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

That Petrol Emotion – It’s a Good Thing

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

It`s a good thing
Such a good thing
We do
We do

It`s a good thing
Such a good thing
We do

Coming Soon… Kinks Weeks starts on August 12

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.

Beatles – Dizzy Miss Lizzy

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 LizzyThe way you rock and rollYou make me dizzy, Miss LizzyWhen you do the strollCome on, Miss LizzyLove me ‘fore I grow too old

Come on, give me feverPut your little hand in mineYou make me dizzy, dizzy, LizzyOh girl, you look so fineJust a-rocking and a-rollingGirl, I said I wish you were mine

Ah!Ow!Woo!

You make me dizzy, Miss LizzyWhen you call my nameOoh, babySay you’re driving me insaneCome on, c’mon, c’mon, c’mon babyI want to be your loving man

Ah!MmMm, ow!

Run and tell your mamaI want you to be my brideRun and tell your brotherBaby, don’t run and hideYou make me dizzy, Miss LizzyGirl, I want to marry you

Come on, give me feverPut your little hand in mine, girlYou make me dizzy, dizzy, LizzyGirl, you look so fineYou’re just a-rocking and a-rollingOoh, I said I wish you were mine

Family – Burlesque

Destination BurlesqueI 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 harmGonna boogie my night all awayRita and Greta been twisting my arm intoHeading out westDown to the BurlesqueSaving my ace through to you

Well, drinking and sinking, I’m feeling alrightRight down to my snakey spat shoesJust about shutdown and three in the nightBecause I’m heading out westDown to the BurlesqueShow ’em a moon at the door

We got to show the Burlesque

Rolling, tumblingSure ain’t done me no harmDrinking, sinkingJust been too bad on my arm

Well I finally lost Rita and Greta went homeI guess that leaves just me and youBeen kinda sneaky to get you aloneOh but you in that dressDestination BurlesqueI got all my cards in one shoe

I got all my cards in one

Rolling, tumblingSure ain’t done me no harmDrinking, sinkingJust been too bad on my arm

Well I finally lost Rita and Greta went homeI guess that leaves just me and youBeen kinda sneaky to get you aloneOh but you in that dressDestination BurlesqueI got all my cards in one shoe

WHO – The Real Me

Jim Adams invited me to participate in Song Lyric Sunday for his blog. This week’s prompt is…”a song 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)?

 

Band – Acadian Driftwood

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

John Mayall and The Bluesbreakers – All Your Love

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