Singles – Page 55 – PowerPop… An Eclectic Collection of Pop Culture

Zager and Evans – In the Year 2525 ….One Hit Wonder Week

If you want to break up a party…play this song…it will clear a room with quickness. So enjoy the post and song!

To say it’s bleak is an understatement. I’ve always been interested in it though. It was released in 1969 and the other chart songs around it were happy…Sugar Sugar, Dizzy, the cool Crystal Blue Persuasion, and Aquarius/Let The Sunshine In… this one seems out of place in that bunch. The duo was Denny Zager and Rick Evans. Rick Evans wrote this song.

It peaked at #1 on the Billboard 100, #1 in Canada, #1 in the UK, and yes #1 in New Zealand. It was number one around a week before the Apollo Space Mission. This doom and gloom song was recorded in a studio in the middle of a cow pasture in Odessa, Texas in 1968.

The line that I noticed was Everything you think, do and say Is in the pill you took today. Hmmm, kind of reminds me of a thousand pills made now to control your illnesses or just make you feel better. Also if you really want to read into it… In the year 5555, Your arms hangin’ limp at your sides Your legs got nothin’ to do, Some machine’s doin’ that for you. That machine today would be a phone or a computer doing about everything. Buying your groceries, playing your music, and reading Max’s blog about that.

The other line I think about… You’ll pick your son, pick your daughter too, From the bottom of a long glass tube. Well, that happened on July 25, 1978, with the first test tube baby.

You probably guessed it by looking at the names but this was Zager and Evans, only hit. What are they doing today? The author, Rick Evans, sadly passed away in February 2018 in Santa Fe, New Mexico at the age of 75. Denny Zager is a highly acclaimed Guitar maker who makes his home in Nebraska. Nebraska is where both of them were from.

Their follow-up song was “Mr. Turnkey,” a song about a rapist who nails his wrist to his prison cell because he is sorry for his crime? Yeah, I wonder why that one didn’t hit? I admire the ambition but maybe a little too much inspiration was going on.

I have a quote from Zager at the bottom but here is another one and it’s interesting….Denny Zager: Before John Denver was discovered, he used to write to me all the time asking how we knew about “test tube babies” and things that hadn’t even been discovered yet. Rick used to tell him he had been abducted by aliens and “saw into the future.”

Denny Zager: Rick (Evans) said he wrote the lyrics in 10 minutes in the back of a Volkswagen van after a night of partying and a lot of Mary Jane. He tried the song with a few bands he was playing with at the time, but the music wasn’t right and it wasn’t working. I thought the lyrics were intriguing, so I rewrote the music so it blended better with the lyrics. The first night we played it live we knew it was special because the crowd looked stunned and wanted to hear it again and again.

Denny Zager: Like any band Rick and I had our squabbles, but there was a point in time that I felt we could have written some of the best music of the century. I miss him.

The follow-up!

In The Year 2525

In the year 2525, if man is still alive
If woman can survive, they may find
In the year 3535
Ain’t gonna need to tell the truth, tell no lie
Everything you think, do and say
Is in the pill you took today
In the year 4545
You ain’t gonna need your teeth, won’t need your eyes
You won’t find a thing to chew
Nobody’s gonna look at you
In the year 5555
Your arms hangin’ limp at your sides
Your legs got nothin’ to do
Some machine’s doin’ that for you
In the year 6565
You won’t need no husband, won’t need no wife
You’ll pick your son, pick your daughter too
From the bottom of a long glass tube

In the year 7510
If God’s a coming, He oughta make it by then
Maybe He’ll look around Himself and say
Guess it’s time for the judgment day
In the year 8510
God is gonna shake His mighty head
He’ll either say I’m pleased where man has been
Or tear it down, and start again

In the year 9595
I’m kinda wonderin’ if man is gonna be alive
He’s taken everything this old earth can give
And he ain’t put back nothing

Now it’s been ten thousand years
Man has cried a billion tears
For what, he never knew, now man’s reign is through
But through eternal night, the twinkling of starlight
So very far away, maybe it’s only yesterday

In the year 2525, if man is still alive
If woman can survive, they may find

Every Mother’s Son – Come On Down To My Boat

Obbverse and I were commenting the other day and this song came up. I had this single from a relative of mine when I was a kid and I would play this and Eleanor by the Turtles over and over again. The band had a really cool name. The song is pure bubblegum but enjoyable.

Every Mother’s Son was short-lived, consisting of brothers Dennis (guitars) and Larry Larden (lead vocals, guitars), along with Bruce Milner (keyboards), Schuyler Larsen (bass), and Christopher Augustine (drums). They were formed in New York City, New York in 1967.

The band’s clean image was a perfect foil to the “hippie invasion” groups of that time, and that clean image was the very reason why MGM signed them. By 1967 though the squeaky clean image didn’t help…well…their image.

The group recorded their self-titled debut album, which was released in 1967. The album mostly contained a collection of songs written by Jerry Goldstein and Wes Farrell. Not only did the band look like the Beach Boys, but Every Mother’s Son‘s sound had echoes of the Beach Boys too.

This was their first single and they hit pay dirt. It peaked at #6 on the Billboard 100 and #3 in Canada in 1967. They were making appearances and enjoying being in the top 10 and they did try to follow up this song. They released four more singles in 1967 and 68 trying to push another one up the charts…but it didn’t work.

They would fall into the One Hit Wonder file…but it’s better than the No Hit Wonder file. The bubblegum band The Rare Breed also released this song before Every Mother’s Son but it wasn’t a hit.

Come On Down To My Boat

She sits on the dockA fishin’ in the water uh, huhI don’t know her nameShe’s the fisherman’s daughter uh, huh

Come on down to my boat babyCome on down where we can playCome on down to my boat babyCome on down we’ll sail away

She smiled so niceLike she wants to come with me uh, huhBut she’s tied to the dockAnd she can’t get free

Come on down to my boat babyCome on down where we can playCome on down to my boat babyCome on down we’ll sail away

Fish all day sleep all nightFather never lets her out of his sightSoon I’m gonna have to get my knifeAnd cut that rope, cut that rope

So we can go fishin’ in my little red boatMake you happy in my little red boat, so

Come on down to my boat babyCome on down where we can playCome on down to my boat babyCome on down we’ll sail away

Brownsville Station – Smokin’ in the Boy’s Room ….One Hit Wonder Week

I have always liked the sound of this song. I have heard covers of this but none compares to it for me. I grew up with the single that had the logo of Big Tree Records that was spinning constantly.

In 1985 Mötley Crüe covered this song. It peaked at #16 on the Billboard 100. Their version stayed true to the song and was a little heavier but didn’t have that groove that Brownsville Station had. John from 2 LOUD 2 OLD MUSIC did a fun competition between the two versions with people commenting.

This song peaked at #3 on the Billboard 100, #3 in Canada, and #27 in the UK. The band did have another top 40 hit with “King Of The Party” which peaked at #31 on the Billboard 100. They also released 8 albums in the ’70s through the ’90s. Koda passed away in 2000 and the band reunited and released their 9th album in 2012 called Still Smokin’.

Brownsville Station was formed in Ann Arbor Michigan in 1969 and they dressed up in glam outfits and put on loud rock shows. They were a hard-working band…playing between 200 – 300 shows a year.

Michael “Cub” Koda and Michael Lutz wrote the song and Cub sang it. After Brownsville Station disbanded in 1979 he went on to be a DJ and a writer. He wrote the All Music Guide to the Blues, and Blues for Dummies, and some liner notes for other artists.

It took Koda and Lutz just a half hour to write the song and an hour for the band to record it. They didn’t think much of it, but the song became far and away their biggest hit. The owner of the record company hated the song and refused to release it as a single until so many requests came in from radio stations. He then relented and released it as a single.

Mike Lutz (Guitarist): “The funny thing is, when we got done with the album, Smokin’ is the last cut on the second side because nobody was really sure about it. But there was a radio station in Bangor, Maine and they started spinning it, and the phones just lit up.”

Mike Lutz: “Back in those days the whole thing was about being out on the road and pushing your product, developing a fan base, so with us it was still about doing that. It’s just that Smokin’ blew things wide open. We were making our reputation of being an energetic rock band. But after Smokin’ became a pop hit, people started to look at us as sorta bubblegum. It changed our career in that we became instantly popular to a lot of people, but it didn’t change the direction of the band.”

“We still did 320 one-nighters that year,” says Wreck. “And we drove ourselves to every gig.”

Smokin In The Boy’s Room

How you doin’ out there? Ya ever seem to have one of those days
Where it just seems like everybody’s gettin’ on your case?
From your teacher all the way down to your best girlfriend?
Well, ya know, I used to have ’em just about all the time
But I found a way to get out of ’em
Let me tell you about it!

Sitting in the classroom, thinking it’s a drag
Listening to the teacher rap, just ain’t my bag
The noon bells rings, you know that’s my cue
I’m gonna meet the boys on floor number two!

Smokin’ in the boys’ room
Smokin’ in the boys’ room
Now, teacher, don’t you fill me up with your rules
But everybody knows that smokin’ ain’t allowed in school

Checkin’ out the halls, makin’ sure the coast is clear
Lookin’ in the stalls, “No, there ain’t nobody here!”
Oh, my buddy Fang, and me and Paul
To get caught would surely be the death of us all

Smokin’ in the boys’ room
Smokin’ in the boys’ room
Now, teacher, don’t you fill me up with your rules
But everybody knows that smokin’ ain’t allowed in school

All right!
Oh, put me to work, in the school book store
Check out counter and I got bored
Teacher was lookin’ for me all around
Two hours later, you know where I was found

Smokin’ in the boys’ room (Yes indeed, I was)
Smokin’ in the boys’ room
Now, teacher, don’t you fill me up with your rules
But everybody knows that smokin’ ain’t allowed in school

One mo’!
Smokin’ in the boys’ room
Oh, smokin’ in the boys’ room
Smokin’ in the boys’ room
Smokin’ in the boys’ room
Now, teacher, I am fully aware of the rules
And everybody knows that smokin’ ain’t allowed in school!

Max Picks …songs from 1969

1969

I will be in a meeting today…so I’ll be late in commenting.

I’m so sad that we are leaving the 60s. I do love the 70s but the 60s I think were rock/pop’s best decade.

Great year… Led Zeppelin had arrived the year before and The Beatles released Abbey Road, which was the year of George. I could have flipped a coin on Something or Here Comes The Sun. This is the last year I’ll be able to include the Holy Trinity of Rock…The Beatles, The Who, and The Rolling Stones while they were all still together.

Something was written about his then-wife Pattie Boyd. This one moved his songwriting abilities up in the eyes of his bandmates Lennon and McCartney and the world. George had written some good songs before like Taxman, If I Needed Someone, and While My Guitar Gently Weeps but this one…this one placed him in another league. George had two of the highlights on Abbey Road with Something and Here Comes The Sun. Something tells me we will be seeing Mr. Harrison next year…just a hunch!

So many Led Zeppelin songs I could have had here off the second album…or the Brown Bomber. I picked Ramble On over Whole Lotta Love because it has that light-heavy feel.

Creedence Clearwater Revival was rising in 1969. They ended up being one of the best American bands ever. They only had a short window but they took advantage of it. If you want proof that life isn’t fair… Green River was kept from #1 because of the bubblegum song “Sugar, Sugar” by The Archies.

The song was written by John Fogerty.

I always thought The Who was the best pure rock band out there…and I still do. They released Tommy in 1969 and although I never thought it was their best…it was and is still iconic.

It has many classic rock songs that we know and this one included…this is the Who playing We’re Not Going To Take It. It was written by Pete Townshend.

Blind Faith was a Supergroup made up of Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech. They released just one album. Winwood wrote Can’t Find My Way Home and sang lead. Many critics thought that Blind Faith sounded a lot more like Traffic than Clapton’s Cream, which is what Clapton was going for.

…

Human Beinz – Nobody But Me ….One Hit Wonder Week

It’s something about those 1960s garage band songs that I really like. Songs like Louie Louie, A Little Bit Of Soul, Hang On Sloopy, and the list goes on and on. They were not epic complicated songs…no just fun songs for everyone to enjoy and relate to.

This is one of the most negative songs ever recorded. The word “no” appears 100 times and “nobody” gets sung 46 times, according to rock critic Dave Marsh.

A couple of years ago, as I did with House MD, I found an older show called The Office and I loved it. I binged it twice through. They did an incredible one-take intro using this song in the 7th season that I’ll have posted below.

I give them an A+ on having a unique band name… They were an American rock band from Youngstown, Ohio…originally known as The Human Beingz but their name was spelled wrong (Beinz) on their contract but they just left it that way. I remember hearing this on Kill Bill Vol 1 and also on oldies radio stations through the years. The song peaked at #8 on the Billboard 100 in 1968.

This was a cover…and that surprised me. It was originally done by the Isley Brothers in 1962. It was written in the studio by Ronald Isley, Rudolph Isley, and O’Kelly Isley, Jr.

Another trivial thing about this song… these are the dances it lists… The Shingaling, The Skate, The Boogaloo, and The Philly. And if you listen to the end of the song…their bass player Mel Pachuta is hitting an empty Pepsi bottle with a drumstick. The producer wanted something different and that made him happy. You can clearly hear it at the end.

Nobody But Me

No-no, no, no, no-no-no, no, no-no, no, no-no
Na-no, no, na-no, no-no, na-no, no-no, no, no-no, no

Nobody can do the (Shing-a-ling) like I do
Nobody can do the (Skate) like I do
Nobody can do (Boogaloo) like I do
Nobody can do (Philly) like I do

Well, don’t you know
I’m gonna skate right through
Ain’t nobody do it but me
Nobody but me (Nobody but me)

Yeah, I’m gonna spin, I do
Ain’t nobody do it but me, babe
(Nobody but me)
Well, let me tell you nobody
Nobody but me

Let me tell you, nobody
(Nobody) nobody
(Nobody) nobody
(Nobody) nobody
(Nobody) nobody
(Nobody) nobody
(Nobody) nobody
(Nobody)

No-no, no, no, no, no-no-no, no, no-no, no, no-no
Na-no, no, na-no, no-no, na-no, no-no, no, no-no, no

Nobody can do the (Shing-a-ling) like I do
Nobody can do the (Skate) like I do
Nobody can do (Boogaloo) like I do
Nobody can do (Philly) like I do

Ooh, yeah
Nobody, nobody
Nobody, nobody

Stealers Wheel – Stuck In The Middle With You ….One Hit Wonder Week

Raise your hand if you thought this was Bob Dylan when you first heard it. I sure did…I heard it after I had heard Knocking On Heavens Door and I would have bet it was Bob. Gerry Rafferty was the singer on this song and he wouldn’t sound like this later on with Baker Street. It was written by the group’s guitarist Gerry Rafferty and keyboard player Joe Egan.

Gerry Rafferty and Joe Egan signed a contract with an American company and they threw a party in Chelsea. Gerry and Joe were sitting at a table with 50 record executives and their wives (clowns and jokers). They were seated between two rather boring label executives. A few days later they wrote this song. So it was basically a parody of Bob Dylan’s style that poked fun at an industry cocktail party.

It ended up sounding like Dylan. Rafferty said: “That happened by chance, the vocal inflections are certainly reminiscent of Bob Dylan and, if I’ve taken anything from him, it’s his phrasing. I suppose the subject matter and the rather dark humor are akin to Dylan too.”

The song peaked at #6 in the Billboard 100, #8 in the UK, and #2 in Canada. Gerry Rafferty is singing the lead vocal with bandmate Joe Egan harmonizing with him. They were produced by some huge talent.. Jerry Leiber and Mike Stoller. They did have a song that hit #25 on the Billboard 100 called “Star” but we will count this as a one-hit wonder.

Gerry Rafferty would go on to have a huge album City To City that produced big hits Baker Street and Right Down The Line. Joe Egan would eventually have a minor hit with a song called Back on the Road…after that he left the industry. He did help out on Gerry Rafferty’s 1992 album On A Wing and a Prayer.

Quentin Tarantino used this song in a horrific torture scene in Reservoir Dogs to great effect.

Gerry Rafferty: “It was just one of those songs, maybe about how life often seems like a series of events, so everything is related to everything else, no matter how remote.”

Stuck in the Middle with You

Well I don’t know why I came here tonight,
I got the feeling that something ain’t right,
I’m so scared in case I fall off my chair,
And I’m wondering how I’ll get down the stairs,
Clowns to the left of me,
Jokers to the right, here I am,
Stuck in the middle with you

Yes I’m stuck in the middle with you,
And I’m wondering what it is I should do,
It’s so hard to keep this smile from my face,
Losing control, yeah, I’m all over the place,
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you

Well you started out with nothing,
And you’re proud that you’re a self made man,
And your friends, they all come crawlin,
Slap you on the back and say,
Please, please

Trying to make some sense of it all,
But I can see that it makes no sense at all,
Is it cool to go to sleep on the floor,
‘Cause I don’t think that I can take anymore
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you

Well you started out with nothing,
And you’re proud that you’re a self made man,
And your friends, they all come crawlin,
Slap you on the back and say,
Please, please

Blues Image – Ride Captain Ride …. One Hit Wonder Week

I usually stay a few posts ahead. I’ve been stockpiling them and I’ve noticed that at least five songs were bands or artists only hit. I thought we would all have some fun this week and do something different. I’m going to post only One Hit Wonders through Friday. I like posting album cuts usually… but this week we will revisit some older hits. I’m starting off with a song that was one of the first songs I ever remembered.

Blues Image first came together in Florida in 1966. Florida in the sixties held a lot of future rock stars. You had the Allman Joys(Gregg and Duane Allman), Tom Petty, Bernie Leadon (Flying Burrito Brothers and The Eagles), Don Felder (Eagles), My Back Yard (future Lynyrd Skynyrd), Black Foot, The Classic IV, Jim Morrison, Stephen Stills…and I could go on. The state was full of talent at that point in time.

This band performed regularly in the Miami area and became the house band at a club called Thee Image, a venue that also featured groups such as Led Zeppelin, Cream, and The Mothers of Invention.

They eventually moved to California and signed a deal with Atco Records. They released their self-titled debut album in 1969. It made no impact on the charts but while making their second album they started to play around with a keyboard riff. Guitarist Mike Pinera came up with “Seventy-three men sailed up”… he came up with that line after noticing 73 keys on that particular keyboard. You can’t make this stuff up. Mike Penera and keyboard player Skip Konte wrote this song. The keyboard in question is a Rhodes Electric Piano.

That was the single to the second album called Open. This is a one-hit-wonder band but what an impressive one-hit. Ride Captain Ride made it to #4 in the Billboard 100 and the Canadian Charts. The album Open peaked at #147 in 1970.

I always thought this song was about some historical event…but no it was just made up. Mike Pinera joined Iron Butterfly in 1969 while recording this album, he also joined a band called Ramatam in 1972 with Mitch Mitchell, and The Cactus Band in 1973.

Mike Pinera’s wife: “Ride Captain is a story from his imagination. I know when he was in the studio recording that album, they needed another song and he wrote it on the spot. He came up with 73 from the keyboard having 73 keys. A lot of people say it relates to a few different stories.”

Ride Captain Ride

Seventy-three men sailed up from the San Francisco Bay,
Rolled off of their ship and here’s what they had to say.
“We’re calling everyone to ride along to another shore,
Where we can laugh our lives away and be free once more.”

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride, captain ride on your mystery ship,
Be aware of the things others just might have missed

No one heard them calling, no one came at all,
‘Cause they were too busy watching those old raindrops fall.
As a storm was blowing out on the peaceful sea,
Seventy-three men were sailing off into history.

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride captain ride on your mystery ship,
Be aware of the world others just might have missed

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride captain ride on your mystery ship,
Be aware of the world othersjust might have missed

Ride, captain ride on your mystery ship,
Be amazed at the friends you have here on your trip.
Ride, captain ride on your mystery ship,
Be aware of a world others just might have missed.

Steve Miller – Living In The U.S.A.

We’re living in a plastic land
Somebody give me a hand, yeah

I really like the organ in this song as well as the race car that’s revving up… it’s so vibrant. Miller also sets the mood with the harmonica he is playing. It’s too bad his earlier albums get lost in the shuffle because of his success from The Joker on. Those albums show a different Miller than the masses know from his big hits.

This song was released in 1968 on the Sailor LP which was the Steve Miller Band’s second LP. The album peaked at #24 on the Billboard Album Charts and #27 in Canada. Although the song was popular in the late 1960s, it truly gained a resurgence on rock radio in the late 1970s due to the success of the Fly Like an Eagle album.

Out of all Steve Miller songs…this one may be my favorite. This song peaked at #92 and then charted again at #49 in 1974. It wasn’t a big hit but it did get played on FM radio. Boz Scaggs was in Miller’s band at this time and sang harmonies.

Steve Miller: I had come out of a radical environment at the University of Wisconsin in the early ‘60s. I had been a Freedom Rider in the Civil Rights campaign and then I got involved in the Vietnam War demonstrations and debates. That was all going on, and then I ended up out in California where the psychedelic revolution was taking place. So when you combine those things, it was very powerful [creatively].

“Living in the U.S.A.” was put together with the idea of playing at the Democratic National Convention in 1968 in Chicago. That was the one where the cops beat everybody up—Mayor [Richard] Daley brought out the Chicago police. So it was a political tune. It came out, and it was kind of a hit. Then it went away, and then about five or six years later it sold 100,000 copies in a week in Philadelphia for no reason whatsoever.

Living In The U.S.A.

Stand back, stand back
Stand back, stand back

Doot do do do do doot doot
Living in the U.S.A.
Doot do do do do doot doot
Living in the U.S.A.

Where are you goin’ to
What are you gonna do
Do you think that it will be easy
Do you think that it will be pleasin’, hey

Stand back, what’d you say
Stand back, I won’t pay
Stand back, I’d rather play
Stand back

It’s my freedom
Ah, don’t worry ’bout me, babe
I got to be free, babe
Hey

Doot do do do do doot doot
Living in the U.S.A.
Doot do do do do doot doot
Living in the U.S.A.

Stand back, dietician
Stand back, television
Stand back, politician
Stand back, mortician

Oh, we got to get away
Living in the U.S.A.
Come on baby, Owwww

I see a yellow man, a brown man
A white man, a red man
Lookin’ for Uncle Sam
To give you a helpin’ hand
But everybody’s kickin’ sand
Even politicians
We’re living in a plastic land
Somebody give me a hand, yeah

Oh, we’re gonna make it, baby
Oh, we’re going to shake it, baby
Oh, don’t break it
Yeah, yeah, yeah, yeah, yeah

Come on baby, hey
Hey, hey
In the U.S.A., babe yeah

Doot do do do do doot doot
Living in the U.S.A.
Don’t worry ’bout me, babe
Doot do do do do doot doot
Living in the U.S.A.
Living in the U.S.A.
Doot do do do do doot doot
Living in the U.S.A.
I got to be free
Doot do do do do doot doot
Living in the U.S.A.
Come on try it, you can buy it, you can leave it next week, yeah
Somebody give me a cheeseburger

Dwight Yoakam – Guitars, Cadillacs

Buck Owens made the Bakersville sound popular and it’s one of my favorite types of country. My friend deKE mentioned this one on a list and again I’m surprised I haven’t posted it already. Yoakam and Steve Earle came out at around the same time and they were not like everyone else (George Jones has a funny quote about that at the bottom of the page). They were a breath of fresh air in country music and they crossed over genres as well.

It was released in 1986 and was the second single off of his debut album Guitars, Cadillacs, Etc., Etc. This song was written by Dwight Yoakam. Pete Anderson (producer) was a huge help in the making of the album. He provided some ideas music-wise, played the guitar, and even sang background vocals.

The two of them were surprised that the album had as much success as it did. Country music at the time was geared more toward country-pop and Dwight wrote these honky tonk type songs that weren’t popular at the time.

It originally came out as a six-track EP in 1984 on a small label. Warner Brothers were listening as he made it into a full album and it was released in 1986. The album peaked at #1 on the Billboard Country Charts, #61 on the Billboard Album Charts. The song Guitars, Cadillacs peaked at #4 on the Billboard Country Charts, and #2 on the Canadian Country Charts in 1986.

Rolling Stone magazine ranked this song as number 94 in their list of the 100 greatest country songs.

Dwight Yoakam: “We were reinterpreting the Bakersfield ‘shuffle sound’ of Buck Owens and what he was doing with that terse kind of shuffle.”

Pete Anderson: “I was a guitar player for hire in the early ’80s in Los Angeles, and I played mostly country music. I played some blues gigs and kind of roots rock Americana gigs. He needed a guitar player to play a gig, and we played together. He was playing some of his original songs and I got to hear the songs and said..Man, these are really good songs.”

George Jones: ‘We spent all these years trying not to be called hillbillies, and Dwight Yoakam and Steve Earle fucked it up in one day.'”

Guitars, Cadillacs

Girl you taught me how to hurt real bad and cry myself to sleep
And showed me how this town can shatter dreams
Another lesson ’bout a naive fool who came to Babylon
And found out that the pie don’t taste so sweet

Now it’s guitars, Cadillacs, hillbilly music
Lonely, lonely streets that I call home
Yeah, my guitars, Cadillacs, hillbilly music
It’s the only thing that keeps me hangin’ on

Ain’t no glamour in this tinseled land of lost and wasted lives
Painful scars are all that’s left of me
Oh, but thank you girl for teachin’ me brand new ways to be cruel
If I can find my mind now I guess I’ll just leave

And it’s guitars, Cadillacs, hillbilly music
Lonely, lonely streets that I call home
Yeah, my guitars, Cadillacs, hillbilly music
It’s the only thing that keeps me hangin’ on

Oh it’s guitars, Cadillacs, hillbilly music
Lonely, lonely streets that I call home
Yeah, my guitars, Cadillacs, hillbilly music
It’s the only thing that keeps me hangin’ on
It’s the only thing that keeps me hangin’ on
It’s the only thing that keeps me hangin’ on

…

Rolling Stones – Honky Tonk Women

Of all the Rolling Stones songs I have posted…B sides and album cuts…I’m astonished that I haven’t posted this one. This is one of the Stones’ best 60s singles. It’s B side was You Can’t Always Get What You Want. I consider Jumping Jack Flash, Honky Tonk Women, and Brown Sugar their best rock singles. A case could be made for Satisfaction and Start Me Up as well.

When the Stones finished this recording on June 8, 1969…they drove to Brian Jones’s house to fire him. By this time he was trying to get himself clean of drugs and actually was getting better. He also had an arrest on his record that would stop the Stones from touring at the time. He started to record demos on his own and other people have said that it sounded like Creedence Clearwater Revival and that style. He would die on July 3, 1969, from drowning in his pool under a lot of controversy that still is questioned to this day. The song was released on July 4, 1969

This song was also the track that introduced Stones fans to guitarist Mick Taylor. The former member of John Mayall’s Bluesbreakers was brought in to replace founding member Brian Jones. Taylor, only 20 at the time, provided the glue for the song, helping the transition from verse to chorus. Guitarist Ry Cooder also was an inspiration for the song.

The song started on a trip that Richards and Mick Jagger took to Brazil. Inspired by the cowboys working the ranch where they were vacationing, the two started knocking together a Hank Williams/Jimmie Rodgers-inspired tune, with Jagger using the countrified tone of the music as inspiration for his lyrical ode to the working women of the Old West. That version you can hear in Country Honk on the Let It Bleed album. Honky Tonk Women was released as a non-album single.

The song peaked at #1 on the Billboard 100, in the UK, in New Zealand, and #2 in Canada in 1969.

Keith Richards: ‘Honky Tonk Women’ started in Brazil. Mick and I, Marianne Faithfull and Anita Pallenberg who was pregnant with my son at the time. Which didn’t stop us going off to the Mato Grasso and living on this ranch. It’s all cowboys. It’s all horses and spurs. And Mick and I were sitting on the porch of this ranch house and I started to play, basically fooling around with an old Hank Williams idea. ‘Cause we really thought we were like real cowboys. Honky tonk women. And we were sitting in the middle of nowhere with all these horses, in a place where if you flush the john all these black frogs would fly out. It was great. The chicks loved it. Anyway, it started out a real country honk put on, a hokey thing. And then couple of months later we were writing songs and recording. And somehow by some metamorphosis it suddenly went into this little swampy, black thing, a Blues thing. Really, I can’t give you a credible reason of how it turned around from that to that. Except there’s not really a lot of difference between white country music and black country music. It’s just a matter of nuance and style. I think it has to do with the fact that we were playing a lot around with open tunings at the time. So we were trying songs out just to see if they could be played in open tuning. And that one just sunk in.”

Honky Tonk Women

I met a gin-soaked, bar-room queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across her shoulder
‘Cause I just can’t seem to drink you off my mind

It’s the honky tonk women
Gimme, gimme, gimme the honky tonk blues

I laid a divorcée in New York City
I had to put up some kind of a fight
The lady then she covered me with roses
She blew my nose and then she blew my mind

It’s the honky tonk women
Gimme, gimme, gimme the honky tonk blues
It’s the honky tonk women
Gimme, gimme, gimme the honky tonk blues

It’s the honky tonk women
Gimme, gimme, gimme the honky tonk blues

Humble Pie – 30 Days In The Hole

I heard this song before I knew who Marriott was…I learned later he was the same singer as in Itchycoo Park and Lazy Sunday which didn’t compute. I really wish I could have seen this band live. His voice in this is nasty…a perfect rock voice for this song.

Do you want a song that rocks? Humble Pie tried something different than most hard rock bands at the time. Marriott combined hard rock with a gospel feel. This is one of the nastiest songs you will hear. It’s as sleazy as you can get but it rocks.

This is personally my favorite song by Humble Pie. The band also included Peter Frampton for a while and was known for their excellent live shows. In 1969 Marriott left The Small Faces and teamed up with Frampton to start Humble Pie. They were a very successful touring band and mostly concentrated on albums…much like The Faces. This song never charted but did get some FM play.

While touring in Kentucky, Marriott read that getting caught with drugs in that state would give you an automatic 30 days in jail. He was also thinking about a friend of the band’s who had been sent to jail for having a joint. Drugs were part of the culture back then and just a way of life on the road. He used a lot of street names for drugs like “Chicago Green” is pot, and New Castle Brown is a kind of heroin…not to be confused with Newcastle Brown which is ale. Black Nepalese Hash is a rare variant of hashish that hails from the Highland regions of Nepal.

Marriott has said that inspiration for the title came from a Humphrey Bogart/James Cagney movie he saw on TV, where Bogart plays a prisoner who gets sent to “30 days in the hole.”

30 Days in the Hole

Roll my tape
Ooh, ooh, ooh

Thirty days,
Anyone doin’ that one?
I’m doin’ that one

30 days in the hole
30 days in the hole
30 days in the hole

All right all right all right all right, yeah

Chicago Green, talkin’ ’bout Black Lebanese
A dirty room and a silver coke spoon
Give me my release, come on
Black Nepalese, it’s got you weak in your knees
Sneeze some dust that you got buzzed on
You know it’s hard to believe

30 days in the hole
30 days in the hole
30 days in the hole
That’s what they give you
30 days in the hole
I know

Newcastle Brown, I’m tellin’ you, it can sure smack you down
Take a greasy whore and a rollin’ dance floor
It’s got your head spinnin’ round
If you live on the road, well there’s a new highway code
You take the urban noise with some dirt with poison
It’s gonna lessen your load

30 days in the hole
That’s what they give you now
30 days in the hole
Oh, yeah
30 days in the hole
All right, all right
30 days in the hole

What you doin’ boy?
You here for 30 days
Get, get, get your long hair cut
And cut out your ways

Black Nepalese, it got you weak in your knees
Gonna sneeze some dust that you got busted on
You know it’s so hard to please
Newcastle Brown can sure smack you down
You take a greasy whore and a rollin’ dance floor
You know you’re jailhouse-bound

30 days in the hole
30 days in the hole
30 days in the hole
Oh, yeah
30 days in the hole
30 days, 30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole

Shirelles – Will You Love Me Tomorrow

Great song that was highly influential at the time and now. I always thought this song was a pop masterpiece. Not a teen pop opera but more like a pop novella. I put it in the same class as Be My Baby…without the Brian Wilson worship temple.

Gerry Goffin and Carole King wrote this song. Some radio stations didn’t play it because of the suggestive lyrics. Tony Orlando, who was then a teenager, wanted to record this song. Don Kirshner told him that it would not sound right coming from a guy. As much as I never really cared for Kirshner…he was right in this case. Orlando did record an answer song called “Not Just Tomorrow But Always” using the name Bertell Dache.

Goffin and King worked for Don Kirshner’s Aldon Music. He assigned them to work on a Shirelles song. He liked it so much that he thought he would try to get into Columbia by offering it to the label head but was rejected. Kirshner said afterward it was “The best thing he ever did for me.”

Shirelles lead singer Shirley Alston initially didn’t like the song. She thought it was “too Country and Western” for the New Jersey group to sing. Their producer Luther Dixon convinced her they could do it in their style, and asked King and Goffin if they could add strings and turn it into an uptempo song, which they did.

The Shirelles had been charting songs since 1958 but this was their first huge hit. Will You Love Me Tomorrow peaked at #1 on the Billboard 100, #2 in Canada, #3 in New Zealand, and #4 in the UK in 1960. The Shirelles were the first black female group to have a #1.

Will You Love Me Tomorrow

Tonight you’re mine, completely
You give your love so sweetly
Tonight the light of love is in your eyes
But will you love me tomorrow

Is this a lasting treasure
Or just a moment’s pleasure
Can I believe the magic in your sighs
Will you still love me tomorrow

Tonight with words unspoken
You say that I’m the only one
But will my heart be broken
When the night meets the morning sun

I’d like to know that your love
Is a love I can be sure of
So tell me now and I won’t ask again
Will you still love me tomorrow

So tell me now and I won’t ask again
Will you still love me tomorrow
Will you still love me tomorrow
Will you still love me tomorrow

Spencer Davis Group – I’m A Man

I’ve always liked those Steve Winwood singles released in the mid-sixties by The Spencer Davis Group. This song was the last single by The Spencer Davis Group released to feature Winwood. After this, he would leave them and form Traffic. Steve Winwood has one of the most distinctive voices in rock. You know his voice anywhere.

Steve Winwood and producer Jimmy Miller wrote this song. This is not the same song by Bo Diddley named I’m A Man. After this Jimmy Miller would start producing The Rolling Stones in their five-album stretch that became their foundation. Chicago would later record a version of this song.

This song was released as a non-album single in 1967. I’m A Man peaked at #1 in Canada, #10 on the Billboard 100, and #9 in the UK. Not only did Steve Winwood leave but his bass-playing brother Muff Winwood left as well.

Some say the song is a tribute to the African-American musical tradition, especially the blues and the R&B genres. Steve Winwood, the composer, was heavily influenced by the likes of Ray Charles, Muddy Waters, and other black artists who had revolutionized popular music in the 1950s and 1960s.

After this Steve Winwood would go on to Traffic, Blind Faith, and then a huge solo career. The two huge songs of The Spencer Davis Group are Gimme Some Lovin’ and this one. They are hard to beat.

Steve Winwood: “We were kind of experimenting with what is now called world music – it didn’t exist then – but Afro-Caribbean music which we’d been listening to, ‘I’m A Man’ was actually significant because it was the last Spencer Davis Group song before Traffic. So it was a significant transition because we were using these Afro-Caribbean elements in that music and then we went on in Traffic to combine that with many more elements like folk music and jazz and rock to try and combine all these elements.”

Here is a live version…I’ve never seen a bass player use a thumb pick before.

I’m A Man

Well, my pad is very messy
And there’s whiskers on my chin
And I’m all hung up on music
And I always play to win

I ain’t got no time for lovin’
‘Cause my time is all used up
Just to sit around creatin’
All that groovy kind of stuff

But I’m a man, yes I am
And I can’t help
But love you so

I got to keep my image
While suspended from a throne
That looks out upon a kingdom
Full of people all unknown

Who imagine I’m not human
And my heart is made of stone
I never had no problems
And my toilet’s trimmed with chrome

Well, I’m a man, yes I am
And I can’t help
But love you so

But I’m a man, yes I am
And I can’t help
But love you so

I got to keep my image
While suspended from a throne
That looks out upon a kingdom
Full of people all unknown

Who imagine I’m not human
And my heart is made of stone
I never had no problems
And my toilet’s trimmed with chrome

I’m a man, yes I am
And I can’t help
But love you so, no no

I’m a man, yes I am
And I can’t help
But love you so

Yes I’m movin
Yes I’m movin
Don’t you know that I’m movin
Yes I’m movin
Don’t you know that I’m a man
Yes I’m movin
(Don’t you know that I’m a man)

…

Max Picks …songs from 1968

1968

It was a turbulent year, to say the least. We lost two proponents of peace—Martin Luther King, Jr., and Robert F. Kennedy. Other events include the Vietnam War’s Tet Offensive, riots in Washington, DC, the Civil Rights Act of 1968, and heightened social unrest over the Vietnam War, values, and race.

The music was also toughened up by moving away from psychedelic music. The social climate and The Band’s album Music from Big Pink had a lot of influence on this. You still had psychedelic music released but overall, music was more stripped down to the basics.

Let’s start off with The Band…Music From Big Pink was one of the most important albums ever released. Its influence was everywhere. The song The Weight was also later included in the movie Easy Rider.

The Beatles would release the super single Hey Jude/ Revolution and The White Album. I could go with many songs like Lady Madonna, Hey Jude, Back in the USSR, Helter Skelter, Dear Prudence, and the list is almost endless… but I’ll go with Revolution. This song was written by John Lennon and Paul McCartney…but mostly Lennon.

The Rolling Stones released what some considered their best song ever with Jumping Jack Flash. It was written by Keith Richards and Mick Jagger.

Maybe the first supergroup in rock…Cream with White Room. Pete Brown wrote the lyrics and Jack Bruce wrote the music. Bruce was inspired by a cycling tour that he took in France. The “white room” was a literal place: a room in an apartment where Pete Brown was living.

Now we will go with the legendary Otis Redding singing (Sittin’ On) The Dock Of The Bay.

The song is a true classic. Stax guitarist Steve Cropper wrote this with Redding. Cropper produced the album when Redding died, including this track with various songs Redding had recorded the last few years.

Redding died in a plane crash on December 10, 1967, a month before this song was released (January 8, 1968) and three days after he recorded it. It was by far his biggest hit and was also the first-ever posthumous #1 single in the US.

…

Smokey Robinson & The Miracles – Tears Of A Clown

I somehow got a lot of singles from relatives when I was a kid. They just ended up at our house. I had the original single of this and I loved it and still do. Smokey has such a smooth and cool voice. I can’t tell you how much I like this song. It’s high on my list of all-time songs I love. I remember being 12 and going to baseball practice and listening to this song before I left…it stayed with me through practice in the heat and that night. His voice is pure gold.

To me, Smokey is like American royalty or a national treasure as people say. When your peers like Dylan, Lennon, and everyone else sing your praises…you are doing something right.

Stevie Wonder and Hank Cosby (producer) came up with the music for this song. Smokey Robinson listened to the song for a few days and decided it sounded like a circus so he came up with the lyrics based on the sad clown Conio from the opera Pagliacci. It was Ruggero Leoncavallo’s opera about fatal jealousies in a traveling troupe of actors based on a real-life story… a case encountered by Leoncavallo’s father, who was a police magistrate in Naples. Pagliacci was around in the late 1800s.

It was recorded in 1967 and was just an album track on the album Make It Happen. In 1970 it was released as a single (with a new mix) and was a huge hit. The song peaked at #1 on the Billboard 100, #7 in Canada, and #1 in the UK. It was written by Robinson, Stevie Wonder, and Hank Cosby. It was recorded in 1967 but it was released in 1970.

It’s hard to believe but this song would be their only #1 hit on the Billboard 100 with Smokey. They had 42 songs in the top 100 and 6 top ten hits. Smokey would soon leave the Miracles after this song. He would be replaced by Billy Griffin on vocals. Now THAT had to be a hard gig to replace Smokey Robinson. Billy did a good job though because they had another number 1 with Love Machine Part 1. He does sound a lot like Smokey.

Smokey Robinson: “I was trying to think of something that would be significant, that would touch people’s hearts, but still be dealing with the circus, so what is that? Pagliacci, of course. The clown who cries. And after he makes everyone else happy with the smile painted on his face, then he goes into his dressing room and cries because he’s sad. That was the key.”

Below is Smokey Robinson telling the story of the song. Below that is the single version that we have all heard. What was it with those 60s-70s shows with the backdrops to the singers? Did they think it was Smokey Robinson and the Plumbers?

Tears of a Clown

Oh yeah, yeah, yeah

Now if there’s a smile on my face
It’s only there trying to fool the public
But when it comes down to fooling you
Now honey, that’s quite a different subject

But don’t let my glad expression
Give you the wrong impression
Really, I’m sad
Oh, I’m sadder than sad
You’re gone and I’m hurtin’ so bad
Like a clown I pretend to be glad

Now there’s some sad things known to man
But ain’t too much sadder than
The tears of a clown
When there’s no one around

Oh yeah, baby

Now if I appear to be carefree
It’s only to camouflage my sadness
In order to shield my pride I’ve tried
To cover this hurt with a show of gladness

But don’t let my show convince you
That I’ve been happy since you
Decided to go
Oh, I need you so
I’m hurt and I want you to know
But for others I put on a show

Oh, there’s some sad things known to man
But there ain’t too much sadder than
The tears of a clown
When there’s no one around, oh yeah

Just like Pagliacci did
I try to keep my sadness hid
Smiling in the public eye
But in my lonely room I cry
The tears of a clown
When there’s no one around

Oh yeah, baby

Now if there’s a smile on my face
Don’t let my glad expression
Give you the wrong impression
Don’t let this smile I wear
Make you think that I don’t care
Really, I’m sad
Hurtin’ so bad