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
When I first heard this song…I thought this song was very different. It’s almost like its origin was in a dream. I can imagine this song being a soundtrack to a fever dream easily. It’s that guitar with its sliding and bending notes. The guitar player was James Calvin Wilsey who played that haunted-sounding lead.
I remember hearing Isaak before this hit from a friend who had his Silvertone album. I really liked a song called Gone Ridin’. It was rockabilly with a modern twist. I talked to my friend recently and we talked about Isaak. He agreed with me that we never saw the success of Wicked Game coming.
Most of the time, songs that go out on a limb and are different are not heard as much. My blog is full of those songs but this one actually reached the masses. Along with that guitar is Isaak’s haunting but strong voice. He wrote it one night when a troubled lady was coming over to his house (see quote at bottom).
The song peaked at #6 on the Billboard 100, #3 in Canada, #7 in New Zealand, and #10 in the UK. It also reached #2 on the Billboard Alternative Charts in 1990. The song was on the 1989 album Heart Shaped World.
When the song was placed in a movie it took off. An instrumental version was used in the David Lynch film called Wild At Heart in 1990. That certainly helped the song as well. I’m a huge David Lynch fan and Chris had this to say about him. “I enjoy talking about David Lynch because he’s such a great guy. The question I get about him is, ‘How is David Lynch? Is he scary or spooky or something?’ I don’t think it’s ever guys who make films like David makes or who have that kind of weird bent in their artwork–those guys are probably the nicest guys in real life because they’ve expressed all of their weird angles. The guys you have to watch are the guys who go, ‘I’m a scout master, the proud father of two children, and I’m also a deacon in the church.’ Then you go, ‘Be careful.’ If he’s out in the back yard at night with a shovel, be careful because he’s burying something.”
Chris Isaak: “This one I wrote really late at night and it was written in a short time, because I remember that a girl had called me and said, ‘I want to come over and talk to you,’ and ‘talk’ was a euphemism. And she said, ‘I want to come over and talk to you until you’re no longer able to stand up.’ And I said, ‘Okay, you’re coming over.’ And as soon as I hung up I thought, ‘Oh, my God. I know she’s gonna be trouble. She’s always been trouble. She’s a wildcat. And here I am, I’m going to get killed, but I’m doing this.’ And I wrote ‘Wicked Game’: ‘world’s on fire and no one can save me but you.’ It’s like you start thinking about it, and by the time she came over to the house, I had the song written. And I think she was probably upset because I was more excited by the song. (Laughing) I was like, ‘Yes, you’re gorgeous, baby. But listen to this song!'”
Chris Isaak: “I think that sometimes you get easy ones that come very quick and you’re really glad – you go, ‘Wow, where’d this come from?’ It’s so fast to write. And then there’s other songs that you do and it’s like doing your homework. It’s like you really are working and biting the pencil and working on that third verse. Most of the time you do work. But sometimes you get lucky.”
Wicked Game
The world was on fire and no one could save me but you It’s strange what desire will make foolish people do I never dreamed that I’d meet somebody like you And I never dreamed that I’d lose somebody like you
No, I don’t wanna fall in love (this world is only gonna break your heart) No, I don’t wanna fall in love (this world is only gonna break your heart) With you With you (This world is only gonna break your heart)
What a wicked game you play, to make me feel this way What a wicked thing to do, to let me dream of you What a wicked thing to say, you never felt this way What a wicked thing to do, to make me dream of you
And I don’t wanna fall in love (this world is only gonna break your heart) No, I don’t wanna fall in love (this world is only gonna break your heart) With you
The world was on fire and no one could save me but you Strange what desire will make foolish people do I never dreamed that I’d love somebody like you And I never dreamed that I’d lose somebody like you
No, I don’t wanna fall in love (this world is only gonna break your heart) No, I don’t wanna fall in love (this world is only gonna break your heart) With you (this world is only gonna break your heart) With you (with you) (This world is only gonna break your heart)
No, I (this world is only gonna break your heart) (This world is only gonna break your heart)
I’ve read so many artists influenced by Little Walter including The Band. I never really listened to him until recently. The man was magical on harmonica. He sounded so different at the time. He played using an amplified harmonica. He played it through a microphone and amp, giving it a loud, distorted sound that was new and exciting at the time and still is. As I read more about him…some call him The Jimi Hendrix of the Harmonica.
Little Walter’s (Marion Walter Jacobs) career took off when he joined Muddy Water’s band in the early 1950s. His first release was in 1947 with Ora Nelle Blues. He did really well in the R&B charts in the 1950s. He continued to perform and record throughout the 1960s, but his health and personal life crumbled. Little Walter died on February 15, 1968, at the age of 37 from injuries sustained in a fight.
You’re So Fine peaked at #2 on the R&B Charts 1954. It was written by Little Walter.
Here is a super-live version with Otis Rush.
You’re So Fine
You’re so fine pretty baby, let me love you all the time
Well and I got a girl she’s fine and brown
What I like about her, she’s mine all mine
She’s so fine, yes she’s so fine
You’re so fine pretty baby, let me love you all the time
Well I wanna give you all my money buy you diamond, everything
Till you be mine, baby then we will make romance
You’re so fine, yes you’re so fine
You are a fine healthy thing, I wanna love you all the time
Now you fill my conversation baby, you made me talk myself to death
I’m in love with you baby and I don’t want nobody else
You’re so fine, yeah you’re so fine
You are a fine healthy thing, I wanna love you all the time
Yeah you’re so fine baby, let me love you all the time
Now you know I love you baby and I just can’t help myself
Goin’ crazy ’cause you’re lovin’ someone else
You’re so fine, yeah you’re so fine
You are a fine healthy thing, let me love you all the time
Albatross is an instrumental from Fleetwood Mac…the 60’s version of the band with the great guitar player Peter Green. I first heard about the song in a book. The Beatles were recording Abbey Road and they played this song constantly through the sessions. You can hear the reverb effect used on Sun King by Lennon that resembles Albatross.
When this song was released, Fleetwood Mac was six years away from their pop conversion of the Stevie Nicks/Lindsey Buckingham era. The lineup on this track was Peter Green (vocals, guitar), John McVie (bass), Danny Kirwan (guitar), and Mick Fleetwood (drums). The song was released on November 22, 1968, with ‘Jigsaw Puzzle Blues’ (written by the band’s James Kirwan) on the B-side.
It remains one of the band’s most recognizable songs from their early blues- period. The song peaked at #1 on the UK Charts, #45 in Canada, and #4 on the Billboard Bubbling Under the Hot 100 Charts (per Wiki) in 1969. Peter Green wrote this song. Albatross was re-released in 1973 peaking at #2 on the UK Charts. In 1989, it was released again and peaked at #96 on the UK Charts…and in 2020-2023 it was released yet again and peaked at #8 on the UK Singles Charts. The song keeps on giving.
Funny enough…this song remains their only #1 UK song! That surprises me with the later commercial success they had. Few bands could evolve like they did. Genesis is one and David Bowie is another one that pulled off different sounds but remained popular.
The title came from a bird called The Albatross, which sailors regarded as a sign of bad luck. That is where the saying “like an Albatross around your neck” came from. Green was also influenced by the Santo and Johnny song Sleep Walk…which you can hear that sound in this. Green also said some of it came from notes that Clapton would play with the John Mayall Bluesbreakers on the song The Last Meal but just slowed down. Peter Green would replace Eric in that band.
Peter Green remains one of my favorite guitar players. My admiration for him has grown through the years. Sleep Walk from Santo and Johnny remains one of my favorite instrumentals and I can hear it in this clearly…makes me like it more.
Danny Kirwan: Well, that was Monsieur Peter Green – I called him Monsieur, you know – and I played with him. On “Albatross” he told me what to do, all the bits I had to play.
George Harrison: “So we said, ‘Let’s be Fleetwood Mac doing Albatross, just to get going.’ It never really sounded like Fleetwood Mac… but that was the point of origin.”
I wanted to post something by Joe Cocker from the now legendary Mad Dogs and Englishmen tour. I have a Joe Cocker 1980s song in my drafts but I wanted to do another song from that tour.
I was lucky enough to see him one time. He was opening up for Tina Turner on October 20, 2000, in Gaylord Arena. It was a hell of a double feature with those two performers. Cocker still had that voice and he sounded excellent.
This song was written in 1953 by Arthur Hamilton. The first release of this song was by Julie London in 1955. London was Jack Webb’s wife at the time and she is probably best known for her role in Emergency.
Mad Dogs and Englishmen kicked off on March 20, 1970, and ended on May 16, 1970. Cocker’s manager, Dee Anthony, saw an opportunity to capitalize on Cocker’s rising fame and organized a new tour. A band was quickly put together by musical director Leon Russell. It included an eclectic mix of musicians, backup singers (such as Rita Coolidge), and even a dog mascot.
The tour was immortalized in the live album Mad Dogs & Englishmen, released in August 1970. It became a critical and commercial success. It is still considered one of the great live albums in rock.
The album peaked at #95 on the Billboard 100, #46 in Canada, and #2 in New Zealand. Looks like New Zealand is the only country that got it right.
The song peaked at #11 on the Billboard 100 and #15 in Canada in 1970.
Arthur Hamilton: “I had never heard the phrase. I just liked the combination of words… Instead of ‘Eat your heart out’ or ‘I’ll get even with you,’ it sounded like a good, smart retort to somebody who had hurt your feelings or broken your heart.”
I Will See You Next Weekend!
Cry Me A River
Why don’t you, why don’t you Why don’t you cry me a river?
Now you say that you’re lonely After being so untrue
I want you to cry (cry me a river) Want you to cry (cry me a river) All over me (cry me a river) I want you to cry (cry me a river) Yeah, over me (cry me a river) Hey, yeah, cry (cry me a river) Yeah, I cried a river over you
Now you say that you’re sorry Oh, for being so unkind
I want you to cry (cry me a river) Cry for me (cry me a river) Oh! (cry me a river) Over me (cry me a river) Want you to cry (cry me a river) Right on me, yeah (cry me a river) Oh, I cried a river over you
You drove me, nearly drove me out of my head Never shed a tear Remember, I remember all that you said Told me love was a stupid thing You were through with me
Cry me a river Come on love (cry me a river) Won’t you cry? (cry me a river) Oh, yeah (cry me a river) Oh, cry (cry me a river) Cry me a river (cry me a river) Oh, I cried a river over you
You drove me, nearly drove me out of my head Ooh, never shed a tear Remember, I remember all that you said Told me love was a stupid thing You were through with me
Cry me a river Yes, cry (cry me a river) I want you to cry (cry me a river) Cry me a river (cry me a river) Ah (cry me a river) Cry me (cry me a river) Oh, I cried a river over you
Yeah, I cried a river over you (I cried a river over you) Over you (I cried a river over you) Over you (I cried a river over you)
I, I cried (I cried a river over you) Let me (I cried a river over you) I cried a river (I cried a river over you) Cry me a river (I cried a river over you) Over the mountain (I cried a river over you) (I cried a river over you) Baby, I cried a river over you
One, two, three, four Cry me a river Cry me a river Cry me a river Cry me a river Yeah (cry me a river, cry me a river) Cry, cry a river over you
I’ve heard of this band for so long but never listened to many of their songs. This one is right up my alley…raw, garage-sounding, and slightly punk. They formed in London in 1963. They were known for their raw sound and rebellious image, they are often cited as one of the most influential bands of the 1960s and 1970s. They didn’t have a lot of hits but their sound was copied.
This song was released in 1964, and The Pretty Things was probably the scruffiest band around in 1964… and that includes the Stones.
The song peaked at #10 in the UK and #34 in Canada in 1964. The song was a stand-alone single. They would release their self-titled debut album in 1965. The song was written by Johnny Dee, the manager of a British band at the time called The Fairies.
The Pretty Things continued to evolve after “Don’t Bring Me Down” exploring different musical styles including psychedelia and hard rock. Despite numerous lineup changes and challenges, they remained active for decades, maintaining a cult following.
In 1968 they released the album S.F. Sorrow, one of the first rock operas, predating The Who’s Tommy. It is a concept album that tells the story of a character named Sebastian F. Sorrow from birth to death. Though not a commercial success at the time, it has since been recognized as a groundbreaking work and a classic of that genre.
Don’t Bring Me Down
I’m on my own, nowhere to roam I tell you baby, don’t want no home I wander round, feet off the ground I even go from town to town I said I think this rock is grand Say I’ll be your man Don’t bring me down, don’t bring me down
I met this chick, the other day And then to me, she said she’ll stay I get this pad, just like a cave And then we’ll have, our living made And then I’ll lead her on the ground My head is spinning round Don’t bring me down, don’t bring me down
I, I, I, I, I need a lover ’cause someone new And then to her I will be true I’ll buy her furs and pretty things I’ll even buy a wedding ring But until then I’ll settle down? Say I’ll be your man Don’t bring me down, don’t bring me down
Until then I’ll settle down? Say I’ll be your man Don’t bring me down, don’t bring me down Don’t bring me down
I really like this song and the pre-hit Steve Miller Band as well. I do like many of his hits but his early catalog is filled with great songs and musicianship. This one has a lot of history. I think Miller’s hits has been a huge victim of radio overplay but I realize that is not his fault…doesn’t mean “Jet Airliner” is not any good…we just have sometimes have heard those songs too much. I have songs like that…but give it some time and I can listen to them again.
His earlier songs have more of a blues feel. The former members of his band has included Boz Scaggs, Nicky Hopkins, Doug Clifford (CCR drummer), Ross Valory, Lonnie Turner, and about a page more of names.
Steve Miller wrote this tune and Paul McCartney played drums, bass, some guitar, and backing vocals. You will also catch the future riff to Fly Like An Eagle in this song. Paul would be credited as Paul Ramone. Paul went by that name on their first tour and that is where the Ramones got their name.
When I read the story of this recording the title would probably match what McCartney was feeling. Allen Klein had just suckered John, George, and Ringo into signing a management contract and he wanted Paul. It was on a Friday afternoon and Paul refused. I’m not always on Paul’s side but in this case…oh yes. He told the other 3 something I find quite funny. Klein wanted 20% of the Beatles earnings and Paul told them wait…The Beatles are kinda big and let him have 10% but John would have none of it. Paul never signed and later on John, George, and Ringo would regret the decision as they all sued Klein and Klein sued them.
On that day, Steve Miller walked into the studio after a giant fight with only Paul left there. I’ll let Paul McCartney tell it: Steve Miller happened to be there recording, late at night, and he just breezed in. ‘Hey, what’s happening, man? Can I use the studio?’ ‘Yeah!’ I said. ‘Can I drum for you? I just had a fucking unholy argument with the guys there.’ I explained it to him, took ten minutes to get it off my chest. So I did a track, he and I stayed that night and did a track of his called My Dark Hour. I thrashed everything out on the drums. There’s a surfeit of aggressive drum fills, that’s all I can say about that. We stayed up until late. I played bass, guitar and drums and sang backing vocals. It’s actually a pretty good track.
It was a very strange time in my life and I swear I got my first grey hairs that month. I saw them appearing. I looked in the mirror, I thought, I can see you. You’re all coming now. Welcome.
The song was on The Steve Miller Band’s album Brave New World released in 1969. The album peaked at a respectable #22 on the Billboard Album Charts and #38 in Canada.
Steve Miller: I got John Lennon’s Epiphone Casino and played through his amp, Paul got on the drums. It was like we’d been playing together forever.
Here is a snippet of Badfinger covering this song live. They were expanding their sound live with longer jams.
My Dark Hour
My dark hour My dark hour You know it’s drivin’ me wild
Well, well, I went to see the doctor And I had my fortune read And you know, the doctor told me “Son, you better stay in bed”
Who’s that comin’ down that road Looks like he’s carryin’ a heavy load What’s that word that he started to say? Wanna come with me on my way?
My dark hour, a mother nature’s child My dark hour, oh, it’s drivin’ me wild
Well, I went (to see the doctor) Just to have (my fortune read) Well, well, well, well, well (The doctor told me) “Son, stay in bed”
So do you think these sinners will fall Or do you think they’ll survive us all? Well, well, well, well, a-down this road Won’t you help me carry my load?
My dark hour, mother nature’s child My dark hour, oh-oh, it’s drivin’ me wild
This song was on the third Beatles album I bought. That would have been The Red Album compilation.
I’m posting it because I just heard the live version from the Anthology and for me…it’s better than the released version. I like the harmonica as an instrument but I like this live version they did without it. John didn’t want to use it because they had used it on Love Me Do, Please Please Me, and then this one. He didn’t want them repeating themselves but was talked into it.
This was their third single in the UK. Love Me Do (#17), Please Please Me (#2), and then this song which peaked at #1 in the UK. When The Beatles hit America…their hits more times than not charted higher in the US. Some of the examples are Twist and Shout (#2 US #0 UK), Penny Lane/Strawberry Fields (#1 US #2 UK), Something (#4 UK #1 US) and more. Now some did the opposite but this song was really odd. It didn’t chart in the top 40 in America at all. Very unusual in 1964.
George Martin asked them to come up with something as good as Please Please Me and they gave him this. No, I don’t think it’s as good but it’s a good song. There was a column in the New Musical Express that was titled From You To Us which featured fans writing columns. This particular one featured a fan letter talking about how Cliff Richard was currently outshining Elvis Presley in the charts. Lennon stated in May of 1963 that Paul and he started to “talk about one of the letters in the column,” which led to them putting ideas together for a song inspired by the title of this newspaper column. This one both Lennon and McCartney agreed was a 50/50 composition.
Paul said that they wrote it while on tour with Roy Orbison. The only problem is that the song was already released then. They were on tour with Helen Shapiro who at the start of the tour were more popular than they were.
Del Shannon was the first American to cover a Beatles song…and he covered this one in 1963.
John Lennon: We were just fooling about on the guitar, this went on for a while. Then we began to get a good melody line and we really started to work at it. Before the journey was over we’d completed the lyric, everything. The words weren’t really all that difficult – especially as we had decided quite definitely not to do anything that was at all complicated. I suppose that is why we often had the words “you” and “me” in the titles of our songs. It’s the kind of thing that helps the listeners to identify with the lyrics. We think this is very important. The fans like to feel that they are part of something that is being done by the performers.”
That said, this song was “below Beatles par ” by a critic…John Lennon: “Maybe it wasn’t as good as ‘Please Please Me,’ but below par? I’ll never forget that one. That’s when I first realized you’ve got to keep it up, there’s some sort of system where you get on the wheel and you’ve got to keep going around.”
The original version is below…there is one thing you can hear now in the remastered versions…the bass!
From Me To You
If there’s anything that you want If there’s anything I can do Just call on me and I’ll send it along With love, from me to you
I’ve got everything that you want Like a heart that’s oh so true Just call on me and I’ll send it along With love, from me to you
I’ve got arms that long to hold you And keep you by my side I’ve got lips that long to kiss you And keep you satisfied (oh)
If there’s anything that you want If there’s anything I can do Just call on me and I’ll send it along With love, from me to you
From me To you Just call on me and I’ll send it along With love, from me to you
I’ve got arms that long to hold you And keep you by my side I’ve got lips that long to kiss you And keep you satisfied (oh)
If there’s anything that you want If there’s anything I can do Just call on me and I’ll send it along With love, from me to you To you To you To you
The bassline and minimalist nature to this song…makes it all worth the repeat listens. It’s very much a cultural artifact that encapsulates its time.
This is a song from childhood that I will never forget. It had a strange sound and that is what made it special. No other than Herbie Flowers played bass on this song and he made it stand out. Yes this song is worn out but I will turn it up sometimes just to hear that bass.
David wrote and released this song in 1973. It appeared in the movie he and Ringo Starr were appearing in called That’ll Be The Day. Essex made unsuccessful recordings in the sixties until found success as an actor. This was the first of his many hits in the UK.
On another note. That’ll Be The Day is a really good movie and so is the follow-up… Stardust. I would suggest if you get the chance…watch them. I think it’s the best movie Ringo Starr ever appeared in excluding A Hard Days Night.
The song peaked at #1 in Canada, #5 in the Billboard 100, and #3 in the UK in 1973. Essex never charted another hit in America, although the Grammy nomination he got for “Rock On” was enough to give him a cult following in America.
The producer of this song was a jingle composer named Jeff Wayne. Wayne was an unusual choice, but his background in jingles, which must be very efficient, proved worthy.
Jeff Wayne:“I can recall the three musicians on the backing track for ‘Rock On’ all looking around in a mostly empty Advision Studios, Studio 1, wanting to know when the rest of the band was arriving! I explained there weren’t any others for that track, and I was relying on them to understand my idea for the production. While the drums and percussion parts were written out, it was definitely Herbie that grasped immediately that a bass guitar playing a lead riff could fill a large part of the spatial spectrum and he took my idea and turned some basic notes of mine, into his amazing bass riff. Then to top it off, he suggested playing it again an octave higher. So you get this unusual bass sound right up front – now it couldn’t have been up front if the arrangement didn’t allow the air and the space to be created that way.”
Rock On
Hey kids rock and roll,
Rock on, oh my soul
Hey kids boogey too, did ya
Hey shout, summertime blues,
Jump up and down in my blue suede shoes
Hey kids rock and roll, rock on
And where do we go from here?
Which is the way that’s clear
Still looking for that blue jean, baby queen
Prettiest girl I’ve ever seen
See her shake on the movie screen, Jimmy Dean
James Dean, rock on
I like quite a few doo-wop songs of the 1950s. The song was written by George Goldner and it was featured on their 1956 album, The Teenagers Featuring Frankie Lymon. It peaked at #12 on the UK Singles Chart in 1957. The song was featured in the movie Rock, Rock, Rock.
Their big hit was Why Do Fools Fall In Love released in 1956. The group only lasted until 1957 when the manager kept pushing Lymon over the group and he started a solo career. He never reached the heights he did with the Teenagers.
I like concentrating on the music but this story has a sad ending.
They did reunite for a brief time in 1965 but the times had changed. They didn’t have much success so Lymon went back to a solo career. At age 15, he tried heroin for the first time in the mid-fifties. In 1966, he was arrested for heroin possession and was drafted into the Army instead of going to jail. He got off of heroin while in the army but kept going awol…he was dishonorably discharged from the army in 1967 and signed with Roulette Records in 1968.
He celebrated signing by using heroin for the first time in two years. Lymon had a sad ending to his life as he only lived to be 25 and died of a heroin overdose in February 1968. Another music business casualty. He was Michael Jackson before Michael Jackson.
Why Do Fools Fall In Love
I’m Not a Juvenile Delinquent
I’m not a juvenile delinquent No-no-no-no-no-no-no-no No-no-no-no-no-no-no-no No-no-no, I’m not a juvenile delinquent Do the things that’s right And you’ll do nothing wrong Life will be so nice, you’ll be in paradise I know, because I’m not a juvenile delinquent
But listen boys and girls You need not be blue And life is what you make of it It all depends on you I know, because I’m not a juvenile delinquent
It’s easy to be good, it’s hard to be bad Stay out of trouble, and you be glad Take this tip from me, and you will see How happy you will be Oh-oh, boys and girls, this is my story And I add all of my glory I know, because I’m not a juvenile delinquent
It’s easy to be good, it’s hard to be bad Stay out of trouble, and you be glad Take this tip from me, and you will see How happy you will be Oh-oh, boys and girls, this is my story And I add all of my glory I know, because I’m not a juvenile delinquent
This song was on the forgotten Black and Blue album. My all-time favorite Stones song is on that album…Memory Motel.
This album was made when the best guitarist the Stones ever had…left them. That’s no knock on Keith, Brian, or soon-to-be Ronnie Wood at this time…Mick Taylor was just that good. He was on 4 of the 5 classic albums they are mostly known for. Another significant person left before Taylor did…Jimmy Miller produced the albums Beggars Banquet, Let It Bleed, Sticky Fingers, Exile On Main Street, and Goats Head Soup. He was the most important producer they worked with. He gave them a sound that they did not have before.
Ronnie Wood is not the guitar player in this song. They were auditioning guitar players on this album. The three guitar players were Wayne Perkins, Harvey Mandel, and Ronnie Wood. Wayne Perkins, a super-session player, was the lead guitar player on this song. He didn’t get the job because he was from Alabama. Keith said that was hard to get over because they wanted the Stones to remain an English band. Wayne Perkins was probably the best guitar player they auditioned…but Ronnie Wood looked the part and fit in.
The album was not as well received but still peaked at #1 on the Billboard Album Charts, #2 in Canada, #2 in the UK, and #4 in New Zealand in 1976.
Fool To Cry peaked at #10 on the Billboard 100, #11 in Canada, #6 in the UK, and #38 in New Zealand.
Mick Jagger has said of this song: This dates from the period when I had a young child, my daughter Jade, around a lot, calling me daddy and all that. It’s another of our heartmelting ballads, a bit long and waffly at the end maybe, but I like it.
Keith Richards: “I was just glad somebody in the band could sing that falsetto. I got a pretty good falsetto myself. But when you got a singer and he can hit those notes, baby go for it. And Mick was always fascinated with the falsetto Soul singers like Aaron Neville. That’s crafty stuff, you know what I mean? But he’d been listening to so many people. It’s kinda like what goes in, will come out. You’ll just hear a phrase or a piece of music. And one way or another it’s part of your experience. And a lot of the time it comes out what you do without even realizing it. I don’t really like to think about these things too much. It’s more to do with feeling than intellectualizing about it.”
Keith Richards: Ronnie wasn’t necessarily a shoo-in as our new guitarist, despite our closeness at the time. He was still, for one thing, a member of the Faces. We tried other players before him–Wayne Perkins, Harvey Mandel. Both great players, both of them are on Black and Blue. Ronnie turned up as the last one, and it was really a toss-up. We liked Perkins a lot. He was a lovely player, same style, which wouldn’t have ricocheted against what Mick Taylor was doing, very melodic, very well-played stuff. Then Ronnie said he had problems with the Faces. So it came down to Wayne and Ronnie. Ronnie’s an all-rounder. He can play loads of things and different styles, and I’d just been playing with him for some weeks, so the chips fell there. It wasn’t so much the playing, when it came down to it. It came down to the fact that Ronnie was English! Well, it is an English band, although you might not think that now. And we all felt we should retain the nationality of the band at the time. Because when you get on the road, and it’s “Have you heard this one?,” you’ve all got the same backgrounds. Because of being London-born, Ronnie and I already had a built-in closeness, a kind of code, and we could be cool together under stress, like two squaddies. Ronnie was damn good glue for the band. He was a breath of fresh air. We knew he’d got his chops, we knew he could play, but a big decider was his incredible enthusiasm and ability to get along with everybody. Mick Taylor was always a bit morose. You’ll not see Mick Taylor lying on the floor, holding his stomach, cracking up with laughter for anything. Whereas Ronnie would have his legs in the air.
Fool To Cry
When I come home baby
And I’ve been working all night long
I put my daughter on my knee, and she says
Daddy what’s wrong?
She whispers in my ear so sweet
You know what she says, she says
Ooh, daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
Daddy you’re a fool
You know, I got a woman (daddy you’re a fool)
And she lives in the poor part of town
And I go see her sometimes
And we make love, so fine
I put my head on her shoulder
She says, tell me all your troubles
You know what she says?
She says, ooh, daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
Daddy you’re a fool to cry
Yeah, she says
Oh, Daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
She says, ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Even my friends say to me sometimes
And make out like I don’t understand them
You know what they say?
They say, ooh daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why, ah
I’m a fool baby, ah ya
I’m a certified fool, ah yeah
Gotta tell ya, baby
I’m a fool baby, ah yeah
Whoo
Certified fool for ya, mama, ya, yeah, come on, yeah
I’m a fool, yeah
