John Lennon – How Do You Sleep?

How Do You Sleep? is very powerful…but you do feel for Paul McCartney. Paul did have lyrics on the Ram album about John and Yoko but you had to look for them. In this song…there is no looking…even the average fan would know exactly who he was singing about. To me, the most vicious line is The sound you make is muzak to my ears. 

The song is on the album Imagine. This John Lennon song is direct and to the point. His feud with Paul was in the papers and after what John took as lyrics aimed at him and Yoko from Paul’s album Ram…it culminated with this song.

John has said that “How Do You Sleep” was like one of Dylan’s nasty songs and mentioned, “Like a Rolling Stone.” The big difference though was that Bob veiled the identity of his target. This song was vicious but not as vicious as it could have been if Ringo and other musicians hadn’t intervened.

Yoko and Allen Klein were feeding some lines about Paul to John during the recording. Ringo was upset with the content and simply said: “That’s enough, John”. Alan White ended up playing the drums on the track.

This song can be hard to listen to as a Beatle fan but it is a catchy dark gritty pointed song. I have always liked it. George Harrison’s slide guitar cuts through and doesn’t have the sweet sound he uses for his songs. It also shows you where George was at the time with Paul. This is not John’s best song by any measure but the music has an intensity about it and is very powerful. It’s ironic, but even without Paul being there he helped pull it out of John.

Paul did later admit that a few lyrics on “Ram” were pointed at John and Yoko but John, never one to hint…went for the throat. He would later soften and say the song was more about himself than Paul.

John and Paul would later repair the relationship…never to the point of working together again but on a friendly basis. They would keep in touch over the years by talking on the phone, in letters, and face to face at times.

John Lennon: “It’s not about Paul, it’s about me. I’m really attacking myself. But I regret the association, well, what’s to regret? He lived through it. The only thing that matters is how he and I feel about these things and not what the writer or commentator thinks about it. Him and me are okay.”

John Lennon: “You know, I wasn’t really feeling that vicious at the time,” “But I was using my resentment toward Paul to create a song, let’s put it that way. He saw that it pointedly refers to him, and people kept hounding him about it. But, you know, there were a few digs on his album before mine. He’s so obscure other people didn’t notice them, but I heard them. I thought, well, I’m not obscure, I just get right down to the nitty-gritty. So he’d done it his way and I did it mine.

Paul McCartney: “You hear the stories from various angles and apparently people who were in the room when John was writing that, he was getting suggestions for the lyrics off Allan Klein,” he said. “So, you see the atmosphere of ‘Let’s get Paul. Let’s nail him in a song…’ And those things were pretty hurtful.”

How Do You Sleep

So Sgt. Pepper took you by surprise
You better see right through that mother’s eyes
Those freaks was right when they said you was dead
The one mistake you made was in your head

Ah, how do you sleep
Ah, how do you sleep at night

You live with straights who tell you, you was king
Jump when your momma tell you anything
The only thing you done was yesterday
And since you’re gone you’re just another day

Ah, how do you sleep
Ah, how do you sleep at night

Ah, how do you sleep
Ah, how do you sleep at night

A pretty face may last a year or two
But pretty soon they’ll see what you can do
The sound you make is muzak to my ears
You must have learned something in all those years

Ah, how do you sleep
Ah, how do you sleep at night

Allman Brothers – Revival

The Allman Brothers have such a unique style that you can recognize their music right off with the dual lead of Duane Allman and Dickey Betts. This band broke through by touring constantly and playing free shows in parks from Georgia to New York. They played a mixture of rock, blues, country, and jazz and were one of the best.

This was the first Allman Brothers song to chart, this peaked at #92 in the Billboard 100. This was the first original song the band recorded that was not written by Gregg Allman. Guitarist Dickey Betts wrote it.

It was the lead single from their second studio album, Idlewild South released in 1970. Named for a remote farmhouse/cabin the band rented for rehearsals, and where much of it was written and conceived, Idlewild South includes two of the band’s best-loved songs, In Memory of Elizabeth Reed and Midnight Rider.

This was the first Allman Brothers album produced by the legendary producer and engineer, Tom Dowd. During its recording, the band was constantly touring and their sound was road-tested, so much so that instead of doing it as a conventional multi-track recording, the band and Dowd opted to record most of the album live in the studio with minimum if any overdubs.  The band was just that good.

In 1970 they moved into what they called The Big House in Macon Georgia. They didn’t have a lot of money, but their wives and girlfriends found this house to rent. Older big houses like this weren’t too expensive back in 1970 to rent.

It’s now the Allman Brothers museum…it’s on my list to visit.

Visit Us - The Big House Museum

Revival

People can you feel it?
Love is everywhere
People can you hear it?
The song is in the air
We’re in a revolution
Don’t you know we’re right
Everyone is singing, yeah
There’ll be no one to fight
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
Love is everywhere
Love is everywhere
Love is everywhere
Love is everywhere
Love is everywhere
Love is everywhere
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere
People can you feel it?
Love is everywhere

Buzzcocks – What Do I Get

These guys blended punk and pop about as well as anyone. Once again I had a friend with their import records in the eighties. That was the only way I could hear them.

This was their first top 40 hit in the UK and it peaked at #37 way back in 1977. The B-side was a song called “Oh Shit.” I wish they would have hit in America but their name probably didn’t help them over here.

They chose the name Buzzcocks after reading the headline, “It’s the Buzz, Cock!”, in a review of the TV series Rock Follies in Time Out magazine. The “buzz” is the excitement of playing on stage; “cock” is northern English slang meaning friend. They were formed in 1976 by Pete Shelley and Howard Devoto after seeing the Sex Pistols. They were able to blend punk’s spirit and sound with pop.

They were invited by Nirvana to open select dates on the grunge outfit’s last ever European tour, in early 1994. Steve Diggle told about a  memory he has of Kurt Cobain: “Doing two grams of coke is one of my famous stories with him.” They also opened up for Pearl Jam in 2003.

They released 3 albums and broke up in 1981 after a dispute with their record company. They reunited in 1989 and released 6 more albums. Pete Shelley continued to play with the band until his death from a heart attack in 2018. The band still continues to tour.

Steve Diggle: “Of course we partied and did drugs and had good times with the girls. Who wouldn’t? Certain things about being in a band and traveling about, people invite you to parties and clubs. Initially, it wasn’t supposed to be like that. But I realized you can’t break America, America breaks you.”

 Jane Wiedlin: Our favorite band, the band that we always tried to emulate was the Buzzcocks, who had that great pop song done in a punky style.”

Billy Joe Armstrong: “Buzzcocks pretty much invented a style that would influence multiple generations of lonesome hearts and weirdos”

What Do I Get

I just want a lover like any other, what do I get?
I only want a friend who will stay to the end, what do I get?

What do I get, oh-oh, what do I get?
What do I get, oh-oh, what do I get?

I’m in distress, I need a caress, what do I get?
I’m not on the make, I just need a break, what do I get?

What do I get, oh-oh, what do I get?
What do I get, oh-oh, what do I get?

I only get sleepless nights
Alone here in my half-empty bed
For you things, seem to turn out right
I wish they’d only happen to me instead

What do I get, oh-oh, what do I get?
What do I get, oh-oh, what do I get?

Ah

I only get sleepless nights
Alone here in my half-empty bed
For you, things seem to turn out right
I wish they’d only happen to me instead

What do I get, oh-oh, what do I get?
What do I get, oh-oh, what do I get?

I just want a lover like any other, what do I get?
I only want a friend who will love to the end, what do I get?

What do I get, oh-oh, what do I get?
What do I get, oh-oh, what do I get?

Well, let me tell you now
(What do I get?)
(What do I get?) No love
(What do I get?) No sleep at nights
(What do I get?) Nothing that’s nice
(What do I get?) Nothing at all, at all, at all, at all
At all, at all, at all ’cause I don’t get you

Edward Sharpe and The Magnetic Zeros – Home

I posted this song when I first started when I had only a couple of readers (Hanspostcard and Run-Sew-Read) so I thought I would give it another go. When I heard this on Lightning 100 in Nashville (an alternative station) I thought it was an old song. I liked it off the bat. Alex Ebert had left his band Ima Robot and formed this odd hippie-type band with Jade Castrinos in Los Angeles, California in 2007.

Never did I think I would like a song that started off…

Alabama, Arkansas
I do love my ma and pa
Not that way that I do love you

Holy moley, me oh my
You’re the apple of my eye
Girl, I’ve never loved one like you

But I did…and I couldn’t get enough of it. Their music has an old sound and is vibrant. I’m not comparing this in any way but it brought to mind Johnny and June Cash. Johnny and June didn’t sound like this but the type of song fits.

They were a band that had members that would come and go and were like a commune-type group. The song didn’t make it into the Billboard 100 although it was everywhere. “Home” was released in 2010 and it charted at #25 on the Billboard Alternative Songs in 2010 and #50 in the UK Charts in 2013. It did get a lot of play on commercials and  TV shows.

The interplay between Ebert and his then-girlfriend and bandmate Jade Castrinos is infectious. The song is a true story. Alex Ebert and Jade Castrinos were enjoying a day through Elysian Park in Los Angeles when she lost her shoes and he carried her on his back. After that, she fell out of his 2nd story window and had to go to the hospital.

The band is named after a character from a novel Ebert was writing…Edward Sharpe is an otherworldly figure who comes to Earth to offer enlightenment to the masses but finds himself getting distracted by the beautiful women.

Unfortunately Jade is not in the band now after a falling out in 2014. Their last album PersonA was released in 2016.

Home

Alabama, Arkansas
I do love my ma and pa
Not that way that I do love you

Holy moley, me oh my
You’re the apple of my eye
Girl, I’ve never loved one like you

Man, oh man, you’re my best friend
I scream it to the nothingness
There ain’t nothing that I need

Well, hot and heavy, pumpkin pie
Chocolate candy, Jesus Christ
Ain’t nothing please me more than you

Ah, home, let me go home
Home is wherever I’m with you
Ah, home, let me go home
Home is wherever I’m with you

La, la, la, la, take me home
Mommy, I’m coming home

I’ll follow you into the park
Through the jungle, through the dark
Girl, I never loved one like you

Moats and boats and waterfalls
Alleyways and pay phone calls
I’ve been everywhere with you

That’s true, laugh until we think we’ll die
Barefoot on a summer night
Never could be sweeter than with you

And in the streets you run a-free
Like it’s only you and me
Geez, you’re something to see

Ah, home, let me go home
Home is wherever I’m with you
Ah, home, let me go home
Home is wherever I’m with you

La, la, la, la, take me home
Daddy, I’m coming home

Jade Alexander, do you remember that day you fell out of my window?
I sure do, you came jumping out after me
Well, you fell on the concrete, nearly broke your ass,
You were bleeding all over the place and I rushed you out to the hospital, you remember that?
Yes, I do, well, there’s something I never told you about that night
What didn’t you tell me?
While you were sitting in the backseat smoking a cigarette you thought was going to be your last,
I was falling deep, deeply in love with you, and I never told you until just now

Ah, home, let me go home
Home is wherever I’m with you
Ah, home, let me go home
Home is where I’m alone with you

Home, let me come home
Home is wherever I’m with you

Ah, home, yes I am home
Home is when I’m alone with you

Alabama, Arkansas
I do love my ma and pa
Moats and boats and waterfalls
Alleyways and pay phone calls

Ah, home, let me go home
Home is wherever I’m with you
Ah, home, let me go home
Home is where I’m alone with you

Tanya Tucker – Delta Dawn

I’ve always liked this song and Tanya’s scratchy voice. Helen Reddy did a fine version of this also but I’ll take this treatment. It is the version I grew up with…I’ve always been a fan of Tanya Tucker.

When I was a senior in high school I had a job at a place called Tuckahoe Farms. It was Tanya’s farm but she had sold it by the time I worked there. They raised thoroughbred racing horses and it was huge. I was always hoping she would come back to visit but she never did.

It was written by former rockabilly star Larry Collins and country and western songwriter Alex Harvey. It was first recorded by Harvey in 1972. Tracy Nelson and Bette Midler put the song in their live repertoire before it became a country hit for 13-year-old Tanya. The melody and chorus are virtually identical to the Amazing Grace

Harvey says the tune is really about his mother, a heavy drinker who died in an apparent suicide by crashing into a tree when the songwriter was a teen. Harvey had just returned from a TV gig with his band…he had asked his mother not to go, worried she would embarrass him by drinking too much and making a spectacle. The guilt over his mother’s death stuck with him for years. A decade later, he was hanging out at Larry Collins’ house with a group of country musicians. Everyone fell asleep except for Harvey, who stayed up strumming his guitar. That’s when he saw his mother.

Alex Harvey: “I looked up and I felt as if my mother was in the room. I saw her very clearly. She was in a rocking chair and she was laughing,” he recalled. “My mother had come from the Mississippi Delta and she always lived her life as if she had a suitcase in her hand but nowhere to put it down. She was a hairdresser in Brownsville. She was very free-spirited, and folks in a small town don’t always understand people like that. She never really grew up.”

“I really believe that my mother didn’t come into the room that night to scare me, but to tell me, ‘It’s okay,’ and that she had made her choices in life and it had nothing to do with me. I always felt like that song was a gift to my mother and an apology to her. It was also a way to say ‘thank you’ to my mother for all she did.

The song peaked at #6 on the Country Charts, #3 in Canada, and #72 on the Billboard 100 in 1972.

Helen Reddy would take the song to #1 on the Billboard 100 in 1973.

Barbra Streisand passed on the song after the backing track had been recorded by her producer without her prior knowledge.

Delta Dawn

Delta Dawn, what’s that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meeting you here today
To take you to his mansion in the sky?

She’s forty-one and her daddy still calls her “baby”
All the folks around Brownsville say she’s crazy
‘Cause she walks dowtown with a suitcase in her hand
Looking for a mysterious dark-haired man

In her younger days they called her Delta Dawn
Prettiest woman you ever laid eyes on
Then a man of low degree stood by her side
And promised her he’d take her for his bride

Delta Dawn, what’s that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meeting you here today
To take you to his mansion in the sky?

Delta Dawn, what’s that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meeting you here today
To take you to his mansion in the sky?

Delta Dawn, what’s that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meeting you here today
To take you to his mansion in the sky?

Delta Dawn, what’s that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meeting you here today
To take you to his mansion in the sky?

Rolling Stones – Stray Cat Blues

Mick sounds sinister and ominous in this track and the guitar is absolutely filthy. I feel the need for a shower after I listen to it.  It’s raunchy and sleazy…but a great album cut.

I once had a girlfriend and being around me she started to appreciate the Beatles. I thought that was cool because I never pushed them on her…then I played her some Stones. After around a week of listening to Beggars Banquet, she told me…Max, The Beatles seemed to progress so much as they went on…The Stones…they are low rent.

She was paying attention. She didn’t mean that in a bad way but yea…that is the essence of the Stones…showing the seedier side in their songs…and believe me…this song does. As humans…The Beatles could be as nasty but they didn’t usually reflect that in a lot of music…The Stones went out of their way to do so.

Stray Cat Blues is off of my favorite album by the Rolling Stones…Beggars Banquet. Would this song fly today? NO…oh pardon me… let me reword that…HELL NO… It’s hard to believe it flew back in 1968. I could be wrong but I doubt you would hear this on very many classic radio stations today.

Keith Richards is on top of his game in this one. Mick seemed to be testing or provoking audiences with this one.

This was the first album to start the stretch of 5 albums (Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main Street, and Goats Head Soup) that helped make the Stones what they are today. In 1967 after failing to live up to Sgt Pepper with Their Satanic Majesties Request (although I do like that album) they came back retooled with a new producer Jimmy Miller

The Stones got back doing what they do best…playing country rock blues…although with a different sound than Little Red Rooster. A weary Brian Jones was still in the band at this time and contributed to all but two songs…but it’s mostly Keith on guitar. Brian, because of the state he was in, was used more as a touch-up artist…filling in some holes with sitar, tambura, guitar,  blues harp, and mellotron. It would also be the last studio album Brian would work on.

I’ve always related Beggars Banquet to the White Album. They were both released in 1968 and both were raw and honest. No studio trickery with either…a big departure from the psychedelic era of 1967.

The album peaked at #5 in the Billboard Album Charts, #3 in the UK, and #3 in Canada in 1969.

The lyrics were bad enough with I can see that you’re fifteen years old/
No I don’t want your I.D…. when playing it live on the 69 tour it became I can see that you’re thirteen years old/ No I don’t want your I.D. Mick seemed to be jabbing and provoking seeing how much he could get by with.

When you listen to it I would suggest the studio version. Many of the nuances are lost in this live version. I always try to pick a live version around the time they made the song but this one is not the best I heard.

Cat Scratch Blues

I hear the click-clack of your feet on the stairs
I know you’re no scare-eyed honey
There’ll be a feast if you just come upstairs
But it’s no hanging matter
It’s no capital crime

I can see that you’re fifteen years old
No I don’t want your I.D.
And I’ve seen that you’re so far from home
But it’s no hanging matter
It’s no capital crime

Oh yeah, you’re a strange stray cat
Oh yeah, don’tcha scratch like that
Oh yeah, you’re a strange stray cat
Bet your mama don’t know you scream like that
I bet your mother don’t know you can spit like that.

You look so weird and you’re so far from home
But you don’t really miss your mother
Don’t look so scared I’m no mad-brained bear
But it’s no hanging matter
It’s no capital crime
Oh, yeah
Woo!

I bet your mama don’t know that you scratch like that
I bet she don’t know you can bite like that

You say you got a friend, that she’s wilder than you
Why don’t you bring her upstairs
If she’s so wild then she can join in too
It’s no hanging matter
It’s no capital crime

Oh yeah, you’re a strange stray cat
Oh yeah, don’tcha scratch like that
Oh yeah, you’re a strange stray cat
I bet you mama don’t know you can bite like that
I’ll bet she never saw you scratch my back

Dave Clark Five – Glad All Over

I first found out about the Dave Clark Five in the early eighties. One of my friend’s dads grew up during the sixties and I found this band and Buffalo Springfield in his record collection.

The drums in this song are sharp and loud. Those two beats after “Glad All Over” hooks me every time. They had such a huge sound.

They were the first British Invasion band that had a hit in America after The Beatles. The song has a huge loud sound to it. The single charted at #6 in the Billboard 100, #2 in Canada, and #1 in the UK in 1964. Dave Clark and Mike Smith wrote this song. Smith came across a song called “Glad All Over” by Carl Perkins and wrote a new song with the same title.

The song also knocked I Want To Hold Your Hand out of the number one position in the UK charts.

After the Beatles were on Ed Sullivan… Ed wanted the Dave Clark Five. Sullivan thought a lot of the band and had them back on the show 11 more times. Getting them on the show the first time proved a challenge. The show wasn’t broadcast in England, so Clark had never heard of it and turned down the offer. When Sullivan’s producer called back offering a substantial payment, he convinced his bandmates to make the trip.

Bruce Springsteen has mentioned that the Dave Clark Five was a big influence. The group was huge…they ended up with 24 songs in the top 100, 7 songs in the top 10, and one #1 record with “Over and Over.”

After the group broke up in 1970 Dave Clark became a media mogul and also wrote, produced, and directed.

Lead vocalist Mike Smith wrote this song. He was looking through the Carl Perkins catalog and found a song named Glad All Over…he took the title.

Mike Smith: “We had lost out on ‘Do You Love Me’ to Brian Poole and so Dave (Clark) thought we should do an original. He asked me to come up with something and I looked through my record collection for a suitable title.”

Dave Clark: “I knew that we needed a song with the thumps in. we had been playing dance halls and we were getting a great audience response to the stomping things we were doing.”

“I went to Alexander Palace once, and saw a big band called The Eric Delaney Band. On the front of the stage, he had these timpanis. He came off the drums at the back and played these timpanis, and it was quite amazing. It was showmanship. That’s always stuck in my mind. It wasn’t very clever l, what he was doing, but it was dynamite, the crowd loved it. That was a big influence.”

Glad All Over

You say that you love me (say you love me)
All of the time (all of the time)
You say that you need me (say you need me)
You’ll always be mine (always be mine)

I’m feelin’ glad all over
Yes I’m-a glad all over
Baby I’m glad all over
So glad you’re mine

I’ll make you happy (make you happy)
You’ll never be blue (never be blue)
You’ll have no sorrow (have no sorrow)
Cause I’ll always be true (always be true)

And I’m feelin’ glad all over
Yes I’m-a glad all over
Baby I’m-a glad all over
So glad you’re mine

Other girls may try to take me away (take me away)
But you know, it’s by your side I will stay
I’ll stay

Our love will last now (our love will last)
Till the end of time (end of time)
Because this love now (because this love)
Is gonna be yours and mine (yours and mine)

And I’m feelin’ glad all over
Yes I’m-a glad all over
Baby I’m glad all over
So glad you’re mine

Other girls may try to take me away (take me away)
But you know, it’s by your side I will stay
I’ll stay

All of our lives now (all of our lives)
Till the end of time (end of time)
Because this love now (because this love)
Is only yours and mine (yours and mine)

And I’m feelin’ glad all over
Yes I’m-a glad all over
Baby I’m-a glad all over
So glad you’re mine

I’m so glad you’re mine now
I’m so, I’m so glad you’re mine
I’m-a so glad you’re mine now
Whoa-whoa-whoa-whoa-whoa-whoa

Paul McCartney – Sally G

I’ve always liked B-Sides… Let’s listen to some Liverpudlian Country Music.

I cannot hear this song without thinking of my grandmother. Her name was Sally and yes her last name started with G. She lived to the ripe old age of 96. I have posted about the A-side of this single Juniors Farm but never about this B-side that I like. I heard this song when I was 7 because my sister had this single and it’s been in my head ever since.

When I saw him in 2010 and 2014 I thought both times…hmmm he is in Nashville so Sally G surely will be played. Nope… Paul didn’t utter Sally’s name.

The song actually got played on the country stations in Nashville which looking back I can’t believe happened at that time. Nashville wasn’t exactly in love with rock performers.

Sally G was written and recorded in Nashville. In 1974 Paul McCartney came to Nashville. They rented a 133-acre farm just outside of Lebanon TN from songwriter Curly Putman (“Green, Green Grass of Home”) for $2,000 a week. They had requested a farm within 50 miles of Nashville that had horses and swimming facilities.

The band stayed at the farm for 6 weeks while the Putman family vacationed in Hawaii. When Putman and his wife returned to their farm, McCartney saw them walking up the driveway. McCartney and the band greeted them by playing “Green, Green Grass of Home.”

I have a cousin that lives in Lebanon around 5 miles from where he stayed…not a great picture but here it is today.

IMG_2102.PNG

Lloyd Green, Bob Willis, and Johnny Gimble Willis contributed steel guitar, dobro, and fiddle respectively while adding legitimacy to McCartney’s country venture.

Paul playing guitar on “Junior’s Farm” in 1974

OFFTOPIC: Unseen picture of Paul McCartney in Nashville, 1974. | Paul  mccartney and wings, The beatles, Beatles photos

Sally G. and it peaked at #17 in the Billboard 100,  #51 on the country charts, #11 in the Canadian Country charts, and #61 in Canada.  Paul composed the song after visiting the nightlife in Printer’s Alley.

As his time in Tennessee came to a close, McCartney told a group of local reporters that he hoped to mount a U.S. tour the following year and that if it happened, Music City would definitely be on the itinerary.

McCartney didn’t come back until 36 years later in 2010 and I finally got to see him. Paul…you lied but all was forgiven when he took the stage.

I hardly ever point out a bridge in a song but in this one…it’s kept me listening for decades. It’s not the lyrics but the melody, backups, and harmonizing on the final “move along.”

Me and Sally took up,
things began to look up,
Me and her were going strong.

Then she started lyin’,
I could see our love was dyin’.
I heard a voice say,
“Move along, move along”.

Paul McCartney: “Buddy Killen [studio owner and music publisher] took us out to Printer’s Alley, a little club district,” “I didn’t see anyone named ‘Sally G’ in Printer’s Alley, nor did I see anyone who ran her eyes over me when she was singing ‘A Troubled Mind.’ That was my imagination, adding to the reality of it.”

Musician gets to stay on the farm for 3 weeks. 

Home movies of Wings in the studio in Nashville 1974

Sally G

Somewhere to the south of New York City
Lies the friendly state of Tennessee,
Down in Nashville town I met a pretty
Who made a pretty big fool out of me.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

The night life took me down to Printers Alley,
where Sally sang a song behind a bar.
I ran my eyes across her as she sang a tangled mime,
I used to love to hear her sweet guitar.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

Me and Sally took up,
things began to look up,
Me and her were going strong.

Then she started lyin’,
I could see our love was dyin’.
I heard a voice say,
“Move along, move along”.

Well now. I’m on my own again,
I wonder if she ever really understood.
I never thought to ask her what the letter “G” stood for,
But I know for sure it wasn’t good.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

Sally G.

Small Faces – Lazy Sunday

The Small Faces were indeed small… all of them were between 5’4″ and 5’6.” They would later grow when the taller Rod Stewart and Ronnie Wood joined and they became the Faces.

Lazy Sunday came off the classic album  Ogdens’ Nut Gone Flake. The Small Faces didn’t intend to release this song. Steve Marriott was against his manager Andrew Loog Oldham’s decision to release this as a single and that was one reason why he left the group shortly afterward to be replaced by Stewart. The band didn’t take the song seriously and made it into a joke. Steve sang some of the voices with a cockney accent.

They were touring Germany and they picked up a music paper and saw it was not only released but a hit. Steve wanted a tougher image for the band, and this was more of a novelty pop song.

This song is not a good example, but Steve Marriott may have had the best voice of all his peers. Robert Plant and Paul Rodgers have cited Marriott as an influence. Personally, I would take him over those two and that is saying a lot.

The Small Faces also recorded this critically acclaimed concept psychedelic album in 1968 with their new record company Immediate Records. They never followed it up and only performed it once live in its entirety on a television show called Colour Me Pop. It spent 6 weeks at number one on the UK Album Charts.

Lazy Sunday peaked at #2 in the UK, #42 in Canada, and #114 in the Billboard 100.

This song was written by Steve Marriott. Marriott and Ronnie Lane did most of the writing. Their songs were clever and catchy. This band should have been bigger than they were… With the right record label, manager and push, they might have broken through.

Kenney Jones: “Steve had been a child actor, he was the first Artful Dodger in Lionel Bart’s Oliver in the West End. He brought back that theatricality to this.”

Ian McLagan: “When Steve came in with this it was slower. We started taking the piss out of it while he was out of the room. The ‘Root-ti-doo-ti-di-day’ thing stop and he laughed when he came back in and heard us. So we cut it like that. It was a piss take!”

Lazy Sunday

A-wouldn’t it be nice to get on with me neighbours?
But they make it very clear, yhey’ve got no room for ravers
They stop me from groovin’, they bang on me wall
They doing me crust in, it’s no good at all, ah
Lazy Sunday afternoon
I’ve got no mind to worry
I close my eyes and drift away-a
Here we all are sittin’ in a rainbow
Gor blimey, hello Mrs. Jones, how’s old Bert’s lumbago? (he mustn’t grumble)
(Tweedle-dee) I’ll sing you a song with no words and no tune (twiddly-dee)
To sing in the khazi while you suss out the moon, oh yeah
Lazy Sunday afternoon, I’ve got no mind to worry
Close my eyes and drift away-a

Root-de-doo-de-doo, a-root-de-doot-de-doy-di
A-root-de-doot-de-dum, a-ree-de-dee-de-doo-dee (doo-doo, doo-doo)
There’s no one to hear me, there’s nothing to say
And no one can stop me from feeling this way, yeah
Lazy Sunday afternoon
I’ve got no mind to worry
Close my eyes and drift away
Lazy Sunday afternoon
I’ve got no mind to worry
Close my eyes and drift a-
Close my mind and drift away, close my eyes and drift away

Beatles – I’ve Got A Feeling

I’m glad the Let It Be album is getting a new life because of the Get back film.   It’s not Revolver by any means but it was never meant to be. Let It Be started off as an album that would feature minimum overdubs and get back to playing as a band. I’ve Got A Feeling is a mix of two unfinished songs, Paul McCartney’s “I’ve Got a Feeling” and John Lennon’s “Everybody Had a Hard Year.”

John Lennon did have a hard year. He got divorced, battled heroin addiction, police drug raid, Yoko had suffered a miscarriage and he was convicted of drug possession.

John had worked on this song earlier. After meeting with Paul at his St. John’s Wood home in London sometime in December of 1968 to merge both of their songs into one, John met with the others at Twickenham Studios on January 2nd, 1969, with an arrangement that was already formulated, right down to the synchronized vocals of both composers in the final verse. All that was left was to finalize the arrangement with George and Ringo and to rehearse it repeatedly before it was ready to record.

The Beatles recorded this live on the Apple rooftop, which was used in their movie, Let It Be. John Lennon’s guitar sounds downright nasty and George’s compliments that sound with clean licks off of his Fender.

The Let It Be album peaked at #1 in the Billboard Album Charts, Canada, and The UK in 1970.

The version of I’ve Got a Feeling which was released on Let It Be was recorded during the rooftop concert. The studio take was released on the 1996 Anthology 3. Let It Be… Naked, which was a remix album that came out in 2003, patched two different rooftop concert takes.

I would have loved to hear Elvis do a cover of this song…but I can’t imagine him singing the “wet dream” part but it would have been interesting.

Pearl Jam also did a version of this song.

I’ve Got A Feeling

I’ve got a feeling, a feeling deep inside
Oh yeah, oh yeah.
I’ve got a feeling, a feeling I can’t hide
Oh no, oh no, oh no.
Yeah, I’ve got a feeling.

Oh please believe me, I’d hate to miss the train
Oh yeah, oh yeah.
And if you leave me I won’t be late again
Oh no, oh no, oh no.
Yeah, I’ve got a feeling, yeah.

All these years I’ve been wandering around,
Wondering how come nobody told me
All that I was looking for was somebody
Who looked like you.

I’ve got a feeling, that keeps me on my toes
Oh yeah, oh yeah.

I’ve got a feeling, I think that everybody knows
Oh yeah, oh yeah, oh yeah.
Yeah, yeah, I’ve got a feeling, yeah.
Yeah

Ev’rybody had a hard year
Ev’rybody had a good time
Ev’rybody had a wet dream,
Ev’rybody saw the sunshine
Oh yeah, oh yeah.

Ev’rybody had a good year,
Ev’rybody let their hair down,
Ev’rybody pulled their socks up,
Ev’rybody put their foot down.
Oh yeah, oh yeah.

Yeah I’ve got a feeling
A feeling deep inside
Oh yeah, oh yeah.

I’ve got a feeling, a feeling I can’t hide
Oh no
Oh no no no

Yeah yeah yeah yeah
I’ve got a feeling
I’ve got a feeling

John Lennon – Nobody Told Me

Double Fantasy was released in 1980 and I did like the album…but it was a little too pop-leaning in some songs. That album also takes me back to that awful time right after John was murdered. Three years later another album came out and this single was released. I’ve always liked this song. It sounded so much like the old John Lennon. It was quirky and had cool wordplay. It wasn’t John’s best song by any means and no it wasn’t close to Watching The Wheels or Starting Over but it had an edge to it that the other album didn’t.

This single was released in 1983. The song was originally written by John for Ringo Starr to sing on his “Stop and Smell the Roses” album. He even gave Ringo the demo. Ringo didn’t end up recording it because of the tragedy.

There is a lyric “There’s a UFO over New York and I ain’t too surprised” and it was taken from an actual incident. In 1974, John and May Pang (his girlfriend while separated from Yoko) were living in an apartment overlooking New York’s East River, when John saw what he thought was a UFO. May Pang said he yelled out the window “come back – take me!”

The song was off the “Milk and Honey” album with tracks from John and with Yoko. It peaked at #5 in the Billboard 100, #4 in Canada, and #6 in the UK. John wrote the song in 1976 and the working title was “Everybody’s Talkin.”

I liked the song the first time I heard it. It was a fun song and I was happy to hear something new from him. I really could hear Ringo doing this one. The two songs that hit from “Milk and Honey” were Stepping Out and this one.

“Nobody Told Me”

Everybody’s talking and no one says a word
Everybody’s making love and no one really cares
There’s Nazis in the bathroom just below the stairs
Always something happening and nothing going on
There’s always something cooking and nothing in the pot
They’re starving back in China so finish what you got Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — strange days indeed Everybody’s runnin’ and no one makes a move
Everyone’s a winner and nothing left to lose
There’s a little yellow idol to the north of Katmandu
Everybody’s flying and no one leaves the ground
Everybody’s crying and no one makes a sound
There’s a place for us in the movies you just gotta lay around

Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — most peculiar, mama

Everybody’s smoking and no one’s getting high
Everybody’s flying and never touch the sky
There’s a UFO over New York and I ain’t too surprised

Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — most peculiar, mama

Janis Joplin – Ball and Chain

I always thought Janis had the voice of a songbird. A cigarette smoking and Southern Comfort drinking songbird…but a songbird all the same. Janis and Aretha Franklin are my two favorite female artists of all time. They put every ounce of themselves into their songs. They cheated no one.

I first heard this song on Janis Joplin’s Greatest Hits. I bought the album for the song Me and Bobby McGee and I found out I liked every song on the album. Unlike other singers I listened to at that time…Janis left everything on the field so to speak. That is the same quality I liked about Bruce Springsteen later.

Ball and Chain was written and originally recorded by a blues singer named Willie Mae “Big Mama” Thornton, who recorded the original version of “Hound Dog.” Thornton was introduced to church music at an early age. A skilled singer, songwriter, dancer, self-taught drummer, and harmonica player.

Janis’s big break came at the Monterey Pop Festival singing this song. She would go on to sing it at Woodstock also. It was on the album by Big Brother and the Holding Company called Cheap Thrills released in 1968. With the help of their appearance at Monterey, the album peaked at #1 in the Billboard Album charts for 8 consecutive weeks.

This was their breakthrough album. The album was supposed to be called Sex, Dope and Cheap Thrills; Columbia nixed it. The album ended up being the band’s last album with Joplin, who left by the end of the year to launch a solo career.

The cover was designed by legendary artist Robert Crumb. He didn’t care for Big Brother too much but liked Janis.

Cheap Thrills [LP] VINYL - Best Buy

Robert Crumb: “She was a swell gal and a very talented singer. Ever heard any of this pre-Big Brother stuff she recorded? She was great. Then she got together with those idiots. The main problem with Big Brother was they were amateur musicians trying to play psychedelic rock and be heavy and you listen to it now and it’s bad… just embarrassing.”

“She wasn’t nationally known yet. I remember going to see her at the Avalon Ballroom and you could tell right away that she had an exceptional voice and she would go far. She started out singing old time blues like Bessie Smith. She was kind of a folknik originally.“

 “Janis had played with earlier bands just playing country blues and it was much better. Way, way better. She’s singing well, not screaming, not playing to the audience that wanted to watch her sweat blood. In the beginning she was just an authentic, genuine Texas country-girl shouter.”

Ball and Chain

Sitting down by my window
Honey, looking out at the rain
Sitting down by my window, looking out at the rain
All around that I felt it
All I can see was the rain
Something grabbed a hold of me
Feel to me, oh, like a ball and chain
Hey, you know what I mean that’s exactly what it felt like
But that’s way too heavy for you, you can’t hold them all

And I say, oh, whoa, whoa, oh, that cannot be
Just because I got oh, your love, please
Why does every
Oh, this can’t be just because I got to need you, daddy
Please don’t you knock it down now, please
Here you’ve gone today
What I wanted to love you and I wanted to hold you, yeah, till the day I die
Yes, I did, yes, I did, yeah, hey, hey, alright

Say, whoa, whoa, whoa, honey
This can’t be anything I’ve ever wanted from your daddy tell me now
Oh, tell me, baby
Oh, say, whoa, whoa, whoa, whoa, honey
This can’t be, no, no, no, no, no
Yeah, yeah
I hope there’s someone out there who could tell me
Tell me why just because I got to want your love
Honey, just because I got to need, need, need, need your love
I said I understand
Honey, what I’m wanna trying to say hi
Trying, try, try, try, try, try, try
Honey, everybody in the world, also same, baby
When everybody in the world what needs, seem lonely
What I wanted work for your love, daddy
What I wanted trust your love, daddy
I din’t understand how come you’re gone
I don’t understand why half the world is still crying, man
And the other half of the world is still crying too, man
I can’t get it together
I mean if you go to ? Oneday, man
I mean, so baby, you want ? Three and sixty five days, right
You ain’t gonna within sixty five days, you gonna for one day, man
I tell you, that one day, man, better be your life, man
Because you know, you can stay oh man, you can cry about the other three and sixty four, man I said whoa, whoa, whoa
But you gonna lose that one day, man
That’s all you got, you got to call it love, man
That’s what it is, man
If you got today, you don’t worry about tomorrow, man
Because you don’t need it
Because the matter of the fact, as we discovered tat’s rain, tomorrow never happens, man
It’s all the same fucking day, man

So you gotta when you want to hold someone
You gotta hold them like it’s the last minutes of your life
You gotta hold, hold, hold and I say, oh, whoa, whoa, now babe, tell me why
Hold, baby, ’cause some come on your shoulder, baby
It’s gonna feel too heavy, it’s gonna weigh on you why does every thing, every thing
It’s gonna feel just like a ball
Oh, daddy and a chain

Lovin’ Spoonful – You Didn’t Have to Be So Nice

The Lovin’ Spoonful’s songs seem so effortlessly written and performed. They were popular for a short while in the mid-sixties. They influenced many bands including The Beatles who released Good Day Sunshine as a nod to The Lovin’ Spoonful’s song Daydream.

In the 1980s I really got into this band. I purchased one of their many greatest hits. I first heard of John Sebastian in the 70s when he wrote and sang the theme song of  TV show Welcome Back Cotter called “Welcome Back” which went to #1.

They were considered by TV producers to be in a television show but they were dropped over a conflict of song publishing rights. After an audition process, the producers figured it was more trouble than they expected. For one thing, the Spoonful were writing their own music at this point, and the show was not interested in giving up the publishing rights to the songs written for the show, so it really did not make sense for either party, and the producers instead turned to open auditions for the show. The Monkees were found soon after that. 

Brian Wilson said this song influenced one of the Beach Boys’ best songs…God Only Knows. The group was only active from 1965 to 1968, which John Sebastian described as “two glorious years and a tedious one.” John Sebastian wrote the majority of their songs. He had a #1 hit as a solo artist in 1976 with “Welcome Back,” the theme song to the TV series Welcome Back, Kotter.

This song was written by John Sebastian and bassist Steve Boone.

Lovin’ Spoonful played what they called “jug band” music and like the Rascals, they were more of a singles band than an album band. In 1967 Zal Yanovsky left the band citing musical differences. In 1968 Sebastian left for a solo career and the band carried on until 1969 without a significant hit.

The song peaked at #10 in the Billboard 100 and #4 in Canada in 1965.

John Sebastian:  “We started off in a world of 45 singles, so our only game still was three minutes of heaven every time out. That was all. We thought of it as four-man Phil Spector music. We wanted it to have that big quality, but we didn’t want to hire the Wrecking Crew.”

“Our producer Eric Jacobsen understood something about this funny hybrid that we were working on,” “Things like the chimes on ‘You Didn’t Have to Be So Nice’ were our attempts at creating that kind of vibe: harmonica, slide whistles and penny whistles. I hate calling it folk-rock. They called The Byrds folk-rock and then they were too lazy to come up with something else for our band, but we weren’t really drawing from the Pete Seeger, Bob Dylan catalog. It was a time of a lot of seriousness, and a lot of fake seriousness and people talking about Important Things. And Loving Spoonful didn’t really go for that. We were just trying to entertain.”

You Didn’t Have To Be So Nice

You didn’t have to be so nice
I would have liked you anyway
If you had just looked once or twice
And gone upon your quiet way

Today I said the time was right for me to follow you
I knew I’d find you in a day or two
And it’s true

You came upon a quiet day (ooh)
You simply seemed to take your place (ooh)
I knew that it would be that way (ooh)
The minute that I saw your face (ooh)

And when we’ve had a few more days (when we’ve had a few more days)
I wonder if I’ll get to say (wonder if I’ll get to say)
You didn’t have to be so nice (be so nice)
I would have liked you anyway (would have liked)

Today I said the time was right for me to follow you
I knew I’d find you in a day or two
And it’s true

You didn’t have to be so nice (didn’t have to be so nice)
I would have liked you anyway (would have liked you anyway)
If you had just looked once or twice (once or twice)
And gone upon your quiet way (quiet way)

Ventures – Walk Don’t Run

Walk Don’t Run is one of my favorite instrumentals right along Sleep Walk, Green Onions, and a few others. When I learned to play this on guitar, I was on cloud nine. Johnny Smith wrote this song and was the first one to record it. Chet Atkins along with many artists covered this but the song is best remembered by The Ventures.

This song got a push in The Ventures native Seattle when a local radio DJ used it to lead into every newscast. The Ventures first released this song in 1960 and it peaked at #11 in the Billboard 100. After this song, it kicked their career in high gear. The band had 14 singles in the Billboard Hot 100. With over 100 million records sold, the Ventures are the best-selling instrumental band of all time.

Numerous musicians credit the Ventures with helping them learn their instrument, including Anthrax, the B-52s, Jeff “Skunk” Baxter, Dire Straits, Dave Edmunds, Adam Ant, Mick Fleetwood, Aerosmith’s Joe Perry, Johnny Ramone, Jello Biafra, Keith Moon, Gene Simmons, Jimmy Page, Toulouse Engelhardt, Jim Diamond, Chris Spedding, Insect Surfers, Black Train, Gary Pig Gold, Al Di Meola, and Max Weinberg.

In 1964, The Ventures released an updated version called “Walk Don’t Run ’64, which also made the Top 10 in the US. In addition to their 1960 and 1964 versions. They recorded completely new versions in 1968, 1977, 1986, and 2000. “Walk-Don’t Run 77 is a disco track. The 1986 one was sort of a heavy metal version, and the one in 2000 has a sax in it.

They were founded by Bob Bogle and Don Wilson in the 1950s. John Fogerty inducted the Ventures in the Rock and Roll Hall of Fame in 2008.

Johnny Smith Version

Walk Don’t Run 77

Walk Don’t Run 64

The Original

Walk Don’t Run

Not one lyric…Just dig on the guitar riff.