This is a really good song by the Monkees. It was written by “Wildfire” author, Michael (Martin) Murphey and Owen Castleman and was an album track. If you watched a lot of their shows on reruns like I did…I knew their album tracks by heart. This would have been a good single. It has a great country/rock sound like most of his songs do.
It was on the album Pisces, Aquarius, Capricorn & Jones Ltd. that peaked at #1 in the Billboard 100, #2 in Canada and #5 in the UK in 1967.
Owens “Boomer” Castleman was the co-writer on this song and was a member of The Survivors, a pre-Monkees group that included Michael Nesmith, Bill Chadwick, Michael Martin Murphey, and John London.
What Am I Doing Hanging Round?
Just a loud mouth Yankee I went down to Mexico. I didn’t have much time to spend, about a week or so. There I lightly took advantage of a girl who loved me so. But I found myself a-thinkin’ when the time had come to go…
[Chorus:] What am I doin’ hangin’ round? I should be on that train and gone. I should be ridin’ on that train to San Antone, What am I doin’ hangin’ round?
She took me to the garden just for a little walk. I didn’t know much Spanish and there was no time for talk. Then she told me that she loved me not with words but with a kiss. And like a fool I kept on thinkin’ of a train I could not miss…
[Chorus]
Well it’s been a year or so, and I want to go back again. And if I get the money, well I’ll ride the same old train. But I guess your chances come but once and boy I sure missed mine. And still I can’t stop thinkin’ when I hear some whistle cryin’….
This is one of the first AC/DC songs I was familiar with when I was around 11 years old. My older cousin was a huge fan and would play the live If You Want Blood You’ve Got It album constantly. It was a few years later before I heard the studio version of the song.
As with most of their songs it started with an excellent guitar riff and doesn’t relent.
The song was originally on the Let There Be Rock album released in 1977. It was released as a single in 1978 as a live cut and didn’t do much but then the live cut was reissued again in 1979 and peaked at #36 in the UK in 1980.
This song is about a large woman that lead singer Bon Scott had relations with early in the band’s career. I’ll let Bon and Angus tell the tale.
Bon Scott:“We were all staying in the same hotel and this chick Rosie lived across the road. She was so big she sort of closed the door and put it on ya’, half your body, and she was too big to say no to. Then she used to look up and see what band was in town and say “hi over there boys” and we’d go over and have a party. She came to one of our shows, she was from Tasmania actually, and she was in the front row. She was like 6’2 and like 19 stone 12 pounds (around 266lbs). That girl was some mountain. So you can imagine the problems I had. So I just sorta had to succumb … I had to do it. Oh my God, I wish I hadn’t.”
Angus Young:We’d been in Tasmania and after the show [Bon Scott] said he was going to check out a few clubs. He said he’d got about 100 yards down the street when he heard this yell: ‘Hey! Bon!’ He looked around and saw this leg and thought: ‘Oh well!’ From what he said, there was this Rosie woman and a friend of hers. They were plying him with drinks and Rosie said to him: ‘This month I’ve slept with 28 famous people,’ and Bon went: ‘Oh yeah?!’ Anyway, in the morning he said he woke up pinned against the wall, he said he opened one eye and saw her lean over to her friend and whisper: ’29!’ There’s very few people who’ll go out and write a song about a big fat lady, but Bon said it was worthy.
From Songfacts
In a 1976 interview with the band for Sounds magazine, their guitarist Malcolm Young prodded Scott to tell the story about “the fat one.” Scott explained that backstage at a show in Australia, a rotund woman they called “Big Bertha” came forward when he asked, “Who wants it?” Too frightened to refuse, he did the deed with Bertha, who then called to her friend, “that’s the 37th this month,” and produced a black book where she recorded her conquests. Scott turned the incident into a song, this time naming the woman “Rosie.”
In their early days, the band shared a house in Australia where lots of unsavory incidents occurred. This gave them material for songs like this one and “The Jack.” Bon Scott had great affection for the full-size girls, and occasionally put his conquests in his songs. Another song on the album, “Go Down,” mentions Ruby Lips, who is another real person. This is confirmed in the Let There Be Rock liner notes.
The music is based on the Chuck Berry song “No Money Down.”
Originally released on the Let There Be Rock album, this song didn’t get much publicity until AC/DC re-released it a year later on If You Want Blood, You Got It when the band became internationally popular.
This song was covered and performed live by Guns N’ Roses. Nearly a decade later, Axl Rose cited an article in Melody Maker comparing the original AC/DC lineup to Guns N’ Roses as the inspiration for covering this song.
Originally, there were two versions of this song. The first was called “Dirty Eyes” and was eventually released in 1997 on the Bonfire boxed set.
Whole Lotta Rosie
Wanna tell you story About woman I know When it comes to lovin’ She steals the show She ain’t exactly pretty Ain’t exactly small Fourt’two thirt’ninefiftysix You could say she’s got it all
Never had a woman Never had a woman like you Doin’ all the things Doin’ all the things you do Ain’t no fairy story Ain’t no skin and bones But you give it all you got Weighin’ in at nineteen stone You’re a whole lotta woman A whole lotta woman Whole lotta Rosie Whole lotta Rosie Whole lotta Rosie And you’re a whole lotta woman
Honey you can do it Do it to me all night long Only one who turn me Only one who turn me on All through the night time Right around the clock To my surprise Rosie never stops She was a whole lotta woman Whole lotta woman Whole lotta Rosie Whole lotta Rosie Whole lotta Rosie A whole lotta woman
Bring your own lampshade Somewhere there’s a party
This song has just a slight early sixties vibe and shows their expanding repertoire.
Paul Westerberg has said Swingin Party drew on Sinatra’s version of Rodgers and Hart’s standard “Where or When” and The Springfield’s “Flying on the Ground Is Wrong.” It had a trace of Frank and Nancy Sinatra’s “Somethin’ Stupid” and Brian Hyland’s “The Joker Went Wild.” He said if you steal from everything nobody can put a finger on you.
The song’s oscillating rhythms and guitars provided a perfect backdrop for the lyrics.
This song was on their 4th studio album Tim. Yes, they named the album Tim which is pretty funny. It would be the last album founding member and lead guitarist Bob Stinson worked on.
Paul Westerberg:“We named it Tim for no reason at all”.This was the first time we named an album after it was done.We sat around a bar,we were gonna call it Whistler’s Mammy,Van Gogh’s Ear,or England Schmingland.”I think I said Tim and we sat and laughed for a few minutes and then we said,”Why not?”
Paul Westerberg:“One of the reasons we used to drink so much is that it was scary going up onstage. That’s one of the things ‘Swingin Party’ is all about” “The funny thing is, people think you must have all this confidence to get up onstage.”
New Zealand singer Lorde covered Swingin Party”= as the B-side to her second single, “Tennis Court.” The song peaked at #10 in the New Zealand singles chart in 2013.
Swingin’ Party
Bring your own lampshade Somewhere there’s a party Here it’s never ending Can’t remember when it started Pass around the lampshade There’ll be plenty enough room in jail
If being alone’s a crime I’m serving forever Being strong’s your kind I need help here with this feather If being afraid is a crime We hang side by side At the swingin’ party down the line
On the prairie pavement Losing proposition Quitting school and going to work And never going fishing Water all around Never learn how to swim now
If being alone’s a crime I’m serving forever Being strong’s your kind Then I need help here with this feather If being afraid is a crime We hang side by side At the swingin’ party down the line At the swingin’ party down the line
Bring your own lampshade Somewhere there’s a party Here it’s never ending Can’t remember when it started Pass around the lampshade There’ll be plenty of room in jail
If being alone’s a crime I’m serving forever Being strong is what you want Then I need help here with this feather If being afraid is a crime We hang side by side At the swingin’ party down the line At the swingin’ party down the line Catchin’ time At the swingin’ party down the line
I’m going to write about my top 10 favorite TZ episodes in the next few weeks…Most of the Twilight Zones are like songs to me…to be enjoyed over and over. The Twilight Zone is not really an ordinary TV show. It’s THE TWILIGHT ZONE. This is my personal choice for #3 on my list.
Jason Foster is a wealthy person that is going to die…his daughter and her family are there to “visit” and they are truly awful people. This is one where justice gets served. Robert Keith is wonderful as Jason Foster and he has a surprise for his money hungry family waiting for him to die.
Rod Serling’s opening narration: Mr. Jason Foster, a tired ancient who on this particular Mardi Gras evening will leave the Earth. But before departing, he has some things to do, some services to perform, some debts to pay—and some justice to mete out. This is New Orleans, Mardi Gras time. It is also the Twilight Zone.
When Jason Foster’s doctor tells him that he could die at any moment, the wealthy Jason Foster gathers his heirs including his daughter Emily Harper, her husband Wilfred and their children Paula and Wilfred Jr. Jason doesn’t think much of any of them and it’s clear they can’t wait to get their hands on his fortune. It’s Mardi Gras time in New Orleans and he has one last request – for each of them to wear a carnival mask. Each of the masks is meant to reflect some aspect of their personality – and leave a lasting impression on them.
“The Masks” was the first and only episode of The Twilight Zone that was directed by a woman. Ida Lupino was known for making movies that commentated on the state of society and those who live under a specific social status.
Rod Serling wrote this great episode.
Jason Foster: You’re cruel and miserable people! Because none of you respond to love! Emily responds only to what her petty hungers dictate! Wilfred responds only to things that have weight and bulk and value! He feels books, he doesn’t read them! He appraises paintings, he doesn’t seek out their truth or their beauty! And Paula there lives in a mirror. The world is nothing more to her than a reflection of herself. And her brother… Humanity, to him, is a small animal, caught in a trap, to be tormented! His pleasure is the giving of pain. And from this, he receives the same sense of fulfillment most human beings get from a kiss or an embrace! You’re caricatures! All of you! Without your masks, you’re caricatures!
Rod Serling Closing Narration: Mardi Gras incident, the dramatis personae being four people who came to celebrate and in a sense let themselves go. This they did with a vengeance. They now wear the faces of all that was inside them—and they’ll wear them for the rest of their lives, said lives now to be spent in the shadow. Tonight’s tale of men, the macabre and masks, on the Twilight Zone.
This song you may remember from the Yardbirds and Aerosmith but this version rocks roots style. No matter what version you know…this song is built for a rock band of any kind.
It was written by Tiny Bradshaw, Howard Kay, and Lois Mann, this song was originally performed by Tiny Bradshaw’s Big Band in 1951.
This version features guitar lines in what many historians consider to be the first recorded example of intentionally distorted guitar in rock music, although blues guitarists, such as Willie Johnson and Pat Hare, had recorded with the same effect years earlier.
The Trio’s guitarist, Paul Burlison, recounted that he noticed the sound after accidentally dropping his amplifier, which dislodged a power tube. Later, “Whenever I wanted to get that sound, I’d just reach back and loosen that tube”
Johnny Burnette recorded this rock version in 1956, and The Yardbirds popularized the song with their rendition in 1965. Aerosmith covered it in 1974, often playing the song as their encore in their early years. Tyler had seen the Yardbirds do it in the sixties and as he said it knocked him out.
Train Kept A Rollin’
I caught a train I met a dame She was a hepster And a real gone dame She was pretty From New York City And we trucked on down that old fair lane With a heave and a ho Well i just couldn’t let her go
Get along, creepy little woman Get along, well be on your way Get along, creepy little woman Get along, well be on your way With a heave and a ho Well i just couldn’t let her go
Well, the train kept a-rollin all night long The train kept a-rollin all night long The train kept me movin’ all night long The train kept a-rollin all night long With a heave and a ho Well i just couldn’t let her go
We made a stop In Alberquerque She must of thought That I was a real gone jerk We got off the train At El Paso Our lovin was so good, jack I couldn’t let her go Get along Well I just couldn’t let her go
Get along, creepy little woman Get along, well be on your way Get along, creepy little woman Get along, well be on your way With a heave and a ho Well I just couldn’t let her go
The train kept a-rollin all night long The train kept a-rollin all night long The train kept her movin’ all night long The train kept a-rollin all night long With a heave and a ho Well I just couldn’t let her go-oh-oh
The first thing I noticed are the huge drums that start this song off. Eddie was one of the great rock and roll guitar players in the 50s. His guitar playing influenced bands such as The Clash, The Ramones, and The Sex Pistols.
Cochran wrote this with the help of Sharon Sheeley, who became Eddie’s girlfriend. There weren’t many female songwriters at the time, but Sheeley’s first effort, “Poor Little Fool,” became a #1 hit for Ricky Nelson.
She met Eddie when she asked him to record one of her songs.
On April 17, 1960, Cochran was killed in a car accident at age 21. Sheeley and Gene Vincent were also in the car and injured in the crash, but Cochran went through the windshield.
Sheeley continued to write songs for artists like Brenda Lee and Irma Thomas. She died in 2002 at age 62.
Somethin’ Else
A look a-there, here she comes There comes that girl again Wanted to date her since I don’t know when But she don’t notice me when I pass She goes with all the guys from outta my class But that can’t stop me from a-thinkin’ to myself She’s sure fine lookin’ man, she’s something else
Hey, look a-there, across the street There’s a car made just for me To own that car would be a luxery But right now I can’t afford the gas A brand new convertible is outta my class But that can’t stop me from athinkin’ to myself That car’s fine lookin’ man, it’s something else
Hey, look a-here, just wait and see Worked hard and saved my dough I’ll buy that car that I been wanting so Get me that girl and we’ll go ridin’ around We’ll look real sharp with the flight top down I keep right on a-dreamin’ and a-thinkin’ to myself When it all comes true man, wow, that’s something else
Look a-there, what’s all this Never thought I’d do this before But here I am a-knockin’ on her door My car’s out front and it’s all mine Just a forty-one ford, not a fifty-nine I got that girl an’ I’m a-thinkin’ to myself She’s sure fine lookin’ man, wow, she’s something else
I’m letting my regular format rest this weekend and contine what I started Friday, a foray into some rockabilly. I hope you stay with me. Let start off this Saturday morning with one of the best…Wanda Jackson.
After posting about Joyce Green a while back I started hunting around for more rockabilly songs. The vocal that Jackson has on this is great. Hard to believe she was a teenager when did this.
Fujiyama Mama is a song written by Jack Hammer. It was first recorded in 1955 by Annisteen Allen. In 1957 rockabilly singer Wanda Jackson recorded it. It did not chart in the United States, but Jackson’s recording peaked at #1 in Japan for several months in 1958.
So why wasn’t this a hit in America? Wanda said “Nobody would play it,” she insists. “They barely had accepted Elvis and the other ones, and they weren’t too sure about accepting a teenage girl singing this kind of music..”
Others have said America wasn’t too happy about the sexual meaning of the lyrics being delivered by a teenage girl. The Japanese enjoyed hearing familiar places in the song much more than the memory of the war. It’s still a cult favorite in Japan.
Wanda Jackson: I’m going to go back now to the year 1958. … Finally, I got a number one song in rock and roll. [Applause.] Thank you, but it wasn’t in America. [Laughs.] It took them a little bit longer to find me. But Japan found me in ’58 and made this song number one for a whole summer. And those people still sing it today—I can’t believe it. Like an evergreen song, you know? Every generation. It’s amazing.
Fuijyama Mama
I’ve been to Nagasaki, Hiroshima too The things I did to them baby, I can do to you
‘Cause I’m a Fujiyama Mama And I’m just about to blow my top Fujiyama-yama, Fujiyama And when I start erupting Ain’t nobody gonna make me stop
I drink a quart of sake, smoke dynamite I chase it with tobbacy and then shoot out the lights
‘Cause I’m a Fujiyama Mama And I’m just about to blow my top Fujiyama-yama, Fujiyama And when I start erupting Ain’t nobody gonna make me stop
Well you can talk about me, say that I’m mean I’ll blow your head off baby with nitroglycerine
‘Cause I’m a Fujiyama Mama And I’m just about to blow my top Fujiyama-yama, Fujiyama And when I start erupting Ain’t nobody gonna make me stop
Well you can say I’m crazy, so deaf and dumb But I can cause destruction just like the atom bomb
‘Cause I’m a Fujiyama Mama And I’m just about to blow my top Fujiyama-yama, Fujiyama And when I start erupting Ain’t nobody gonna make me stop
I drink a quart of sake, smoke dynamite I chase it with tobbacy and then shoot out the lights
‘Cause I’m a Fujiyama Mama And I’m just about to blow my top Fujiyama-yama, Fujiyama And when I start erupting Ain’t nobody gonna make me stop
The lead guitarist on the track was Johnny Meeks, who had replaced Cliff Gallup. The song has a great rockabilly vibe to it…from this came rock but it’s hard to top this.
In August 1957, a year after he had scored a million-seller with his debut single, Be-Bop-A-Lula Gene Vincent returned to the U.S. Top 20 with Lotta Lovin’ which, briefly restored his career here that was all too ready to overlook him.
‘Be-Bop-A-Lula’ had propelled Vincent into the limelight while he was still an amateur with only a few hometown appearances to his name. Years later, he blamed his quick baptism of fire for his rapid descent into alcohol.
What didn’t help was the car accident he had on April 16, 1960…with Eddie Cochran in a taxi which killed Cochran. Vincent whose leg was weak due to a wound incurred in combat in Korea…was injured. He walked with a noticeable limp for the rest of his life.
In 1962 he was in Hamburg and played on the same bill as the Beatles. The Beatles got pretty close to him.
Lotta Lovin’
Well I wanna-wanna lotta-lotta lovin’ Well I wanna-wanna lotta-lotta huggin’ So baby can’t you see that you were meant for me I want your lovin’, yes-a-ree.
Well I wanna-wanna lotta-lotta huggin’ Well I wanna-wanna lotta-lotta kissin’ So baby please proceed to get the love I need I want your lovin’ yes indeed.
Well, I want you, I love you, I need you so much Why don’t you give out with that magic touch You send me, you thrill me, baby you’re so fine I want your lovin’ baby all the time.
Well I wanna-wanna lotta-lotta lovin’ Well I wanna-wanna lotta-lotta kissin’ So baby don’t forget I gonna get you yet I want your lovin’, aw you bet. (Rock)
Well, I want you, I love you, I need you so much Why don’t you give out with that magic touch You send me, you thrill me, baby you’re so fine I want your lovin’ baby all the time
Well I wanna-wanna lotta-lotta lovin’ Well I wanna-wanna lotta-lotta huggin’ So baby don’t forget I gonna get you yet I want your lovin’, aw you bet. (Rock)
Well I wanna-wanna lotta lovin’ Well I wanna-wanna lotta huggin’ So baby don’t forget I gonna get you yet I want your lovin’, aw you bet Well,I need your lovin’, aw you bet Well, I want your lovin’, aw you bet Well,I need your lovin’, aw you bet Well, I want your lovin’, aw you bet.
One more song off of that great debut album. It might be one of the best debut albums of anyone.
This was written by Cars singer/guitarist Ric Ocasek and keyboard player Greg Hawkes. It’s one of the few songs Hawkes received songwriter credit on.
Most teenage boys in the eighties will remember this song. It was featured in the 1982 movie Fast Times At Ridgemont High during an unforgettable scene where the actress Phoebe Cates gets out a swimming pool while actor Judge Rienhold has his fantasy. This song was not included in the music soundtrack available for the film.
While it was never released as a single, the song was popular on rock radio stations and known as a great one to listen to through headphones. With lead vocals by Cars bass player Benjamin Orr, this song uses various studio production techniques to explore the stereo spectrum as the sound goes back and forth between the speakers.
From Songfacts
The song draws parallels between manipulating a stereo recording and moving through life. It’s a rare song where the word “tremolo” appears, which means manipulating a single note.
This song is often used to reference the famous Fast Times At Ridgemont High scene in which it appears. TV series that have paid homage include:
Family Guy in the 2001 episode “The Kiss Seen Round the World,” when Meg fantasizes about newscaster Tom Tucker.
One Tree Hill in the 2009 episode “I Just Died in Your Arms Tonight” when Clay sees Sara getting out of his pool.
Stranger Things in the 2019 episode “Suzie, Do You Copy?” when a group of women ogle a male lifeguard at the pool. Later in the episode, Dustin says his girlfriend is like Phoebe Cates, “only hotter.”
The song has also appeared in episodes of Parenthood, Scrubs, Alias and The Sopranos.
Moving In Stereo
Life’s the same I’m moving in stereo Life’s the same except for my shoes Life’s the same you’re shakin’ like tremolo Life’s the same it’s all inside you
It’s so easy to blow up your problems It’s so easy to play up your breakdown It’s so easy to fly through the window It’s so easy to fool with the sound
It’s so tough to get up It’s so tough It’s so tough to live up It’s so tough on you
Life’s the same I’m moving in stereo Life’s the same except for my shoes Life’s the same you’re shakin’ like tremolo Life’s the same it’s all inside you
Life’s the same I’m moving in stereo Life’s the same except for my shoes Life’s the same you’re shakin’ like tremolo Life’s the same it’s all inside you
Whenever I hear this song… I think of David Essex’s song Rock On. It makes sense…Michael Stipe wrote this as a tribute to Rock On.
They recorded a demo version of this song at John Keane Studios, a favorite place for the band to work in their hometown of Athens, Ga. Before the bulk of the Automatic for the People sessions were to take place in March and April, the group spent a little more than a week in New Orleans, playing and recording in Daniel Lanois’ Kingsway Studio.
The ended up recording a complete demo of the song in New Orleans they would use as the basis of the song.
Automatic For the People was released in 1992. The album title comes from a sign at “Weaver D’s Delicious Fine Foods” diner in Athens, Georgia. It read, “Delicious Fine Foods – Automatic For The People.” The diner was near the university in Athens, and was a regular hangout for Stipe and his friends in the band’s early days.
The song peaked at #28 in the Billboard 100, #7 in Canada, #11, and #5 in New Zealand in 1992.
Michael Stipe:There were, before Punk, a few songs that resonated with me. One was David Essex’s ‘Rock On.’ ‘Drive’ is a homage to that. It was the first song I wrote on computer. Before, I had a typewriter. The reason is my handwriting changes dramatically day to day. I don’t trust it. I will write one of the best lyrics ever and discard it because the handwriting looks like s–t. Or the handwriting looks good but it’s a crap lyric, lo and behold, it’s in the song. Too late.”
Mike Mills about the video: “I’m not much of a symbolist. There’s something messianic about being passed over the heads of the people like that, and yet we’re anything but messiahs. That was always a strange thing to me. I mean, yes, they get to touch you, but at the same time they’re holding you up like a saint.”
Michael Stipe:“The other interesting thing about that video was what happened backstage,” he added. “We shot it in Los Angeles with a thousand people as extras. River Phoenix came, hang out in the trailer. We had a great time, until Oliver Stone showed up. I think they had both been drinking, and they got in a fist fight in my trail (gaffaws heartily). I think River won, to tell you the truth. I know he did, in fact.”
From Songfacts
The central lyric, “Hey kids, rock n’ roll,” was borrowed from “Rock On” by David Essex. The words may be the same, but the mood is completely different. This is a much more somber song.
Lead singer Michael Stipe explained in the November 12, 2009 issue of Rolling Stone: “
Guitarist Peter Buck used a nickel as a guitar pick for the mid-song guitar solo to get a sharper sound. He overdubbed the track six times.
There is a line in the song that goes, “Smack, crack, bushwhacked.” This can be seen as an indictment of then-U.S. President George Bush (the first one). Lead singer Michael Stipe had taken out ads in college newspapers in 1988 saying, “Don’t Get Bushwhacked. Get out and vote. Vote Dukakis.” They weren’t very effective.
This was released two months before the national election between George H. W. Bush and Bill Clinton. Clinton won that one, but eight years later Bush’s son became president. When the younger Bush ran for re-election in 2004, R.E.M. performed concerts to benefit his opponent, John Kerry.
This song has no chorus. That doesn’t happen very often in hit songs.
This was the first single released off the album. It was issued a few days before the album came out.
At live shows, R.E.M. played a funk-rock version of this song because its ambient atmosphere was difficult to duplicate. This version appears on a 1993 benefit album for Greenpeace called Alternative NRG.
Director Peter Care shot the black-and-white music video at Sepulveda Dam in the Sherman Oaks area of Los Angeles. The clip mostly has Stipe crowdsurfing as he performs the song.
The implication was unclear; is the audience protecting him, or ready to tear him apart? Stipe told Mojo it was both. “It’s everything. I’m about to be devoured.”
Drive
Smack, crack, bushwhacked Tie another one to the racks, baby Hey kids, rock and roll Nobody tells you where to go, baby
What if I ride, what if you walk? What if you rock around the clock? Tick-tock, tick-tock What if you did, what if you walk? What if you tried to get off, baby?
Hey, kids, where are you? Nobody tells you what to do, baby Hey kids, shake a leg Maybe you’re crazy in the head, baby
Maybe you did, maybe you walked Maybe you rocked around the clock Tick-tock, tick-tock Maybe I ride, maybe you walk Maybe I drive to get off, baby
Hey kids, shake a leg Maybe you’re crazy in the head, baby Ollie, Ollie, Ollie, Ollie, Ollie Ollie, Ollie in come free, baby Hey, kids, where are you? Nobody tells you what to do, baby
Smack, crack, shack-a-lack Tie another one to your backs, baby Hey kids, rock and roll Nobody tells you where to go, baby
Maybe you did, maybe you walk Maybe you rock around the clock Tick-tock, tick-tock Maybe I ride, maybe you walk Maybe I drive to get off, baby
Hey kids, where are you? Nobody tells you what to do, baby Hey kids, rock and roll Nobody tells you where to go, baby Baby Baby
This song was off of the 1989 album Big Daddy. The two radio songs that got me to buy the album were Jackie Brown and this one.
In this song John didn’t want to be a pop or rock star. He didn’t want to do what the stars had to do to have hits. He wanted to be taken seriously and real. He had been through all of that when a manager renamed him to “Johnny Cougar” but he did remake his career by releasing more roots music and
This song peaked at #15 in the Billboard 100 and #1 in Canada in 1989.
John Mellencamp:“Everybody wanted to be a rock star in the ’80s,” he said. “Everybody but me.”
From Songfacts
“The most crucial thing for me is that I want it to be real.”
That’s what Mellencamp told Creem magazine in 1987. Two years later, he released a song about it. In “Pop Singer,” he explains that the music is what is important to him, and that he has no use for the gladhanding, trend-following or fan interaction that is expected of Pop Stars.
Mellencamp wasn’t always so “real” – his manager had him use the stage name “Johnny Cougar,” which took him years to reverse. He soon took control of his career, however, and did things on his terms. Any part of the job that isn’t related to making or performing music is something Mellencamp avoids. He will begrudgingly do promotion, but refuses corporate music traditions like radio station concerts and meet-and-greets. This stance didn’t endear him to industry types, but many fans found his candor refreshing and appreciated his authenticity and devotion to his craft.
When he wrote this song, Mellencamp was going through a divorce with his second wife, Victoria Granucci. “I was questioning the importance of music,” he told Rolling Stone. “Everybody was having to kiss everybody’s ass. If you want to be on MTV, then come here and do this. All these backroom deals were getting made. I was like, ‘I don’t want any part of this.'”
Mellencamp articulated his position in this song in his 2018 DVD Plain Spoken, where he explained that what he was after was a creative life away from his hometown of Seymour, Indiana. Had he become a painter, he would have been just as fulfilled, but when his demo got him a management deal, he was drawn toward music.
This song runs just 2:46, which is appropriate, as hit pop songs tend to be short, in part so radio stations can play more of them.
Pop Singer
Never wanted to be no pop singer, Never wanted to write no pop songs. Never had no weird hair to get my songs over. Never wanted to hang out after the show. Pop singer (writing) of pop songs.
Never wanted to have my picture taken. Now, who would want to look into these eyes? Just want to make it real – good, bad or indifferent. That’s the way that I live and that’s the way that I’ll die (As a) Pop singer (of) pop songs.
Pop singer, writing of pop song.
Never wanted to be no pop singer, Never want to write no pop songs. Never wanted to have a manager over for dinner. Never wanted to hang out after the show.
Pop singer, writing pop songs. Never wanted to be no pop singer, of pop songs. A pop singer. Never wanted to write no pop songs.
This is the Replacements 3rd album “Let It Be.” They named it that to joke with their manager who was an obsessed Beatles fan. The song to me sounds like an early Rod Stewart song in style.
While most of the popular music in the world at the time were playing New Wave or Heavy Metal…the Replacements were themselves. No special stage clothes just whatever they were wearing at the time. The word “alternative” was used for the Replacements in the 1980s. Only college stations would play them regularly. They were not good with compromises…and that part took a toll on their popularity…and one of the reasons they are not as well known today.
A band that had one of the best songwriters of the 80s could not get out of their own way and to the masses.
“Unsatisfied” may have been inspired by Westerberg’s developing interest in palmistry. Every palm reader he saw told him that the lines of his hand meant he was doomed to be unhappy forever. The song was a testament to the band’s ad-lib approach. Westerberg barely had any lyrics, save for the “I’m so unsatisfied” hook, and improvised as he sang.
Bob Stinson hadn’t even heard the song before cutting it. “We ran through it one time. Then Bob came in and played along for about half of it. Steve rolled the tape, and that was it,” said Westerberg. “That one was really nice because there was no time to think. He played real well on that—reserved, but with emotion.”
Later on when the Replacements opened up for Keith Richards this song was dedicated to Keith who wrote Satisfaction.
Unsatisfied
Look me in the eye Then, tell me that I’m satisfied Was you satisfied? Look me in the eye Then, tell me that I’m satisfied Hey, are you satisfied?
And it goes so slowly on Everything I’ve ever wanted Tell me what’s wrong
Look me in the eye And tell me that I’m satisfied Were you satisfied? Look me in the eye Then, tell me I’m satisfied And now are you satisfied?
Everything goes Well, anything goes all of the time Everything you dream of Is right in front of you And everything is a lie (or) And liberty is a lie
Look me in the eye And tell me that I’m satisfed Look me in the eye Unsatisfied I’m so, I’m so unsatisfied I’m so dissatisfied I’m so, I’m so unsatisfied I’m so unsatisfied Well, I’m-a I’m so, I’m so unsatisfied I’m so dissatis, dissattis… I’m so
It all started for me with a Simon and Garfunkel greatest hits package and I was instantly a fan.
Being a Beatle fan I always liked the version that Paul and George Harrison did on SNL in 1976 which was their highest rated episode up til that point. Paul played this and “Here Comes The Sun” with Paul Simon in 1976 on Saturday Night Live.
This was just the second Simon & Garfunkel single, following up “The Sound Of Silence,” which became a surprise hit when their record company added instrumentation and released it a year after it was first recorded. The duo had parted ways, but got back together in a hurry when “Sound of Silence” hit #1 in America.
The song peaked at #5 in the Billboard 100, #2 in Canada, #1 in New Zealand, and #9 in the UK in 1966. It appeared on the album Parsley, Sage, Rosemary and Thyme but they recorded it during the Sound of Silence album sessions.
Paul Simon: “That was written in Liverpool when I was traveling. What I like about that is that it has a very clear memory of Liverpool station and the streets of Liverpool and the club I played at and me at age 22. It’s like a snapshot, a photograph of a long time ago. I like that about it but I don’t like the song that much. First of all, it’s not an original title. That’s one of the main problems with it. It’s been around forever. No, the early songs I can’t say I really like them. But there’s something naive and sweet-natured and I must say I like that about it. They’re not angry. And that means that I wasn’t angry or unhappy. And that’s my memory of that time: it was just about idyllic. It was just the best time of my life, I think, up until recently, these last five years or so, six years… This has been the best time of my life. But before that, I would say that that was.”
From Songfacts
Paul Simon lived in Brentwood, Essex, England when he wrote this song. When traveling back from Wigan, where he was playing, he got stuck at the train station and wrote this. The song has a double meaning: literally, wanting for a ticket home to Brentwood, but on the other hand, yearning to go to his home in the US.
Along with “I Am A Rock,” this was recorded at a late-night session in New York City with producer Bob Johnston. Simon played acoustic guitar, and Ralph Casale was on electric. Johnston was working on Bob Dylan’s Highway 61 album around this time, and Casale recalls that drummer Bobby Gregg and organist Al Kooper – both Dylan regulars – played on this Simon & Garfunkel session as well.
Paul Simon performed this song with Billy Joel at Joel’s concert on August 4, 2015 at Nassau Coliseum in Long Island, New York. This was the last concert at the venerable arena, and Simon was a surprise guest. It marked the first time Joel and Simon ever sung together.
Peter Carlin called his 2016 novel about Paul Simon Homeward Bound. “Given the immigrant story beneath Paul’s life and work (what are his many musical re-creations if not the assimilation process writ in music over and over again) ‘Homeward Bound’ worked too well to ignore,” he explained.
Homeward Bound
I’m sitting in the railway station. Got a ticket to my destination. On a tour of one-night stands my suitcase and guitar in hand. And every stop is neatly planned for a poet and a one-man band. Homeward bound, I wish I was, Homeward bound, Home where my thought’s escaping, Home where my music’s playing, Home where my love lies waiting Silently for me.
Every day’s an endless stream Of cigarettes and magazines. And each town looks the same to me, the movies and the factories And every stranger’s face I see reminds me that I long to be, Homeward bound, I wish I was, Homeward bound, Home where my thought’s escaping, Home where my music’s playing, Home where my love lies waiting Silently for me.
Tonight I’ll sing my songs again, I’ll play the game and pretend. But all my words come back to me in shades of mediocrity Like emptiness in harmony I need someone to comfort me. Homeward bound, I wish I was, Homeward bound, Home where my thought’s escaping, Home where my music’s playing, Home where my love lies waiting Silently for me. Silently for me.
It only lasts around 12 minutes and it was squeezed in between Green Eggs and Ham and The Zax. They were packaged in a program called Doctor Suess On The Loose.
The Sneetches teaches us all that we are all the same no matter who we are or what we look like… and the stupidity of discrimination. I would wait all year for these 3 great segments…
There were two different types of Sneetches that live near the beach. The Star-Belly Sneetches have stars on their bellies. They believe that the star makes them more important than the Plain-Belly Sneetches who do not have stars. The Star-Belly Sneetches brag that they are the best on the beach and will not play games or socialize with those without the star.
One day Sylvester McMonkey McBean arrives and announces that he can solve the problem for the Plain-Belly Sneetches for a small price. They agree to his offer. The Plain-Belly Sneetches enter a large machine and pop out with a star on the bellies. The Star-Belly Sneetches are angry because they no longer feel superior. They decide to pay Sylvester McMonkey McBean to take off their stars. The Sneetches pay to put on, take off, and put on the stars for the rest of the day.
Eventually, the Sneetches run out of money and Sylvester McMonkey McBean leaves with all their money. He leaves saying that a Sneetch never learns. However, the Sneetches did learn a lesson that day. They decide that no kind of Sneetch is better than another. They forgot about the stars and became friends.
I’m going to write about my top 10 favorite TZ episodes in the next few weeks…Most of the Twilight Zones are like songs to me…to be enjoyed over and over. The Twilight Zone is not really an ordinary TV show. It’s THE TWILIGHT ZONE. This is my personal choice for #4 on my list.
This one I will be giving it all away…more than I usually do…so just a warning.
This one I love and it’s one of the most memorable episodes. If you have never seen it…stop reading now. It’s one of my favorites (and supposedly Rod Serling’s favorite of all that he wrote).
It’s so heartbreaking at the end and I feel so much for Mr. Bemis. This one more than any other Twilight Zone surprised me a bit. It is one of the best twists of any Twilight Zone.
Rod Serling Opening Narration:Witness Mr. Henry Bemis, a charter member in the fraternity of dreamers. A bookish little man whose passion is the printed page, but who is conspired against by a bank president and a wife and a world full of tongue-cluckers and the unrelenting hands of a clock. But in just a moment, Mr. Bemis will enter a world without bank presidents or wives or clocks or anything else. He’ll have a world all to himself… without anyone.
The show was written by Rod Serling and Lynn Venable.
Henry Bemis (Burgess Meredith) is a bookish bank teller who has a childlike fascination for the written word…any written word be it books, periodicals, newspapers. He delights in taking any moment to read, through his incredibly thick “coke-bottle” glasses, even on his salaried time. He is consistently harassed by his wife, customers, and boss for his love of print to the point that he must sneak into the bank’s vault where he works to read on his lunch hour.
During one such visit, a nuclear bomb blast levels his city, leaving him unscathed, whereupon he exits to find that he has “time enough at last” to read all he wants when he finds the local library’s contents scattered about. At this point, (warning: spoiler!) he stacks the books into towers and rejoices in the solitude that will allow him to read everything he can…but in reaching for a particular book, his glasses slip off his face and smash….leaving him to mutter: “That’s not fair… that’s not fair at all… There was time now…. There was…all the time I needed!.. It’s not fair”. The scene then closes with the image panning away from a crying Bemis.
The Twilight Zones are mostly moral plays and justice usually is delivered to a guilty party. On this one, Mr. Bemis isn’t a bad guy. I can’t help but feel pity for Mr. Bemis. It’s not like he was anti-social. He tried to bond with people, although awkwardly, he did try.
He wasn’t the best worker but not terrible and he did read on his lunch breaks. If this episode has a bad “guy” it would be his boss and wife who took away the thing he loved the most. Maybe he was a little selfish and single-minded…but he paid an awfully big price…but the positive…he did survive!
Rod Serling Closing Narration:The best-laid plans of mice and men…and Henry Bemis, the small man in the glasses who wanted nothing but time. Henry Bemis, now just a part of a smashed landscape, just a piece of the rubble, just a fragment of what man has deeded to himself. Mr. Henry Bemis, in the Twilight Zone.
CAST
Burgess Meredith – Henry Bemis Vaughn Taylor – Mr. Carsville Jacqueline deWit – Helen Bemis (as Jaqueline deWit) Lela Bliss – Mrs. Chester
PowerPop... An Eclectic Collection of Pop Culture 