I’ve been listening to the Rain Parade’s album Emergency Third Rail Power Trip and I’ve heard influences from Buffalo Springfield to Rubber Soul. The Rain Parade were part of the Paisley Underground scene in Los Angeles in the early 80s. The Paisley Underground scene contained bands such as The Bangles, Green on Red, and The Long Ryders.
They were another band formed in Minnesota by college roommates Matt Piucci (guitar, vocals) and David Roback (guitar, vocals) in 1981, while they were attending Carleton College. David’s brother Steven Roback (bass, vocals) joined.
Their roots were in punk music but in this band…instead of the Sex Pistols and the Clash they went for the Byrds jangly guitars. The critics were mixed on this band…some saying they copied the psychedelic era too much and others saying they were ahead of their time. The Roback brothers were the main writers. After this album Dave Roback left the band.
From Wiki: Critic Jim DeRogatis would later write in his book Turn on Your Mind: Four Decades of Great Psychedelic Rock (2003) that “Emergency Third Rail Power Trip is not only the best album from any of the Paisley Underground bands, it ranks with the best psychedelic rock efforts from any era”, with uplifting melodies offset by themes that were “dark and introspective.”
They were together from 1981 to 1986. They broke up in 1986 and reformed in 2012 and have been touring since. Dave Roback passed away in 2020.
Daveid Roback: “Rain Parade was very much a recasting of our punk interests in more musical terms, inspired by our fascination with music history.”
One Half Hour Ago
What’s the point of looking back?
All you see is an empty track
Of lives you’ve lived
And things you tried to love
What’s the use of anything
That brings you down?
You can’t believe it for an hour
You’re in here just a while
Half an hour from an hour ago
From a half an hour from an hour ago
Call me early on Saturday
It’s my favorite day
I’ll come out to play
That is only, I go to bed
So that I can rest
I can leave my head behind
Disappointing everyone
I’m so much fun
Until I’m lost
Things we do are the way we choose to live
Gene Vincent’s voice and slap back echo go together perfectly. Every rock artist after Gene Vincent has went after that sound.
Cliff Gallup played some great guitar on this recording. He recorded 35 tracks with Vincent including Be-Bop-A-Lula. Gallup was ranked 79th by Rolling Stone magazine’s David Fricke in his list of 100 Greatest Guitarists. He ended up influencing many guitarists including Eric Clapton, Brian Setzer, and Jeff Beck.
This song was released in 1956 and it peaked at #96 in the Hot 100 and #28 in the UK.
He continued to record and tour and remained popular in Britain, where in 1960 he reinjured his leg in the automobile accident in which fellow rockabilly singer Eddie Cochran was killed. Elvis Presley was influenced by Vincent, and bands such as The Beatles played with Vincent in Hamburg in the early sixties.
…but forget who influenced who and enjoy the song.
Race With The Devil
Well I’ve led an evil life, so they say But I’ll hide from the devil on judgement day, I said Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line, oh yeah
Well me and the devil, at a stop light He started rollin’, I was out of sight, I said Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line, oh yeah
Well, goin’ pretty fast, looked behind A-hear come the the devil doin’ ninety-nine, I said Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line, oh yeah
Well thought I was smart, the race was won A-hear come the devil doin’ a-hundred and one Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line
Well, goin’ pretty fast, looked behind A-hear come the the devil doin’ ninety-nine, I said Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line, oh yeah!
Well I’ve led an evil life, so they say But I’ll hide from the devil on judgement day, I said Move, hot-rod, move man Move, hot-rod, move man Move hot-rod, move me on down the the line
I couldn’t continue these underground Mondays without featuring the B-52s. I always smile when I hear this band. I could not listen to them for hours on end but once in a while is great.
I like the sixties sound of this. It sounds that way because of the Farfisa organ played by Kate Pierson and the surf guitar sound that Ricky Wilson created.
Fred Schneider and B-52s guitarist Ricky Wilson were listed as the writers on this track, but at some point the other three band members – Kate Pierson, Cindy Wilson and Keith Strickland were added to the credits.
Canada really responded Rock Lobster. The song peaked at #1 in Canada, #56 in the Billboard 100, and #37 in the UK, and #38 in New Zealand in 1978.
Cindy Wilson and Kate Pierson’s fish noises on this song are an homage to Yoko Ono, whose work is filled with these kind of screams and blurts. Yoko performed these parts when she joined the band at their 25th Anniversary concert at Irving Plaza in New York City in 2002.
John Lennon noticed the The Yoko Ono influence on this song when he heard it in 1979. It reminded him of Yoko’s music so much that it inspired him to return to the recording studio after a five-year retirement, resulting in the 1980 album Double Fantasy.
Yoko Ono:“Listening to the B-52s, John said he realized that my time had come. So he could record an album by making me an equal partner and we won’t get flack like we used to up to then.”
Fred Schneider: “We jammed on it for hours and hours and miles and miles of reel-to-reel tape. Keith and Ricky went and spliced ideas together, brought them to Kate, Cindy and I, and we put in our six cents and we came up with this six minute and forty-eight second song. We have a hard time editing ourselves, but who cares?”
From Songfacts
Many B-52s songs have fun, whimsical lyrics, and this is one of them. It’s about a beach party where someone encounters a rock lobster (which is also known as a crayfish, but that wouldn’t sound as good), and hijinx ensue.
Fred Schneider of The B-52s stopped eating crustaceans at the age of four after going crabbing with his family in New Jersey and watching the crabs get boiled alive. He explained in a video he narrated for People for the Ethical Treatment of Animals that he got the idea for this song when he was at an Atlanta disco called 2001 where a projector displayed images of lobsters on a grill. He thought, “Rock this, rock that… rock lobster!” The band jammed on the title and “Rock Lobster” was created.
The B-52s’ guitarist, Keith Strickland, recalled to Q magazine that at the end of the song, “Cindy does this scream that was inspired by Yoko Ono. John heard it in some club in the Bahamas, and the story goes that he calls up Yoko and says, Get the axe out – they’re ready for us again! Yoko has said that she and John were listening to us in the weeks before he died.”
This was the first single the B-52s released. They recorded it on a shoestring budget at Mountain Studios in Atlanta in February 1978, and released the track as a single on DB Records in April. Danny Beard, who owned the label, recalls spending about $700 on the single in a session where a key on Pierson’s Farfisa organ didn’t work. The recording was rough but effective: it earned airplay and established the band as quirky, innovative, thrift-store punk rockers with pop appeal. Warner Bros. Records signed them and had them record a full album, complete with a new version of “Rock Lobster,” in Nassau, Bahamas, with producer Chris Blackwell. The album was issued in 1979 along with the single, which reached its US chart peak of #56 in May 1980. In the UK, where the band initially had a stronger following, it reached #37 in August 1979. When the song was re-issued in the UK in 1986, it reached #12.
In 1985, Wilson became one of the first celebrities to die from AIDS-related causes. He was 32.
This song has one of the most famous bass lines of all time, but it wasn’t done with a bass guitar. Guitarist Ricky Wilson came up with the riff, and Kate Pierson played it on Korg SB-100 Synthe-Bass, a little machine with a big sound that can also be heard on early Soft Cell recordings, including “Tainted Love.”
The original 1978 version runs 4:37; the album version released in 1979 goes 6:49, with the single edited down to 4:52.
Fred Schneider mentions several unusual sea creatures near the end of the song, including a narwhal, which is a rarely seen whale-like creature with a horn that makes it look like some kind of aquatic unicorn (one appears in cartoon form in the movie Elf). To the best of our knowledge, “Rock Lobster” is the only Hot 100 hit where a narwhal shows up in the lyric.
Other creatures mentioned: sting ray, manta ray, jellyfish, dogfish, catfish, sea robin, piranha, bikini whale. As Schneider sings, Wilson and Pierson approximate their calls with some impressive vocalizations.
“We always just did things our own way,” he continued. “You don’t have any preconceived notions. I was writing lyrics with Keith on the way into the studio, but then I changed my lines and stuff and then the girls added their noises at the end.”
This reached #1 on the Canadian charts in 1980, following Blondie’s “Call Me” and preceding The Pretenders’ “Brass In Pocket.” It held the pole position for one week. >>
This is one of the great cowbell songs; drummer Keith Strickland is credited with playing it on the recording, but when performed live, Fred Schneider would play it.
A video was made for this song in 1979 by combining stock footage with various band antics. MTV was still two years away, but the video helped promote the song throughout Europe. The group got their star turn on MTV a decade later when “Love Shack” became one of the most popular clips on the network.
The song appeared in the movies One-Trick Pony (1980), Lobster Man from Mars (1989) and Knocked Up (2007); it was used in episodes of My Name Is Earl (“Joy in a Bubble” – 2008) and Glee (“The Hurt Locker: Part 1” – 2015).
The song is also a favorite on the show Family Guy, where the character Peter Griffin performs it on guitar in two episodes, first in a 2005 episode where he plays it (inappropriately) to cheer up Cleveland, then in a 2011 episode where it plays to a lobster with the lyrics changed to “Iraq Lobster.”
The B-52s performed this on Saturday Night Live, January 26, 1980. This gave the song a big boost; in May, it reached its US peak of #56.
Ricky Wilson didn’t have high expectations for the riff when he came up with it. His sister Cindy Wilson told the CBC: “I came home one day, and Ricky was just working on his guitar, and he was just laughing to himself. He says, ‘I just made up the stupidest riff there ever was.'”
Panic! at the Disco sampled the famous “Rock Lobster” riff on their 2016 track “Don’t Threaten Me With A Good Time.” Panic! frontman Brendon Urie is a big fan of the B-52s; he was thrilled when he found out the sample cleared.
Rock Lobster
Ski-doo-be-dop Eww Ski-doo-be-dop Eww (Ski-doo-be-dop) We were at a party (Eww) (Ski-doo-be-dop) His ear lobe fell in the deep (Eww) (Ski-doo-be-dop) Someone reached in and grabbed it (Eww) (Ski-doo-be-dop) Was a rock lobster (Eww)
Aaaah Rock lobster Aaaah Rock lobster
Eww Eww We were at the beach (Eww) Everybody had matching towels (Eww) Somebody went under a dock (Eww) And there they saw a rock (Eww) It wasn’t a rock (Eww) Was a rock lobster (Eww)
Aaaah Rock lobster Aaaah Rock lobster
Rock lo-o-obster Rock lo-o-obster
Motion in the ocean (Ooh ah) His air hose broke (Hoo ah) Lots of trouble (Ooh ah) Lots of bubble (Hoo ah) He was in a jam (Ooh ah) He’s in a giant clam! (Hoo ah)
Rock, rock Rock lobster! (Aaaaaaaaah) Down, down! (Aaaaaaah)
Lobster Rock Lobster Rock Let’s rock!
Boys and bikinis Girls and surfboards Everybody’s rockin’ Everybody’s frugin’
Twistin’ round the fire Havin’ fun
Bakin’ potatoes Bakin’ in the sun
Put on your noseguard Put on the lifeguard Pass the tanning butter
Here comes a stingray (ooh wok ooh wok) There goes a manta ray (ah ah ah) In walked a jellyfish (huah) There goes a dogfish (rea-owr) Chased by a catfish (geh geh geh geh geh geh geh geh geh geh) In flew a sea robin (Laaaaa) Watch out for that piranha (eh rek eh rek ah hoo) There goes a narwhal (eeeeh) Here comes a bikini whale! (Aaaaah!)
(Lobster rock lobster-ster) Rock lobster (Lobster) Rock lobster (Ah-ah-ah-ah-ah) (Lobster rock lobster-ster) Rock lobster (Lobster) Rock lobster (Ah-ah-ah-ah-ah) (Ah-ah-ah-ah-ah) (Ah-ah-ah-ah-ah)
Blind Faith…a supergroup with Eric Clapton, Steve Winwood, Ric Grech, and Ginger Baker.
I was listening to Blind Faith’s self titled debut album last week while deep in work and this song was one caught my attention. I’ve heard this song before but this time it really hit me. I repeated it a few times for good measure. What a talented band they were and we are lucky to get that album.
Their one and only album, the self titled Blind Faith album, peaked at #1 in the Billboard Album Charts, Canada, and the UK in 1969. They toured one time for the album and then soon broke up.
After Cream broke up in late 1968…Blind Faith evolved out of informal jamming at Eric Clapton’s home with Steve Winwood. Winwood suggested adding Ginger Baker to the lineup. Rick Grech joined on bass. The band spent February to June 1969 in the studio jamming and recording.
Clapton didn’t want Baker in the band…he wanted to leave Cream behind but Winwood didn’t know the history until later on.
Steve Winwood:“I had begun to realize what a problem Ginger was, and I saw why Eric had been against having him in the group.” “Ginger did a drum solo and they thought it was Cream, so we chucked in an old Cream song,” Winwood said. “Then I put in a Traffic song, and the identity of the band was killed stone dead. If you have 20,000 people out there, and you know you only have to play one song for them to be on their feet, you do it. We were only human.”
Eric Clapton:Steve and I were at the cottage smoking joints and jamming when we were surprised by a knock at the door,” “It was Ginger. Somehow he had gotten wind of what we were doing and had tracked us down. Ginger’s appearance frightened me because I felt that all of a sudden we were a band, and with that would come the whole [manager Robert] Stigwood machine and the hype that had surrounded Cream.”
Steve Winwood wrote this song and took the lead.
Sea Of Joy
Following the shadows of the skies Or are they only figments of my eyes? And I’m feeling close to when the race is run Waiting in our boats to set sail Sea of joy
Once the door swings open into space And I’m already waiting in disguise Is it just a thorn between my eyes? Waiting in our boats to set sail Sea of joy
Having trouble coming through Through this concrete blocks my view And it’s all because of you
Oh, is it just a thorn between my eyes? Waiting in our boats to set sail Sea of joy
I like this bouncy story song by Lloyd Cole. His hiccupping style of singing is appealing. I first posted a song by Cole and his Commotions back in June and I’ve been listening to them ever since.
This song was on their album Easy Pieces released in 1985. This band was a success in the UK but didn’t do much in America.
Easy Pieces would enter the UK album charts at number five, and sold over one-hundred thousand copies within a month. Two successful singles were taken from the album. Brand New Friend reached number nineteen and Lost Weekend reached number seventeen.
They released three studio albums total and all were successful. Rattlesnakes in 1984, Easy Pieces in 1985, and Mainstream in 1987. All were in the top twenty in the UK. In 1989, the band decided to break up and released a best of compilation, 1984-1989.
Lost Weekend
It took a lost weekend in a hotel in Amsterdam And double pneumonia in a single room And the sickest joke was the price of the medicine Are you laughing at me now? May I please laugh along with you?
This morning I woke up from a deep, unquiet sleep With ashtray clothes and this lonely heart’s pen With which I wrote for you a love song in tattoo upon my palm ‘Twas stolen from me when Jesus took my hand
You see I, I wouldn’t say it if I didn’t mean it Drop me and I’ll fall to pieces So easily
I was a king bee with a head full of attitude Wore my heart on my sleeve like a stain And my aim was taboo, you Could we meet in the marketplace? Did I ever hey please, did you wound my knees?
You see I, I wouldn’t say it if I didn’t mean it Drop me, and I’ll fall to pieces Yeah too easily
There’s nobody else to blame I hang my head in a crying shame There is nobody else to blame Nobody else except my sweet self
It took a lost weekend in a hotel in Amsterdam Twenty four gone years to conclude in tears And the sickest joke was the price of the medicine Are you laughing at me now? May I please laugh along?
I was a king bee with a head full of attitude An ashtray heart on my sleeve, wounded knees And my one love song was a tattoo upon my palm You wrote upon me when you took my hand
You see I, I wouldn’t say it if I didn’t mean it Drop me and I’ll fall to pieces too easily Too easily Too easily
I was a sophomore in high school when this was released. I was surprised because it was a big departure from what we were accustomed to from Joe Walsh. To my surprise this was the last song of Joe Walsh to chart in the Billboard 100. It peaked at #52 and #21 in the Mainstream Rock Charts.
Space Age Whiz Kids was released in 1983 as a lead single from his sixth studio solo album, You Bought It – You Name It. Something about Joe Walsh, he had some of the best names for albums ever.
The video is classic as Walsh jumps from the pinball era to the video game era with his mocking of the stereotypical kids who played games featured in the video like Donkey Kong and Pac Man at the time.
The album peaked at #48 in the Billboard Album Charts. The album contains rock songs such as “I Can Play That Rock & Roll” and a cover of the Dick Haymes track, “Love Letters”.
Space Age Whiz Kids
I used to play that pinball, I used to go outside I had to spend my money, get on your bus and ride I used to go out dancing, put on my high-heeled shoes Get in my short black chevy, go on a downtown cruise I feel a little bit mixed up, maybe I’m obsolete All us pinball pool sharks, we just can’t compete
Space age whiz kids kids Leaders in the field Pioneers of research Space age whiz kids
Arcade mothership monsters, laserbeam blastshield eyes Full on space age madness, make-believe satellite skies Alien ships approaching, there’s trouble in sector five Left hand on the joystick, right hand hyperspace drive
Space age whiz kids kids, Space age whiz kids
Space age whiz kids kids, Space age whiz kids Space age whiz kids Space age whiz kids Space age whiz kids Space age whiz kids
They got nothing to do, put another quarter in Pay those space age dues Donkey Kong high score, Pac Man’s on a roll Klingons on the warpath, whiz kids on patrol
Space age whiz kids, Space age whiz kids Space age whiz kids, Space age whiz kids Space age whiz kids, Space age whiz kids Space age whiz kids, Space age whiz kids I like space age whiz kids I like…I need…I need quarters…quarters! Give me quarters! I like quarters!
This great song is listed under Celtic Punk. This song was on an album with the same name released in 1988. Its been called the Pogues best album and it peaked at #3 in the UK and #4 in New Zealand in 1988. This song was was originally recorded for the “Straight Too Hell” soundtrack
This is such pure music and I’m a sucker for a well placed accordion.
The Pogues formed in Ireland in 1982 by Shane MacGowan. The band reached international prominence in the 1980s and early 1990s. MacGowan left because of drinking problems and was replaced for a time with Joe Strummer and then with Spider Stacy on vocals before breaking up in 1996.
They reformed with MacGowan in 2001 and are still together and playing. The band was awarded the life-time achievement award at the annual Meteor Ireland Music Awards in February 2006.
If I Should Fall From Grace with God
If I should fall from grace with god Where no doctor can relieve me If I’m buried ‘neath the sod But the angels won’t receive me
Let me go boys Let me go boys Let me go down in the mud Where the rivers all run dry
This land was always ours Was the proud land of our fathers It belongs to us and them Not to any of the others
Let them go boys Let them go boys Let them go down in the mud Where the rivers all run dry
Bury me at sea Where no murdered ghost can haunt me If I rock upon the waves No corpse can lie upon me
It’s coming up three boys Keeps coming up three boys Let them go down in the mud Where the rivers all run dry
If I should fall from grace with god Where no doctor can relieve me If I’m buried ‘neath the sod And still the angels won’t receive me
Let me go boys Let me go boys Let me go down in the mud Where the rivers all run dry
What a great band! I could almost leave it at that and post the song. They were technically the Young Rascals when this song came out of AM radios in the sixties. They were never really an album band but more of a super singles band. The dropped the “young” in 1968 and continued having hits.
The Rascals rose to prominence playing rhythm and blues and soul music. Their 1966 cover of the Rudy Clark and Artie Resnick song…Good Lovin went to the top of the Billboard Pop Singles chart. They had the majority of their hits between 1966-1968.
They had nine top 20 hits and thirteen top 40 hits…they also had three number 1 hits and a total of 18 songs in the Billboard 100 before they disbanded in 1972. This song was written by Felix Cavaliere and Eddie Brigati.
This song was known as I’ve Been Lonely Too Long and Lonely Too Long…it peaked at #16 in the Billboard 100 and #7 in Canada. It was released on January 16, 1967.
They went on to have more hits with “Groovin,” “People Got to Be Free,” “How Can I Be Sure?” and “A Beautiful Morning” before disbanding in 1972.
I’ve Been Lonely Too Long
I’ve been lonely too long, I’ve been lonely too long In the past it’s come and gone, I feel like I can’t go on without love I’ve been lonely too long (he’s been lonely too long) I’ve been lonely too long (he’s been lonely)
As I look back I can see me lost and searching Now I find that I can choose, I’m free, oh yeah So funny I just have to laugh All my troubles been torn in half I been lonely too long (he’s been lonely too long) Lonely too long (he’s been lonely)
In the past it’s come and gone I feel like I can’t go on without love (Lonely) lonely too long I’ve been lonely too long (he’s been lonely)
Just see me now Makes it worth the time I’ve waited She was all I need to make me see, oh yeah I keep hopin’ with all my mind Everything gonna turn out right I’ve been lonely too long (he’s been lonely too long) I’ve been lonely too long (he’s been lonely)
Now look at me Gliding through this world of beauty Everything I do brings ecstasy, oh yeah No wonder I could die I feel like I’m ’bout ten miles high I’ve been lonely too long (he’s been lonely too long) Lonely too long (he’s been lonely)
Found myself somebody (he’s been lonely) Don’t have to be alone no more (he’s been lonely, he’s been lonely) Don’t have to alone no more, no more (he’s been lonely, he’s been lonely)
It’s a shame this guy didn’t get the recognition he should have. He was obviously influenced by the Beatles and Paul McCartney especially.
Emitt was turned down by A&M Records so he built a studio in his parents garage. Rhodes recorded his first album (Emitt Rhodes) in that studio. ABC/Dunhill Records signed him and they released his album as well as the next three albums he recorded.
He played all the instruments himself and recorded on a four track tape machine. ABC/Dunhill then transferred the tapes to 8 track and Emitt redone all of his vocals.
This song is on his debut album Emitt Rhodes and every song is quality. The first single Fresh as a Daisy peaked at #54 in the Billboard 100 while his album Emitt Rhodes peaked at #29 in 1970.
The album was a critical success – Billboard called Rhodes “one of the finest artists on the music scene today” and later called his first album one of the “best albums of the decade“.
Unfortunately Emitt passed away in 2020 in his sleep.
From Wiki: Italian director Cosimo Messeri shot a documentary movie about Emitt Rhodes’s vicissitudes: life, past, present, troubles and hopes. The movie, titled The One Man Beatles, was selected for the International Rome Film Festival 2009, and it received standing ovations. In 2010 The One Man Beatles was nominated for David di Donatello Award as Best Documentary of 2010. Its US premiere screening was scheduled for May 29, 2010, at the Rhino Records Pop Up Store in Westwood, California.
Long Time No See
It’s been a long time, I remember you well It’s been a long time no see, where you been keeping yourself?
You’ve been staying all alone when you should be playing Been feeling all alone when you should be praying It’s been a long time no see.
It’s been a rough road to ride, says the sun in the West It’s been hard but I get by with a moment to rest.
Been thinking all the time that things will get better And living all alone can’t make me much sadder It’s been hard but I’ll get by.
Oh oh oh oh, yeah Oooh…
It’s been a long time, I remember you well It’s been a long time no see, where you been keeping yourself?
You’ve been staying all alone when you should be playing Been feeling all alone when you should be praying It’s been a long time no see.
When I hear this song, it reminds me of just how great the Beatles were at songwriting and harmonizing. My all time favorite rock singers includes John Lennon…this song demonstrates why. His voice could cut through anything and is always sharp…and has been widely imitated but it wasn’t liked by John himself who notoriously wanted it covered up on recordings.
The song was on Meet The Beatles…the first Beatle album I ever listened to. The vocals were a three part harmony sung by Harrison, Lennon and McCartney. The song was written by Lennon and McCartney.
This was the first Beatles composition that was commented on by a music critic. William Mann wrote in The London Times December 27, 1963, that the song had “pandiatonic clusters.” Musicians and parents who knew something about music knew there was something more than just hair with this band. The songs they were hearing were more sophisticated than the regular pop songs at the time.
Capitol of Canada released a couple of unique singles of their own creation in early 1964 to capitalize on the success of Beatlemania in that country. The second of which was “All My Loving” paired with “This Boy” as its flip side.
The song peaked at #1 in Canada and #53 in the Billboard 100.
John Lennon:“Just my attempt at writing one of those three-part harmony Smokey Robinson songs,”
From Songfacts
John Lennon wrote this song. One of his early compositions, it is seemingly simple, but very clever. The song contains only a few notes, but the space between the notes is filled by the arrangements. It’s the same technique you hear in Liszt’s “Liebestraum,” the piano piece in Schumann’s Davidsbündlertänze and in Beethoven’s “Moonlight Sonata.”
George Harrison: “It was John (Lennon) trying to do Smokey (Robinson).”
The Beatles performed this on their second Ed Sullivan Show appearance – Feb 16, 1964. They played six songs on the show that night, and this provided a slow change of pace from the uptempo songs like “She Loves You” and “I Want To Hold Your Hand.” The Beatles were just beginning their breakthrough in America and got a huge audience from the show.
This was used in Ringo’s big scene in The Beatles movie A Hard Day’s Night. The version used in the film is an instrumental renamed “Ringo’s Theme (This Boy),” and without any harmony singing.
This was one of the first songs on which The Beatles used a 4-track recorder.
Artists to cover this song include Tom Baxter, David Bowie, Sean Lennon, George Martin, Delbert McClinton and The Nylons
George taking a stroll down memory lane:
This Boy
That boy Took my love away Though he’ll regret it someday But this boy wants you back again
That boy Isn’t good for you Though he may want you, too This boy wants you back again
Oh, and this boy would be happy Just to love you, but oh my That boy won’t be happy ‘Til he’s seen you cry
This boy Wouldn’t mind the pain Would always feel the same If this boy gets you back again
I have always liked and admired good instrumentals. I look at them the same way I look at the great silent movies of the early 20th century. They have to get across what they want to say without dialog. That is not easy to do but when they succeed…they are great. When I hear Sleep Walk it’s like hearing a dream set to music…haunting and beautiful at the same time.
Lyrics would not do this song justice…it says all it needs to say.
I first heard it on the movie La Bamba and I never grew tired of it. Unlike other soundtrack songs…I don’t think of the movie when I listen to this one. It’s on it’s own little island.
I like many instrumentals but this one is probably my favorite. It sets a mood like no other. It was written and performed by Santo and Johnny Farina in 1959. It peaked at #1 in the Billboard 100 and #22 in the UK Charts.
I haven’t posted a Badfinger song in a while…and this is the first one I’ll post that came after Pete Ham passed away. Pete Ham was the principle songwriter but Joey Molland and Tom Evans were no slouches. This edition included Tony Kaye, formally of Yes.
This song is slow but the melody is fantastic. This song was long after Pete Ham was gone from the band in 1975. This song was written by bass player Tom Evans. In 1977 the guitar player Joey Molland and Evans started the band back after the death of Ham.
They were signed by Electra Records and released an album called Airwaves. I remember when I was around 11 I saw this in a cutout bin…I bought it because I’d read so much about them from Beatle books. It’s a good album considering there is no Pete Ham
The album flopped, only hitting #125 in America. “Lost Inside You Love”, however, was selected to be the album’s first single release. Backed with the Joey Molland-written track “Come Down Hard”, the song, like the album, was not successful, not charting in America or Britain. Another single followed named “Love Is Gonna Come at Last”, that same year which got some radio play.
In 1983, after a dispute with former bandmate Joey Molland over royalties for the song “Without You”, Tom Evans hanged himself in his garden only eight years after Pete Ham did the same.
Lost Inside Your Love
What can I say, what can I do?
All of my life I’ve been a victim of you
What can I say or do?
Lost inside your love
What can it be, who can I see? All of your life you’ve been the winner in me What can I say or do? Lost inside your love
Is it any wonder there’s no reason why? Is it all because I left it open wide for your pride To leave me one more time Are you leaving me one more time?
[guitar solo (Joey Molland)]
What can I say, what can I do? All of my life I’ve been a winner with you What can I say or do? Lost inside your love Lost inside your love Lost inside your love.
LOST INSIDE YOUR LOVE [solo demo version] (Tom Evans) What can I say, what can I do? All of my life I’ve been a victim of you What can I say or do? I’m lost inside your love
What can it be, who can I see? All of my life you’ve been the loser in me What can I say or do? I’m lost inside your love
Is it any wonder there’s no reason why? Is it all because I left it open wide for your pride To lose me once again Am I losing you once again?
What can I say, what can I do? All of my life I’ve been a loser with you What can I say or do? I’m lost inside your love Lost inside your love Lost inside your love.
Marc Bolan didn’t appear on John’s Children’s first album Orgasm album released in 1967…he did join after the album was completed…although he did write, play guitar and sing the backing vocals on this song.
The song failed to chart in Britain, possibly due to the fact it was banned by the BBC for the lyric “lift up your skirt and fly.” However, the song was a minor hit in Europe. The band consisted of Andy Ellison on vocals, John Hewlett on guitar and bass, Geoff McLelland on guitar and Chris Townson on drums. The band started as The Few in Surrey in 1964.
Marc Bolan joined the group for a time as their principal singer and songwriter as well as several unreleased cuts that have surfaced on reissues. Bolan departed in an argument with Napier-Bell (producer), and the group released a couple more flop singles before disbanding in 1968.
They had promise…not a bad sounding mid-sixties mod band.
Some ex-members of John’s Children were involved with the obscure British groups Jook, Jet, and Radio Stars in the ’70s.
Desdemona
Desdemona just because You’re the daughter of a man He may be rich he’s in a ditch He does not understand Just how to move or rock and roll To the conventions of the young
Lift up your skirt and fly Just because my friend and I Got a jute joint by the Seine Does not mean I’m past fourteen And cannot play the game I’m glad I split and got a pad On Boulevard Rue Fourteen
Lift Up your skirt and fly Just because Toulouse Lautrec Painted some chick in the rude Doesn’t give you the right To steal my night And leave me naked in the nude Well just because the touch of your hand Can turn me on just like a stick
Desdemona, Desdemona Desdemona Desdemona Desdemona, Desdemona Lift up your skirt and speak
This 80s band started off as a surf band and then they switched to a more garage band sound. The song has a 1960s feel…it would be expected from a band who had a song called (I Wish It Could Be) 1965 Again.
The Barracudas are an English-Canadian band that formed in 1978 when Robin Wills (from London) met Jeremy Gluck (from Ottawa) and they are now based in England. The band’s original line-up consisted of Jeremy Gluck (vocals), Robin Wills (guitar and vocals), Starkie Phillips (bass and vocals) and Adam Phillips (drums).
The band broke up in 1984 but reformed in 1989. In 2005 they released their back catalog and that provided a boost to their career. They started to release singles and an album in 2014. They ended up with more compilations albums than regular releases.
This song was released in 1981 on their debut album Drop Out.
There was also a sixties band with the same name.
Jeremy Gluck:Radio was an enormous influence. You can’t imagine now how important it was then, it would seem sentimental to get into it. There were some good local stations, like CFRA, that played the Top 40 – I remember calling them like crazy in hope of my “Bang-a-Gong” request hitting paydirt. But the best was on FM. The night my top FM DJ played all of ‘Quadrophenia’ days before its release was one of many highlights. At night through the crystal clear winter skies I could tune in dozens of American stations, and discovered a lot of music and madness that way. Radio is magic: the first time I heard a record of mine on radio (John Peel show!), it was an epiphany.
Jeremy Gluck is the author and founder of the Nonceptualism art manifesto…yea don’t ask me but he described it.
“Nonceptualism is about the (an) end to art, and the end of the idea of an artist in self-concept and conception and execution of work, as we and consider it…but maybe it’s also my way of saying, It’s about an end to some or all of me as I’ve conceived myself since conditioning began – as it does with all of us – not long after birth. Which I like…”
We’re Living In Violent Times
Stayed in all day I was scared of getting killed Didn’t pick up my pay I know I’ll just get bills Maybe it’s all in my frozen mind We’re living in violent times Maybe it’s in my mind We’re living in violent times Took the news off the TV It always depresses me Put my new car in the garage I’m so scared of a crash I couldn’t wait to turn off the lights We’re living in violent times I tell ya We’re living in violent times Protested Guess I should look at the bright side And be glad just to be alive I’ll be happy right now If I come through this and survive I’m not imagining this I see the signs We’re living in violent times
Noddy’s voice in this song is a perfect example of why AC/DC supposedly asked him to replace Bon Scott in 1980.
When they decided to record it, at Olympic Studios, they did so with a live feel, setting up the microphones in the stairwell outside which gave the echo for hand clapping and stamping. Most DJs wouldn’t play it because they thought it was too rowdy, but a few did, including John Peel.
The song was written by Bobby Marchan and he released it in 1964. Little Richard covered it and released it in 1967. Slade heard the Little Richard version and based their recording off of his. Little Richard was given the writer’s credit, then they were sued by the real writer, Bobby Marchan. Slade’s record company, Polydor, sorted out the mess.
It peaked at #16 in the UK in 1971.
From Songfacts
Slade ended their live set with “Get Down And Get With It” for nearly two years; in his autobiography, band member Noddy Holder said it was a Little Richard cover in 12-bar format, but “had something magical about it”; the original was all piano and sax, but they did it with guitars.
It peaked at #16, and earned them an appearance on Top Of The Pops.
When the sheet music was published by Burlington Music at 20p, it was credited correctly to Marchan, copyright 1965 by Tree Publishing of Nashville. The full title was given as “GET DOWN AND GET WITH IT (GET DOWN WITH IT).”
Get Down and Get With It
All right everybody Let your head down I want to say everybody get on of your seat Clap your hand and step your feet *Get down and get with it I said* Do the turns Come on baby I’m going to watch everybody work I said come on baby Watch everybody do the dance (*repeat) It’s been a long long time Yeah,yeah,yeah I’m going to watch everybody go around I said (*repeat) baby Watch everybody make some time
(* repeat) It’s alright Yeah, yeah, yeah Ma ma ma ma….. Baby it’s alright Ma ma ma ma ma ma
Everybody raise both of your hand in the air Everybody, everybody I said clap your hands Everybody clap your hands Yeah,yeah,yeah Ma ma ma ma Everybody clap your hands ma ma ma… I want to see everybody get your boots on Everybody everywhere I said step your feet Come on and step Your feet Yeah Yeah, yeah, yeah, Ma ma ma ma… Everybody step your feet Ma ma ma ma… I want to say everybody get above your seats Clap your hands and step your feet Make it
(* repeat) I said (*repeat) I said (*repeat) baby Yeah,yeah,yeah Ma ma ma ma I said come on baby, ma ma ma ma… I said step your feet and do the thing baby Yeah,yeah,yeah Ma ma ma ma… Everybody step your feet baby I said ma ma ma ma Yeah… I said (*repeat) now Yeah,yeah,yeah Ma….. (*repeat) baby Ma…..
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