Singles – Page 6 – PowerPop… An Eclectic Collection of Pop Culture

Jackie Wilson – (Your Love Keeps Lifting Me) Higher And Higher

There are so many versions of this song out there, and I like many of them… It’s that good a song. But, Jackie Wilson had a way of taking a song and turning it into pure energy, something bigger than rhythm and melody. When he recorded this song in 1967, he gave soul music one of its best anthems of pure joy. I can’t dislike this song.

Jackie Wilson almost didn’t get this one. The song was originally cut by The Dells, but Brunswick producer Carl Davis didn’t think their version worked. The track sat on the shelf until Davis and arranger Sonny Sanders decided to hand it to Jackie. At the time, Wilson’s career was in a bit of a stall; this song was intended as a shot in the arm. Wilson thought it was a bit light at first, but when he started to sing it, they knew they had something great here. It was written by Raynard Miner, Gary Jackson, and Carl Smith.

Billy Davis secretly recruited members of Motown’s Funk Brothers, James Jamerson on bass, Richard “Pistol” Allen on drums, Robert White on guitar, guys who were technically under contract at Hitsville but were moonlighting for extra cash. Their tight groove gave this song that perfect sound.

It was released as a single in August 1967, and it immediately reignited Wilson’s career. Critics hailed it as a perfect marriage of “gospel fire and pop.” And you know how some songs wear out with too many plays? This one doesn’t. Whether it’s on a movie soundtrack or my car radio, it still hits home and makes me smile.

The song peaked at #6 on the Billboard 100 in 1967.

(Your Love Keeps Lifting Me) Higher And Higher

Your love, lifting me higher
Than I’ve ever been lifted before
So keep it it up
Quench my desire
And I’ll be at your side, forever more

You know your love (your love keeps lifting me)
Keep on lifting (love keeps lifting me)
Higher (lifting me)
Higher and higher (higher)
I said your love (your love keeps lifting me)
Keep on (love keeps lifting me)
Lifting me (lifting me)
Higher and higher (higher)
Now listen

Now once, I was down-hearted
Disappointment, was my closest friend
But then you, came and it soon departed
And you know he never
Showed his face again

That’s why your love (your love keeps lifting me)
Keep on lifting (love keeps lifting me)
Higher (lifting me)
Higher and higher (higher)
I said your love (your love keeps lifting me)
Keep on (love keeps lifting me)
Lifting me (lifting me)
Higher and higher (higher)

I’m so glad, I’ve finally found you
Yes that one, in a million girls
And I whip, my loving arms around you
I can stand up, and face the world

Let me tell ya, your love (your love keeps lifting me)
Keep on lifting (love keeps lifting me)
Higher (lifting me)
Higher and higher (higher)
I said your love (your love keeps lifting me)
Keep on (love keeps lifting me)
Lifting me (lifting me)
Higher and higher (higher)

Now sock it to me
Hold me, the other woman
Keep my love going
Higher and higher
I said keep on lifting
Lift me up mama
Keep on lifting me
Higher and higher

Bash & Pop – Friday Night Is Killing Me …album review

This band is a natural for me. I’ve read about them a lot, and now I’m listening to them much more. They fit into why I love rock and roll. The band is fronted by Tommy Stinson of The Replacements. Stinson started playing bass at age 11 and at 13 years old, played with the Replacements. After they broke up, he played bass for Guns N’ Roses for 16 years. He also played with Soul Asylum off and on. Before he joined Guns N’ Roses, he formed this band, which he would reform a few times in the future.

In 1993, Bash & Pop released their debut album: Friday Night Is Killing Me. It wasn’t another Replacements album. It was more Faces than Replacements. Paul Westerberg was the main writer of the Replacements, and here Stinson wasn’t trying to rewrite Let It Be or Tim. Instead, he played into a ragged, Keith Richards-type vibe that owed as much to the Stones and Faces as to his original band. The songs were loose and built around Stinson’s raspy vocals. I can’t get enough of this album.

This was released at a time when grunge was dominating radio, so it got lost in the shuffle. But for those who found it, the record became a classic. It showed that Tommy Stinson could front a band and write quality songs with soul. They don’t have that slick commercial sound to it, and I applaud that.

Tommy Stinson wrote most of the songs on the album, except one, Fast and Hard, which he co-wrote with Steve Foley. This album could be considered power pop, but a rough, as hell raw version of it, which I love! I’m super excited about this album as a whole. I really missed out in real time with this one.

I’ve picked two songs off the album to highlight (Loose Ends and Never Aim To Please), and a link to Spotify to the source album. It is one of those records you hand to someone who thought rock was dead by the early ’90s. It’s alive here and full of heart. This album is for the fans of The Replacements, The Faces, or anyone who likes rock music and some great hooks.

I usually don’t mention critics, but here are two. AllMusic wrote that “decades after its release, the album feels like a bit of the hangover from the ’80s, a celebration of irreverent roots rock performed with an audible grin.” Magnet considered it “the best batch of songs by any Replacement since 1987’s Pleased To Meet Me.”

Loose Ends

Miss come-and-go
Where you been now?
Put a red light on the rest
And wondered why and how
Your love it grows
But no one knows
Who’s on your mind, who’s on your lap
Don’t they look the same yet
It’s alright

Early morning, drinking tea, a slice of whole wheat
Another lesson you should’ve learned, you had to wait
You care too much, you care less
Headin’ for a better view, fail to impress
Well, I guess you’ve got too far to stray
No place particular is where you end your day
You know I got no, the pavement holds no one

It’s time to tie your loose ends up
Never mind which way
Time to tie your loose ends up (Tie ’em up)
No one left to blame, oh yeah

Butterflies that turn to knots
In your guts around your neck
You get ’em too tight and they slip again
‘Cause you look too far, ’cause you fall too fast
It’s a raincheck for a date, but you’ve no interest
Guess you’ve got too far to stray
Your heart’s breakin’ all over the place
You know I got no, the pavement holds no one

It’s time to tie your loose ends up (Tie ’em up)
How much you gonna take?
So time to tie your loose ends up (Tie ’em up)
You’ve got too much to shake

When mom comes home at last
It’s a whisper through the glass
Can’t you hear the voices screamin’
Yeah, I’m screamin’, “Go ahead and tie ’em up!”

You fall apart before my eyes
I’ll sweep the mess
And the shortcut through the dirt is always best
You look too far, you look to the west
Heading time is all you needed
I know best
And I guess you got too far to stray (stray)
No place particular is where you end your day (your day), oh no
And the pavement holds no one

Time to tie your loose ends up (Tie ’em up)
Never mind which way, yeah
Time to tie your loose ends up (Tie ’em up)
No one left to blame (Tie ’em up)
Time to tie your loose ends up (Tie ’em up)
How much you gonna take? (Tie ’em up)
Time to tie your loose ends up (Tie ’em up)
You got a lot to shake (Tie ’em up)
Time to tie your loose ends up (Tie ’em up)
Time to tie your loose ends up (Tie ’em up)
Time to tie your loose ends up (Tie ’em up)

Ian Hunter – All of the Good Ones Are Taken

This title track was my first introduction to Ian Hunter. I had no clue he had been with Mott the Hoople when I heard it. In the eighties, I heard this on our local rock station, WKDF, daily, and I fell for it. It’s one of those songs I never hear now, except maybe at a grocery store, and it’s a shame. It is a nice jangly song in the synth-heavy 1980s, an underrated song. For a bonus, we have Clarence Clemmons doing the sax solo. The video, as well, got my attention with a take on the movie Arthur.

Hunter had moved from Cleveland to New York by this point, being influenced by his new city. He later said that the recording reflected his uneasy stance in the musical landscape of that time. His longtime guitarist, Mick Ronson, wasn’t in the picture for this album (although he played on one song); Hunter instead used Robbie Alter and New York session players.

There were two versions of this song: the version most radio stations played and a slow version. What I liked about this song, too, is that the version I heard sounded out of step with 1983, and I appreciated that. Many of his fans often point to it as one of his most underrated tracks, and I totally agree.

This song peaked at #25 on the Billboard Mainstream Rock Songs chart in 1983. I had the album and the cassette that I wore out in my car tape deck.

All Of The Good Ones Are Taken

Girl, things ain’t been goin’ too good for me
Girl, I’m living in the middle of a mystery
You’re the one that can turn me on
‘N’ now that you’re gone
I said Girl, I’m livin’ in the middle of your memory
Girl, you’re still the figure in my favorite fantasy
I know you know that’s the way it goes
And still my love grows

I said all o’ the good all o’ the good ones are taken
All o’ the good all o’ the good ones are taken

I’m hangin’ around with my head in the air
Watchin’ the lovers go by
I had a lover, but she never cared
All you could say was goodbye
Maybe I was mistaken, maybe I got it wrong
But all of the good ones are taken from now on
‘N’ girl, I’m livin’ in the middle of a broken dream
I said girl all this fallin’ in love ain’t like it seems
Out in the rain can’t you feel my pain
Again ‘n’ again ‘n’ again ‘n’ again ‘n’ again
All of the good all o’ the good ones are taken
Maybe I was mistaken, maybe I got it wrong
But all of the good ones are taken in my song

Derek and the Dominos – I Looked Away

This is the album’s opening track, and it doesn’t so much kick down the door as quietly invite you in. If you only know the Layla album for the title track, you might miss how the whole journey begins with this two-and-a-half-minute sigh of regret.

Unlike Clapton’s past work in Cream or Blind Faith, this wasn’t about ripping incredible riffs. The melody flows with a natural grace, closer to something from The Band than the psychedelic guitar Clapton had been known for.

Derek and the Dominos was a band formed in the spring of 1970 by guitarist and singer Eric Clapton, along with keyboardist Bobby Whitlock, bassist Carl Radle, and drummer Jim Gordon. All four musicians also worked with George Harrison on his All Things Must Pass album. Clapton didn’t want his name in the title and had hoped to keep his involvement as low-key as possible.

The album peaked at #16 in 1970 on the Billboard 100. Although Derek and the Dominos were poised to record a follow-up album in 1971, because of tensions and drug abuse among the band members, along with the tragic death of Duane Allman later that year, this remained their sole album.

This song and Bell Bottom Blues are my two favorites off the album. Everyone knows Layla, but these other songs are great as well. Eric Clapton and Bobby Whitlock wrote this song. As with most of the songs on this album, Patti Harrison was the main inspiration.

I Looked Away

She took my hand
And tried to make me understand
That she would always be there,
But I looked away
And she ran away from me today;
I’m such a lonely man.
It came as no surprise to me
That she’d leave me in misery.
It seemed like only yesterday
She made a vow that she’d never walk away.
First Verse
And if it seemed a sin
To love another man’s woman, baby,
I guess I’ll keep on sinning
Loving her, Lord, till my very last day.
But I looked away
And she ran away from me today;
I’m such a lonely man.

Hindo Love Gods – Raspberry Beret

I first found this band because of this song. This is my favorite Prince song by a long shot. They do a super cover of it with the rawness I like. They weren’t a band in the traditional sense, no tours, just a one-off gathering of talented artists who happened to be in the right studio at the right time.

The beginning of Hindu Love Gods started in the mid-1980s Athens scene, where REM were quickly rising. Michael Stipe, Peter Buck, Mike Mills, and Bill Berry often participated in jam sessions with other local players. One of those orbiting figures was Warren Zevon. With REM, he found collaborators.

The name Hindu Love Gods first surfaced around 1984 when members Buck, Berry, and Mills backed up a local singer named Bryan Cook. That version fizzled, but the name stuck. When Zevon began working with REM’s rhythm section in the late ’80s, the name resurfaced, this time attached to something much more intriguing.

This song was written by Prince, and his version was released the year I graduated in 1985. This version came out in 1990 on the self-titled album. This song peaked at #23 on Billboard’s Modern Rock Tracks. The album peaked at #168 on the Billboard 100.

Warren Zevon on Letterman

Raspberry Beret

I was workin’ part-time in a 5-and-dime
The boss was Mr. McGee
He told me several times that he didn’t like my kind
‘Cause I was a bit too leisurely
I always was busy doin’ somethin’ close to nothin’
But different than the day before
That’s when I saw her, oh, I saw her
Walk in through the out door, out door

She wore a raspberry beret
The kind you’d find in a second-hand store
Raspberry beret
When it was warm, she didn’t wear much more
Raspberry beret, I think I love her, love

I’m built the way she was, she had the nerve to ask me
If I meant to do her any harm
So I put her on the back of my bike and
We went riding down by Old Man Johnson’s farm
Now rainy days never turned me on
But something ’bout the way the clouds and her mixed
She wasn’t too bright, but you know the way she kissed me
I knew she knew how to get her kicks, yeah

She wore a raspberry beret
The kind you find in a second-hand store
Raspberry beret
And when it was warm, she didn’t wear much more
Raspberry beret, I think I love her, yeah!

Raspberry beret
The kind you find in a second-hand store
Raspberry beret
And when it was warm, she didn’t wear much more
Raspberry beret, I think I love her
A raspberry beret
The kind you find in a second-hand store
Raspberry beret
And when it was warm, she didn’t wear much more
Raspberry beret, I think I love her
A raspberry beret
The kind you find in a second-hand store
Raspberry beret

…

Bill Withers – Lean On Me

I played this single so much when I was around 7 years old. I wore it out and know every nuance of this song. Just a great vocal by Withers on this. The simple piano riff makes this song so powerful to me. Still one of my favorite songs. Sometimes less is better.

It’s been covered by many other artists, but this is my go-to version. Bill Withers wrote this song after he left his childhood town of Slab Fork, West Virginia, to live in Los Angeles in a poor section of town. Members of the Watts 103rd Street Rhythm Band were used on the recording.

Producer Ray Jackson (who doubled as the keyboard player) and engineer Bob Potter kept the recording dry and uncluttered. No strings, no brass, no unnecessary sweetening. Just voice, piano, bass, drums, and a touch of guitar. It’s like Bill is in your living room singing to you.

What’s remarkable is how this song has transcended its era. It’s been sung at weddings, funerals, movies, and classrooms. It’s part of the American pop culture now, standing shoulder-to-shoulder with songs such as Amazing Grace and This Land Is Your Land.

The musicians on this recording were Ray Jackson, Benorce Blackmon, Melvin Dunlap, and James Gadson. Some of these musicians were in The Watts 103rd Street Rhythm Band. The song peaked at #1 on the Billboard 100, #18 in the UK, and #20 in Canada in 1972.

Bill Withers: “This was my second album, so I could afford to buy myself a little Wurlitzer electric piano. So I bought a little piano and I was sitting there just running my fingers up and down the piano. In the course of doing the music, that phrase crossed my mind, so then you go back and say, ‘OK, I like the way that phrase, Lean On Me, sounds with this song.’ So you go back and say, ‘How do I arrive at this as a conclusion to a statement? What would I say that would cause me to say Lean On Me?’ At that point, it’s between you and your actual feelings, you and your morals and what you’re really like. You probably do more thinking about it after it’s done.”

Lean On Me

Sometimes in our lives we all have pain
We all have sorrow
But if we are wise
We know that there’s always tomorrow

Lean on me, when you’re not strong
And I’ll be your friend
I’ll help you carry on
For it won’t be long
‘Til I’m gonna need
Somebody to lean on

Please swallow your pride
If I have faith you need to borrow
For no one can fill those of your needs
That you won’t let show

You just call on me brother, when you need a hand
We all need somebody to lean on
I just might have a problem that you’ll understand
We all need somebody to lean on

Lean on me, when you’re not strong
And I’ll be your friend
I’ll help you carry on
For it won’t be long
‘Til I’m gonna need
Somebody to lean on

You just call on me brother, when you need a hand
We all need somebody to lean on
I just might have a problem that you’ll understand
We all need somebody to lean on

If there is a load you have to bear
That you can’t carry
I’m right up the road
I’ll share your load

If you just call me (call me)
If you need a friend (call me) call me uh huh(call me) if you need a friend (call me)
If you ever need a friend (call me)
Call me (call me) call me (call me) call me
(Call me) call me (call me) if you need a friend
(Call me) call me (call me) call me (call me) call me (call me) call me (call me)

Tommy Conwell and the Young Rumblers – I’m Not Your Man

I have to thank deKE for this one. After posting Barney Bantell, he mentioned that this song was on the radio around the same time. Sometimes a song hits hard, loud, and ready to throw its weight around. It is a no-apology bar song, full speed ahead.

What hooked me up was the opening guitar riff. This was built for FM radio in the late 80s, big guitars, bigger hooks, and just enough power to make you roll the windows down and sing along at a red light. This song isn’t meant to change the world, but just to enjoy yourself.

The song itself is pure swagger. Conwell doesn’t mince words; he’s telling you upfront that he is a bad boy, and it’s wrapped with a crunchy riff, with the Rumblers behind him turning on the gas. Since it was the 1980s, it was given a polish for that era by Rick Chertoff, the same producer who helped shape The Hooters at the time.

They went on big tours with acts like Robert Palmer and Stevie Ray Vaughan. And while mainstream fame didn’t happen, this song remains their signature song. The song peaked at #1 on the Billboard Mainstream Rock Tracks and #74 on the Billboard 100 in 1988.

I’m Not Your Man

Baby before hang around this old moldy
Mildewy ‘n’ crappy scene holding hands with you
There’s a whole list of things you’re gonna have to do

Jump off the Empire State in a paper sack
Talking lovey-dovey to a camel scare the hump off his back
Get the Queen of England’s golden shoes
Put ’em on your feet and sing the St. Louis blues
Look here

Seven days a week with you is more than I can handle
Seven nights of love and dirty laundry on your floor
Baby, I can see this whole thing heading into trouble
I’m out the door

I’m not your man
‘Cause you’re looking for a hero
Baby, it ain’t me, I’m not your man
I ain’t nothing to hold on to
Baby, I ain’t what you need

It’s easy being here but I’ve got ground to cover
There’s nothing you can do to make me wanna stay
Though I’ve been here awhile don’t think that
I’ve stopped moving, I’m on my way

…

Sonics – Psycho

I love classic garage rock music, and this is one of the bands that started that genre. This is why I love it, because it’s raw and unpolished music. Warts and all, it has spirit and drive.

They formed in Tacoma, Washington, in 1960. A band of teenagers who didn’t care about technique and weren’t interested in following the normal pop/rock rules. They just wanted to be loud and dangerous.

The original lineup, Gerry Roslie, Larry Parypa, Andy Parypa, Rob Lind, and Bob Bennett, came together with one mission: to play harder and wilder than anyone else on the Pacific Northwest scene. The Kingsmen were in this scene as well with their hit Louie, Louie. The Sonics never cracked the national charts, but in the Pacific Northwest, they were very popular. They were on AM radio throughout the area and hit the joints and dance halls.

Their first album was in 1965 called Here Come The Sonics!!!. The sessions were done at Audio Recording, Inc. in Seattle, a modest studio that had nowhere near the cutting-edge equipment of Abbey Road or other studios. That limitation helped make their sound. Engineer Kearney Barton placed the microphones farther away, letting the room’s natural reverb and bleed create a live sound. Barton sharpened edges rather than smoothing them. That rough edge is exactly why the song still sounds so alive today. You can put it next to The Stooges, The Ramones, or Nirvana, and it fits right in.

Their debut album, Here Are the Sonics, was released in 1965 and is still a pre-punk landmark. The Sonics reunited in the 2000s with most of the original lineup, playing festivals and recording new material that still carried the old sound.

Here is a reunited Sonics in 2015

Psycho

Whoa baby, you’re driving me crazyI said baby, you’re driving me crazyOh, well you turn me on, then you shut me downOh well, tell me baby, am I just your clown?PsychoOw, oh wow, baby, you’re driving me crazyI said I’m losing my mind, you treat me so unkindPsychoOw! Whoa!Ow, oh wow, baby, you’re driving me crazyI’m going out of my head, and now I wish I was deadPsychoWhoa baby, whoa you’re driving me crazyI’m going out of my head, now I wish I was deadWhoa, psychoWhoa, psychoWhoa, psychoWhoa, psychoWhoa, whoa

…

Los Super Seven – Rio De Tenampa

The more I listen to this band, the more I like them. I have to give credit to halffastcyclingclub, who recommended them, and I’ve been meaning to post on them for 6 months now. A big thank you to him. This song took just one listen, and I was hooked.

The original idea came from the Texas Tornados’ management team, who envisioned a rotating cast of stars celebrating Mexican roots music. The first lineup in 1998 was crazy great: Freddy Fender, Flaco Jiménez, David Hidalgo and Cesar Rosas of Los Lobos, Rick Treviño, Joe Ely, and Ruben Ramos. Their self-titled debut was heavily into traditional rancheras, boleros, and Tex-Mex standards. This song was written by David Hidalgo and Louie Pérez.

This was definitely a supergroup, and supergroups can be hit or miss. Sometimes they collapse because of too many egos, and sometimes they just fizzle out. But every once in a while, the chemistry works. That’s what happened in the late 1990s when this band made their self-titled debut album.

What makes Los Super Seven so unique is that they never pretended to be a touring band or a permanent outfit. Each record is like a snapshot, different players but the same spirit. If the name Los Super Seven sounds like a superhero crew, well… in a way, it was. Instead of capes and masks, this revolving crew came armed with guitars, voices, and deep roots in the music of Texas, Mexico, and beyond.

The album peaked at #1 on the US Billboard Regional Mexican Albums and #8 on the US Billboard Top Latin Albums in 1998. The album also won them the Grammy Award for Best Mexican-American Performance at the 41st Grammy Awards.

Los Super Seven – Rìo De Tenampa

I sat at a table and wrote a good song
About eyes as blue as the sea
Drank down the whiskey
And let out a sigh
And thought of how things used to be
Children played on the floor near the bar
With toys made of wood and string
Lovers kissed and others laughed
As the band would strum and sing

Speak to me Rio de Tenampa
Sing to me songs of valor
In this rincon of heaven
I leave my love and love

And I passed once a place we’d go
To escape the heat of the day
Tell all the stories of good times and bad
And hear the violins play

Speak to me Rio de Tenampa
Sing to me songs of valor
In this corner of heaven
I leave my affection and love

Remember the story about a lady on the hill
Gave roses to an Indian boy
Ran down to tell eveyone he knew
About his love and his hope and joy

…

David Hidalgo, Louie Pérez

Pete Johnson and Joe Turner – Roll ‘Em Pete

I want to thank a commenter named purplegoatee2684b071ed for recommending this song after reading my Joe Turner post. Just listen to the piano playing of Pete Johnson on this track and Joe Turner’s voice. It would raise the roof off any joint. Knowing it was made in 1938 makes it more special. Pete Johnson and Joe Turner were credited for writing this song.

Pete Johnson had been playing in Kansas City joints with his percussive style, while Joe Turner worked as a bartender and occasional singer. When the two paired up, it was dynamite. Producer John Hammond heard about them and invited the duo to Carnegie Hall for his “Spirituals to Swing” concert in 1938. Joe and Pete’s performance of this song stunned the crowd and announced that the blues and boogie-woogie weren’t just barroom music; they were the foundation of a new kind of American sound.

Listening today, you can hear the roots of countless rock and R&B records hiding within this track. The drive, it’s Little Richard before Little Richard, it’s Jerry Lee Lewis before Jerry Lee Lewis. This 1938 song is a sign that says… rock and roll is on its way. This may not have been a chart single in the way we think of hits today, but its influence rolled (pun intended) across decades.

I’m going to include a live Blasters version because they knew Joe Turner. Dave and Phil Alvin knew and spent time with Big Joe Turner, whom they regarded as a friend and mentor. As teenagers in the 1960s, the brothers followed Turner around the Los Angeles area, going to his gigs and eventually befriending him.

Roll ‘Em Pete

Well, I got a gal, she lives up on the hillWell, I got a gal, she lives up on the hillWell, this woman’s tryin’ to quit me, Lord, but I love her still

She’s got eyes like diamonds, they shine like Klondike goldShe’s got eyes like diamonds, they shine like Klondike goldEvery time she loves me, she sends my mellow soul

Well, you’re so beautiful, you’ve got to die somedayWell, you’re so beautiful, you’ve got to die somedayAll I want’s a little loving, just before you pass away

Pretty baby, I’m goin’ away and leave you by yourselfPretty baby, I’m goin’ away and leave you by yourselfYou’ve mistreated me, now you can mistreat somebody else

…

Status Quo – Pictures of Matchstick Men

I always had a soft spot for this song. It is a swirl of guitar phasing and a droning riff that seems tailor-made for the late 1960s.

Their manager, John Schroeder, who’d worked with Motown acts in the UK, booked studio time at Pye Records’ Marble Arch facility. The Pye studios were initially designed as a service for Pye Records, but also encouraged recording by outside artists. Schroeder not only produced the track but was also the one who encouraged Francis Rossi to push forward with this strange little song he’d written at home.

One of the fascinating things about Pictures of Matchstick Men is that it represents a “what if” moment in Status Quo’s history. Had they continued down this psychedelic path, you wonder how long it would have lasted. Instead, after a few more singles, they turned into a rocking boogie band.

Listening today, the song feels like an anomaly. It’s not representative of the band’s long career, but it’s a classic slice of psychedelic pop that holds its own. It was the first taste of chart success, the beginning of a 50-year run, and yet it’s also the sound of a band that almost became something completely different.

This song’s riff will stick with you. Once the riff is up, it washes over you with a psychedelic feel. The song peaked at #12 on the Billboard 100, #8 in Canada, and #7 on the UK Charts in 1968. This was their only hit in America. One quirky detail: the inspiration for the lyric came from wallpaper. Rossi was sitting in the bathroom, staring at the bathroom wall, and saw patterns that reminded him of the artist L.S. Lowry’s “Matchstick Men” paintings.

Pictures Of Matchstick Men

When I look up to the skies
I see your eyes a funny kind of yellow
I rush home to bed I soak my head
I see your face underneath my pillow
I wake next morning tired still yawning
See your face come peeking through my window
Pictures of matchstick men and you
Mirages of matchstick men and you
All I ever see is them and you

[guitar intro]

Windows echo your reflection
When I look in their direction gone
When will this haunting stop
Your face it just wont leave me a-lone
Pictures of matchstick men and you
Mirages of matchstick men and you
All I ever see is them and you
You in the sky you with this guy you make men cry you lie
You in the sky you with this guy you make men cry you lie

Pictures of matchstick men, Pictures of matchstick…

Genesis – I Know What I Like (In Your Wardrobe)

Turn on the lava lamps and sit back and relax to some music that has sitar sounds in it, and I’m always up for sitar. When you think of Genesis in the mid-1970s, you don’t immediately picture them as a singles band like the later incarnation. This was the Peter Gabriel era, long concept pieces that made up an album. However, as we will see, not everything was that simple.

This was on their 1973 album Selling England by the Pound, a quirky song that became their first charting single in the UK. The song is only about four minutes long (short by Genesis standards at the time), and it grooves along nicely. The band was almost embarrassed by a hit. Gabriel joked in later interviews that it was Genesis goes Top of the Pops, but the song showed that their long studio work could deliver something catchy and not be super long.

The lineup was Peter Gabriel (vocals, flute), Steve Hackett (guitars), Tony Banks (keyboards), Mike Rutherford (bass/guitars), and Phil Collins (drums/vocals). They were coming off the success of their last album Foxtrot, and there was pressure from their record company to deliver something more commercially accessible without ditching their progressive roots. That is a lot harder than it sounds. The sessions were long and argumentative. Genesis were perfectionists, which paid off with this album.

The song peaked at #21 on the UK Charts in 1974. The album Selling England by the Pound peaked at #3 on the UK Charts and #70 on the Billboard Album Charts. For me, it’s one of those tracks that feels like a bridge, still theatrical but also radio-friendly.

I Know What I Like (In Your Wardrobe)

It’s one o’clock and time for lunch,When the sun beats down and I lie on the benchI can always hear them talk

There’s always been Ethel:“Jacob, wake up! You’ve got to tidy your room now.”And then Mister Lewis:“Isn’t it time that he was out on his own?”Over the garden wall, two little lovebirds – cuckoo to you!Keep them mowing blades sharp…

I know what I like, and I like what I know;getting better in your wardrobe, stepping one beyond your show

Sunday night, Mr Farmer called, said:“Listen son, you’re wasting your time; there’s a future for youin the fire escape trade. Come up to town!”But I remebered a voice from the past;“Gambling only pays when you’re winning”– I had to thank old Miss Mort for schooling a failureKeep them mowing blades sharp…

I know what I like, and I like what I know;getting better in your wardrobe, stepping one beyond your show

When the sun beats down and I lie on the bench,I can always hear them talk.Me, I’m just a lawnmower – you can tell me by the way I walk

…

Mavericks – Here Comes The Rain

Back in the 1990s, I remember hearing these guys on the radio. Songs like What A Crying Shame and All You Ever Do Is Bring Me Down sounded so good. What caught me was Raul Malo’s voice. His voice is always on and distinctive. But I always wondered, what are they? Are they country, pop, or Tex-Mex? Then I thought, why does it matter? Forget the box, I want to put them in and just enjoy.

The song, co-written by Malo and Mavericks bassist Robert Reynolds, hit a cool older mood. From the opening guitar chords, it feels less like a country song and more like a strong Roy Orbison sound, which is always welcoming to my ears. The band didn’t sound like anyone else in Nashville. And when they released this song in 1995, they proved that country could be a mixture of things and still be radio-friendly.

It was released as a single from the band’s 4th album, Music for All Occasions, and it became one of their most remembered tracks. It even won them a Grammy Award for Best Country Performance by a Duo or Group with Vocal in 1996. Not too bad for a band that Nashville music insiders didn’t quite know how to categorize (like me). Were they country? Rockabilly? Pop? Tex-Mex? They were all of those, and this song shows how well they could blend them all together.

For me, this song feels like the point where The Mavericks’ sound matured into something really timeless. They are still working today, which is great news. The song peaked at #22 on the Billboard Country Charts and #4 on the Canadian Country Charts. The album peaked at #9 on the Billboard Country Album Charts, #3 on the Canadian Country Album Charts, and #58 on the Billboard Album Charts, and #54 in Canada.

Here Comes The Rain

Your love’s a heartacheThat’s torn me apartYou’ve watched my heart breakRight from the startYou took everything you wantedAnd now that you are gone

Here comes the rainFalling down on meI’m showered in painNothing remainsOf what used to be

Here comes the nightDark as my soulThere’s no end in sightNo shining lightNo love to holdHere comes the rain

I must have been dreamingI must have been blindBut I never thought youCould be so unkindTomorrow I’ll forget youBut I can’t forget you now

Here comes the rainFalling down on meI’m showered in painNothing remainsOf what used to be

Here comes the nightDark as my soulThere’s no end in sightNo shining lightNo love to holdHere comes the rain

Here comes the rainFalling down on meI’m showered in painNothing remainsOf what used to be

Here comes the nightDark as my soulThere’s no end in sightNo shining lightNo love to holdHere comes the rain

…

Small Faces – You Need Loving

This song exemplifies why I like the Small Faces so much. I’ve been listening to this song for years, and I can’t believe it was made in 1966. It was at least a couple of years before its time. Jimmy Page was listening very closely. Steve Marriott was asked to join Zeppelin later on, but his manager put a stop to it. Robert Plant has said he was heavily influenced by Steve Marriott, and if you want proof, listen to this recording. This song was written by Willie Dixon, and I think Zeppelin listened to this version more than Dixon…because Whole Lotta Love came out of it.

Looking back, this is more than just an album cut; it’s an early marker of what British rock would become. You can trace a direct line from this track to Zeppelin, Free, and all the blues-rock that followed. I always thought the Small Faces never got the credit they deserved. People in America only heard Lazy Sunday and Itchycoo Park because their manager would never let them tour the US.

The Small Faces were a band that always played bigger than their small size. If the Small Faces had had a good or even decent manager, they might have had a longer career and be more remembered today. They had a couple of great songwriters, Steve Marriott and Ronnie Lane. A superb drummer with Kenney Jones and keyboard player Ian McLagan. They were laying down some of the rawest R&B-inspired rock coming out of Britain. This song, on their debut album Small Faces, is a perfect example.

A YouTube comment on this song was crude and rude, but I endorse: Steve m*thaf*ckin’ Marriott. The ultimate rock & roll voice.

You Need Loving

Woah you foolin’Come and get coolin’I’m gonna send you right back to school, alrightMake your way down the new side girlYou know how woman, you need lovin’, lovin’, alrightI know you need lovin’ you here, oh yeah, alright

That’s right, well I’ve been yearnin’Hey baby you’ve been burnin’We’ll have a fun time, alrightYou’ll get some lovin’Cause baby we’re gonna excite youDeep in your heart woman, you need lovin’, yeah,oh lovin’, alrightThat’s all you need, lovin’ baby, yeah, alright

Eeny-meeny-miney-moEeny-meeny-miney-moCan’t take it no moreI can’t monkey and I can’t dogCan’t do the monkey, yeahI said you know how to ponyMony-baloney, I took you to the flyerPassed me byOh rock your ponyMashed potatoSaid I want to show youI want to show youIt’s alright, it’s alright…

Woman you need loving, yeah

…

Jack Scott – Leroy

I wanted to hear some rockabilly, and that is how I ran across Canadian Jack Scott. As successful as he was, I’m surprised he is not known more.

He was born, Giovanni Domenico Scafone Jr., in Windsor, Ontario, in 1936. Scott grew up straddling the border between Detroit and Canada. That location shaped his sound. He was influenced by gospel, country, R&B, and the raw early rock, blending them into a voice and style that didn’t quite fit into any one style or box. By the late 1950s, he was producing records that rivaled those of Elvis Presley, Gene Vincent, and Roy Orbison.

Jack Scott released 19 singles that charted on the U.S. Billboard 100 between 1958 and 1961, which was a remarkable number for the era. This was more U.S. singles in a shorter time than any other recording artist, except for The Beatles. Again, it looks like he would be more well-known.

Scott’s chart success slowed down after the early ’60s, but he never stopped performing. He returned to country music in the 1970s and maintained a loyal fan base in rockabilly revival circles in Europe and North America. Today, he’s remembered as Canada’s first true rock ’n’ roll star, a bridge between rockabilly, country, and pop, and an artist whose influence can still be heard in roots rock.

This song came out in 1958, and it peaked at #11 on the Billboard 100 and #15 in Canada. I’m including another song called Goodbye Baby that peaked at #8 on the Billboard 100 and #3 in Canada.

Leroy

I know a boy who was never blueNow he lives in cellblock twoI don’t know just why he’s blue…… leroy… whatd you do

Leroys back in jail again -2-I don’t know why, why he’s blue…… leroy… whatd you do

Went to the judge, dig man wailI’m here and I got leroys bailJudge said son, don’tcha tell me no tale…… leroy, he’s gonna stay in jail

Now, leroy says man, you tried the bestMan, I’m here gonna take a rest.I’ve seen minny, she’s got the blues…… she let you wear my long pointed shoes

Now, leroys heart is a bowl of hateLeroy, he just can’t go straightTell my minny, I can’t keep my date…… I’m gonna be bout six months late