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
See pop shows near Nashville
Get tickets as low as $5
Another band this week that didn’t break America but should have.
A great pop song by The Small Faces with Ronnie Lane on the lead vocal. Ronnie Lane was inspired to write this song by a book of Sufi wisdom given to him by Pete Townshend. The song was credited to Ronnie Lane and Steve Marriott. The Small Faces
In 1966-67 Ronnie Lane and Steve Marriott moved into a Westminster apartment, and a new drug entered their orbit that expanded their artistic vision almost beyond all recognition… LSD (Lysergic acid diethylamide).
This song came off of their best-known album, Ogdens’ Nut Gone Flake. In its initial release, the album was packaged in a mock tobacco tin that was a circular metal container with oversized folded paper as one finds in a pipe tobacco tin. It proved to be too expensive and impractical, so later releases were packaged in conventional cardboard album covers. A compact disc reissue also was marketed in a mock Ogdens tin.
Ogden’s Nut-brown Flake was a tobacco brand produced in Liverpool from 1899 onwards by Thomas Ogden.
The album was a psychedelic concept album. It was one of rock’s first concept albums coming before The Who’s Tommy. Side two follows a boy named Happiness Stan who is trying to find the missing half of the moon. The story was thought of on a boating trip to teh river Thames.
Ian McLagan on touring Australia and New Zealand: “[The Australian press] gave me hell from the very beginning, because I’d just been busted, I was on my way to Athens for a holiday but never got further than Heathrow. As I was showing my passport they smelt the hash on me, searched and busted me. As soon as we landed in Australia we had a press conference, so we’re all lined up in front of the television cameras and the first guy goes: ‘Steve Marriott, Ronnie Lane, Kenney Jones, Ian McLagan… you’re the drug addict right?’”
“On our way to New Zealand we had to stop off in Sydney. You couldn’t drink on internal flights back then, but one of Paul Jones’ Australian backing band passed a bottle around and the police were called. We weren’t even drinking but they arrested and held us in the first-class lounge where a waitress came straight up to us and said: ‘What would you like to drink?’ “So we drank. The police arrested us as soon as we arrived in New Zealand, but we ended up having a great time. Steve had his 21st birthday party; Keith [Moon] wrecked his room; it was business as usual.”
Kenney Jones: “The lyrics came from Ronnie’s Sufi investigations, with the importance of the ‘wheat in the field’ and all that, I love his melodic bass playing on it. He used to think like he was playing lead guitar and that mentally fused into his bass playing.”
Ian McLagan: “It was weird that they allowed Here Comes The Nice to come out at all, we were dabbling in all kinds of chemicals and Methedrine was one of them. We were wrong to have written about a speed dealer. They weren’t the nicest people. The guy you bought your hash from was usually just a head, but a speed dealer – like a coke or heroin dealer – was only interested in getting your money. It was quite different. They weren’t your friends.”
Son Of A Baker
There’s wheat in the field
And water in the stream
And salt in the mine
And an aching in me
I can no longer stand and wonder
Cause I’m driven by this hunger
So I’ll jug some water
Bake some flour
Store some salt and wait the hour
While I’m thinking of love
Love is thinking for me
And the baker will come
And the baker I’ll be
I am depending on my labor
The texture and the flavor
This New Zealand band came out in the 80s. I learned about this band through Graham on his Aphoristic Album Reviews site. I love the jangle and their power pop ways. It’s too bad they didn’t get heard more. They did tour the US a few times opening for Radiohead.
The Bats were formed in Christchurch, New Zealand. The original lineup included Robert Scott (vocals, guitar), Kaye Woodward (guitar, keyboards, vocals), Paul Kean (bass), and Malcolm Grant (drums).
This song was from their debut album Daddy’s Highway released in 1987. They would go on to release 10 albums and 8 EPs. This song was used as the theme song for a television show called The Hollowmen. It was also used in the movie: Topless Women Talk About Their Lives.
The band released Foothills, their tenth studio album in 2020. They are a band worth checking out. Daddy’s Highway was recorded at Mascot Studios in Christchurch, New Zealand. The recording sessions took place in late 1986 and early 1987.
They were on an interesting New Zealand indie label called Flying Nun.
North by North
Some people are happy most of the time
But they don’t know they’re in line
I don’t know what to do with you
I don’t know how to deal with you
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why
I find out what you’re meaning now
Your term is darkness anyhow
I can’t find out what it is with you
If there is one thing I can’t get through
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why
Absolve the waiting that you’ve done
Take away those moments of fun
There won’t be much left there for you
I’m taught we’ve a choice in what we do
North by north
I’m still following home
North by north
I know your name
North by north
I’m still wondering why (why, why)
The bands I was in always did this song. I didn’t know this version at the time though…it was The Who’s version that we went by. That riff was a powerful guitar riff that kicked in after edging down the strings.
This song was written by Bo Diddley who came up with the ultimate riff with the song Bo Diddley. This song was released in 1959 and it peaked at #20 in the Billboard R&B Charts and #75 on the Billboard 100. It has been covered by many artists over the years and featured in various movies, TV shows, and commercials.
Bo Diddley was born Ellas Bates. He had his name changed to Ellas McDaniels when he was adopted. He took his stage name from a one-stringed Deep South instrument, the Diddley Bow.
You can be cool… but not Bo Diddley playing his square guitar cool… he was a great guitarist and showman.
I always loved his square guitar. He built a guitar that looked like no other. He designed and constructed a custom-built square-shaped guitar for himself, he then commissioned Gretsch Guitars and Kinman Guitar Electrix to build further custom-built square-shaped models for him.
Road Runner
I’m a road runner honey, Beep! Beep!
I’m a road runner honey, And you can’t keep up with me, I’m a road runner honey, And you can’t keep up with me, Come on, let’s race, Baby baby, you will see, Here I come, Beep! Beep!
Move over honey, Let me by, Move over baby, Let this man by, I’m gonna show you baby, look out your head, Gonna put some dirt in your eye, Here I go!
Oh yea, how am I doin? Beep! Beep!
Take my hand baby, I’m gonna prove to you that I’m a road running man, I wanna show you something, That I’m the fastest in the land, Now let me by, Beep! Beep! Oh yea, you said you’s fast, But it don’t look like you gonna last, Goodbye! I’ve got to put you down, I’ll see you some day, Baby, somewhere hangin’ around.
Looking through my index…I can’t believe I’ve never posted this one by Cream before. I’m rectifying that mistake today! The song was born from a riff they played in their first rehearsal.
You probably will ask yourself…what did NSU stand for? That would be courtesy of Eric Clapton. He had a venereal disease at the time that was called Non-Specific Urethritis. They thought it would be fun to name the song with the initials.
How this band must have sounded to ears when they first got played. Compared to what was going on it must have sounded like aliens. I would also include Jimi Hendrix with this wash of hard rock psychedelic music.
Cream was formed in 1966 and consisted of Eric Clapton (guitar, vocals), Jack Bruce (bass, vocals), and Ginger Baker (drums). They were one of the first supergroups, with members already having successful careers. Eric had played with The Yardbirds, Bluesbreakers, John Mayall & the Bluesbreakers, Powerhouse, and more. Jack Bruce played with Manfred Mann, Blues Incorporated, and helped form The Graham Bond Organisation. Ginger Baker played with Blues Incorporated, Johnny Burch Octet, and The Graham Bond Organisation before Cream.
The song was on their debut album Fresh Cream released in 1966. The album peaked at #39 on the Billboard Album Charts and #6 in the UK. I can’t find a reliable source but one source has it peaking at #39 in Canada.
This song was written by bassist Jack Bruce.
N.S.U.
Driving in my car, smoking my cigar,
The only time I’m happy’s when I play my guitar.
Singing in my yacht, what a lot I got,
Happiness is something that just cannot be bought.
I’ve been in and I’m out, I’ve been up and down,
I don’t want to go until I’ve been all around.
What’s it all about, anyone in doubt,
I don’t want to go until I’ve found it all out.
I haven’t reviewed Beck’s discography as much as I should have. This song is really good and so is the rest of the album. They touch on so many different styles.
The Jeff Beck Group was formed by guitarist Jeff Beck after he left The Yardbirds. The original lineup included Rod Stewart on vocals, Ronnie Wood on bass, Micky Waller on drums, and Nicky Hopkins on piano. This lineup is known for blending rock, blues, and jazz elements. The critics also cited this album as a big step to heavy metal and hard rock.
This was before The Faces with Wood and Stewart. Rod Stewart did some of his best vocals with this band. Spanish Boots was written by Jeff Beck, Rod Stewart, and Ronnie Wood. The song appears on Jeff Beck’s album Beck-Ola, released in 1969. Beck-Ola peaked at #39 in the UK, #15 on the Billboard 200, and #22 in Canada.
The album didn’t achieve the same level of commercial success as some of Jeff Beck’s later works but was critically acclaimed. Truth was their debut album, and it was released in 1968. It was a big success and critically acclaimed.
Spanish Boots
I used to work and take a salary In a hole up near a foundry But it did not take me too long To get my boots on a “So Long!” Long Spanish boots on a “So Long!” I took a day job in Bethlehem I nearly threw in the towel then But it did not take me too long To get my boots on a “So Long!” High Spanish boots on a “So Long!”
Dig it I took a Spanish haberdashery Restored with 15th century tapestry But oh, Mr. Nesbitt got the best of me So I strapped on my boots and said “So Long!” Laced up my high boots and “So Long!”
Goodbye Am on a job you see ‘Cause my old boots they mean too much to me Leather boots are just a mystery Put on my boots and said “So Long!” High Spanish boots on and “So Long!” Put on my boots and said “So Long!” Those old Spanish boots Put on my boots and said “So Long!” High Spanish boots
They’ve undid the aerial Tore down the merry-go-round This world’s all wrong So let’s go where we belong Pack up the stereo, meet at the burial ground
***I’m slipping this in today because my business trip was moved up a day so I won’t be posting until next Friday or Saturday. Have a great week next week!***
Jangle…CHECK… Harmonizing…CHECK…Overall power pop sound…CHECK. I love the sound of this band. Put them in 1965 and they would fit…place them on the alternative scene of the 1980s…and they would fit like a glove.
I usually don’t get super excited at newer music but this band I’ve liked everything I’ve heard. I always check out eclecticmusiclover (Jeff…it’s where I found this), christiansmusicmusings (Christian), and albumreviews (Graham) sites for newer music. They do the work so I don’t have to… by tracking these bands/artists down and I appreciate it.
This is some wonderful power pop. It has a nice Byrds/Jayhawks/Big Star sound. I could listen to this music all day and night. The Decemberists formed in 2000. They have released a total of 9 different albums since 2002. They are classified as an indie band but have had a number 1 Billboard album on the charts with The King Is Dead in 2011.
I’ve started to listen to their back catalog and along with power pop they blend in a lot of Americana with that. This American band was formed by Colin Meloy after he moved to Portland from Montana. He initially joined forces with Nate Query (bass), Jenny Conlee (keyboards, accordion), Ezra Holbrook (drums), and Chris Funk (guitar). The lineup has changed through the years, but Colin Meloy remains the main singer/songwriter with them.
Burial Ground is on their new album As It Ever Was, So It Will Be Again released on June 14, 2024. The song has already charted on the Billboard Alternative Chart at #2. This song features James Mercer…a singer/songwriter for The Shins on backup vocals.
Check this band out…if you like power pop/Americana you should like this.
Colin Meloy:“‘Burial Ground’ is in that time-honored pop song tradition, a paean to hanging out in graveyard. The melody hook came to me in a dream and I hummed it into my phone on waking. Most dream-songs are bad; this was the exception.”
Burial Ground
Oh, Len, come down And meet at the burial ground They’ve undid the aerial Tore down the merry-go-round This world’s all wrong So let’s go where we belong Pack up the stereo, meet at the burial ground
Here among the fallen leaves Are we alone, the ones that dare to breathe? Throw your worries down, they’re oh so gravely held You have carried them so well
Ooh, woah Ooh, woah
Oh, Len, come down And meet at the burial ground They’ve undid the aerial Tore down the merry-go-round This world’s all wrong So let’s go where we belong Pack up the stereo, meet at the burial ground
You laid down below a stone Saying, “Wherever they have gone, I long to go Somewhere out beyond these maladies in my head.” At least, I think that’s what you said
Oh-whoa, oh-whoa
Oh, Len (oh, Len) come down (come down) And meet at the burial ground (meet at the burial ground) They’ve undid the aerial Tore down the merry-go-round This world’s (this world’s) all wrong (all wrong) So let’s go where we belong (let’s go where we belong) Pack up the stereo, meet at the burial ground
Oh, Len (oh, Len) come down (come down) And meet at the burial ground (meet at the burial ground) They’ve undid the aerial Tore down the merry-go-round (merry-go-round) (Tore down the merry-go-round) This world’s (this world’s) all wrong (all wrong) So let’s go where we belong (let’s go where we belong) Pack up the stereo, meet at the burial ground
It’s a contract malarial, meet at the burial ground
I accidentally published this yesterday around 5:30 CST by mistake…I took it back off the market pretty quick…I apologize to anyone who was trying to view it.
I first heard of George Thorogood when I watched the movie Christine back in the 1980s and the song Bad to the Bone. This song is what a grimy bar (not a dance club) in the 1980s sounded like…trust me. When I heard this song I was in high school in Graphic Arts class while Mr Hall, the teacher, was listening to it. He would tell us stories of traveling to Memphis to see artists like Jimi Hendrix.
The song’s roots trace back to the 1950s, originally written by Rudy Toombs and recorded by rhythm and blues artist Amos Milburn in 1953. Milburn’s version was a straightforward R&B number, capturing the era. John Lee Hooker gave the song a new lease on life. Hooker’s rendition infused it with a talking blues style, adding to the future interpretations.
Thorogood supercharged the song. He didn’t just cover it…he transformed it into an epic medley by incorporating elements from Hooker’s House Rent Boogie. It was released by George Thorogood and the Destoyers on their self-titled debut album in 1977.
What makes the live version work so well is the storytelling. It sets up the dynamics of the song perfectly.
One Bourbon, One Scotch, One Beer
Want to tell you a story About the house-man blues I come home one Friday Had to tell the landlady I’da lost my job
She said that don’t confront me Long as I get my money next Friday Now next Friday come I didn’t get the rent And out the door I went
So I goes to the landlady I said you let me slide? I’ll have the rent for you in a month Next I don’t know
So said let me slide it on I notice when I come home in the evening She ain’t got nothing nice to say to me But for five year she was so nice
Loh’ she was lovy-dovy I come home one particular evening The landlady said You got the rent money yet?
I said no, can’t find no job Therefore I ain’t got no money To pay the rent She said I don’t believe
You’re tryin’ to find no job Said I seen you today you was standin’ on a corner Leaning up against a post I said but I’m tired
I’ve been walkin’ all day She said that don’t confront me Long as I get my money next Friday Now next Friday come I didn’t have the rent
And out the door I went So I go down the streets Down to my good friend’s house I said look man
I’m outdoors you know Can I stay with you maybe a couple days? He said let me go and ask my wife He come out of the house
I could see it in his face I know that was no He said I don’t know man Ah she kinda funny, you know
I said I know Everybody funny, now you funny too So I go back home I tell the landlady I got a job
I’m gonna pay the rent She said yeah? I said oh yeah And then she was so nice Loh’ she was lovy-dovy
So I go in my room Pack up my things and I go I slip on out the back door And down the streets I go
She a-howlin’ about the front rent She’ll be lucky to get any back rent She ain’t gonna get none of it So I stop in the local bar you know people
I go to the bar, I ring my coat I call the bartender Said look man, come down here He got down there
So what you want? One bourbon, one scotch, one beer Well I ain’t seen my baby Since I don’t know when
I’ve been drinking bourbon, whiskey Scotch and gin Gonna get high man I’m gonna get loose Need me a triple shot of that juice
Gonna get drunk don’t you have no fear I want one bourbon One scotch and one beer One bourbon, one scotch, one beer
But I’m sitting now at the bar I’m getting drunk, I’m feelin’ mellow I’m drinkin’ bourbon I’m drinkin’ scotch
I’m drinkin’ beer Looked down the bar Here come the bartender I said look man, come down here
So what you want? One bourbon, one scotch, one beer No I ain’t seen my baby since The night before last
Gotta get a drink man I’m gonna get gassed Gonna get high man I ain’t had enough
Need me a triple shot of that stuff Gonna get drunk Won’t you listen right here I want one bourbon
One shot and one beer One bourbon, one scotch, one beer
Now by this time I’m plenty high You know when your mouth a-getting dry You’re plenty high
Looked down the bar I say to my bartender I said look man Come down here
He got down there So what you want this time? I said look man A-what time is it?
He said the clock on the wall Say three o’clock Last call for alcohol So what you need?
One bourbon, one scotch, one beer No I ain’t seen my baby since A nigh’ and a week Gotta get drunk man
Till I can’t even speak Gonna get high man Listen to me One drink ain’t enough
Jack you better make it three I want to get drunk I’m gonna make it real clear I want one bourbon
One scotch and one beer One bourbon, one scotch, one beer