O’Neill (guitar, vocals), Raymond O’Gorman (guitar), Damian O’Neill (bass), and Ciaran McLaughlin (drums).
It was featured on their debut album Manic Pop Thrill, which was released the same year. It’s a Good Thing received positive reviews from critics and helped establish the band’s reputation in the Indie college rock scene. The song was praised for its catchy hooks and jangly guitars.
The band continued to release albums throughout the late 1980s and early 1990s, including End of the Millennium Psychosis Blues (1988), Chemicrazy (1990), and Fireproof (1993). They called it quits in 1994.
The band has reunited several times for live performances, including a notable reunion in 2008 where they did a short tour and some festivals.
It’s A Good Thing
Senses fail And we know why Indifference slides From every corner But I just want To be with you The silent screams Above each other
It`s a good thing Such a good thing To do To do
While governments gain All money can buy Trash means cash In any country But I just want To be with you Our flesh feels fresh And that`s the beauty
On August 12, 2024, I will post two weeks of Kinks songs from different bloggers… I’m looking forward to it as we will hit many Kinks eras… 1963 – 1993.
See You Then! Also…a huge thank you to all the bloggers who agreed to do this. I really appreciate you giving your time for this. I think the readers will enjoy it.
This is one of the first songs that I learned the riff on and played it live. Up to this point, I was on bass but I had to start singing some so I took over rhythm guitar. It’s such a simple riff anyone could do it but it gave me some confidence on guitar. It’s a song you can sing and play the riff with no trouble.
What makes this song is not the riff, it’s Lennon’s rock voice that I would give about anything to have. This is one of the covers that the Beatles would do in The Cavern and Hamburg. They recorded two covers in 1965 to satisfy Capitol Records who wanted to add on to an album called Beatles VI. They recorded Bad Boy (probably my favorite cover by them) and Dizzy Miss Lizzy. They ended up including Dizzy Miss Lizzy on The Help! UK-only soundtrack as well.
Both Bad Boy and Dizzy Miss Lizzy were written by Larry Williams. They covered him three times in total. Slow Down, Bad Boy, and Dizzy Miss Lizzy. They covered more of Williams’s songs live but Lennon, in particular, loved his songs and did the lead vocals on all three while recording.
Larry Williams released the song in 1958 on Speciality Records, the same record company his friend Little Richard was on. The B-side was Slow Down, a song that the Beatles would cover as well. It was one of the last charting top 100 singles he ever released. It peaked at #69 on the Billboard 100. He would score a couple of R&B charting songs in 1966 and 1967.
This song is better live in my opinion and I’ve included a live more raunchy version of it by The Beatles.
Dizzy Miss Lizzy
Ow!
You make me dizzy, Miss Lizzy The way you rock and roll You make me dizzy, Miss Lizzy When you do the stroll Come on, Miss Lizzy Love me ‘fore I grow too old
Come on, give me fever Put your little hand in mine You make me dizzy, dizzy, Lizzy Oh girl, you look so fine Just a-rocking and a-rolling Girl, I said I wish you were mine
Ah! Ow! Woo!
You make me dizzy, Miss Lizzy When you call my name Ooh, baby Say you’re driving me insane Come on, c’mon, c’mon, c’mon baby I want to be your loving man
Ah! Mm Mm, ow!
Run and tell your mama I want you to be my bride Run and tell your brother Baby, don’t run and hide You make me dizzy, Miss Lizzy Girl, I want to marry you
Come on, give me fever Put your little hand in mine, girl You make me dizzy, dizzy, Lizzy Girl, you look so fine You’re just a-rocking and a-rolling Ooh, I said I wish you were mine
Destination Burlesque I got all my cards in one shoe
I posted the Streetwalkers last Sunday and I got a lot of positive comments so I thought I would post the band that started them. I kept hearing the song Burlesque played by the Streetwalkers but could not find a studio version… it’s because Family did the original.
Some of the UK readers may know more about this band. I like what I’ve heard from them. I’m no expert but they blend progressive rock, blues, folk, and psychedelia. Just like I said with The Streetwalkers…Roger Chapman is a hell of a lead singer…he was the lead singer for both bands.
Altogether they released 7 studio albums that were quite successful. All of their studio albums were top 40 in the UK with 3 being in the top 10 and two in the top 20. This song was on their album Bandstand released in 1972. The song peaked at #13 and the album peaked at #15 in the UK. They also had one album called Anyway that peaked at #18 on the Billboard 200 in 1970.
Family was formed in Leicester, England, in 1966 by Roger Chapman (vocals), John Charlie Whitney (guitar), Jim King (saxophone, harmonica, vocals), Ric Grech (bass, violin, vocals), and Rob Townsend (drums). The name that pops out to me is Ric Grech who was the bass player for supergroup Blind Faith.
Whitney lays down some great guitar and Chapman does his usual fantastic job of singing. This is a band that I’m going to explore. Some trivia here…their debut album I’ve heard of from reading about The Beatles. It was called “Music in a Doll’s House” and released in 1968. The Beatles were going to name their new album “A Doll’s House” and even had a cover drawn up but changed their mind after Family’s album. Instead of that name…they chose The Beatles, or as it’s more popularly known as The White Album.
Chapman and guitarist Charlie Whitney were the primary songwriters for Family. They often sought to blend various musical styles and to experiment.
Roger Chapman: Charlie would come up with these difficult and magical chord sequences that were just outrageous, and I had some lyrics and just sang a melody straight through them. I could do that without even thinking about it. Maybe if he had been with a more classical person there might have been a more classical direction to these chords. I was the simple one! I had one talent, he had the other, and we merged together very well, it seems.
I thought I would give you the studio version by Family and a great live version by the Streetwalkers.
Burlesque
Rolling and tumbling ain’t done me no harm Gonna boogie my night all away Rita and Greta been twisting my arm into Heading out west Down to the Burlesque Saving my ace through to you
Well, drinking and sinking, I’m feeling alright Right down to my snakey spat shoes Just about shutdown and three in the night Because I’m heading out west Down to the Burlesque Show ’em a moon at the door
We got to show the Burlesque
Rolling, tumbling Sure ain’t done me no harm Drinking, sinking Just been too bad on my arm
Well I finally lost Rita and Greta went home I guess that leaves just me and you Been kinda sneaky to get you alone Oh but you in that dress Destination Burlesque I got all my cards in one shoe
I got all my cards in one
Rolling, tumbling Sure ain’t done me no harm Drinking, sinking Just been too bad on my arm
Well I finally lost Rita and Greta went home I guess that leaves just me and you Been kinda sneaky to get you alone Oh but you in that dress Destination Burlesque I got all my cards in one shoe
Jim Adams invited me to participate in Song Lyric Sunday for his blog. This week’s prompt is…”asong that features a great bass line.” I knew it was going to be a Who song…and I changed it at the last minute from My Generation to this. This song has some incredible bass.
I have played music since I was around 14-15 and bass since I was around 15. I started out with an acoustic guitar with 2 strings. I could play Smoke on the Water, Down on the Corner, and other songs with those two strings. Soon I graduated to 6 strings and learned chords. A buddy of mine played guitar and he was more advanced than I was at the time.
We decided I would play bass and he would play guitar. I got a job cleaning up a vacant lot that had a massive mess for two days and earned around 50 bucks…and in the early 1980s…that could get you a decent bass guitar in a pawn shop. I learned by ear. We would listen to a record…slow it down to the slowest speed on the turntable and start figuring it out. I’m glad I learned that way because I can pick things out by listening.
Hearing this song around 8 years after it was released for the first time was exciting for me. It was a huge influence on how I played. I always made sure in any band I was in…the bass was heard. You could feel it in your chest… I made sure of that. I would hear some say…”Max is on 11 again.”
Where do I start with this song?
One of the most exciting songs of The Who. It was on the Mod concept album Quadrophenia. Roger and Pete are excellent in this song but John and Keith really stand out. The bass and drums do the heavy lifting in this song. It peaked at #92 in 1974.
I have sat for hours with a bass in my hand trying to get the runs right to this song. One of John’s best bass parts. I usually tie my fingers into knots trying to get this right. It wasn’t one of their huge hits but it was absolutely perfect for me.
I’ve never heard a hard rock band this tight yet carry a great melody underneath it all. John’s bass playing in this song is so good and he makes it sound almost normal. That is why I’ll always be in awe of The Who. Give me their rhythm section of Entwistle and Moon and I could rule the world. The word “revolutionized” is overused at times…but yes Entwistle did revolutionize the bass guitar as Moon did the drums.
The album told the story of a young mod named Jimmy. This song is about Jimmy’s inner turmoil and his quest to understand who he really is. He seeks answers and validation from his mother, a psychiatrist, and God, but finds no clear resolution. The album explores themes of identity, rebellion, and disillusionment. Pete Townshend wrote this and put a little of each band member’s personality in the character.
John Entwistle: “The Real Me” was the first take. I was joking when I did that bass part. The band said, “Wow, that’s great, that’s great!” And I was just messing around. They just loved the song. I was sitting on top of my speaker cabinet playing a silly bass part and that’s the one they liked.
John Entwistle: I think if you listen to my bass parts on their own, they sound unbelievably disjointed, but when you play them with the other instruments on the track, they fit. That’s what comes from playing with Keith.
Speaking of my favorite rhythm section…here is an isolated recording of JUST the bass and drums.
The Real Me
I went back to the doctor To get another shrink I sit and tell him ’bout my weekend But he never betrays what he thinks
Woo Can you see the real me, doctor? Doctor? Can you see the real me, doctor? Woah, doctor
I went back to my mother I said I’m crazy ma, help me She said I know how it feels son ‘Cause it runs in the family
Can you see the real me, mama? Mama? Can you see the real me, mama? Woah, mama
Can you see Can you see the real me? Can you see Can you see the real me The real me The real me
The cracks between the paving stones Look like rivers of flowing veins Strange people who know me Peeping from behind every window pane The girl I used to love Lives in this yellow house Yesterday she passed me by She doesn’t want to know me now
Can you see the real me? Can ya? Can ya? Can you see the real me? Can ya? Woah, yeah
I ended up with a preacher Full of lies and hate I seemed to scare him a little So he showed me to the golden gate
Can you see the real me, preacher? Preacher? Can you see the real me, preacher?
Can you see Can you see Can you see Woah
Can you see the real me, doctor?
Can you see the real me, ma?
Can you see the real me (me, me, me, me, me, me, me, me, me, me, me)?
Everlasting summer filled with ill-content This government had us walkin’ in chains This isn’t my turf This ain’t my season Can’t think of one good reason to remain
I will say that my favorite Canadian export is The Band. Combine the 4 Canadians with one southern American and you have gold…no scratch that… you have diamonds. Something I will confess about this band… after I’ve heard songs like The Weight, all of my life, sometimes I don’t realize or forget…wow that is great songwriting! I guess because those songs are so ingrained in my head and I don’t give them as much notice but I want to say something about that now. After posting Daniel and the Sacred Harp and now Acadian Driftwood…my respect for Robbie Robertson’s songwriting knows no bounds. This is songwriting at its best. Don’t get me wrong…I always knew those popular songs were great but I took The Band for granted for a while.
Robertson was inspired by the history of the Acadians, a group of French settlers in Canada who were forcibly removed from their land during the Great Expulsion (Le Grand Dérangement) between 1755 and 1764. This event scattered the Acadians across various regions, including Louisiana, where they became known as Cajuns. He was also influenced by Henry Wadsworth Longfellow’s 1847 poem Evangeline, which describes the deportation of Acadians
Just like with Daniel And The Sacred Harp this song showcases the vocals of Rick Danko, Levon Helm, and Richard Manuel. Each takes a turn singing different parts of the song, contributing to the narrative’s depth and meaning. There were some other Americana bands but none sounded like The Band.
Who would even think about writing a song about this subject? The song was on the Northern Lights – Southern Cross album released in 1975. The album peaked at #27 in Canada and #26 on the Billboard Album Charts.
Anyway…now when I listen to The Weight, Cripple Creek, The Night They Drove Old Dixie Down, and the other well-known Band songs…I will stop and listen a little more carefully.
Acadian Driftwood
The war was over and the spirit was broken
The hills were smokin’ as the men withdrew
We stood on the cliffs
Oh, and watched the ships
Slowly sinking to their rendezvous
They signed a treaty and our homes were taken
Loved ones forsaken
They didn’t give a damn
Try’n’ to raise a family
End up the enemy
Over what went down on the plains of Abraham
Acadian driftwood
Gypsy tail wind
They call my home the land of snow
Canadian cold front movin’ in
What a way to ride
Oh, what a way to go
Then some returned to the motherland
The high command had them cast away
And some stayed on to finish what they started
They never parted
They’re just built that way
We had kin livin’ south of the border
They’re a little older and they’ve been around
They wrote a letter life is a whole lot better
So pull up your stakes, children and come on down
Fifteen under zero when the day became a threat
My clothes were wet and I was drenched to the bone
Been out ice fishing, too much repetition
Make a man wanna leave the only home he’s known
Sailed out of the gulf headin’ for Saint Pierre
Nothin’ to declare
All we had was gone
Broke down along the coast
But what hurt the most
When the people there said
“You better keep movin’ on”
Everlasting summer filled with ill-content
This government had us walkin’ in chains
This isn’t my turf
This ain’t my season
Can’t think of one good reason to remain
We worked in the sugar fields up from New Orleans
It was ever green up until the floods
You could call it an omen
Points ya where you’re goin’
Set my compass north
I got winter in my blood
Acadian driftwood
Gypsy tail wind
They call my home the land of snow
Canadian cold front movin’ in
What a way to ride
Ah, what a way to go
Every weekend I try to post some artists I never have posted before and this weekend it’s John Mayall and another band tomorrow. I’ve read his name and I’ve heard bits and pieces but never dove in so to speak. The one thing I can say…is tone. His band has some of the best tones I’ve ever heard from a guitar.
I could have picked about anything they did so I searched out some and found this one. This British blues band was formed in the early 1960s by singer, songwriter, and multi-instrumentalist John Mayall. The band is known for its huge role in the British blues boom and for launching the careers of many great musicians. Just to name a few, Eric Clapton, Peter Green, John McVie, Mick Taylor, Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Chris Mercer, Harvey Mandel, Jesse Ed Davis, and the list keeps going.
Their most famous album I’m aware of is the album Bluesbreakers with Eric Clapton (often referred to as the “Beano” album due to Clapton reading a Beano comic on the cover). This album helped make Clapton a superstar guitarist to many. It was released in 1966 and was the debut studio album of the band. The album peaked at #6 in the UK. I love that the band was fluid with members. Who is on this album? John Mayall, Eric Clapton, John McVie, and Hughie Flint.
The song was originally composed by American blues musician Otis Rush. It was first recorded by him in 1958 as “All Your Love (I Miss Loving).” I added a later live version by Otis Rush with Eric Clapton below. Make sure to listen to the studio cut of it as well…why is that? It’s because of the tone and playing by Clapton. It was back when Clapton was still playing a Les Paul through a Marshall. In the Cream reunion, he played a Fender and you could tell the difference.
John Mayall sadly passed away July 22, 20024. He was 90 years old.
All Your Love
All the love I miss loving, all the kiss I miss kissing All the love I miss loving, all the kiss I miss kissing Before I met you baby, never knew what I was missing
All your love, pretty baby, that I got in store for you All your love, pretty baby, that I got in store for you I love you pretty baby, well I say you love me too
All your loving, pretty baby, all your loving, pretty baby All your loving, pretty baby, all your loving, pretty baby Since I first met you baby, I never knew what I was missing
Hey, hey baby, hey, hey baby Yeah, yeah, yeah, yeah, yeah, baby, oh, oh, baby Since I first met you baby, never knew what I was missing
I like all the eras of the ever-changing David Bowie but his early to mid-seventies is my favorite. Love this song with its loud intro with Bowie as Ziggy Stardust. I knew a lot of his music as a kid because my sister liked Ziggy Stardust.
It was on the albumThe Rise and Fall of Ziggy Stardust and the Spiders From Mars released in 1972. Read that review if you have time…the album was one of his best to me. He wrote the song after meeting Fred Burrett a fashion designer in the early 70s. The album peaked at #5 in the UK, #21 on the Billboard Album Charts, #20 in New Zealand, and #59 on the Canadian Charts.
The original version of Moonage Daydream was released in 1971 under the name Arnold Corns, a side project Bowie used to test new material. Bowie formed Arnold Corns in early 1971. The name was inspired by the Pink Floyd song Arnold Layne. He combined Fred Burrett and Arnold Corns and wrote songs for the test band.
From Wiki…Arnold Corns included: David Bowie, Freddie Burretti (he changed his name), Mick Ronson, Mark Carr-Pritchard, Trevor Bolder, and Mick Woodmansey.
This song helped inspire Jack and Meg White to form The White Stripes. Jack was playing it on guitar and Meg started to play along and they formed their band.
Moonage Daydream
I’m an alligator, I’m a mama-papa coming for you
I’m the space invader, I’ll be a rock ‘n’ rollin’ bitch for you
Keep your mouth shut, you’re squawking like a pink monkey bird
And I’m busting up my brains for the words
Keep your ‘lectric eye on me, babe
Put your ray gun to my head
Press your space face close to mine, love
Freak out in a moonage daydream, oh yeah
Don’t fake it, baby, lay the real thing on me
The church of man, love, is such a holy place to be
Make me baby, make me know you really care
Make me jump into the air
Keep your ‘lectric eye on me, babe
Put your ray gun to my head
Press your space face close to mine, love
Freak out in a moonage daydream, oh yeah
Keep your ‘lectric eye on me, babe
Put your ray gun to my head
Press your space face close to mine, love
Freak out in a moonage daydream, oh yeah
Keep your ‘lectric eye on me, babe
Put your ray gun to my head
Press your space face close to mine, love
Freak out in a moonage daydream, oh yeah
I want to thank all of you readers…I went over the million mark in views this past Saturday. I appreciate you all coming here since 2017.
My friend Greg lives near me and he came in and asked me to look this band up. They are new to me and they are called The Red Clay Strays. They seem to be a mix of rockabilly, blues, rock, soul, Americana, and a tad bit of country. The band is from Mobile, Alabama.
They were formed in 2015 and included lead vocalist Brandon Coleman, guitarist Drew Nix, bassist Andrew Bishop, drummer John Hall, and keyboardist/vocalist Logan Dozier. They met through various musical connections in Mobile and decided to form the band.
The band’s reputation grew steadily through touring. They gained a dedicated following in the Southeastern United States, playing at various festivals, clubs, and music venues. They do nicely building in dynamics in their music to make it memorable.
They released their first album in 2022 called Moment of Truth. That album peaked at #11 on the Americana/Folk Album Charts, #29 on the Billboard Country Charts, and #4 on the UK Country Charts. Their new album is called Made By These Moments and will be released on July 26th.
Right now their popularity is spreading outside of the southeast. The bottom clip is them in Denver at the famous Red Rocks playing this song. The studio version is not out yet so I’ll include another one of their songs so you can get a feel of them below this.
No One Else Like Me
How many mistakes must I make before I start to see How much love will it make to make me not wanna leave How many tears must I cry before my tears run dry
Will I ever be free Will I ever be free Lord I wanna Be Free
Well I’m a broken ridder, I’m a restless fighter and I’m looking for a little hope I’m a shadowed thinker, I’m a one eyed blinker at the end of this rope I’m a dead man walking, a preacher talking, about love and how to be free I’m a dyin ghost with a heart like most but lord, ain’t no one else like me
Lookin back at the promises that I could never keep I wonder if there was any truth at all in me Sometimes I wanna run away and go start over in another place But I’ll never be free, Lord I’ll never be free
Well I’m a broken ridder, I’m a restless fighter and I’m looking for a little hope I’m a shadowed thinker, I’m a one eyed blinker at the end of this rope I’m a dead man walking, a preacher talking, about love and how to be free I’m a dyin ghost with a heart like most but lord, ain’t no one else like me
Well I’m a broken ridder, I’m a restless fighter and I’m looking for a little hope I’m a shadowed thinker, I’m a one eyed blinker at the end of this rope I’m a dead man walking, a preacher talking, about love and how to be free I’m a dyin ghost with a heart like most but lord, ain’t no one else like me
I’ve heard his name most of my life but never heard him. I’ve really enjoyed what I’ve been hearing going over his catalog. T-Bone Walker singing T-Bone Shuffle is so smooth. He has a blues and jazz thing going on and it’s hard to beat. It was released in 1949. He wrote the song and it’s been covered 42 times by The Robert Cray Band to Jools Holland.
T-Bone Walker (Aaron Thibeaux Walker) in Linden, Texas, Walker grew up in a musical family and began performing in his teens. He was influenced by Blind Lemon Jefferson, whom he often played with. Walker’s parents were musical and encouraged him to play. He could play several instruments including guitar, piano, and banjo.
In 1929, Walker made his recording debut under the name “Oak Cliff T-Bone,” recording Wichita Falls Blues and Trinity River Blues. He is credited with being one of the first musicians to use the electric guitar as a lead instrument. His 1942 recording of Mean Old World featured his pioneering electric guitar work.
1971, he won a Grammy Award for Best Ethnic or Traditional Recording for his album Good Feelin’. He was inducted into the Blues Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1987. He passed away in 1975 following a stroke.
I added a bonus pick today…Two Bones and a Pick was recorded in 1955 and released as part of the T-Bone Blues album in 1959.
T-Bone Shuffle
Let your hair down baby Let’s have a natural ball Let your hair down baby Let’s have a natural ball Cause when you’re not happy It ain’t no fun at all
You can’t take it with you That’s one thing for sure You can’t take it with you baby That’s one thing for sure There’s nothing wrong with ya baby That a good T-Bone shuffle can’t cure
Have fun while ya can Fate’s an awful thing Have fun while ya can Fate’s an awful thing You can’t tell what might happen That’s why I love to sing
I love the energy of this song. It has rock, soul, gospel, a tinge of blues plus a super lead singer. They did a great job of this Otis Blackwell song.
CB sent a link months ago on this band and got lost in the shuffle. I really like Roger Chapman’s voice. They were not a singles band…more like really great album tracks and I was enjoying them on my work trip last week. This song, however, would have fit in on the radio beside the Stones with no problem.
After the breakup of the band Family in 1973, Roger Chapman and Charlie Whitney decided to continue their musical collaboration. They initially formed a group called Chapman-Whitney Streetwalkers, which later became simply Streetwalkers. They knew the lineup would be fluid and it was from then on.
The initial lineup included Chapman and Whitney, along with other musicians such as John Wetton (bass), who later became famous with King Crimson and Asia, and drummer Ian Wallace, also from King Crimson. Another bass player they had, Nicko McBrain, later joined Iron Maiden. Ric Grech (bass player for Blind Faith) was also with them at times.
This song was on their album Red Card released in 1976. It’s full of great songs. That is the album I’ve been listening to recently. Red Card peaked at #20 on the UK charts in 1976.
The band had some internal tensions and the changing musical tastes (disco) led to the band’s disbandment in 1977. Roger Chapman and Charlie Whitney went on to pursue solo projects, with Roger Chapman achieving some success as a solo artist in Europe.
They released 4 studio albums, 2 live, and one greatest hits. They were a band that deserved more attention globally than they got. I’m also going to check the band Family out more now. Below is a video of them on the Old Grey Whistle Test…it should be ready to play Daddy Rolling Stone.
Daddy Rolling Stone
Now girls you think you’ve had lovin’ (yeah)
And girls you think you’ve had fun (yeah)
And sisters you ain’t seen nothin’ (yeah) till I come along
(Daddy Rolling) Oh, what’s my name ?
(Daddy Rolling) Yeah yeah yeah, what’s my game ?
(Daddy Rolling) Oh well, I’m Daddy, I’m Daddy, Daddy Rolling Stone, yeah yeah yeah
I’ve got a friend named Tony (yeah)
He’s got a girl named Cherise (yeah)
I’m gonna get that girl though he’s twice my size and I know I can do it like this
(Daddy Rolling) Oh, sing it to me
(Daddy Rolling) Yeah yeah yeah …
(Daddy Rolling) Oh well, I’m Daddy, I’m Daddy, Daddy Rolling Stone
That’s my name
Now girls you think you’ve had lovin’ (yeah)
And girls you think you’ve had fun (yeah)
And sisters you ain’t seen nothin’ (yeah) till I come along
(Daddy Rolling) Oh, what’s my name ?
(Daddy Rolling) Yeah, what’s my game ?
(Daddy Rolling) Oh well, I’m Daddy, I’m Daddy
I grew up listening to Zappa on the American Top 40 show with Casey Kasem. Uh…scratchthat. No, I only heard Zappa when I was over at a friend’s house with an older brother’s record collection. This was the first song I ever heard by him and it sticks with me after listening to it. The second song was Don’t Eat The Yellow Snow but I always favored this one.
This song reflects Zappa’s typical satirical style, poking fun at religion and society. I could only guess how many people were offended by this one. His songs still feel vibrant and new.
It was on the album Joe’s Garage which was released in two parts. “Act I” came out in September 1979, while “Acts II & III” followed in November 1979. The entire album was later released as a triple LP. He came up with the idea for Joe’s Garage as a satire on the music industry, government censorship, and society in general.
The album was about Joe, a young guitarist who started a garage band. The band gains popularity, but Joe soon faces disillusionment with the music industry. He gets involved with a groupie named Lucille, contracts a venereal disease, and ends up in trouble with the law.
I thought just maybe this would have been released as a single. Hell, he released the song Bobby Brown but not this one.
One thing the man didn’t get as much credit for as he deserved…his guitar playing was phenomenal.
Catholic Girls
Catholic Girls With a tiny little mustache Catholic Girls Do you know how they go? Catholic Girls In the Rectory Basement Father Riley’s a fairy But it don’t bother Mary
Catholic Girls At the CYO Catholic Girls Do you know how they go? Catholic Girls There can be no replacement How do they go, after the show?
All the way (That’s right, all the way!) That’s the way they go Every day (That’s right!) And none of their mamas ever seem to know Hip-Hip-Hooray For all the class they show There’s nothing like a Catholic Girl At the CYO When they learn to blow
They’re learning to blow All the Catholic Boys! Warren Cuccurullo Catholic Boys! Kinda young, kinda WOW! Catholic Boys! Vinnie Colaiuta . . .
Where are they now? Did they all take The Vow?
Catholic Girls! Carmenita Scarfone! Catholic Girls! Hey! She gave me VD! Catholic Girls! Toni Carbone!
With a tongue like a cow She could make you go WOW!
VD Vowdy vootie Right away That’s the way they go Every day Whenever their mamas take them to a show Matinee Pass the popcorn please There’s nothing like a Catholic Girl With her hand in the box When she’s on her knees
She was on her knees My little Catholic Girl Chorus: In a little white dress Catholic Girls They never confess Catholic Girls I got one for a cousin I love how they go So send me a dozen Catholic Girls OOOOOOH! (Well well now) Catholic Girls (Ma-ma-mum ma-ma-mum) Yai-ee-ahhh! Catholic Girls OOOOOOH! (Well well now) Catholic Girls (Ma-ma-mum ma-ma-ma-ma-mum) Yai-ee-ahhh!
Joe had a girl friend named Mary. They would meet each other at the Social Club. Hold hands And think Pure Thoughts But one night, at the Social Club meeting…
There’s a crack up in the ceiling And the kitchen sink is leaking Out of work and got no money A Sunday joint of bread and honey
I’ve posted a lot by The Kinks but there are always more great songs I never covered and this is one of them. I like this one more than some of their huge hits…it’s a great song…catchy and meaningful.
Another Ray Davies song on the struggles of working-class life in Britain during the 1960s, focusing on themes of poverty, social inequality, and hopelessness. Not only in Britain in the 60s but extends to now as well all over. The title of the song says it all of being in a vicious cycle. This is just another example of Ray Davies’s brilliant songwriting. When you read the Ray Davies quotes at the bottom you will see where he was coming from.
Dead End Street was released in 1966 as a non-album single. It was quite successful peaking at #5 in the UK, #4 in New Zealand, #28 in Canada, and #73 on the Billboard 100. At that time, Ray, Dave, Pete Quaife, and Mick Avory were the Kinks. Also joining them was again…super session piano player Nicky Hopkins. It would be easier to list the songs Hopkins didn’t play on during the sixties. Quaife did not play bass on this song because of a scooter accident but John Daulton subbed for him.
Ray Davies said that Shel Talmy produced the song but he wanted more of a pop beat so they tricked Talmy. Ray Davies said: “He finished the track and said, ‘That’s great,’ and went home. Then we pretended to leave but came back to the studio and re-recorded the song. We played it to him the next day and he said, ‘See what I mean, there’s nothing wrong with it.’ He thought we were playing him his version.”
The video of this song shows the boys dressed as undertakers and it was directed by Ray himself.
Ray Davies: I wrote it around the time I had to buy a house and I was terrified. I never wanted to own anything because my dad had never owned property. He’d inherited from his dad that he had to rent all his life. So I still have inbuilt shame of owning anything. It’s guilt.”
Ray Davies: “My whole feeling about the ’60s was that it’s not as great as everyone thinks it is. Carnaby Street, everybody looking happy, that was all a camouflage. That’s what Dead End Street was about.
Dave Davies: “A song full of character, pathos, yet containing an underlying sense of hope. Reflecting a fondness for the past but at the same time expressing a determination and yearning for change.
“Anguished voices calling to a heartless world. A world where the plight of the ordinary person mattered little. “
Dead End Street
There’s a crack up in the ceiling And the kitchen sink is leaking Out of work and got no money A Sunday joint of bread and honey
What are we living for? Two-roomed apartment on the second floor No money coming in The rent collector’s knocking, tryna get in
We are strictly second class We don’t understand
Why we should be on dead end street (Dead end!) People are living on dead end street (Dead end!) I’m gonna die on dead end street Dead end street (yeah!) Dead end street (yeah!)
On a cold and frosty morning Wipe my eyes and stop me yawning And my feet are nearly frozen Boil the tea and put some toast on
What are we living for? Two-roomed apartment on the second floor No chance to emigrate I’m deep in debt and now it’s much too late
We both want to work so hard We can’t get the chance
People live on dead end street (Dead end!) People are dying on dead end street (Dead end!) I’m gonna die on dead end street Dead end street (yeah!) Dead end street (yeah!)
People live on dead end street (Dead end!) People are dying on dead end street (Dead end!) I’m gonna die on dead end street Dead end street (yeah) Dead end street (yeah)
Dead end street (yeah) Head to my feet (yeah) Dead end street (yeah) Dead end street (yeah) Dead end street (yeah)
How’s it feel? (Yeah) How’s it feel? (Yeah) Dead end street (yeah) Dead end street (yeah) Dead end street (yeah)
This is the second year I’ve posted this on the 4th. I hope you liked the previous post on The Blasters. Hendrix did a great version of The Star Spangled Banner in my opinion. He had served as a paratrooper in the 101st Airborne Division at Fort Campbell in Clarksville Tennessee in the early 60s.
Yes, this is my favorite version of the song. The poem that formed the basis of the lyrics was penned in 1814 during the War of 1812 by Francis Scott Key, a 35-year-old lawyer who was sent to negotiate with the British in an attempt to gain the release of an American prisoner they were holding.
Later, Key watched the bombardment of Fort McHenry from a ship he was on. The next morning he saw the Americans take down the battle-torn US flag at the fort and replace it with a larger one.
Key’s poem was published on September 17, 1814, the day after he returned to Baltimore. The poem was sung to the music of a popular British drinking song called “To Anacreon in Heaven, ” attributed to John Stafford Smith.
Any time someone does an unusual approach to this song…there is always a lot of complaining from people. Once when Jose Feliciano did the song in Game 5 of the MLB World Series in 1968 on guitar and singing…all hell broke loose. Some listeners thought he had “desecrated” and disrespected the national anthem but when asked about it, Feliciano explained that the reason he offered a non-traditional rendition of the anthem was to get people to pay attention to it. It was a great version of the song.
Hendrix took the stage at Woodstock at 8am…only around 30,000 were left out of the huge crowd there. He had been warned not to do the anthem when he toured but did it anyway. He even recorded a studio version and after his death, the takes were put together and released but the Woodstock performance is the one that is best known. What amazes me is when he is imitating bombs dropping…he suddenly goes right back in on time and doesn’t miss a lick.
He didn’t get as much flack as Feliciano did…I think because it wasn’t on prime time during a World Series.
The Blasters play what I would call rockabilly with some Americana thrown in. Some of the descriptions I found were rockabilly, blues, early rock and roll, punk rock, mountain music, rhythm and blues, and country…but in short…they rock.
American Music was first released on the band’s 1980 debut album, the self-titled American Music. The album was independently produced and helped establish The Blasters as a force in the roots rock movement. They recorded 22 songs, and many covers, whittling it down to 13 for the final product. Released in February 1980, it sold out but only 2000 were pressed then.
The Blasters never had mainstream success…but mainstream radio back in the 80s would have been greatly improved by these guys. They were a rock and roll band formed in 1979 in Downey, California, by brothers Phil Alvin (vocals and guitar) and Dave Alvin (guitar), with bass guitarist John Bazz and drummer Bill Bateman.
This sounds like a homage to the American musical heritage, it reflects the band’s influences from blues, rockabilly, and early rock ‘n’ roll. Its lyrics and upbeat tempo celebrate the rich tapestry of American music genres.
Below I have a long quote from Dave Alvin on recording an album that an unknown truck driver complimented the album and meant the world to them.
Dave Alvin: Phil, Bill, John, and I were working day jobs, rehearsing at night in a factory in Garden Grove and trying desperately to find any steady gig that paid more than free beer. Our friends, James Harman and Mike Foresta, had recorded a demo tape of us and we’d taken copies to every “cool” nightclub in the Hollywood/West LA area, but no one was interested in a roots band, especially one from Downey, California, with no hip credentials.
I read somewhere about “Rockin” Ronny Weiser and his small rockabilly label (Rollin’ Rock), so Phil called him about the possibility of recording us. Ronny was skeptical until Phil sang and played guitar over the phone and within an hour Phil and I were sitting in Ronny’s living room playing him our tape. Ronny dug the tape, but still wouldn’t make a commitment to record us because we’d only played in biker and country bars on the decidedly untrendy southeast side of LA County. We knew none of the Hollywood scenesters and tastemakers and they definitely didn’t know us. That is until this truck driver came by Ronny’s to pick up boxes of records to be shipped.
“Who’s this playing?” he asked Ronny.
“It’s us,” Phil said.
“Is this what these records are? If it is, I’ll buy a copy. My wife and I dig this kind of music. You can’t find music like this anymore.”
We couldn’t have asked for more even if we’d paid him a million bucks. Once he left, Ronny quickly discussed when we’d record our first album and within a few weeks we were in Ronny’s garage/studio. James and Mike were with us for moral support. We drank a lot of beer. Phil, the most experienced, led us patiently and sang his heart out. James let me record with a white Fender Stratocaster that he swore once belonged to Magic Sam. I made mistakes I’ll spend the rest of my life trying to forget, but Ronny kept pushing us to quit thinking too much and just keep it rockin’ (and with a rhythm section like John and Bill, that was no problem). After that first day of recording, we drove back to our side of town punching each other in excitement and jumping up and down in the car seats like little boys. we yelled at strangers in passing cars that we’d made a record and we were gonna be famous. I remember at one point all four of us had our heads out the car windows, laughing cursing, screaming, and howling at the moon.
American Music
Well, a U.S. soldier boy on leave in West-Berlin
No music there that rocks, just a thousand violins
They wanna hear some American music
American music
They wanna hear that sound right from the U.S.A
Well, it can be sweet and lovely, it can be hard and mean
One thing’s for sure, it’s always on the beam
They wanna hear some American music
American music
They wanna hear that sound right from the U.S.A
Well, it’s a howl from the deserts, a scream from the slums
The Mississippi rollin’ to the beat of the drums
They wanna hear some American music
American music
They wanna hear that sound right from the U.S.A
We got the Louisiana boogie and the delta blues
We got country, swing and rockabilly, too
We got jazz, country-western and Chicago blues
It’s the greatest music that you ever knew
It’s American music
It’s American music
It’s American music
It’s that crazy sound right from the U.S.A
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