Beach Boys – Don’t Worry Baby

This song is a pop masterpiece. Don’t Worry Baby was the B side to I Get Around and many agree it was the better song. The song peaked at #17 in the Billboard 100 and #12 in Canada.

This was conceived as a followup to the Ronettes’ #2 hit “Be My Baby.” When Brian Wilson heard the Ronettes’ song on the radio, he wondered aloud if he could match it. Wilson’s wife Marilyn reassured him, saying, “Don’t Worry, Baby.”

Since I’m a Keith Moon fan…this was supposedly one if not his favorite song that he would play on his portable tape player most places he went…Whenever someone tells a story about Keith, this song is many times mentioned as being played in the background.

From Songfacts.

Brian Wilson told Goldmine in 2011 regarding this track: “I wrote that with Roger Christian and it took me two days to write it. I started out with the verse idea and then wrote the chorus. It was a very simple and beautiful song. It’s a really heart and soul song, I really did feel that in my heart. Some say it’s about a car and others say it’s about a girl, who’s right? It’s both. It’s about a car and a woman.”

Philip Lambert, author of Inside The Music of Brian Wilson, said of the similarities between this song and “Be My Baby”: “They’re in the same key – E Major – and they start the same. The phrase structure is the same, the chord progressions are almost the same, the melodies are almost the same.” Lambert points out that the key change in this song is an unexpected touch that helps make the song memorable. The drums at the beginning are the same rhythm as “Be My Baby.”

This song was recorded in two 8-hour sessions. Brian Wilson often used the famous Los Angeles session musicians on his songs, but this one was mostly in the family: Brian played piano and bass, Carl Wilson played guitar, and Dennis Wilson played the drums.

The Beach Boys used as the B-side of their hit, “I Get Around.”

B.J. Thomas covered this in 1977. His version hit #17 in the US.

This song was used in the Drew Barrymore film Never Been Kissed. It also appeared in Good Morning Vietnam.

Billy Joel sang this at the “Tribute to Brian Wilson” concert that aired on July 4, 2001. >>

Weezer frontman Rivers Cuomo covered this in 1993. Fifteen years later he included his version on his solo Alone II album. He told Billboard magazine that this song was immensely influential on his songwriting. Cuomo explained: “I discovered the Beach Boys around that time in 1992-93, and to help me learn how to write those kinds of melodies and harmonies and chord progressions, I would learn their songs and record my own versions of them more like Weezer-style, with distorted guitars.”

Cuomo added: “I love Brian Wilson’s melody when he’s saying, ‘Well, it’s been building up inside of me for oh, I don’t know how long.’ I love the lyrical innocence. It’s just like a straightforward pop song, singing about a girl as opposed to something like the Pixies, where the lyrics were pretty abstract. And I love the big harmonies in the chorus — actually five-part vocal harmonies — and I carefully transcribed them in my bedroom on my tape player. But then I added the element of the modern crunchy guitar sound. And that’s what really helped me figure out what I wanted to do as a songwriter and a performer in Weezer.”

Al Jardine told Mojo magazine June 2012 that this was his favorite Beach Boys recording session. He recalled: “(Engineer) Chuck Britz got such a great sound on that song; the drums, the singing, the clicky sound on the Fender Precision bass. There’s something about the way the track sat. Just about everything about it was an era-change for us.”

Don’t Worry Baby

Well its been building up inside of me
For oh I don’t know how long
I don’t know why
But I keep thinking
Something’s bound to go wrong

But she looks in my eyes
And makes me realize
And she says “Don’t worry baby”
Don’t worry baby
Don’t worry baby
Everything will turn out alright

Don’t worry baby
Don’t worry baby
Don’t worry baby

I guess I should’ve kept my mouth shut
When I started to brag about my car
But I can’t back down now because
I pushed the other guys too far

She makes me come alive
And makes me want to drive
When she says “Don’t worry baby”
Don’t worry baby
Don’t worry baby
Everything will turn out alright

Don’t worry baby
Don’t worry baby
Don’t worry baby

She told me “Baby, when you race today
Just take along my love with you
And if you knew how much I loved you
Baby nothing could go wrong with you”

Oh what she does to me
When she makes love to me
And she says “Don’t worry baby”
Don’t worry baby
Don’t worry baby
Everything will turn out alright

Don’t worry baby
Don’t worry baby
Don’t worry baby




Paul McCartney’s Lost ‘Bruce McMouse Show’ Film Heading to Theaters

Found the below article in Rolling Stone  about this long-shelved concert footage/animation coming to select theaters January 21, 2019

Paul and Linda started this project in 1972 combining the 72 tour with animation about a mouse…Bruce McMouse to be correct.

More details about the showings

Image result for bruce McMouse

Never-before-seen, The Bruce McMouse Show is a concert film with a difference. Paul McCartney opens with the story of how the band came to meet the inimitable impresario Bruce McMouse. Featuring the original Wings line up, live concert footage from Wings’ 1972 European tour is interspersed with animated scenes, introducing a family of mice living under the stage. After opening the film with ‘Big Barn Bed’ – taken from Wings’ LP Red Rose Speedway – the camera takes us down through the floorboards into this charming animated world. We see Bruce McMouse regale his children with stories from his past, when son Soily rushes into the room in a whirlwind of excitement announcing that “The Wings” are playing above them.

As the concert plays on, Bruce declares to his wife Yvonne that Paul and the band need his help. Bruce then proceeds to venture on stage to offers his services as producer. As the concert progresses, the animated scenes culminate with dozens of animated mice flocking to the venue to see Wings play. The film was directed by Barry Chattington and produced by Roger Cherrill with the live elements taken from four shows in Holland and Germany in 1972.

Paul viewed the initial concert edit and realized there was great potential in the material captured. Prior to the European tour, Paul had the idea of a family of mice and sketched the characters. Picking up the idea, Eric Wylam took Paul’s sketches and created the final McMouse family. This storyline was incorporated and used as a linking theme within the concert footage. The voice-overs for the animated mice took place at the end of 1973, recorded by Paul and Linda McCartney, Deryck Guyler, Pat Coombs and Derek Nimmo.

Production stretched from 1972 to 1977 when the film was complete, however, with changes in the band’s line-up and music scene, the project was shelved. ‘The Bruce McMouse Show’ has been fully restored in 2018 at Final Frame Post alongside a brand-new audio mix (stereo and 5.1) created at AIR Studios and mastered at Abbey Road.

Andrews Sisters – Boogie Woogie Bugle Boy

I can’t help but like this song. It’s super catchy and the vocals sound so good. My 18-year-old son of all people got me into listening to 40s music…Frank Sintra and big band and I heard this one on satellite radio and remembered hearing it when I was younger.

The Andrews Sisters made the song famous when they performed it in the 1940 Abbott and Costello movie Buck Privates. The song begins in the movie with a solo trumpeter opening Reveille jazz style before a piano enters with a boogie-woogie bass vamp. Dressed in military uniforms and sitting on barstools drinking malts, the sisters stand up and start singing their inimitable close harmonies (notes near enough to grab with one hand on a piano). At the Academy Awards the following spring, “Boogie Woogie Bugle Boy” won the Oscar for Best Song.

By the time they retired from singing professionally, the Andrews Sisters had become the most successful female vocal group in history to that point, recording some 600 tunes that sold 75 million to 100 million records. When the Vocal Group Hall of Fame opened in Sharon, Pennsylvania, in 1998, they were among the original inductees. “Boogie Woogie Bugle Boy” remains their signature song and was voted number 6 of 365 on the 2001 list Songs of the Century.

There is a 70s version with Bette Midler and a newer version with Katy Perry…I’ll stick with the Andrew Sisters.


Boogie Woogie Bugle Boy

He was a famous trumpet man from out Chicago way
He had a boogie style that no one else could play
He was the top man at his craft
But then his number came up and he was gone with the draft
He’s in the army now, a-blowin’ reveille
He’s the boogie woogie bugle boy of Company B

They made him blow a bugle for his Uncle Sam
It really brought him down because he couldn’t jam
The captain seemed to understand
Because the next day the cap’ went out and drafted a band
And now the company jumps when he plays reveille
He’s the boogie woogie bugle boy of Company B

A-toot, a-toot, a-toot-diddelyada-toot
He blows it eight-to-the-bar, in boogie rhythm
He can’t blow a note unless the bass and guitar is playin’ with ‘I’m
He makes the company jump when he plays reveille
He’s the boogie woogie bugle boy of Company B

He was some boogie woogie bugle boy of Company B
And when he plays the boogie woogie bugle he was busy as a “bzzz” bee
And when he plays he makes the company jump eight-to-the-bar
He’s the boogie woogie bugle boy of Company B

Toot toot toot-diddelyada, Toot-diddelyada, toot-toot
He blows it eight-to-the-bar
He can’t blow a note if the bass and guitar isn’t with ‘I’m
Ha-ha-hand the company jumps when he plays reveille
He’s the boogie woogie bugle boy of Company B


He puts the boys to sleep with boogie every night
And wakes ’em up the same way in the early bright
They clap their hands and stamp their feet
Because they know how he plays when someone gives him a beat
He really breaks it up when he plays reveille
He’s boogie woogie bugle boy of Company B

70’s B Movies: It’s Alive

The below trailer scared the hell out of me when I was a kid. I had that scream in my head at night and I peeked around every corner. This is a 70’s B Drive-in type movie…but I enjoyed it. I could not talk my mom into taking me to see this one in 1977.

It’s Alive was released in a limited run in 1974. It was reissued with the below commercial in 1977 and that is when I heard that damn scream. The budget was $500,000 and the US gross was over $14,000,000 and by 1977 it climbed over $30,000,000 worldwide. Mr. Cohen did very well… there were sequels….but of course.

The Davises have had a baby but they are not sending out any announcements. Most new parents are a little scared when they have a baby. The Davises are terrified. You see there is only one thing wrong with the Davis baby… IT’S ALIVE…(insert scream)

The movie is about a couple who have a killer mutant baby but it does have some social commentary about the medicines and chemicals we take that will cause trouble…as in mutant killer babies.

It was written, produced, and directed by Larry Cohen. The couple’s name was Frank and Lenore Davis…Lenore had been given contraceptive medicine and the doctor who prescribed the drugs to Lenore is contacted by a pharmaceutical company executive. The executive acknowledges that the child’s mutation may have been caused by the drugs. He tells the doctor that the child must be destroyed to prevent the discovery of the company’s liability.

It’s Alive Cast… Cast. John P. Ryan as Frank DavisAndrew Duggan as the Professor. Sharon Farrell as Lenore DavisGuy Stockwell as Bob Clayton.James Dixon as Lieutenant PerkinsMichael Ansara as the Captain.William Wellman Jr. as Charley.

The film was followed by two sequels, It Lives Again (1978) and It’s Alive III: Island of the Alive (1987) and a remake, It’s Alive (2009).

Related image


Three Dog Night – Shambala

I first heard this song in the seventies and liked it. I ordered Three Dog Night’s Greatest hits off of television. They were very successful in the late sixties and seventies…songs like  Joy To The World, Family of Man, Black and White, The Show Must Go On, etc… They racked up 11 top ten hits and 3 number 1’s… and 21 songs in the Billboard 100 altogether.

They were unusual because they had not one, not two…but three lead singers.

I always wondered what “Shambala” meant…now I know. The word ‘Shambala’ has a spiritual meaning in the Buddhist religion, and some Tibetan Buddhists believe that it is a mythical kingdom or a mystical land hidden somewhere in the Himalaya mountains…

The song’s writer, Daniel Moore, told this story. I remember getting excited about the sound of the word, ‘Shambala.’ Before I wrote the song, I called a friend, Eddie Zip, who I’d been working with and telling him, ‘That word Shambala has a magic sound to it, you ought to put together a band and call it Shambala, you couldn’t lose.’ We had just recorded one of his songs titled ‘Don’t Make God’s Children Cry.’ We were getting – ELEVATED!

I wrote the words and melody, a capella, driving on the Ventura Freeway in about 10 minutes. I got home, picked up my Martin guitar and had the music finished in 5 minutes; a pretty good 15 minutes.

The song peaked at #3 in the Billboard 100 and #4 in Canada in 1973.

This is the commercial I ordered it from back in 1970s.

From Songfacts.

This was written by the songwriter Daniel Moore, and first released by the Texas songwriter B.W. Stevenson. Moore told Songfacts: “Regarding the song, ‘Shambala,’ it was written entirely by myself, Daniel Moore, in the fall of 1972. It was recorded by Three Dog Night in December of 1972. It was recorded by B.W. Stevenson in Late February, 1973 and released two weeks before the Three Dog Night version was released. During those two weeks B.W.’s version sold 125,000 single 45s. Then Three Dog Night released their version and sold 1,250,000 single 45s.”

Later in 1973, with the Three Dog Night version of “Shambala” climbing the charts, Stevenson released a carbon copy single called “My Maria” (credited to Stevenson and Moore), which peaked at #9 US, two months after “Shambala” hit #3.

 ‘In 1972 my brother, Matthew, called me and informed me that he had received a letter from Dorothy Beg at Lake Pleasant, Massachusetts that told him where and who he had been in his past lives. He had sent a letter to her requesting this information. After recounting several past lives the letter ended with, ‘My messenger tells me to tell you, ‘Let your light shine in the halls of Shambala.” In the phone conversation at that point Matthew said, ‘Shambala, what the hell is that?’

So I did some research and found dozens of references to the word Shambala, the 5000-year-old word originating from Sanskrit. Some were weird, some were goofy but the one I liked was found in Alice Bailey’s Treatise On White Magic. It basically said that there was a gigantic cavern under the Gobi Desert that has a replica of every evolving human being. And when that replica begins to light up or glow (meaning you are cleaning up your act and becoming more spiritual minded or raising your consciousness to a higher level), there is point where your replica gets bright enough to warrant a spiritual teacher being sent to you.

The recording session of my demo in 1972 was with Dean Parks and Jim Varley. Dean (playing bass) was sitting with me (I was engineering, playing the acoustic guitar and singing live) in the control room. We were wearing earphones with the speakers turned off, and 50 feet away at the other end of the studio on the other side of the glass with earphones, was Jim Varley playing drums. Twenty-eight years later I had Greg Beck overdub an electric guitar and that is what you hear on this recording. That’s the only time Dean Parks and Greg Beck have played together, according to Greg.

Three Dog Night heard the song through a publisher, Lindy Blaskey, who was working at ABC Dunhill Publishing. He called me and was very excited because he had gotten such a positive reaction from Three Dog Night and their producer Richie Podler. Anyway, they cut it, it was their single and it was a hit. Bless all of their hearts.

In the Guinness Book of World Records, under Prophecies, there is a reference to Shambala where it says, ‘Any one who furthers the name, ‘Shambala’ shall be rewarded 100 times.’ And so it is.”

This was used in a commercial television advertisement campaign for Citgo Petroleum. 

Cory Wells, who along with Danny Hutton and Chuck Negron was one of three vocalists in the band, sang lead on this track. Wells died in 2015 at age 74.


Wash away my troubles, wash away my pain
With the rain in Shambala
Wash away my sorrow, wash away my shame
With the rain in Shambala

Ah, ooh, yeah, yeah, yeah, yeah, yeah

Everyone is helpful, everyone is kind
On the road to Shambala
Everyone is lucky, everyone is so kind
On the road to Shambala


How does your light shine, in the halls of Shambala

I can tell my sister by the flowers in her eyes
On the road to Shambala
I can tell my brother by the flowers in her eyes
On the road to Shambala


How does your light shine, in the halls of Shambala

Elvin Bishop – Fooled Around and Fell In Love

Always liked this song by Elvin Bishop. It’s a love song but a good one. Bishop is a blues guitarist who played in The Paul Butterfield Blues Band before forming his own group in 1968. Mickey Thomas who sang the song was a vocalist in Bishop’s band and sang lead on “Fooled Around And Fell In Love” and would later sing in Jefferson Starship.

Elvin can sing but his voice is suited more for blues. Elvin wrote the song and thought Mickey Thomas could sing it better…Mickey did a great job with it. The song peaked at #3 in the Billboard 100, #34 in the UK, and #22 in Canada in 1976.

I stumbled across a newer cover of this song that I really like around 6 months ago…it’s by the Winery Dogs and it’s below the Elvin Bishop original version below.

The song has gained new popularity because of the 2014 film Guardians of the Galaxy.

From Songfacts.

In our interview with Elvin Bishop, he explained: “My voice is very plain. It’s better suited for blues. It’s been good for me, because it’s made my songwriting strong, because to really get over with a voice like mine, which is not a thrill in itself – the quality of the voice – you have to have a strong story and really good words to capture people’s imagination. 

And that tune, I gave it a try. The producer, Bill Szymczyk, said, ‘We need one more piece of material here. You got anything else laying around?’ I said, ‘Well, there’s this tune I wrote the other day.’ Well, not the other day. I’d actually tried to get a couple of other people to sing it, but somehow it didn’t work out. I said, ‘How about this ‘Fooled Around and Fell In Love’?’ We cut a track, it was a really nice track. I tried singing it, and I said, ‘That’s not buttering my biscuit, my vocal on this. Why don’t we give Mickey a shot at this?’ And the producer said, ‘Well, that’s big of you.’ And I said, ‘Well, I don’t think so. It’s just common sense, you know?’ And Mickey just tore it up.”

Mickey Thomas replaced Marty Balin as the male lead singer of Jefferson Starship in 1979 and was with the band in 1985 when they changed their name to Starship and had huge hits with “Sara,” “We Built This City” and “Nothing’s Gonna Stop Us Now.”

This song is about a guy who callously played the field until one day when he falls madly in love with a girl he can’t stop thinking about. “The better a song is, the less story there is to it, as far as I can tell,” Bishop said in his Songfacts interview. “The best songs just come rushing out. I don’t know if life squeezes them out of you, or if they’re just so right that they take no thought. I don’t know. Or if you’re given a temporary connection to the flow of the universe, or whatever it is. But that song just damn near wrote itself.”

Although Bishop is known as a blues musician, this song was a huge pop hit and still gets considerable airplay on Adult Contemporary radio. The song does not represent the body of Bishop’s work, but he does love playing it live. Says Bishop: “I figured out a way to have my cake and eat it too on that one. I play it as a slide instrumental, pretty much, with the guys singing background vocals, and they get the crowd to sing, and it works just amazingly well. Slide is kind of like the voice I never had. I can sing as high or as low as I want to, put as much sustain, as much treble… I learned to play the melody ‘Fooled Around And Fell In Love’ on the slide. It doesn’t sound like it would work, but it does.”

Many younger listeners discovered this song when it was used in the 2014 film Guardians Of The Galaxy and included on the soundtrack, which went to #1 in America. In the film, Chris Pratt plays it to seduce Zoe Saldana. “The melody is pleasant,” she says, before pulling a knife on him, refusing to succumb to his “pelvic sorcery.”

This song has appeared in a number of movies and TV series. Among them:

Entourage (“The Bat Mitzvah” – 2005)
Friday Night Lights (“Tomorrow Blues” – 2009)

Boogie Nights (1997)
Big Daddy (1999)
Summer of Sam (1999)
The Devil’s Rejects (2005)
Invincible (2006)
Lovelace (2013)

Fooled Around and Fell In Love

I must have been through about a million girls
I’d love ’em then I’d leave ’em alone
I didn’t care how much they cried, no sir
Their tears left me cold as a stone

But then I fooled around and fell in love
I fooled around and fell in love, yes I did
I fooled around and fell in love
I fooled around and fell in love

It used to be when I’d see a girl that I liked
I’d get out my book and write down her name
Ah, but when the, the grass got a little greener over on the other side
I’d just tear out that page

I fooled around and fell in love
I fooled around and fell in love, since I met you baby
I fooled around and fell in love
I fooled around and fell in love

Free, on my own is the way I used to be
Ah, but since I met you baby, love’s got a hold on me
It’s got a hold on me now
I can’t let go of you baby

I fooled around and fell in love
I fooled around and fell in love, oh yes I did
I fooled around, fooled around, fooled around, fooled around,
Fooled around, fooled around, fell in love
Fooled around, fooled around, fooled around, fooled around,
Fooled around, fooled around, fell in love
I fooled around, fell in love
I fell in love, I fell in love, yes I did

The Tornados – Telstar

The legendary Joe Meek wrote and produced this song. This was an adventurous instrumental record for the time and ahead of its time. The song took off and peaked at #1 in the Billboard 100 and the UK in 1962.

An instrumental with space sound effects, this was inspired by the Telstar communications satellite, which was launched shortly before this song was written. Telstar no longer functions but still orbits the earth.

The Tornados were a club band that disliked the song, but Meek added his own effects at his home studio above a leather shop in northern London. An overdubbed Clavioline keyboard provoked spooked space effects, while a backward tape of a flushing toilet evoked all the majesty of a space-bound rocket.

From Songfacts.

This instrumental hit was followed quickly by vocal versions in the UK first by a singer who called himself Kenny Hollywood and then by a young studio singer named Margie Singleton. When it topped the chart in the US, Bobby Rydell also did a cover (he had big hits with “Sway” and “The Cha-Cha-Cha”). There are also versions in French by Les Compagnons, in German by Camillo Felgen, and two Spanish versions by Alberto Cortez and The Latin Quartet, titled “Magica Estrella.” >>

This was the best-selling British single of 1962. It was also the first song by a British group to hit #1 in the US. This did not happen again until The Beatles “I Want To Hold Your Hand” in 1964.

Producer Joe Meek was intrigued by the sound of the organ on Dave “Baby” Cortez’ #1 hit, “The Happy Organ” – so entrapped by it that he tried to duplicate it with the Clavioline keyboard on “Telstar,” which was played by a studio musician named Geoff Goddard, who also supplied the “humming” vocal you hear at the end of the song.

A French composer named Jean Ledrut sued Meek for plagiarism, claiming that the tune from “Telstar” had been lifted from the score of the 1960 film Austerlitz, for which Ledrut wrote the score. The suit was resolved in Meek’s favor, but not until about a year after his death.

After the Tornadoes had laid down track for this song, Meek wanted to give it more, so after the band left the studio at the end of the day, he played around with effects to get it just right. Later when he played the demo to the lads, they were not sure. The beginning was just Joe being his creative self, however, the “Ah Ah” voiceover in the final part was a bit much and they expressed some dismay. This mixture of music and voice was usual and had not been done in a Pop tune, yet this track exploded on the music scene.

Joe Meek took a tape of “Try Once More,” which he had written with songwriter Geoff Goddard, to Alan Caddy and Clem Cattini of The Tornados. Joe sang wordless vocals over Geoff’s backing track. Clem Cattini recalled, “He played us this tape of him singing and the music didn’t really sound right. It had all the wrong time and key signatures. So we listened to the tape to get the idea and basically re-wrote the music.”

The book 1000 UK #1 Hits by Jon Kutner and Spencer Leigh explains that The Tornados received little money from the song. Meek had leased the record to Decca Records and having negotiated a 5% royalty of the record’s sales he banked 29,000 pounds, very little of which was passed on to The Tornados.

Joe Meek experimented with other various non musical elements in his many instrumental tracks over the years played by his group the Tornadoes in its various forms. Examples are found in some of the following tunes:
“Aqua Marina” – Bubbling noises like fish under water.
“Early Bird” – Rocket blasting off sound.
“Hot Pot” – Strange animal sounds.
“Is that a ship I hear” – Seagulls crying.
“Jungle Fever” (this is the B side of Telstar) – Strange animal sounds.
“Life on Venus” – Voice over to start the track.
“Night Rider” – Horse neighing.
“Red Rocket” – Voice over to start the track giving the blastoff countdown.
“Robot” – Weird gun firing sounds. Actually the sound of fencing wire being plucked like a guitar string amplified and played at higher speed.
“Stingray” – Bubble noise, like under water and explosions with a voice over to start the track. >>

Joe Meek recorded this in his home studio above a leather shop on London’s Holloway Road.

The rhythm guitarist on this track was George Bellamy of The Tornados, who is the father of Muse lead singer Matthew Bellamy.