Max Picks … Songs From 1993

1993

It took me a while to find all of these but I’m very happy with this list for 1993. We only have 2 more to go until 1995 and the end.

Tom Petty – Mary Jane’s Last Dance

I like the rawness of the song and the lyrics are fun. Tom was making his second solo album Wildflowers but the record company wanted a couple of tracks to go on the greatest hits album. Mary Jane’s Last Dance is one of  Tom’s most successful songs. This would be the last song Stan Lynch played drums on for the Heartbreakers.

To tell you the truth…I always thought the title was Last Dance of Mary Jane.

Petty made some strange videos, and this was no exception. Tom plays a mortician who takes home a corpse played by Kim Basinger. When he gets her home, he puts her in a wedding dress and dances with her. Then he puts her in a pickup truck and throws her into the ocean, and she opens her eyes as she sinks. It won Best Male Video at the MTV Video Music Awards.

Counting Crows – Mr. Jones

In 1993 I was living at my studio apartment. I woke up one morning and heard this song coming from my radio. I immediately thought it was a new Van Morrison song. I was all excited and I loved the track. Earlier that week I had been at band practice and everyone was saying how a band called The Counting Crows was good but they were being hyped. I wasn’t reading Rolling Stone at this point so I had no clue. I later found out this was them and I liked what I heard.

The band was really good though and the lead singer Adam Duritz, could write and sing well. They were big for a few years and then faded.

Lenny Kravitz – Are You Going My Way

Love the guitar riff, the vibe, and the artist. To my surprise, this was not released as a single in the US, but in 1995 a live version was used as the B-side of Kravitz’ “Rock And Roll Is Dead” single.

I first learned of Lenny Kravitz in 1989 with Let Love Rule which is probably my favorite song by him. I like this one because it’s aggressive and right in your face.  The song was released in 1993.

The song is about Jesus Christ, whom Lenny referred to as “the ultimate rock star.” It’s about how God gives choice to man about where to turn.

Sheryl Crow – All I Wanna Do

I was an instant fan when I first heard Sheryl Crow. During the nineties, there were many pop-oriented females that I listened to (Sarah Mclaughlin is one)…and ones that I didn’t at all (her last name rhymes with “tears” “beers” “fears”) but Sheryl was different. She was more in the rock and roll genre. I saw her open up for the Rolling Stones at Vanderbilt’s Stadium and she sounded great.

I have always liked her lyrics…she has fun with them and always kept them interesting.

Israel Kamakawiwo’ole – Over The Rainbow /  What A Wonderful World

We all know this song from The Wizard of Oz but this is a great version in its own right. I first heard this song in Life On Mars and will never forget it. Israel (IZ) fits “What a Wonderful World” in this and it is fantastic.

Hawaiian musician Israel Kamakawiwo’ole recorded this in a medley with “What a Wonderful World” for his 1993 album Facing Forward. This version was used in the films Finding Forrester, Meet Joe Black, Life on Mars and 50 First Dates as well as on the television show ER.

Joyce Green

I want to thank Dave for posting this for Turntable Talk a few weeks ago.

When I heard Joyce Green for the first time in 2021, I was blown away. I was thinking…how in the hell was this woman not huge in the 50s and early 60s? She made possibly my favorite ever rockabilly song.

I hesitated writing about Green because what you will hear on this post is her total discography and it wasn’t a hit. I sure wish she had been given a chance. Finding Black Cadillac was like finding a treasure to me.

She was born in 1940 and started to sing with her brothers in church in the 1950s. They eventually formed a trio and began singing at parties and picnics. The big change for Joyce was when Elvis came along. She knew exactly what she wanted to do after that.

She started on radio in 1957 on a station in Arkansas with a musician named Jimmy Douglas. Douglas eventually talked Green’s parents into allowing the 17-year-old to play in bars with one of her brothers with her. She was the only female rocker in Arkansas at the time. After that she started to tour more of the state and get recognized. She met up with Arlen Vaden who had produced records for different artists.

In 1959, Joyce and her sister Doris wrote the song Black Cadillac. She played the song for Arlen Vaden who arranged a recording session for her at KLCN in Blytheville, Arkansas. Joyce sang and played rhythm guitar on the record which included the song Tomorrow on the A-side and Black Cadillac on the B-side. I can’t believe this was a B side.

This was her only release ever…the single Tomorrow/Black Cadillac in 1959.

The song Tomorrow is a cookie cutter 1950s song, but Black Cadillac blows the roof off the joint. Joyce was only 19 and she didn’t play around in this song. She not only sings this song…she owns it, and you don’t want on Joyce’s bad side. Her voice is electric. It’s a downright shame she didn’t do much more. The quality is great.

Wanda Jackson was hitting at this time with hits. Green should have been along with her because she had talent, and that voice is as strong as you can get.

When I heard this, I thought I died and went to rockabilly heaven. A man named Tommy Holder is playing guitar and does he ever. This wasn’t a hit but it’s a treasure to find. Joyce embarked on a promotional tour with Carl Perkins to support the record. The record was never a hit and Joyce did not record again until the 1970s. These later recordings were lost in a fire… so this is it. As far as I can see…Joyce is still alive in Arkansas.

Joyce Green: “I visited the radio stations and did some stage shows with Carl Perkins and other artists. We’d also do country fairs. I believe I could have been a successful recording artist if I could have gotten the breaks I needed.”

Black Cadillac

I caught you cheatin’ and runnin’ roundAnd now I’m gonna put you in a hole in the groundI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

Now, I’m gonna bump you offGonna tell you the reason whyYou’re worth more to me dead, daddyThan you is aliveI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’m gonna buy me a pistolA great big forty-fiveI’m gonna bring you back baby, dead not aliveI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’ll hire a black CadillacTo drive you to your graveI’m gonna be there babyThrow that mud in your faceI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

I’ll wear a black mink coatA diamond ring on my handI’m gonna put you under groundI’ll find myself another manI’m gonna ride to your funeralDaddy, in a black CadillacOh yeah, you think you areOh baby, but you can’t come back

Rockpile – Fool Too Long

Happy April Fools Day!

Fool Too Long is a song from the 1980 album Seconds of Pleasure. The song was written by Nick Lowe, who was one of the key songwriters and vocalists in Rockpile. It’s a catchy rock tune with elements of power pop and new wave with the underlying old rock sound.

Nick Lowe (lead vocals, bass), Dave Edmunds (lead vocals, guitar), Billy Bremner (backing vocals, guitar), and Terry Williams (drums)— had been writing, recording, and playing live together for years before they released just one album at least under the Rockpile name.

One of the reasons they only recorded one album is record label issues. Rockpile was signed to different labels in different regions, with Dave Edmunds signed to Swan Song Records (co-owned by Led Zeppelin) in the United States and Nick Lowe signed to Columbia Records in the UK. These label differences complicated the band’s recording and promotional efforts. They actually recorded more but on other people’s records. They were the backing band for Dave Edmunds’s Tracks On Wax 4, side one of a Mickey Jupp album, and more.

Before the band recorded Seconds of Pleasure, the name “Rockpile” had already been used as the title of an album by Dave Edmunds that he released in 1970. Edmunds subsequently toured as “Dave Edmunds and Rockpile,” with a band that included Williams on drums. However, the group became known as Rockpile didn’t form until Lowe and Edmunds began recording together in the mid-1970s.

The album peaked at #27 on the Billboard 100, #29 in Canada, and #34 in the UK in 1980.

Fool Too Long

I should have realised babe a long time ago
When you told me that you loved me but you didn′t any more
You ran around with anyone all behind my back
You asked me to forgive you I went and took you back

Well I thought you learned your lesson then
But now I see it happen again
And I’ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

I should have seen the signs babe the writing on the wall
When all those other guys started coming round to call
You told me that you changed but that was just a lie
When you said I was your only I was just another guy

Well if I’m the one who pays the rent
I gotta have one hundred percent
Cos I′ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

Everly Brothers – (Till) I Kissed You

I bought a compilation album in 1985 with songs like Bend Me, Shape Me, Crimson and Clover, and All I Have To Do Is Dream. Since then, I’ve been a huge Everly Brothers fan.

They did not rock like Chuck Berry, early Elvis, Little Richard, or Buddy Holly. They were different…their two voices made one complete whole voice. Their inspiration goes down the line to The Hollies, Beatles, Stones, and many of the British Invasion Bands. Keith Richards called Don Everly was one of the finest rhythm guitar players he ever heard.

(Till)I Kissed You is a catchy tune with catchy guitar riffs and the signature harmonies that the Everly Brothers were known for. Don Everly wrote this song while touring Australia. He said he wrote it about every girl he met on the tour…but especially about a girl named Lillian.

This recording features two great musicians. Chet Atkins is on guitar with Jerry Allison on drums. They were one of the pioneering acts in country rock. The Everly Brothers are members of the Rock and Roll and Country Music Halls of Fame. Though the brothers had a strained personal relationship, they didn’t speak for ten years at one point, but they managed to chart 35 top 100 singles.

The song peaked at #4 on the Billboard 100, #8 on the Billboard Country Charts, #3 in Canada, #2 in the UK, and #22 on the Billboard R&B Charts in 1959.

Don Everly:  “I wrote it about a girl I met on that trip, her name was Lillian, and she was very, very inspirational. I was married, but… you know.”

(Till) I Kissed You

Never felt like this until I kissed you
How did I exist until I kissed you
Never had you on my mind
Now you’re there all the time
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

Things have really changed since I kissed you, uh-huh
My life’s not the same now that I kissed you, oh yeah
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

You don’t realize what you do to me
And I didn’t realize what a kiss could be
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

You don’t realize what you do to me
And I didn’t realize what a kiss could be
Mm, you got a way about you
Now I can’t live without you
Never knew what I missed until I kissed you, uh-huh
I kissed you, oh yeah

I kissed you, uh-huh
I kissed you, oh yeah
I kissed you, uh-huh

Circus Maximus – Wind

I blog because I like to talk to everyone about the artists I and they featured that day. Sometimes, the conversations go elsewhere and not long ago I happened to catch a conversation between CB and Phil from the Cactus Patch. They mentioned Circus Maximus which featured Jerry Jeff Walker. I pay attention to all the conversations, even if they don’t involve me, and pick up some good songs that way.

I started to listen to their music. I liked their debut album which has intricate musical arrangements that border a free-form type of music. It flows like jazz and dips into psychedelic. It also has a little of The Guess Who in it.  It’s a piece of music from the psychedelic rock era that fits into the landscape of the 1960s. Their members included Jerry Jeff Walker, Bob Bruno, David Scherstrom, Gary White, and Peter Troutner.

Jerry Jeff Walker was probably the most famous to come out of the band. In the early 1970s, Walker relocated to Austin, Texas, where he became part of the burgeoning outlaw country music scene. He helped define that genre. He was part of the Texas songwriters such as Willie Nelson, Guy Clark, and Townes Van Zandt. You know his most famous song very well, Mr Bojangles. That song was made popular by the Nitty Gritty Dirt Band.

While Circus Maximus did not achieve mainstream commercial success, they gained a cult following within the psychedelic rock scene of the late 1960s. The song is called Wind, which was on their debut album released in 1967. The album was played on the progressive FM radio stations.

Wind

You say that once knew for sure
But now you’re walkin’ into shore to wonder*
The more you learn the less you know
The more you move the more you go to nowhere*
You ask a bird as she flies by
Just where she’s at she says, where the wind blows*
Ask her by that what she means
She says she doesn’t know
But as she flew away she seemed to say

Chorus:

The wind is love is the wind
Wind is my love
Who knows the wind
Who knows my love
Where blows the wind
The wind is my love
You say you staggered to your room
Sleep by day and plot by noon
Your conscious plight
Pack your dreams, you move away
Decide to eat and live by day
And leave the night
City sun blinks in your eyes
You shade your face and realize
a lonely crowd
Then at once you feel the smile
And then the ice warm air moves by
She says the breeze provokes her sigh
Chorus

You say you found another spring
Another joy or human thing
Called lovers
You play your role as a comedy
Refreshing well the tradgedy
Your living
Lovers shore, or so you say
Like the wind love blew away
But as she left she seemed to say

Chorus

Animals – See See Rider

Many have covered this song and I’ve known many versions. It’s been covered over 100 times. I first knew this song by Elvis but I love the Animals version.

The biggest difference between the Animals and The Beatles, Stones, Kinks, and The Who was that the Animals didn’t write many of their early songs. They kept looking at the Brill Building for songs. In this instance, they took an old blues song and breathed new life into it, creating a powerful recording that would become emblematic of their sound.

One of the earliest recorded versions of “See See Rider” was by Ma Rainey, one of the pioneering figures of blues music. Rainey’s recording, released in 1925, helped popularize the song and establish it as a blues standard. The writing credit on this song is Lena Arent and Ma Rainey.

Ma RaineyMa Rainey’s influence extended beyond her music… she was also a trailblazer for African American artists in the music industry. As one of the first African American women to record blues music. she was a vaudeville star in the early 1900s.  In 1923, she started recording for Paramount Records. Earlier he took Bessie Smith under her wing and helped her. She was one of the first female blues artists to find a wide audience.

The C.C. Rider, also known as See See Rider or Easy Rider, is a blues cliché for the sexual partner, although originally it referred to the guitar hung on the back of the traveling bluesman. An easy rider was also known as an unfaithful boyfriend.

The song peaked at #1 in Canada and #10 on the Billboard 100 in 1966.

Over the years, “See See Rider” has been covered by many artists from various genres, including Elvis Presley, Chuck Berry, and Janis Joplin. Per Secondhandsongs… it has been covered 450 times.

See See Rider

Oh see, see see rider girl see what you’ve doneOh oh, see see rider see what you’ve done nowYou’ve gone away and left me and nowAnd now the blues they come oh yes they do

Oh well I’m goin’ goin’ away baby and I won’t be back till fallOh yes I am goin’ away baby and I won’t be back till fallIf I get me a good lookin’ woman no no no I won’t be back at all oh rightNow see see rider I love you yes I do and there isn’t one thing darlingI would not do for you you know I want you see seeI need you by my side see see rider oh keep me satisfied

Oh he had see see rider see see riderSee see rider see see rider see riderSee see rider you keep on a ridin’, keep on a ridin’Here it comes baby look outBeat it all right don’t lose it now come on, come on, yeah

Here she comes she’s oh rightShe’s so fine she’s all mineSee see come on Jenny dig a ride now, hey

Well I’m goin’, goin’ away baby and I won’t be back till fallYes, I’m goin’, goin’ away baby and I won’t be back till fallIf I find me a good lookin’ woman no no no I won’t be back at allAnd that’s the truth baby listen I’m goin’ all rightSomebody told me somebody told meI jump catch on I leave it oh right oh right ah

Townes Van Zandt – Lungs

I’m learning more about Townes Van Zandt and you don’t have to search for great songwriting in his catalog. Just pull up any song and it’s usually a winner.  This is another song that makes songwriters sigh. Sunset diamonds roll across my memory and Clouds roll by and hide the tears I’m crying It’s so original and it’s like a great artist painting a masterpiece.

This song was on his self-titled 3rd album released in 1969. It was recorded at Bradley’s Barn in Nashville in July of 1969.

Townes Van Zandt 1969 Townes

Bradley’s Barn deserves its own post. It was owned by Owen Bradley and he recorded so many well-known artists such as Buddy Holly, Gene Vincent, Kitty Wells, Patsy Cline, Brenda Lee, Loretta Lynn, Lenny Dee, and Conway Twitty to name a few.

Steve Earle points out in a quote that Townes had walking pneumonia in New York and wrote this song based on that. Some sources say he got part of it when he was younger and he went through insulin shock therapy for manic depression. In that “treatment,” you would be shocked and have injections of insulin to put you in a coma daily. He lost much of his long-term memory from this treatment.

He came out of that far from cured. He had a fatalistic view of the world and holes in his memory. It very well could have caused some of his substance abuse and depression problems afterward.

It’s also said to be about coal miners, specifically about pneumoconiosis commonly known as Black Lung Disease.

Secondhandsongs has 22 versions of the song including the original.

Steve Earle: I’ve done it for a very, very long time and it’s one of my favorite Townes songs. The story I heard was that he was in New York and he had pneumonia, literally, just got walkin’ pneumonia. He was literally sick with a respiratory ailment. It’s literal past the poetic decimal point.   He was a bad-ass. The difference between Townes and Bob Dylan is, and this makes Townes a lot more radical to me in some ways, is Dylan was really heavily influenced by the same kinds of music, but lyrically he was influenced more by modern French poets and the Beats. Whereas Townes was much more influenced by old-school, conventional lyric poets like Robert Frost and Walt Whitman. And it’s cool, it’s where a lot of the uniqueness of his voice comes from. ‘Cause it is Lightnin’ Hopkins against Robert Frost, and it’s pretty startling.

Lungs

Well, won’t you lend your lungs to me?
Mine are collapsing
Plant my feet and bitterly breathe
Up the time that’s passing.
Breath I’ll take and breath I’ll give
Pray the day ain’t poison
Stand among the ones that live
In lonely indecision.

Fingers walk the darkness down
Mind is on the midnight
Gather up the gold you’ve found
You fool, it’s only moonlight.
If you try to take it home
Your hands will turn to butter
You better leave this dream alone
Try to find another.

Salvation sat and crossed herself
Called the devil partner
Wisdom burned upon a shelf
Who’ll kill the raging cancer
Seal the river at it’s mouth
Take the water prisoner
Fill the sky with screams and cries
Bathe in fiery answers

Jesus was an only son
And love his only concept
Strangers cry in foreign tongues
And dirty up the doorstep
And I for one, and you for two
Ain’t got the time for outside
Just keep your injured looks to you
We’ll tell the world we tried

Yardbirds – Shapes of Things

This is the Yardbirds… Jeff Beck edition. Great song that peaked at #11 in the Billboard 100, #3 in the UK, and #7 in Canada in 1966. Beck’s guitar solo in this song is fantastic as he uses distortion, sustain, feedback, and some Eastern influence. This was shortly before Jimmy Page joined the group.

The band recorded this song at Chess Studio in Chicago, their first time there. Chris Dreja said it’s one of the best songs they ever made. Shapes of Things was about the state of the UK during the Vietnam War, so it was an anti-war song according to the band. The song was written by Jim McCarty, Keith Relf, and Paul Samwell-Smith.

The band is best known now because of the great guitarists that were in the band. Eric Clapton joined the band in 1963, but soon quit to concentrate on the blues with Cream.

Jeff Beck replaced him in 1965, and then Jimmy Page joined in 1966 on bass. He soon switched to guitar, and the band had Page and Beck together.

Later, Beck walked out of the band, leaving only Page. The Yardbirds broke up, but Jimmy Page kept the name and played under “The New Yardbirds” with his new bandmates Robert Plant, John Paul Jones, and drummer John Bonham, who would change their name to Led Zeppelin.

Jeff Beck liked the song so much that he used it on arguably his best album Truth. He was able to control feedback and use it to enhance the song. The song is often considered a precursor to the heavier, more experimental rock sound that would emerge in the late 1960s and early 1970s.

Jeff Beck: “The way they worked was completely off the cuff: We’d jam, Keith would rush off and write some lyrics in the toilet, it was exactly like that. After four verses, let’s go into this raga thing. I kept changing guitar sounds all the way through. So we did two or three takes of my guitars and blended them all together. But the solo on “Shapes Of Things” was pretty honest until that feedback note that comes in over it. If nothing else, that was the best single.”

Bassist Paul Samwell-Smith: I wrote it in a bar in Chicago. I just lifted part of a Dave Brubeck fugue to a marching beat. It’s a sort of protest song.

Jim McCarty: “With ‘The Shapes of Things’ I came up with a marching type of rhythm that I tried to make interesting. And at the end of each line we’d build up like we used to do with some of our stage stuff – the rave ups. And then the bass riff came on top of that. And the bass riff was loosely based on a Dave Brubeck song, sort of a jazz song, around a doo doo doo doo doo doo, and then the chords came over that. The chords were very basic, came between the two tones, I think G and F, and then resolving it in D, each verse. And then the tune came on top of that. In fact, I remember putting the backing track down, which sounded great. I wasn’t at the session where Keith made up the tune, and when I heard the tune, I thought, Oh, that’s great. It’s a real surprise. He made up the tune, and then we had this sort of ‘Come tomorrow,’ but that was part of the song, anyway, at the beginning. So it was an exciting song to be involved in.”

Jim McCarty: “That’s probably the hardest thing to try and do. Every time we tried to do that it never really succeeded. I suppose we were lucky in that when we did ‘Shapes of Things’ it was like a hit song, but we were really coming from not trying to create a sort of a 3-minute piece of music, it was just something that seemed natural to us. We started with the rhythm, we used a bass riff that came from a jazz record, got a groove going with that and then added a few other bits from elsewhere, other ideas that we’d had. And I think it was a great success for us, it was a good hit record that wasn’t really selling out. And it was original.”

Shapes of Things

Shapes of things before my eyes,
Just teach me to despise.
Will time make men more wise?
Here within my lonely frame,
my eyes just heard my brain.
But will it seem the same?

(Come Tomorrow) Will I be older?
(Come Tomorrow) May be a soldier.
(Come Tomorrow) May I be bolder than today?

Now the trees are almost green.
But will they still be seen?
When time and tide have been.
Fall into your passing hands.
Please don’t destroy these lands.
Don’t make them desert sands.

Chorus, Lead.

Soon I hope that I will find,
Thoughts deep within my mind.
That won’t displace my kind.

Oasis – Don’t Look Back In Anger

I was checking out UK #1’s Blog the other day and he posted this song as going number #1 in 1996. As Stewart points out…they borrow a lot of music but to me… they do it to enhance what they have…not a rewrite of the same song. 

I’ve heard this song just a few times and his post brought it back. Over here in America, I only really heard Wonderwall and Champagne Supernova with any consistency. This one I like better than either one of those. 

They borrowed from John Lennon’s Imagine for the intro but that is fine. The line “So I start a revolution from my bed” was supposedly linking Lennon’s Bed In for Peace in Toronto. Just looking at them… they could have stepped out of the mid sixties mod movement. They were part of the 90’s Britpop scene of Blur, Pulp, The Verve, and others. I was always drawn to Oasis more because they didn’t go out of their way to sound modern or mix in modern styles. They did sound 90s but in a mid-sixties type of way. 

Guitarist Noel Gallagher sang the lead on this song not his lead singer brother Liam Gallagher. Noel is credited with writing this one. He gave his brother Liam the option of singing lead on this one or Wonderwall. Liam picked Wonderwall (look for the quote below) which is the one that Noel wanted to sing because it was about his then girlfriend.

The song peaked at #1 in the UK, #24 in Canada, #55 on the Billboard 100, and #20 in New Zealand in 1996. 

I’m going to borrow this bit of Stewart’s post from UK #1’s Blog

“Meanwhile, it has also been voted the 4th Most Popular #1 Single ever, the 2nd greatest Britpop song (after ‘Common People’), and the Greatest Song of the 1990s. (And, most importantly, the 2nd Best Song to Sing Along to While Drunk – controversially robbed of top spot in that poll by Aerosmith’s God-awful ‘I Don’t Want to Miss a Thing’.) It is also by far the best of Oasis’s eight number ones… and I hope that’s not too much of a spoiler for what’s to come!”

Sorry for the long quote below but it pretty much tells the story of the song. Plus I love the dig he makes at Liam at the end.  

Noel Gallagher: “We were in Paris playing with The Verve, and I had the chords for that song and started writing it. We were due to play two days later. Our first-ever big arena gig, it’s called Sheffield Arena now. At the sound check, I was strumming away on the acoustic guitar, and our kid (Liam Gallagher) said, ‘What’s that you’re singin?’ I wasn’t singing anyway, I was just making it up. And our kid said, ‘Are you singing ‘So Sally can wait?’ And I was like – that’s genius! So I started singing, ‘So Sally can wait.'”

“I remember going back to the dressing room and writing it out, it all came really quickly after that. (The title) ‘Don’t Look Back In Anger’ just popped out. We wrote the words out in the dressing room, and we actually played it that night, in front of 18,000 other people. On acoustic guitar. Sat on a stool. Like an idiot. I never do that now.”

“When we were coming off recording ‘Wonderwall’ and ‘Don’t Look Back In Anger,’ I was originally gonna sing ‘Wonderwall,’ and Liam said, ‘I wanna sing it!’ And I was like, ‘I’m singing one of them, so you take your pick. He chose ‘Wonderwall’ and I chose the other one, then it came out as the single. And on that (BBC TV) series Our Friends In The North – the last ever one where they all meet up, when they’re all older and have all got kids, and they’re all alcoholics – that was the music for the end credits. And I still haven’t seen that episode, but loads of people have come up to me, saying, ‘Man it was so powerful.’ And it kind of took a life of its own after that. It took over from ‘Wonderwall’ in England as our most famous song. And it’s the biggest song of the night now, when we play it live. Which must do Liam’s head in – as he doesn’t get to sing it – but it makes me feel pretty good.”

Don’t Look Back In Anger

Slip inside the eye of your mind
Don’t you know you might find
A better place to play
You said that you’d never been
But all the things that you’ve seen
Will slowly fade away

So I start a revolution from my bed
‘Cause you said the brains I had went to my head
Step outside, summertime’s in bloom
Stand up beside the fireplace
Take that look from off your face
You ain’t ever gonna burn my heart out

And so Sally can wait
She knows it’s too late
As we’re walking on by
Her soul slides away
But don’t look back in anger
I heard you say

Take me to the place where you go
Where nobody knows
If it’s night or day
But please don’t put your life in the hands
Of a rock and roll band
Who’ll throw it all away

I’m gonna start a revolution from my bed
‘Cause you said the brains I had went to my head
Step outside ’cause summertime’s in bloom
Stand up beside the fireplace
Take that look from off your face
‘Cause you ain’t ever gonna burn my heart out

And so Sally can wait
She knows it’s too late
As she’s walking on by
My soul slides away
But don’t look back in anger
I heard you say

So Sally can wait
She knows it’s too late
As we’re walking on by
Her soul slides away
But don’t look back in anger
I heard you say

So Sally can wait
She knows it’s too late
As she’s walking on by
My soul slides away
But don’t look back in anger
Don’t look back in anger
I heard you say
At least not today

Max Picks …songs from 1992

1992

Ride – Twisterella

This is a fantastic-sounding song by a band named Ride. It’s high up on my top powerpop songs. The band was part of the shoegaze genre. Along with the previous year’s There She Goes by the La’s…I was in power pop heaven.

Ride was formed in 1988 in Oxford by school friends Andy Bell and Mark Gardener, before recruiting drummer Loz Colbert at the Oxfordshire School of Art & Design and local bassist Steve Queralt.

They broke up in 1996 because of differences between Andy Bell and Mark Gardener. Gardener wanted to go forward in a more dance style of music…Bell didn’t but both wanted to go more contemporary style. Bassist Steve Queralt said: The band had two future directions open to them, and they chose the wrong option.

They reunited in 2014 and released their first album in 21 years in 2017.

Melon – No Rain

This 1993 song has a sixties feel to it. The lead singer Shannon Hoon did a great job on this track. I think when movies are made about the 1990s…this has to be on the soundtrack. It screams 90s more than about any other song.

Blind Melon bass player Brad Smith wrote this song before he formed the band. He had moved from Mississippi to Los Angeles, where he fell into a down period. He said that the song is about not being able to get out of bed and find excuses to face the day when you have nothing. At the time he was dating a girl who was going through depression and for a while, he told himself that he was writing the song from her perspective. He later realized that he was also writing about it himself.

The video was very popular. It has a very intriguing video featuring a girl dressed in a bee costume. The bee girl, Heather DeLoach, was 10 years old when she starred in it, creating one of the most enduring images on MTV.

The concept for the video was inspired by the Blind Melon album cover, which features a 1975 photo of Georgia Graham, the younger sister of Blind Melon drummer Glenn Graham. DeLoach was the first to audition for the role, and because she resembled Graham’s sister so much, director Samuel Bayer (who also directed Nirvana’s “Smells Like Teen Spirit”) chose her.

R.E.M. – Man On The Moon

I’ve noticed that I have never written about this song which is a shame since it’s in my top 5 of REM. This song is about one of my comedic heroes…the very different Andy Kaufman.

It was the title of a new movie starring Jim Carey as Kaufman. I went to see the movie at the theater and this song fits brilliantly. I think it’s one of the best-written songs they did. Bill Berry came up with the melody and Peter Buck helped finish it off. Stipe came up with the lyrics as their back was against the wall to finish the album.

Bruce Springsteen – Better Days

On March 31, 1992, I purchased two albums by Bruce. Lucky Town and Human Touch…both albums released on the same day. I’ve always liked Lucky Town more than Human Touch. Better Days kicked off the album.

Bruce Springsteen: “With a young son and about to get married (for the last time) I was feelin’ like a happy guy who has his rough days rather than vice versa.”

Jayhawks – Waiting For The Sun

Ever since I heard this band on our alternative radio station in Nashville…Lightning 100 I’ve liked them. The Jayhawk’s writing and voices won me over with songs like Blue and I’m Gonna Make You Love Me. The Replacements had broken up by this time and The Jayhawks took their place beside REM.

Benmont Tench, Charley Drayton, and Nicky Hopkins play on the album with the Jayhawks.

The Jayhawks are an American alternative country and country rock band that emerged from the Minneapolis–Saint Paul music scene in the mid-80s. Minneapolis had a strong scene for bands in the 80s. The Replacements, Husker Du, Soul Asylum, and of course the big one…Prince.

The song, like most of The Jawhawk’s early cuts, is credited to the band’s guitarist Gary Louris and frontman Mark Olson.

Gary Louris: I didn’t know there was a song called “Waiting for the Sun,” I was not a Doors fan. I like them now, but I didn’t know there was a song called that. Maybe in my subconscious I did. 

Bessie Smith

I don’t want no drummer. I set the tempoBessie Smith

Lisa published this for me for her yearly Women’s Music March, giving you a female artist every day for March. I want to thank her for that.

I got into Bessie Smith from listening to Janis Joplin and reading about her. Bessie’s voice sends chills up my spine…that is my litmus test. Whatever she sings…she sings it, means it, she lived it. The sound of the record and her voice is just unbeatable. Yes, we have digital now but digital could not give you this sound. If you are not familiar with her…do yourself a favor and check her out. We cannot forget the pioneers of any genre. Artists like Mahalia Jackson, Janis Joplin, and Norah Jones have all given Bessie Smith credit as their inspiration.

I can imagine Dorothy Parker, Charlie Chaplin, F. Scott Fitzgerald, and Clara Bow all listening to this in the 20s and 30s. Bessie Smith was known as the “Empress of the Blues.”

Early Life:

She was born in Chattanooga, Tennessee, on April 15, 1894. She lost her dad while she was an infant and her mom when she was 7-8 years old. She was raised by her tough older sister. They nearly starved. For money, her sister took in laundry. Bessie would start contributing.

Musical Beginnings:

To help support her orphaned siblings, Bessie began her career as a Chattanooga Street musician and singing at churches, singing in a duo with her brother Andrew to earn money to support their poor family. At age 16 she met a blues singer by the name of Ma Rainey and started to travel with the Rabbit Foot Minstrels, a variety show that toured the south and Midwest. She would send money home to her siblings and became an excellent singer. At age 24 she went solo by touring with other traveling shows. She talked tough and could get rough if you messed with her. She understood blues so well because she was living it.

Bessie signed with Columbia Records in 1923. Within 10 months of signing Smith, the Columbia label sold two million records. Over the next four years, her sales reached six million. But she sang a wider repertoire than most, in her traveling tent show, on theatrical tours, and, later, in jazz clubs. The blues made Smith the highest-paid black entertainer of her era ($2000 a week), but she was just as adept at singing show tunes and more popular Tin Pan Alley songs, which became the basis of many early jazz standards. Those record sales don’t sound as high now but remember this was in the 1920s with only a few marketing tools on hand.

She is credited with recording more than 160 songs between 1923 and 1933. Smith performed on stage throughout the southern United States and recorded with such jazz greats as Benny Goodman, Louis Armstrong, and Coleman Hawkins.

On September 26, 1937, Smith was severely injured in a car accident while traveling from a concert in Memphis to Clarksdale, Mississippi, with her companion Richard Morgan. She was taken to a hospital, where she died. More than 5,000 people attended her funeral. Her grave had no headstone.  There was money for a headstone apparently, but her estranged husband spent it on something or someone else.

By the time of her death, Bessie was known around the world appear with the best players of the day at theaters coast to coast. Bessie’s voice and showmanship drove her from poverty to international fame as a singer of blues tunes, many of which she wrote and co-wrote.

Discography:

This is a partial list because they did not have albums at that time. The list of everything she released would take a post by itself.

1923 – Downhearted Blues  #1

1923 – Gulf Coast Blues       #5

1923 – Aggravatin’ Papa    #12

1923 – Baby Won’t You Please Come Home     #6

1923 – T’aint Nobody’s Biz-Ness If I Do     #9

1925 – The St. Louis Blues     #3

1925 – Careless Love Blues   #5

1925 – I Ain’t Gonna Play No Second Fiddle   #8

1926 – I Ain’t Got Nobody    #8

1926 – Lost Your Head Blues   #5

1927 – After You’ve Gone         #7

1927 – Alexander’s Ragtime Band     #17

1928 – A Good Man Is Hard To Fine     #13

1928 – Empty Bed Blues     #20

1929 – Nobody Knows You When You’re Down and Out   #15

Filmography (if any):

Saint Louis Blues 1929

Some things to share:

Janis Joplin helped buy Smith’s headstone in 1971…two weeks before her own untimely death. But the real story was the other person who helped buy the stone. That was Juanita Green… a little girl whom Smith once told to give up singing and stay in school.

Bessie Smith has been inducted into the Grammy Hall of Fame, winning posthumous awards for her 1923 single “Downhearted Blues,” 1925 single “St. Louis Blues” with Louis Armstrong, and a 1928 single “Empty Bed Blues.” Smith has also been honored with a Grammy Lifetime Achievement Award, was inducted into the Rock and Roll Hall of Fame, the Blues Hall of Fame, and the Big Band and Jazz Hall of Fame.

Official website:

https://nmaahc.si.edu/lgbtq/bessie-smith

Nobody Knows You When You’re Down and Out

Once I lived the life of a millionaireSpending my money, I didn’t careI carried my friends out for a good timeBuying bootleg liquor, champagne, and wine

Then I began to fall so lowI didn’t have a friend and no place to goSo if I ever get my hand on a dollar againI’m gonna hold on to it ’til them eagles grin

Nobody knows youWhen you’re down and outIn my pocket, not one pennyAnd my friends, I haven’t any

But if I ever get on my feet againThen I’ll meet my long lost friendIt’s mighty strange without a doubtNobody knows you when you’re down and outI mean, when you’re down and out

When you’re down and out, not one pennyAnd my friends, I haven’t any and I felt so lowNobody wants me ’round their door

Without a doubtNo man can use you when you’re down and outI mean, when you’re down and out

Roy Orbison – You Got It

Roy was making a great comeback in the late eighties. He was a member of the hottest band at the time…The Traveling Wilburys. He had just finished a new album called Mystery Girl in November of 1988. He confided in Johnny Cash that he was having chest pains and he would have to have it looked at…he never did. It was so nice hearing Roy on the radio again with You Got It.

The Traveling Wilburys Vol 1 was rising in the charts and he flew to Europe to do a show and came back and did a few more in America. On December 6, 1988, he flew model planes with his kids and after dinner passed away at the age of 52.

It was written during the Christmas season of 1987 and recorded in April of 1988 with Jeff Lynne, Tom Petty, and Phil Jones providing the backing track. The song is credited to Orbison, Lynne, and Petty. It’s pretty obvious it was produced by Jeff Lynne. Jeff was a busy man during this time. He would produce George Harrison’s Cloud Nine, Tom Petty’s Full Moon Fever, and Orbison’s Mystery Girl.

The track is quite significant to the career of Jeff Lynne as it was his first entry into the Billboard Hot Country Songs chart and his only Top 10 Country hit, peaking at #7 in 1989. Jeff’s only other Billboard Hot Country chart entry was the following Roy Orbison single, California Blue, which peaked at #51 later that year.

I remember watching the Traveling Wilburys video “End of the Line”. They made the video after Roy passed away… when his part came up they showed an empty rocking chair with Roy’s picture beside it.

You Got It featured Jeff Lynn, Tom Petty, and Phil Jones.

You Got It was released in 1989 and it peaked at #9 on the Billboard 100, #3 in Canada, #3 in the UK, #7 on the Billboard Country Charts in 1989.

You Got It

Every time I look into your loving eyesI see a love that money just can’t buy

One look from you, I drift awayI pray that you are here to stay

Anything you want, you got itAnything you need, you got itAnything at all, you got it, baby

Every time I hold you I begin to understandEverything about you tells me I’m your man

I live (I live)My life (my life)To be (To be)With you (with you)No one (no one)Can do (can do)The things (the things)You do (you do)

Anything you want, you got itAnything you need, you got itAnything at all, you got it, baby

Anything you want (you got it)Anything you need (you got it)Anything at all

Do-do-do-do-doo (oh)Do-do-do-do-doo (oh, yeah)Do-do-do-do-doo (yeah, yeah, yeah)(You got it)

I’m glad to give my love to youI know you feel the way I do

Anything you want, you got itAnything you need, you got itAnything at all, you got it, baby

Anything you want, you got itAnything you need, you got itAnything at all, you got it, baby

Anything at all (you got it)BabyYou got it

Beatles – A Hard Day’s Night

This is probably one of the most studied songs by the Beatles in their entire catalog. Why is it studied? That opening chord or chords. It baffled musicians for years on how to duplicate it. It took around 40 years to figure it out to be exact. It’s probably one of the most recognizable intros in rock. A musician didn’t figure it out…that took a Dalhousie mathematician. None of the Beatles could remember exactly how they did it.

Here is a PDF you can download. A Hard Days Night Chord . It’s called Mathematics, Physics and A Hard Day’s Night. Here is what Wiki said: George Harrison: Fadd9 in 1st position on Rickenbacker 360/12 12-string electric guitar. John Lennon: Fadd9 in 1st position on a Gibson J-160E 6-string acoustic guitar. Paul McCartney: high D3 played on the D-string, 12th fret on Hofner 500/1 electric bass. George Martin: D2-G2-D3 played on a Steinway Grand Piano.

I just don’t see how they thought it up…it was most likely helped by George Martin.  Anyway, it’s a great song and a hugely popular one from their early years. The title came from something Ringo said and John remembered it. They all called Ringo’s odd phrases Ringoisms. Ringo said “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day…’ and I looked around and saw it was dark so I said, ‘Night!’ So we came to ‘A Hard Day’s Night.”

A Hard Day’s Night was written and recorded in less than 24 hours. It only took them 3 hours to finish the song. It was another song that was written under pressure. The movie production had begun and this was the last song to be recorded. On the way to the studio, John Lennon was talking to a journalist Maureen Cleave who was sharing a cab with him.

He showed her the lyrics to A Hard Day’s Night. They were scrawled down on a birthday card sent from a fan to his son Julian. What the lyrics were was  “When I get home to you / I find my tiredness is through …” and Cleave didn’t like the word tiredness and told John…so he grabbed her pen and wrote, “When I get home to you / I find the things that you do / Will make me feel all right.” Today Julian’s birthday card is in the British Library.

The song peaked at #1 on the Billboard 100, #1 in Canada, #1 in New Zealand, and #1 in the UK in 1964.

The album peaked at #1 on the Billboard Album Charts, #1 in Canada, and #1 in the UK.

A fun fact about the movie. Phil Collins was one of the school kids brought in as extras for a scene in the movie where The Beatles perform. He didn’t make the cut, but years later, the film’s producer gave Collins the outtake footage with him in it and had Collins add commentary to the DVD release.

They won their first Grammy with this song.

A Hard Day’s Night

It’s been a hard day’s night
And I’ve been workin’ like a dog
It’s been a hard day’s night
I should be sleepin’ like a log
But when I get home to you
I find the things that you do
Will make me feel alright

You know I work all day
To get you money to buy you things
And it’s worth it just to hear you say
You’re gonna give me everything
So why on Earth should I moan?
‘Cause when I get you alone
You know I feel okay

When I’m home
Everything seems to be right
When I’m home
Feeling you holding me tight, tight, yeah

It’s been a hard day’s night
And I’ve been workin’ like a dog
It’s been a hard day’s night
I should be sleepin’ like a log
But when I get home to you
I find the things that you do
Will make me feel alright, ow

So why on Earth should I moan?
‘Cause when I get you alone
You know I feel okay

When I’m home
Everything seems to be right
When I’m home
Feeling you holding me tight, tight, yeah

Oh, it’s been a hard day’s night
And I’ve been workin’ like a dog
It’s been a hard day’s night
I should be sleepin’ like a log
But when I get home to you
I find the things that you do
Will make me feel alright
You know I feel alright
You know I feel alright

Clash – Brand New Cadillac

This was a great cover by The Clash. It was on the London Calling album released in 1979. They started off as a punk band but The Clash, unlike some other Punk bands, could really play and sing well…, especially Mick Jones. He was probably the best pure musician in the band.

The song was originally by Vince Taylor and released in 1959. It was the B side to a song called Pledging My Love. Taylor wrote the song but Tony Sheridan is credited with the cool guitar riff running through the song. The song’s riff reminds me of the original Batman riff…or really the other way around.

The Clash’s version of the song is the best-known. They did it in one take. It was the B side to the single London Calling. The single peaked at #46 in the UK in 1988 re-release. It also peaked at #64 with another UK re-release in 1991.

Rolling Stone magazine named London Calling the best album of the ’80s. It should be noted that it was first released in the UK in December 1979. In the US, it was released two weeks into January 1980, meaning that from a US perspective, it’s a 1980s album.

I like Vince’s version just as well… a good rock song through and through.

Brand New Cadillac

DriveDrive

My baby drove up in a brand new CadillacYes, she didMy baby drove up in a brand new CadillacShe said, “Hey, come here, daddy”I ain’t never comin’ back

Baby, baby, won’t you hear my plea?Yeah, come on, sugar, just come on back to meShe said, “Balls to you, big daddy”

Baby, baby, won’t you hear my plea?Oh, oh, come on, just hear my pleaShe said, “Balls to you, daddy”She ain’t comin’ back to me

Oh GodBaby, baby, drove up in a CadillacI said, “Jesus Christ, where’d you get that Cadillac?”She said, “Balls to you, daddy”She ain’t never comin’ backShe ain’t, she ain’t comin’ backShe ain’t never comin’ backShe ain’t never comin’ backShe ain’t never comin’ back

Guy Clark – My Favorite Picture of You

Guy Clark and Townes Van Zandt were known as the godfathers of the Texas songwriters by some. This song can be tough to listen to but also beautiful simultaneously.

This song is very touching. It was about his late wife Susanna Clark. She passed away in 2012 and it was the title song of his last album released in 2013.  It peaked at #12 on the Billboard Country Charts and #62 on the Billboard Album Charts in 2013.

It was based on a real Polaroid picture Guy Clark had of his wife standing outside of a house. Inside the house, Guy and Townes Van Zandt were “drunk on their ass” and obnoxious and she wasn’t happy and wanted to leave. I have a video below that he talks about it. It’s credited to Guy Clark and Gordie Simpson.

Guy Clark and Susanna Clark were married in 1972 with Townes Van Zandt as his best man. Susanna was a songwriter herself. She wrote the song “I’ll Be Your San Antone Rose” in 1975 performed by Dottsy Brodt Dwyer which made it to #12 in 1975….and co-wrote Kathy Mattea’s number one song “Come From The Heart.” She also wrote some songs with Townes Van Zandt.

Guy and Susanna Clark

In the 1960s, Guy Clark tried his luck in the California music scene. He also built and repaired guitars and had a shop in San Francisco in 1969. In 1971 he was signed as a songwriter by Sunbury Music in Los Angeles, he decided to relocate to the company’s Nashville office in 1971. His arrival helped usher in a migration of new songwriting talent to the city.

The Clarks’ home became a gathering spot for songwriters, folk singers, and artists including Rodney Crowell, Townes, Jim McGuire, Steve Earle, Emmylou Harris, Joe Ely, Lyle Lovett, Verlon Thompson, Shawn Camp, and Vince Gill.

In 1975 he released his first album Old No. 1 and eventually released 13 studio albums. Guy Clark passed away in 2016.

This song has been covered by Jerry Jeff Walker, Willie Nelson, and Wild Child.

In this video, he explains what influenced the song.

My Favorite Picture Of You

My favorite picture of youIs the one where you’re staringStraight into the lens

It’s just a Polaroid shotSomeone took on the spotNo beginning, no end

It’s just a moment in timeYou can’t have backYou never left but your bags were packedJust in case

My favorite picture of youIs bent and fadedAnd it’s pinned to my wallOh, and you were so angry

It’s hard to believeWe were lovers at allThere’s a fire in your eyesYou’ve got your heart on your sleeveA curse on your lips, but all I can seeIs beautiful

My favorite picture of youIs the one whereYour wings are showing

Oh, and your arms are crossedYour fists are clenchedNot gone but going

Just a stand up angelWho won’t back downNobody’s fool, nobody’s clownYou were smarter than that

My favorite picture of youIs the one whereIt hasn’t rained yet

Oh and as I recallCame a winter squallAnd we got soaking wetIt’s a thousand wordsIn the blink of an eyeThe camera loves youAnd so do IClick

My favorite picture of youIs the one where you’re staringStraight into the lens