When I first started to blog, mostly all I did was older hits and pop culture. I then started to experiment with album cuts and they seemed to go over pretty well. I’m surprised that I never blogged this song at the beginning. I’ve always liked it… it’s a mixture of pop, bubblegum, and a little psychedelia. What stuck out to me is the sitar…which I love to hear.
Bubblegum has a bad name but there is good bubblegum and I do like some of it. I never cared for The 1910 Fruitgum Company and The Ohio Express but some I did like. Crazy Elephant’s Gimme Gimme Good Loving and songs like that…I’ve always been fond of.
The Lemon Pipers were formed in 1966 in Oxford, Ohio, by students from Miami University. The band played harder psychedelic and blues rock. Buddah Records had different ideas. They pushed The Lemon Pipers into more bubblegum-type music. The tension between the record company and The Lemon Pipers eventually broke the band up in 1969.
You could probably consider The Lemon Pipers a one-hit wonder. They had some other charting songs but none in the top 40 on the Billboard 100 except the song Rice Is Nice which peaked at #6 in New Zealand.
This song did well here and everywhere. It peaked at #1 on the Billboard 100, #3 in Canada, #3 in New Zealand, and #7 in the UK in 1967. The song has appeared in various films and television shows and made its place as a symbol of 1960s pop culture.
Green Tambourine
Drop your silver in my tambourine
Help a poor man fill a pretty dream
Give me pennies, I’ll take anything
Now listen while I play
My green tambourine
Watch the jingle jangle start to shine
Reflections of the music that is mine
When you toss a coin, you’ll hear it sing
Now listen while I play
My green tambourine
Drop a dime before I walk away
Any song you want, I’ll gladly play
Money feeds my music machine
Now listen while I play
My green tambourine
Badfinger has always been one of my favorite bands. They had a brilliant songwriter Pete Ham and a very good one Tommy Evans. No Matter What is considered one of the earliest power pop songs.
Badfinger is the band that got me into power pop. After reading about them my interest widened into Big Star and then the Raspberries. If any of you readers have a time machine I could use…take me back to January 19, 1973, at the Chicago Aragon Ballroom…where The Raspberries opened up for Badfinger. That would be a power pop dream.
This song was featured on their 1974 album Wish You Were Here. It was written by Pete Ham and he is the lead vocalist. Dennis is on many “Badfinger Best” lists…in some number 1 over Baby Blue, Day After Day, and No Matter What. The melody in this song is very good.
The album was released in late 1974 and was pulled in early 1975 before it had time to do anything because of litigation between Badfinger’s manager (Stan Polley) and the Warner Brothers. It was released and pulled in a matter of weeks. Warner Brothers saw the money was missing (Polley took it all out of trust) and yanked the album off of the shelves. It was rising in the charts when it was pulled. They recorded another album right after this called Head First but because of litigation, it wasn’t released until 2000.
The band was basically broke. With all of their self-written hits, they should have been set financially for years.
Pete Ham didn’t have the money to pay his mortgage and with a baby on the way drunk and depressed at the fatal age (for rock stars) of 27 Ham hanged himself at the age of 27 in his garage studio in 1975. In 1983 after scrambling for gigs, Tom Evans broke and was not able to get to any of the royalties due him from co-writing Without You with Pete…hanged himself also.
Dennis
Deeper waters flowed Recently it showed Tryin’ to cover your head Tryin’ to frighten you Tryin’ to fight with you Really gettin’ you scared But don’t you worry, you love of mine Pretty soon it will all be fine And we’ll just go on
Higher hills to climb Climbin’ all the time Tryin’ to find a way through Fallin’ down again, on the ground again Wonderin’ what you can do But don’t you worry, you love of ours They look like weeds, but they’re really flowers And they’ll soon be gone
You won’t stand up, you won’t sit down Your head’s a mile above the ground And though we tend to scold you now I couldn’t start to tell you how We couldn’t start to tell you how There’s just no way to say how much we love you
You, little Dennis, you You’re full of new surprise Love you You, little Dennis with the rascal in your eyes You’re a prize
It could be bad, it could be worse You’re taking out your mother’s purse And though you cried when you got told The money there was for the old To keep their dogs from getting cold The only thing that can’t be sold is love
You, little Dennis, you You’re full of new surprise Love you You, little Dennis with the rascal in your eyes
Will you pick up your toys? Will you be a good boy? Will you please, please?
There’s a way There’s a way If you’ll play If you’ll stay There’s a way through There’s a way to Take away blue Take away blue
There’s a way There’s a way If you’ll play If you’ll stay There’s a way through There’s a way to Take away blue Take away blue
There’s a way There’s a way If you’ll play If you’ll stay There’s a way through There’s a way to
John turned his Kustom K200/A Amp up to 11 with this song. It’s a little harder than their radio hits and they dip into blues rock with this cut. It was never released as a single but has become a fan favorite, especially among those who appreciate CCR’s rock album tracks.
It featured on their 6th studio album Pendulum released in 1970. This album was the last to feature Tom Fogerty, the band’s rhythm guitarist and older brother of lead singer John Fogerty. He would leave the band band after this one. The album departed from the band’s previous work in several ways. Fogerty’s songs are strong throughout and are made more interesting by the addition of horns and keyboards
It was recorded at Wally Heider’s studio in San Francisco, it took a month to record which was a long time for a Creedence album. , was down to the fact that the initial take on each song was performed by all four members, this was then followed by overdubbing by John. The overdubs included a horn section, keyboards, and additional backing vocals, all of which were played and sung by John.
The album was met with mixed reviews from critics. Some praised the deeper sound they had in their songs. Some wanted the rawer energy they had on their previous 5 albums. It included the two hits Have You Ever Seen The Rain and Hey Tonight. Pagan Baby does have that earlier CCR energy.
Pendulum peaked at #5 on the Billboard Album Charts, #2 in Canada, and #8 in the UK in 1970. Their next album Mardi Gras was the only CCR album to be panned by critics and fans alike…including John Fogerty.
Pagan Baby
Pagan baby, won’t you walk with me? Pagan baby, come on home with me. Pagan baby, take me for a ride. Roll me, baby, roll your big, brown eyes.
Yeah! ooh! ooh!
Pagan baby, let me make your name. Drive it, baby, drive your big love game. Pagan baby, what you got, I need.
Don’t be savin’, spread your love on me.
Aah! mm-mm-mm!
Pagan baby, now won’t you rock with me? Pagan baby, lay your love on me.
Around 1984 or so I really started to get into Ricky Nelson. Song after song of quality. At first, I only knew Garden Party but it’s his 50s catalog where many of his best songs are found…and I love Garden Party.
By 1957, Ricky Nelson was already a well-known actor from his role on “The Adventures of Ozzie and Harriet”, a TV show that starred his real-life family. His transition into music was initially seen as a part of his television character, but he quickly proved his talents as a serious musician. The show helped him of course but also hurt his credibility as a rock and roll artist.
Stood Up was part of a string of hits he was enjoying in the late 50s. The song was written by Dub Dickerson and Erma Herrold. The great James Burton, who would later lead Elvis’s TCB Band, played guitar on this song.
The song peaked at #2 on the Billboard 100 and #27 in the UK in 1957. Stood Up was his second #2 single and the next year he would have his first number one with Poor Little Fool. Poor Little Fool featured The Jordanaires, who were Elvis Presley’s backing singers.
Throughout the 1960s, Nelson continued to record rockabilly and evolve as an artist. He shifted to a more folk-rock sound and formed The Stone Canyon Band and in 1972 he had the hit Garden Party.
Stood Up
Well, I’ve been waitin’ ever since eight Guess my baby’s got another date Stood up, broken-hearted, again
I’ll bet she’s out havin’ a ball Not even thinkin’ of me at all Stood up, broken-hearted, again
Well, I know just what I oughta do I oughta find somebody new But, baby, I couldn’t forget about you Stood up, broken-hearted, again, mm
Why must I always be the one Left behind never havin’ any fun? Stood up, broken-hearted, again
But I guess I’ll go on bein’ a fool Sittin’ around just waitin’ for you Stood up, broken-hearted, again
Well, I know just what I oughta do I oughta find somebody new But, baby, I couldn’t forget about you Stood up, broken-hearted, again
Stood up, broken-hearted, again Stood up, broken-hearted, again
This is part 4 of this series and I thought it was about time to do another installment. I found some more rare songs this time except for Mr. Berry.
Kinks – Cadillac
I think all of these I do must have Cadillac in at least one song. This one was on their debut album and it was written and recorded by Bo Diddley in 1960. The Kinks debut album Kinks was released in 1964.
Gene Vincent – Pink Thunderbird
This song was written by Tex Davis and Paul Peek. It was released by Gene Vincent in 1957. Gene Vincent’s voice and slap back echo go together perfectly. Every rock artist after Gene Vincent has gone after that sound including Springsteen.
Cliff Gallup played some great guitar on this recording. He recorded 35 tracks with Vincent including Be-Bop-A-Lula.
Chuck Berry – Maybellene
Chuck Berry was THE first guitar hero in Rock and Roll. He was also rock’s first poet. This song evolved out of “Ida Red,” a hillbilly song by Bob Wills and The Texas Playboys from the early ’50s. Berry heard that song on the Country radio station KMOX in St. Louis but didn’t know who recorded it.
Not only is the music great with the steady beat… but those lyrics. The motor cooled down the heat went down, And that’s when I heard that highway sound, the Cadillac a-sittin’ like a ton of lead, a hundred and ten half a mile ahead, the Cadillac lookin’ like it’s sittin’ still, and I caught Mabellene at the top of the hill
You can see what is happening in the song in your head with no problem… no MTV story video needed. He was one of the best descriptive lyricist rock and roll has ever had.
The Three Milkshakes – Jaguar
They were a rockabilly band from the 1980s led by singer Mark Kermode, who is now well-known as a British film critic. The group specialized in vintage rock ‘n’ roll and rockabilly music, covering songs in a classic ’50s style. They were part of the vibrant rockabilly revival scene in the UK during that time.
Bob Dylan – From A Buick 6
This song is from Bob Dylan’s album Highway 61 Revisited released in 1965. This song was the B side to the single Positively 4th Street. It’s a cool bluesy song that has those Dylan lyrics going everywhere. It resembles Sleepy John Estes’ Milk Cow Blues.
It doesn’t get much more Halloween than this song. Black Sabbath was a hard rock band that gets credited a lot for influencing heavy metal. That is perplexing to me…what is heavy metal and what is hard rock? When I think of heavy metal I think of some of the many heavy 80s bands with a huge processed sound on guitar. That probably isn’t what others think of though.
The song was inspired by a series of ominous and eerie experiences. According to bassist Geezer Butler, the concept for the song emerged from a frightening incident he had after reading an occult book given to him by Ozzy Osbourne. Butler claims that after leaving the book on a shelf, he saw a dark figure standing at the foot of his bed that disappeared suddenly. This experience led him to write the lyrics. The song is credited to Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward.
The album cover. It has to be the spookiest album cover ever. On one hand it looks real and on another it looks like a horror movie poster but better. At the center of the album cover is a mysterious, cloaked woman dressed in black. Her identity has been the subject of speculation for decades. Some have claimed she symbolizes a witch or an occult figure, which fits the band’s early associations with the dark arts. It’s one of rocks most iconic album covers.
Louisa Livingstone was a model that was hired for the cover. No one knew who she was until Rolling Stone tracked her down in 2020. Turns out Mrs. Livingstone is not much a fan of Black Sabbath after she finally listened to the album. It just wasn’t her type of music. She now records electronic music under the name of Indreba. Keith Macmillan is the photograhper who shot the album cover.
The album peaked at #23 on the Billboard 200, #29 in Canada, and #8 in the UK in 1970.
Keith Macmillan: “She was a fantastic model. She was quite petite, very, very cooperative. I wanted someone petite because it just gave the landscape a bit more grandeur. It made everything else look big. She wasn’t wearing any clothes under that cloak because we were doing things that were slightly more risqué, but we decided none of that worked. Any kind of sexuality took away from the more foreboding mood. But she was a terrific model. She had amazing courage and understanding of what I was trying to do.”
Louisa Livingstone: I had to get up at about four o’clock in the morning, or something as ridiculously early as that. It was absolutely freezing. I remember Keith rushing around with dry ice, throwing that into the pond nearby, and that didn’t seem to be working very well, so he was using a smoke machine. It was just, ‘Stand there and do that.’ I’m sure he said it was for Black Sabbath, but I don’t know if that meant anything much to me at the time.”
If you want to know about Black Sabbath’s album Black Sabbath VOL 4 cover… go to The Press Music Reviews.
Black Sabbath
What is this that stands before me?
Figure in black which points at me
Turn around quick, and start to run
Find out I’m the chosen one
Oh no
Big black shape with eyes of fire
Telling people their desire
Satan’s sitting there, he’s smiling
Watches those flames get higher and higher
Oh no, no, please God help me
Is it the end, my friend?
Satan’s coming ’round the bend
People running ’cause they’re scared
The people better go and beware
No, no, please God help me
That Lil Ol’ Band from Texas. I loved it when Billy Gibbons had this tone on his guitar. This was pre-Eliminator and his tone was just perfect. They sound loose in this but the music is tight. It’s classic ZZ Top. A buddy of mine had most of their albums and played this one a lot and Fandango.
I saw them on the Eliminator tour and they were fantastic. They had Sammy Hagar opening up for them after he released Three Lock Box. ZZ Top had the best lighting show I’ve ever seen to this day.
This song has the entire band credited. Billy Gibbons, Dusty Hill, and Frank Beard. This song was on their debut album ZZ Top’s First Album released in 1970. That is an easy way of remembering it.
This album isn’t as polished as some of their others, but it previews exactly what sound you would get until Eliminator. ZZ Top was formed in 1969, with Billy Gibbons (guitar and vocals), Dusty Hill (bass), and Frank Beard (drums). Before forming ZZ Top, Billy Gibbons played in various bands, most notably The Moving Sidewalks, which opened for Jimi Hendrix during his 1968 tour.
The album didn’t make a huge splash commercially, but it helped establish the band as a powerful live act. The album was produced by Bill Ham, who became a key figure in shaping ZZ Top’s sound. He would go on to produce their subsequent albums and manage the band for decades. Ham produced or co-produced all of their albums up through 1996’s Rhythmeen as well as being their manager. They parted ways in 2006. He passed away in 2016 at 79.
Going Down to Mexico
I was on my way down to Mexico There was trouble on the rise It was nothin’ more than I’d left behind Which was much to my surprise I turned around and lit a cigarette Wiped the dust off of my boots When up ahead I saw the crowd I knew it was no use
It’s been the same way for oh so long It looks like I’m singin’ the same old song
A fine and fancy man was he Doin’ good things for the poor Givin’ rides in his rocket 88 for free They could not hope for more When it came my turn, he said to me “Have I seen your face before?” I said, “Oh no, you must be wrong I’m from a distant shore”
So if you don’t mind, I’ll just move along But it looks like I’m singin’ the same old song
A 1940 movie star With a long-forgotten name She was a sexy mess in her beaded dress Still hangin’ on to fame With forgotten lines, she missed her cue And left her glass of wine at home She was singin’ the same song that I was Could we both be wrong?
So hand in hand we walked along Each of us singin’ the same old song
I made a playlist of instrumentals and took recommended ones from the 1950s. I think the heyday of instrumentals was the fifties and sixties. Here is one that caught my ear… Forty Miles Of Bad Road
I have a soft spot for that twangy reverb guitar. Eddy played a major role in shaping the surf rock genre and influenced many following guitarists. The song peaked at #11 in the UK, #4 in Canada, and #9 on the Billboard 100 in 1959. This song was written by Duane Eddy and Al Casey. The song was on the compilation album $1,000,000 Worth of Twang. Damn, that is a great name for an album! Not to mention the title of the song as well.
The phrase was apparently inspired by a comment overheard by Duane Eddy and his producer Lee Hazlewood while in line at a movie theater. They heard two guys talking about one of their blind dates. He said she looked like 40 miles of bad road. Of course, they looked at each other and said that has to be the title of our new song.
This (and many of his songs) was recorded in a Phoenix studio which had an echo chamber that was originally a large water tank. A single speaker was placed at one end of the tank, the microphone at the other, and the guitar was piped in there. The title was referenced in a REM song called Crush With Eyeliner…instead of 40 miles…”She’s Three Miles of Bad Road.”
This band went through two distinct phases: an early rock/blues era followed by a shift to power pop. Their diverse catalog spans power pop gems, gritty blues-rock, and classic rock ‘n’ roll. In this song, we’re focusing on their rock/blues period from the early ’70s, hearing the raw Groovies.
I first heard this band with the song Shake Some Action. That song is probably their best-known, but the blues/rock period should be heard. This song was written by Cyril Jordan and Roy A. Loney.
Released the same year as the Rolling Stones album Sticky Fingers, Mick Jagger reportedly noticed the similarities between the Groovies Teenage Head album … and thought the Flamin’ Groovies did the better take on the theme of classic blues and rock ‘n roll. The band was started in 1965 by Roy Loney and Cyril Jordan. By the end of the sixties, they clashed over where to go. Loney was more Stones and Jordon leaned toward the Beatles. Loney left in 1971 and they got an 18-year-old lead singer named Chris Wilson.
They moved to London and started to work with Dave Edmunds. With Chris, they did more power pop and that is when Shake Some Action came about with Wilson and Jordon writing it. They would go on to be a great power pop band known as an early proto-punk band…they pretty much covered the gamut. This anti-drug song was written by Jordon and Loney before he left…Chris Wilson is singing it.
I’ve listened to this album and it does sound very Stonesy but not copying them at all. This album was released before the Stones Sticky Fingers.
There is a Canadian band with the same name as this album and song…Teenage Head. They took their name from this song title and album. They quickly gained a loyal following on the Ontario club circuit for their shows, highlighted by Gord Lewis’ guitar work and frontman Venom’s (Frankie Kerr) vocals and on-stage presence.
Their self-titled debut album was released in 1979 and distributed by Epic Records Canada. A year later, the group signed to Attic Records and released the Frantic City album, which put them on the international radar. The hit singles, “Something On My Mind” and “Let’s Shake” helped propel the album to platinum sales (100,000) in Canada.
I added another cool song off of the album called Yesterday’s Numbers.
Teenage Head
I’m a monster
got a revved up teenage head.
Teenage monster
California born and bred.
Half a boy and half a man
I’m half at sea and half on land, oh my
Bye-bye.
Got a woman,
she’s my hopped up high school queen.
She’s my woman,
she’s a teenage love machine.
She knows how to turn me on
and get me high and get it on and on,
yeah she does.
When ya’ see me,
better turn your tail and run,
’cause I’m angry
and I’ll mess you up for fun.
I’m a child of atom bombs
and rotten air and Vietnams; I am you,
you are me.
In my love for the Who, I never posted this version of this great song. I found out about Eddie Cochran through the movie The Buddy Holly Story where he was played by Jerry Zaremba. I then remember him in La Bamba when Brian Setzer played him to a tee.
After that, I heard The Who’s version of this song and our band played it that way. I then heard Cochran’s version and loved it just as well. The song that really made me connect to Cochran was Twenty Flight Rock when I heard the Stones do it.
Eddie Cochran was a huge influence on the up-and-coming British guitar players of the sixties. Jimmy Page, Jeff Beck, John Lennon, and Pete Townshend. He was huge in the UK. He was one of the big 50s guitar heroes. He broke through with this song Summertime Blues in 1958 peaked at #8 on the Billboard 100, #10 in Canada, and #18 in the UK. He also did well with C’mon Everybody. He was never really big in America… he was a bigger star in Europe.
He didn’t use his guitar as a prop like some did…he played it and played it well. He also worked as a session musician. He helped bring rock guitar along in more ways than just his playing. He was one of the first to modify his pickups and he did away with the wound G string on the guitar. He replaced it with an unwound string which made it easier to bend. Many future musicians were paying attention, sitting on the front row of his British tour.
In 1960, Cochran and Gene Vincent were in a hired car and it hit a lamp post and Eddie was thrown from the car and suffered a head injury and died in a hospital. He was only 21 years old. Gene Vincent received injuries to his already bad leg and walked with a limp after the crash. Eddie was the only one to die.
Eddie’s girlfriend Sharon Sheeley was a songwriter. She wrote Ricky Nelson’s first hit “Poor Little Fool” and a couple of songs (Love Again and Cherished Memories) for Cochran. She also got injured in the crash.
Summertime Blues
I’m a-gonna raise a fuss I’m a-gonna raise a holler About a-workin’ all summer Just to try to earn a dollar
Every time I call my baby Try to get a date My boss says, “No dice, son You gotta work late”
Sometimes I wonder What I’m a-gonna do But there ain’t no cure For the summertime blues
Oh, well, my mom and papa told me “Son, you gotta make some money And if you wanna use the car To go a-ridin’ next Sunday”
Well, I didn’t go to work Told the boss I was sick “Well, you can’t use the car ‘Cause you didn’t work a lick”
Sometimes I wonder What I’m a-gonna do But there ain’t no cure For the summertime blues
I’m gonna take two weeks Gonna have a fine vacation I’m gonna take my problem To the United Nations
Well, I called my congressman And he said, quote “I’d like to help you, son But you’re too young to vote”
Sometimes I wonder What I’m a-gonna do But there ain’t no cure For the summertime blues
In the early eighties, I joined Columbia House and I would sign up fictional people and get free albums. I would buy the required albums for these fictional people but you would get 6-7 free albums for signing up someone to buy one album. Plus that person would get free albums when they joined. I saw the loophole and took advantage of it but I always paid. I got most of my Doors, Moody Blues, and a few other albums through Columbia House.
This Robbie Krieger-written song is immediately likable. This Doors song and album differed from many others because of its orchestral arrangement, which includes brass and strings. It was largely arranged by producer Paul Rothchild. It was also very radio-friendly and Morrison’s voice sounded great in this pop backdrop…he did keep his edge up on the track. Many critics and fans saw the track as a sell-out for The Doors. To me, it was just them expanding their sound to a different genre. Plus the solo in the middle is clearly jazz-influenced not heard in many top 40 hits at the time.
The song was on the Soft Parade album released in 1969. The album peaked at #6 on the Billboard Album Charts and #4 in Canada. The song did really well. It peaked at #3 on the Billboard 100, #1 in Canada, and #6 in New Zealand.
Soft Parade was their 4th studio album. They would only release two more albums with Morrison, Morrison Motel, and L.A. Woman (my personal favorite). With Soft Parade the band decided to experiment with a more polished, orchestral sound. Producer Paul A. Rothchild and arranger Paul Harris introduced horns, strings, and elaborate arrangements and this song is a good example. The two singles off this album were Touch Me and Wishful Sinful which just missed the top forty at #44.
In the Smothers Brothers clip, you will see Robbie Krieger with a black eye. Ray Manzarek said this: Three rednecks got in a fight with Jim and Robbie down the street from the Doors’ office at a bar and there was pushing and shoving and Robbie Krieger got whacked in the eye. Jim ducked a punch, Robbie wasn’t able to duck the punch. That was 2 days before we went on The Smothers Brothers’ Show. They said to Robbie on the show, Let’s put some make-up on that black eye. You don’t want to be on national television with a black eye. And Robbie said, Yes, I do! No one has ever gone on TV with a black eye. I’m going to be the first! It’s a badge of honor.
Touch Me
Come on, come on, come on, come on Now touch me, babe Can’t you see that I am not afraid? What was that promise that you made? Why won’t you tell me what she said? What was that promise that you made?
Now, I’m going to love you ‘Til the heavens stop the rain I’m going to love you ‘Til the stars fall from the sky For you and I
Come on, come on, come on, come on Now touch me, babe Can’t you see that I am not afraid? What was that promise that you made? Why won’t you tell me what she said? What was that promise that you made?
Now, I’m going to love you ‘Til the heavens stop the rain I’m going to love you ‘Til the stars fall from the sky For you and I
I’m going to love you ‘Til the heavens stop the rain I’m going to love you ‘Til the stars fall from the sky For you and I
If this song doesn’t get you up nothing will! I’ve probably covered The Who more than any other band but I’ve missed this excellent cover they did back in 1965. In this post, we will look at the song and the original drummer of The Who.
This is a cover of a lively James Brown original from 1962. The Who recorded in 1965, it was on their My Generation album. It was also part of their appearance on the music show Ready, Steady, Go! alongside the song Anyway, Anyhow, Anywhere. Shout and Shimmy did not achieve widespread fame, it reflects the band’s devotion to R&B and soul, influences that heavily shaped their early sound. They also covered the Marvelettes song Heat Wave which was a part of the Mod culture. James Brown wrote and released Shout and Shimmy in 1962.
The Who’s rendition captures the raw energy of their early sound. Keith Moon in the live cut of this is a blur on drums. He was 19 years old and joined The Who the year before replacing The Who’s original drummer Doug Sandom.
Sandom was a good guy and a solid drummer but he was 34 in 1964 and considered far too old for The Who by the record company. Pete Townshend wrote a moving forward to Sandom’s book in 2014: Had we continued together back in 1964 with Doug on drums we may never have become as successful as we are today. Keith Moon was a born publicist as well as a highly eccentric performer. But I have no doubt that personally, I would have been happier as a young man. Partly because I think we would have continued to put music and friendship first in our band because that was Doug’s way. With Doug as my friend, I believe I could have been a better man.
Doug drummed for them as The Detours and The Who. He had this to say about The Detours changing to The Who: “We were setting up our gear when the Ox arrived and told us there was another band called The Detours and they’d already been on TV so we had to change our name. That night we all went back to a friend of Pete’s – a wonderful chap called Richard Barnes (an author and has worked with the Who for decades), or Barnsy, to try to find a new name.
Barnsy initially suggested The Group and Pete favoured The Hair. Someone else suggested No One until we imagined a compere on stage saying: ‘Ladies and gentlemen, please welcome No One.’ We’d have been a laughing stock. It was Barnsy who came up with The Who. Pete tried to compromise by suggesting The Hair And The Who until it was pointed out that it made us sound like a pub. Anyway, Roger came round to mine the next day and said it was to be The Who.”
On one of their recording dates, Townshend and Sandom were not in good moods and Sandom retold it: “He had a terrible go at me, snarling, ‘What’s wrong with you? If you can’t get it right then you’re out.’ I just got up from my stool and said, ‘That’s it, I quit.’ It was the biggest mistake of my life.
Sandom stayed in touch with the band until he passed in 2019 at the age of 89 years old.
I always try to give a studio and live version…but in this case…live is the way to go. Around 1:29 is where Moon kicks in.
Shout and Shimmy
Do you feel alright? Well do you feel alright children? Do you feel alright? You know you make me want to shout shimmy, oh yeah you gonna shout shimmy, Oh yeah you gonna shout shimmy, oh yeah you gonna shout shimmy, Oh yeah you know I walk up to the front, I try to do the flop, I walk up to the back, and I move on side to side, Then I stop, oh yeah and then I drop, Oh yeah and then I drop, oh yeah and then I do a little thing ?????, Do you feel alright? Do you feel so good? Do you feel so good? Do you feel alright? Do you feel alright? Tell me now, tell me now, Do you feel alright? Do you feel alright? Everybody do you feel so good? You know I feel alright, you know you make me want to shout shimmy, Oh yeah you gonna shout shimmy, oh yeah you gonna shout shimmy, Oh yeah you gonna shout a little bit soft, shout a little bit quieter, Shout a little bit soft, come on soft, shout a little bit soft, A little bit soft, cool down, cool down, come on, cool it down, I feel so good, I feel alright, drum on, drum on, drum on drummer, Everybody everybody everybody clap your hands, come on clap your hands, Clap your hands, a little bit harder, a little bit louder, A little bit harder, a little bit louder, a little bit louder, Come on and shout, everybody, come on and shout, come on and shout baby, Come on and shout baby, do you feel alright? Do I feel so good? Do you feel alright? Do I feel so good? Call a doctor, call a doctor, Do you feel alright? Do you feel alright? Do you feel alright? Do you feel alright? Do you feel alright? You know I feel so good I’m gonna shout and shimmy all night, I feel all, you know I feel alright.
I really like the mood of this one. It reminds me of Fever but it is different. A very finger-snapping song. It was written by Buddy Blue (Bernard Seigal). I could picture this being played in a blues club in the 50s or 60s…such a groove to it…and it swings…slowly. After listening to it a couple of times I was hooked on it. I feel like I found a gem that no one knows about.
Originally a member of bands like The Beat Farmers and The Jacks, Buddy Blue was a figure in the roots rock and Americana genres. When I was on my break I was listening to different music but this is one of the guys I was listening to.
It was released in 2000 on the album Diposmania. He also did a different version of the song in his 2003 album Sordid Lives. I like the original version a little more because it’s more minimalist and his solo in the middle is fantastic.
He was the frontman and guitarist for The Beat Farmers. Buddy Blue’s musical roots began to paint its first strokes on the canvas of American rock ‘n’ roll. The band’s fusion of rock, punk, and country elements was a sonic cocktail that left audiences thirsty for more. With Blue’s vocals leading the band, The Beat Farmer’s energy became their trademark.
This song has a nice blues/jazz feel that I love. The sound sounds modern but also goes back to the 1950s.
Upsettin’ Me
The way you move when you walk in your black satin high heel shoes
Your perfume and your deep green eyes turn me into a fool
Well look on your faces everywhere I go
The heat of your body is all that I want to know
I’m never going to give you up baby you’re upsetting me
Nobody else can love you the way that your daddy do
Can’t you feel better at all I’m raising my flag just for you
Well I don’t have no money or fancy things
But Buddy is going to give you everything that you need
I’m never going to give you up you’re upsetting me
How you’re upsetting me
With your skin so sweet and your lips such a ruby red
You bending my soul baby yet and deep inside of my head
Well I tell you one thing honey ain’t no Lie
Another man touch you and he’s going to die
I’m never going to give you up babe you’re upsetting me
Yeah you’re upsetting me
Yeah you’re upsetting me
The guy was only with us for a few short years but boy he made a huge mark. I had a Buddy Holly marathon while painting and this song stood out. Without Buddy, rock music would have been drastically different. Buddy was a self-contained artist who wrote, arranged, and recorded his own songs. His chord changes and melodies were different from fellow rockers Jerry Lee Lewis, Little Richard, and Chuck Berry. I have always thought that Buddy was the father of power pop.
The song was credited to Joe B. Mauldin, Niki Sullivan, and Norman Petty but some think Holly wrote the majority of it. It was also covered by Blondie on their Parallel Lines Album. Holly released the song in 1957. It’s on the self-titled Buddy Holly album released on Coral Records. This album contained the classics Peggie Sue, Everyday, Rave On, and Worlds of Love.
William Ruhlmann, who is an American rock critic, said this about the ownership of the song. The song is credited to Joe B. Mauldin, Holly’s bass player; Norman Petty, his producer; and Nikki Sullivan, his sometime rhythm guitarist (who was not heard on the recording). There have long been questions about the songwriting credits assigned to the original songs Holly recorded, and Jerry Allison, his drummer, has gone on record stating that “I’m Gonna Love You Too” actually was written primarily by Holly, with Allison composing the bridge. Certainly the song sounds characteristic of the man who wrote “That’ll Be the Day.” It is another up-tempo number with an infectious tune and boastful lyrics that only thinly veil heartbreak.
Buddy Holly was among the first group of inductees to the Rock and Roll Hall of Fame in 1986. In 2004, Rolling Stone ranked Holly #13 among “The 100 Greatest Artists of All Time”.
What really hurts about Holly’s career is that he was just getting started. He had matured and was experimenting more than his rocking peers. Fortunately for all of us, he left behind a significant musical catalog that still influences new and old artists today.
It’s a-gonna happen, a-some day You’re gonna see things a-my way Yes, you’re gonna say you’ll a-love me ‘Cause I’m a-gonna love you too
A-you’re gonna tell me a-sweet things You’re gonna make a-my heart sing Yes, a-you’re gonna hear those a-bells ring ‘Cause I’m a-gonna love you too
After all, another fella took you But I still can’t overlook you I’m a-gonna do my best to hook ya After all is said and done
A-you’re gonna say you’ve a-missed me A-you’re gonna say you’ll a-kiss me Yes, you’re gonna say you’ll a-love me ‘Cause I’m a-gonna love you too I’m a-gonna love you too I’m a-gonna love you too
I’ve been reading about the Beatle’s early days when they were leather-bound hoodlums on the streets of Hamburg and Liverpool. Liverpool had a lot of bands and they tended to do the same songs. The Beatles broke out of that by picking B sides rather than playing a top 40 hit every time. They had excellent taste. They played this one in Hamburg at the Star Club. If you haven’t heard the low-quality album Beatles Live At the Star Club…it’s worth listening to. It’s The Beatles in rock/punk mode.
Eddie Fontaine, singer and actor, released this song in 1958. It has it all…twangy 1950s guitar and a cool lyric to boot. Eddie Fontaine never became a major name in rock and roll but his song left an impression on a generation of young rockers.
Eddie was from Massachusetts and RCA signed him in 1954 as a vocalist. He first gained attention as a singer with his single Cool It, Baby in 1956, which had moderate success. It was featured in the film The Girl Can’t Help It. However, Nothin’ Shakin in 1958 brought him more recognition, especially within the rockabilly crowd.
Eddie was an actor as well. He has 27 actor credits in IMDB. He appeared in TV shows like 77 Sunset Strip, The Wild Wild West, Ironside, Kojak, Planet of the Apes, Baretta, and many more.
This song peaked at #64 on the Billboard 100 in 1958. Below is a more refined Beatles version they did on the BBC radio and the original by Eddie himself.
Nothin’ Shakin’
I’m finding out what love is all about And every day at three when school lets out I see my baby I get weak in the knees There’s nothin’ shakin’ but the leaves on the trees Why must she be such a doggone tease? There’s nothin’ shakin’ but the leaves on the trees
We meet the gang and go to Rockin’ Joe’s The cats are stompin’ on their heels and toes I grab my baby, tried to give her a squeeze Nothin’ shakin’ but the leaves on the trees My daddy told me there’d be times like these There’s nothin’ shakin’ but the leaves on the trees
She’s got a way that makes me act like a fool Oh, she spends my money then she plays me cruel I’m beggin’ her for kisses on bended knees Gimme some lovin’ baby, please, please, please
But I keep trying hard to make her mine Someday the wind will blow, the sun will shine Until that time she puts my heart at ease There’s nothin’ shakin’ but the leaves on the trees She locked my heart and threw away the keys There’s nothin’ shakin’ but the leaves on the trees Ha ha ha!
Nothin’ shakin’ but the leaves on the trees She’s got a way that makes me act like a fool Oh, spends my money then she plays me cruel I’m beggin’ for her kisses on bended knees Why don’t ya gimme some lovin’ baby, please, please, please
But I keep trying hard to make her mine Someday the wind will blow, the sun will shine Until that time she puts my heart at ease There’s nothin’ shakin’ but the leaves on the trees Why must she be such a doggone tease? There’s nothin’ shakin’ but the leaves on the trees Nothin’ shakin’ but the leaves on the trees Nothin’ shakin’, oh shakin’
