Songs That Were Banned: Bobby Darin – Splish Splash

This will wrap up the banned songs I’ve featured this past week. Thank you all for reading. This one I would have never guessed.

Some radio stations found it too suggestive that a man would be at a party wearing only a towel. He is… this close from being naked!

The song was written by Bobby Darin and Murray Kaufman (Murray The K). Kaufman bet Darin that he couldn’t write a song beginning with the words, “Splish Splash, I was takin’ a bath.”  Darin accepted the challenge, and they immediately went to work and co-wrote “Splish Splash.” The song’s authorship was credited to Darin and “Jean Murray” (a combination Kaufman and Kaufman’s mother’s name), which was done to avoid any accusations of payola.

The song peaked at #3 in the Billboard 100 in 1958. The lyrics mention several characters from other songs of the period, including “Lollipop,” “Peggy Sue,” and “Good Golly Miss Molly.”

One song I didn’t cover that Listening To Records brought up…Link Wray’s song “Rumble”….an instrumental! I’ve read because the name of the song would  incite gang violence.

From Songfacts

This song was written quickly, but it wasn’t written by Darin alone. Peter Altschuler at the Murray the K archives explains:

“The title was suggested by Murray ‘the K’ Kaufman’s mother, Jean, but she also penned the music; Bobby and Murray wrote the lyrics. Murray was a very influential DJ in New York, and had been championing Bobby for awhile, but Darin’s recordings weren’t going anywhere. The two, however, had become good friends and, one weekend, played together in a softball game in Central Park. Afterward, they walked to Murray’s apartment just south of the park and recovered by soaking their feet in basins of Epsom salts.

As she did every day, Murray’s mother Jean called to check on her only son, and Murray told her about the game (a celebrity event to promote some good cause or other) and about ‘the agony of de feet.’ As soon as the call ended, the phone rang again, and Jean, who’d been a piano player in vaudeville, announced she had an idea for a song – ‘Splish, splash, take a bath.’ With that as a starting point, Murray and Bobby worked on the lyrics, Jean collaborated on the tune, and they marched the song over to Atlantic Records, which was Darin’s label. At Atlantic, according to Jerry Wexler when I spoke with him in the mid ’80s, he thought that the song had a chance, but Ahmet Ertegun was dead set against it. Jerry, of course, prevailed, and the tune became Darin’s first of many hits.

Whether Wexler’s story is accurate (Ertegun claimed in a PBS documentary about Darin that he was the song’s defender) is moot. Yet the notion that ‘Splish Splash’ leapt fully formed from Darin’s mind like Athena from the head of Zeus is just as mythological.”

Murray also co-wrote and performed “It’s What’s Happenin’, Baby” (backed with “Sins of A Family” by P.F. Sloan), a song that was done primarily to promote Murray’s signature phrase and his connection to the CBS television special of the same name that he hosted and co-produced in 1965 for the Federal Office of Economic Opportunity. Beyond that, his contribution to the world of pop music was two novelty tunes from the early ’50s: “Out Of The Bushes” (co-written by guitar great Billy Mure who also composed Murray’s “Swingin’ Soiree” theme, which was performed by the Delicates who, later, became the Angels) and “The Crazy Otto Rag” – on which he was the singer, plus “The Lone Twister” which he did as a contest promo for WINS radio, his home from 1958-1965.

In their continuing quest to encourage kids to take baths, Sesame Street has used this on a few of their albums. It is a very popular song for kids, especially when performed by Elmo.

This was released on Atlantic Records at a time when they were struggling to pay their artists. According to Jerry Wexler, who ran the company with Ahmet Ertegun, they had stopped paying themselves and needed money to resign The Clovers when this song and “Yakety Yak” by The Coasters broke through and got the company out of trouble. Atlantic went on to sign Led Zeppelin, Aretha Franklin, Ray Charles, The Rolling Stones and many other legendary artists.

The “Movin’ and a groovin'” lyric was lifted from a 1958 Duane Eddy song called “Moovin’ ‘N’ Groovin’.” Eddy claimed that Darin asked permission to use it, which he happily granted. “That’s just music, sharing little bits of melody and all,” said Eddy.

This was Bobby Darin’s first hit. He had signed with Atlantic Records after an unsuccessful stint at Decca. After three unsuccessful sessions at Atlantic with Herb Abramson producing, Ahmet Ertegun, who was head of the label, decided to produce Darin himself. “Splish Splash” was recorded on April 10, 1958 along with “Judy Don’t Be Moody” and “Queen of the Hop.” The recording took place at Atlantic’s studios in New York with their renowned engineer Tom Dowd at the controls. Darin soon became a star, but left Atlantic for Capitol Records in 1962.

Splish Splash

Splish, splash, I was takin’ a bath
Long about a Saturday night, yeah
A rub dub, just relaxin’ in the tub
Thinkin’ everythin’ was alright

Well, I stepped out the tub
I put my feet on the floor
I wrapped the towel around me and I
Opened the door

And then a-splish, splash
I jumped back in the bath
Well, how was I to know
There was a party goin’ on?

There was a-splishin’ and a-splashin’
Reelin’ with the feelin’
Movin’ and a-groovin’
Rockin’ and a-rollin’, yeah, yeah

Bing, bang, I saw the whole gang
Dancin’ on my living room rug, yeah
Flip, flop, they was doin’ the bop
All the teens had the dancin’ but

There was lollipop with a Peggy Sue
Good golly, Miss Molly was-a even there, too
A- well-a, splish, splash, I forgot about the bath
I went and put my dancin’ shoes on, yeah

I was a-rollin’ and a-strollin’
Reelin’ with the feelin’
Movin’ and a-groovin’
Splishin’ and a-splashin’, yeah

Yes, I was a-splishin’ and a-splashin’
I was a-rollin’ and a-strollin’
Yeah, I was a-movin’ and a-groovin’
We was a-reelin’ with the feelin’
We was a-rollin’ and a-strollin’
Movin’ with the groovin’
Splish, splash, yeah

Splishin’ and a-splashin’
One time I was splishin’ and a-splashin’
Ooh, I was movin’ and a-groovin’
Yeah, I was splishin’ and a-splashin’

Classic TV Episodes: All In The Family – Edith’s Problem

This particular episode was about women going through menopause which today would not receive a second notice…but then, comedy shows just didn’t feature subjects like this. All In The Family had so many great episodes that it is hard picking out one. In this one, the tables are turned and Edith rounds on Archie with a vengeance because of her mood swings caused by menopause.

All in the Family changed the game in sitcoms and television. In the early seventies, many country type sitcoms were canceled when this show debuted in 1971. As Pat Butram of Green Acres said: “CBS canceled everything with a tree including Lassie.

The show tackled controversial subjects such as racism, rape, gun control, feminism, and homophobia. It was under fire from the first episode for its controversial subject matter. Critics and viewers were divided on what they were seeing…some saw it as comic genius and some as tasteless bigotry. The backlash did not come only from the public and the reviewers. Several actors including Harrison Ford turned down roles in the show because they were offended by the script’s humor.

Lucille Ball lambasted CBS for running such an “Un-American” show on the same network her own series was airing on. I seriously doubt if the show could be made today on network television. The show was a huge success in the seventies.

Mike Stivic: [Edith is going through menopause] What did the doctor say?
Archie Bunker: He just said that menopause is a pretty tough time to be going through; especially for nervous types.
Mike Stivic: So?
Archie Bunker: So he prescribed these here pills.
[takes bottle of pills out of paper bag]
Mike Stivic: Oh, good.
Archie Bunker: I gotta take three of ’em a day.

Edith Bunker: STIFLE STIFLE STIFLE

“If you’re gonna change, Edith, change! Right now! CHANGE!”

 

All In The Family: Edith’s Problem

Characters: Edith Bunker, Archie Bunker, Mike Stivic, Gloria Stivic, and The Waitress

The Bunker family is thrown into an uproar when the normally docile Edith undergoes several sudden and unexpected mood swings, yelling at her family and displaying a foul temper that makes Archie look like a pussycat! Though the men in the family don’t quite know what is happening, Gloria does: Edith is going through menopause. Perhaps the best and funniest line of the episode is when an upset Archie, who’s frustrated at his wife’s sudden and constantly unpredictable mood changes, yells at Edith: “If you’re gonna change, Edith, change! Right now! CHANGE!”

The short scene starts at 15 seconds.

The complete episode

Boy, the way Glen Miller played…”

Those Were The Days

Boy, the way Glen Miller played.
Songs that made the Hit Parade.
Guys like us, we had it made.
Those were the days
Didn’t need no welfare state.
Everybody pulled his weight
Gee, our old LaSalle ran great.
Those were the days
And you knew where you were then
Girls were girls and men were men.
Mister, we could use a man like Herbert Hoover again.
People seemed to be content.
Fifty dollars paid the rent.
Freaks were in a circus tent.
Those were the days
Take a little Sunday spin,
Go to watch the Dodgers win.
Have yourself a dandy day
That cost you under a fin.
Hair was short and skirts were long.
Kate Smith really sold a song.
I don’t know just what went wrong
Those Were the Days

https://www.imdb.com/title/tt0509864/

Songs That Were Banned: The Doors – Love Me Two Times

This was released as a single in December 1967, the same month Jim Morrison was arrested at a show in New Haven when he delivered an on-stage rant against a police officer who confronted him backstage with a young girl.

This incident, combined with the lyrics of “Love Me Two Times,” scared them away from some family-friendly radio stations that refused to play the song. The song was considered to be somewhat risqué for radio airplay, being banned in New Haven for being “too controversial”.

Robby Krieger credited a rather obscure song for inspiring the guitar lick on this song: “Southbound Train” by John Koerner, whose trio Koerner, Ray & Glover was one of Krieger’s favorite acts.

The song peaked at #25 in the Billboard 100 in 1968.

From Songfacts

Doors guitarist Robby Krieger wrote this song after their keyboard player Ray Manzarek implored the band members to go home and write some songs. Krieger came up with this one “Light My Fire” in about an hour. It was a rare Doors song where lead singer Jim Morrison did not contribute lyrics.

Krieger’s lyrics were inspired by both The Doors going on the road and American soldiers going to Vietnam. The theme is sex as a way to survive in strange times, and the need to be “loved two times” before going away. Keyboard player Ray Manzarek called it, “Robby’s great blues/rock classic about love and loss, or multiple orgasms.”

Through most of the song, Jim Morrison left off the “s” in “two times,” creating a double meaning to the phrase.

This continues the theme on Strange Days of an uncertain future. It continues the story of the estranged lover from “You’re Lost Little Girl.”

Although this was released as a single and became a hit, it was recorded for the first Doors album, but didn’t make the cut. When it came time to record the second Doors album Strange Days, “Love Me Two Times” was ready to go.

Ray Manzarek played a clavinet on this track.

Aerosmith recorded this in 1990 for the Air America soundtrack. In 2000, Robby Krieger and Ray Manzarek added slide guitar and keyboards to the existing recording, which was remixed & included on The Doors tribute album Stoned Immaculate. >>

In 2000, the surviving members of the Doors taped a VH1 Storytellers episode with guest vocalists filling in for Morrison. Pat Monahan from Train sang on this.

Love Me Two Times

Love me two time, baby, love me twice today
Love me two time, girl, I’m goin’ away
Love me two time girl, one for tomorrow,
One just for today
Love me two times
I’m goin’ away
Love me one time, could not speak
Love me one time, yeah, my knees got weak
Love me two time, girl, lasts me all through the week
Love me two times, I’m goin’ away
Love me two times, I’m goin’ away
Alright, yeah
Love me one time, could not speak
Love me one time, baby, yeah, my knees got weak
Love me two times, girl, lasts me all through the week
Love me two times, I’m goin’ away
Love me two time, babe
Love me twice today
Love me two time, babe, ’cause im goin’ away
Love me two time, girl, one for tomorrow,
One just for today
Love me two times, I’m goin’ away
Love me two times I’m goin’ away
Love me two times I’m goin’ away

Classic TV Sitcoms: Barney Miller – Hash

Barney Miller was a brilliant, complex, highly literate, superbly written show with depth and high social commentary. The show was never in the top 10 in ratings but the show has held up well over the years. A few of the reasons the show was not in the top 10 was because of the intelligent writing and the humor wasn’t obvious…also the show was on ABC which at the time was the least popular major network.

The writers also made sure that for the most part, the show followed it’s own history very well. The show is about the Detectives at the 12th Precinct.

One very interesting part of Barney Miller is they had a bunch of good character actors pass through the show. They had a very good excuse because usually the guests were either witnesses or they committed some sort of small crime so it was a natural parade of people passing through.

The show was not all about humor. They had stories dealing with domestic abuse, social, and racial tensions and interaction close to real life.

Det. Phil Fish: First time in 20 years I felt this good and it has to be illegal!

Capt. Barney Miller: Stay home until you feel better.
Det. Ron Harris: Okay Barn, I’ll stay, but I ain’t never gonna feel no better.

Det. Sgt. Nick Yemana: [feeling the effects of the brownies] Barney, Barney, Barney… was your mother from Killarney?

Det. Sgt. Nick Yemana: [feeling the effects of the brownies] Hey Barney… let’s go down to the beach and shoot some clams!

Barney Miller: Hash

The Characters: Barney Miller, Stan ‘Wojo’ Wojciehowicz, Dietrich, Phil Fish, Ron Harris, Sgt. Nick Yemana, Carl Levitt, Zbigniew Psczola, Janusz Makowski, and Frank Slater.

Wojo innocently brings hashish-laced brownies his new girlfriend made to the 12th Precinct, getting the detective squad stoned, while an actor and a critic square off with dueling swords.

The Complete Episode

 

https://www.imdb.com/title/tt0519043/

 

Songs That Were Banned: ABBA – Waterloo

Sometimes these bans can be head-scratchers, which is true of the 1990s ban on ABBA’s ‘Waterloo’. Due to its connotations with armies and fighting, amidst the ongoing Gulf War, BBC deemed it inappropriate to play, despite few actually connecting this song to literal war.

The song peaked at #6 in 1974 in the Billboard 1oo. All together Abba had 20 top 100 songs, 4 top ten, and one #1 with Dancing Queen. I  thought they had more top 10 hits.

This song also reached #1 in Belgium, Finland, Ireland, Norway, South Africa, Switzerland, and West Germany.

From Songfacts

Waterloo is the place where Napoleon Bonaparte met his defeat at an epic battle in 1815. This song uses the battle as a metaphor for a woman who gives in and falls in love with a man – he’s her “Waterloo.”

Originally recorded in Swedish, it was ABBA’s Swedish version that won the Eurovision Song Contest in 1974, giving the band a huge career boost.

This was one of many ABBA hits used in the 1994 movie Muriel’s Wedding.

Even though this song constantly repeats the name of the battle that spelled the end of Napoleon’s empire, the French, like the rest of Europe, was more than happy to buy this song in large quantities. The single spent 12 weeks on the French charts, peaking at #3. In Belgium, where the Battle of Waterloo took place, this song spent five weeks at #1.

ABBA not only recorded this song in their native Swedish and then in English but they also recorded a version in French for the French markets and one in German for the German markets. There is also a version in both French and Swedish that is an overdubbing of both the Swedish and French versions.

Waterloo

My my
At Waterloo Napoleon did surrender
Oh yeah
And I have met my destiny in quite a similar way
The history book on the shelf
Is always repeating itself
Waterloo I was defeated, you won the war
Waterloo promise to love you for ever more
Waterloo couldn’t escape if I wanted to
Waterloo knowing my fate is to be with you
Waterloo finally facing my Waterloo

My my
I tried to hold you back, but you were stronger
Oh yeah
And now it seems my only chance is giving up the fight
And how could I ever refuse
I feel like I win when I lose
Waterloo I was defeated, you won the war
Waterloo promise to love you for ever more
Waterloo couldn’t escape if I wanted to
Waterloo knowing my fate is to be with you
Waterloo finally facing my Waterloo

So how could I ever refuse
I feel like I win when I lose
Waterloo I was defeated, you won the war
Waterloo promise to love you for ever more
Waterloo couldn’t escape if I wanted to
Waterloo knowing my fate is to be with you
Waterloo finally facing my Waterloo

 

Songs That Were Banned: Everly Brothers – Wake Up Little Suzie

The lines “We both fell sound asleep / Wake up, little Suzie, and weep / The movie’s over, it’s four o’clock / And we’re in trouble deep” were suggestive enough to cause the song to be banned by several radio stations. Although it’s pretty clear the Suzie and her date were at the movies but that didn’t matter.

As with the case of other songs being banned…it only made it more appealing to teenagers at the time. The song peaked at #1 in Billboard and #2 in the UK in 1957.

This was written by the husband and wife team of Felice and Boudleaux Bryant, who wrote most of The Everly Brothers songs in the ’50s. Their songs were also recorded by Bob Dylan, Elvis, and Buddy Holly.

From Songfacts

This is about a young couple who fall asleep at the drive-in, realize they are out past curfew, and make up a story to tell Susie’s parents.

Some Boston radio stations banned this because of the lyrics, which imply that the young couple spent the night together. At the time, staying out late with a girl was a little controversial.

For The Everly Brothers, this was the first of four US #1 hits. It also went to #1 on the Country & Western charts.

At an appearance on The Oprah Winfrey Show while campaigning for President in year 2000, George W. Bush was asked by Oprah what his favorite song was. He said: “Wake Up Little Susie – by Buddy Holly.”

Simon & Garfunkel played this at their 1981 concert in Central Park. The live recording was released as a single the next year and hit #27 in the US.

Chet Atkins played guitar on this. Atkins, who died of cancer in 2001, was a Nashville musician who created a distinctive sound using a three-fingered picking technique.

This was a labor of love for the songwriting duo. “We persevered with ‘Wake Up Little Susie’ for many hours,” Boudleaux recalled to Country Music People. “I started writing one night, kept trying to get my ideas down, but it just wouldn’t happen. Finally I woke Felice, who took one listen to what I had so far achieved and came up with the final touches that I couldn’t get. The Everlys liked the song, but like me had problems with getting it right in the studio. They worked a whole three-hour session on that one song and had to give up, they just couldn’t get it right. We all trooped back to the studio the next day and got it down first take. That’s the way it happens sometimes.”

Wake Up Little Susie

Wake up, little Susie, wake up
Wake up, little Susie, wake up
we’ve both been sound asleep, wake up, little Susie, and weep
The movie’s over, it’s four o’clock, and we’re in trouble deep
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say ?ooh-la-la?
Wake up little Susie
Wake up little Susie, well

I told your mama that you’d be in by ten
Well Susie baby looks like we goofed again
Wake up little Susie
Wake up little Susie, we gotta go home

Wake up, little Susie, wake up
Wake up, little Susie, wake up
The movie wasn’t so hot, it didn’t have much of a plot
We fell asleep, our goose is cooked, our reputation is shot
Wake up little Susie
Wake up little Susie, well

Whatta we gonna tell your mama
Whatta we gonna tell your pa
Whatta we gonna tell our friends when they say “ooh-la-la”
Wake up little Susie
Wake up little Susie
Wake up little Susie

 

The La’s – There She Goes —-Powerpop Friday

As far as power-pop songs go this one is in my top 5. I posted this back when I first started to blog but it’s perfect for a Friday.

A song by a British band called The La’s. A very good pop song that has no verses…it just repeats the chorus four different ways four different times. The song charted many times in different releases…it peaked at #49 on the 1991 Billboard 100 and #13 on the UK charts in 1990, #65 in 1999, #94 in 2012, and #59 in 1988 in the UK.

It was written by the singer Lee Mavers and recorded in 1988 and remixed and released again in 1990.

Many people think the song was about heroin. Paul Hemmings an ex-guitarist for the band denies that rumor. Either way, it is a perfectly constructed pop song.

It’s been covered by a lot of artists but probably most successfully by Sixpence None the Richer. I’ve always liked The La’s version the best.

From Songfacts

“There She Goes” is a song with one crazy story, so hang on. It was written by the Liverpool singer and guitarist Lee Mavers, and recorded by his band The La’s. The La’s released it on their only album, titled The La’s. “There She Goes” was released as a single, not once, not twice, but four times!

The first release scratched the UK Singles chart in 1988 at #51. The second release in 1990 was the peak, with #13 on the UK Singles and also charting in the US. The third release was in 1999, and it charted the UK Singles at #65. The fourth release was in 2008, on vinyl only for the song’s 20th anniversary, and charted again at #181.

While rumors persist that this song was inspired by “There She Goes Again” by the Velvet Underground, no definitive evidence supports it. The songs do have a similar theme and similar lyric styles, but completely different music. On the other hand, the common knowledge that this song is about heroin seems to be a sure bet. “Racing through my brain” and “Pulsing through my vein” exclude just about everything else, and newspapers in England ran stories about The La’s “ode to heroin.” La’s bassist John Power gave a rather evasive answer when asked about it, while La’s ex-guitarist Paul Hemmings flatly denied it.

La’s frontman Lee Mavers is a pretty enigmatic character. If you examine them closely, you’ll find a lot in common with Velvet Underground’s Lou Reed: Both had limited success with their first band but a steady cult following since, both are evasive of the media and reclusive, both are rumored to have written songs about drugs and to be heavily into drugs, and both are widely cited by other music artists as an influence out of step with their commercial success.

Covers of “There She Goes” include those done by Sixpence None the Richer, Robbie Williams, The Wombats and The Boo Radleys. Film soundtrack appearances include The Parent Trap, Fever Pitch, Girl, Interrupted and So I Married an Axe Murderer.

This song was an ironic airplay favorite in the UK when Maggie Thatcher resigned as Prime Minister in November 1990.

The La’s mainman Lee Mavers is a legendary perfectionist. The legend goes that he didn’t want the vintage studio equipment cleaned so the dust that had accumulated on it from the 1960s would remain.

 

“There She Goes”

There she goes
There she goes again
Racing through my brain
And I just can’t contain
This feeling that remainsThere she blows (there she blows again)
There she blows again (there she blows again)
Pulsing through my vein (there she blows again)
And I just can’t contain
This feeling that remainsThere she goes
There she goes again
She calls my name
Pulls my train
No one else could heal my pain
But I just can’t contain
This feeling that remainsThere she goes
There she goes again
Chasing down my lane
And I just can’t contain
This feeling that remainsThere she goes (there she goes again)
There she goes (there she goes again)
There she goes (there she goes again)

 

The Shivvers – No Substitutes —-Powerpop Friday

I’ve listened to a lot of this band’s music. I haven’t heard a bad song. They were named “Milwaukee’s Best Band” by the Milwaukee Journal in 1982. The Shivvers were a band fronted by Jill Kossoris in the late seventies to early eighties that played power pop. I’m amazed that they didn’t catch on with a big label. Some reviewers have compared them to Blondie and the Raspberries.

They made recordings but never could get signed to a record deal. The band broke up in the early eighties and went their separate ways. Interest in the band started to build on the internet and in 2003, the Hyped to Death label issued the Shivvers retrospective Til the Word Gets Out. This song was recorded in 1979.

Another album with their songs was Lost Hits from Milwaukee’s First Family of Power Pop: 1979-82

I’ll feature them again soon with another song.

Songs That Were Banned: Neil Young – This Note’s For You

This video was banned by MTV because they feared it would upset their sponsors. So, being Neil being Neil…wrote a letter to MTV that stated:

MTV, you spineless twerps.
You refuse to play “This Note’s For You” because you’re afraid to offend your sponsors.
What does the “M” in MTV stand for: music or money?
Long live rock and roll.

This parody of commercial rock was banned by MTV for its critique of the music industry’s cozy relationship with corporate America. The song and video mocked advertisements and did not shy away from dropping company names– the title itself is a jab at Budweiser’s ad campaign of “This Bud’s For You.” The song also made fun of pop artists such as Michael Jackson and Whitney Houston. Jackson’s legal threats prompted MTV to ban the video. They changed their minds when the song became a hit on Canada’s MuchMusic channel…the same as the BBC did with My Generation when it became a hit.

He has stuck to his policy of refusing to license his music out for commercials, let alone appear in them himself.

Now the music business…if there is still a music business…promotes their music being in commercials to expand their audience.

 

From Songfacts

This song is Neil Young’s critique of artists who “sell out” and allow their songs to be used in commercials, something he has never done. The title is a play on Budweiser’s venerable ad campaign, “This Bud’s For You.” In addition to Bud, Young mentions Coke, Pepsi, and Miller in the lyric.

Artists like Young and Bruce Springsteen have never let their songs be used in commercials, feeling it cheapens their artistic integrity. Many other artists, like The Who and The Rolling Stones, have made lots of money by letting companies use their songs. Some classic rock artists like John Mellencamp resisted for years, but allowed their songs to be used for commercial purposes when they realized it was the best way to get them exposure. A band with a particularly interesting take on the subject is Devo, who feel it is part of their art.

The line, “I got the real thing, baby,” is a reference to the Coke slogan, “It’s the Real Thing,” which was introduced in 1969.

The line, “Ain’t singin’ for Spuds” refers to Spuds MacKenzie, the spokesdog for Bud Light. Introduced in 1987, Spuds was a bull terrier who appeared in their ad campaigns until 1989. Billed as “the original party animal,” Spuds became wildly popular and boosted sales of Bud Light significantly.

Directed by Julien Temple, the video is a parody of various ad campaigns. The opening noir is a sendup of the Michelob campaign that starred “practicing alcoholic” Eric Clapton. Michael Jackson, who was ripe for parody at the time, shows up in impersonator form for the line “ain’t singing for Pepsi” – later in the video his hair catches fire as it did when Jackson was shooting a commercial for the sugary beverage in 1984. Whitney Houston, who shilled for Diet Coke, gets a lookalike for the line “ain’t singing for Coke.”

Next up for mockery are the Calvin Klein “Obsession” commercials, one of the most memorable and baffling campaign’s of the ’80s. There were no rock stars associated with this one, but The Rolling Stones did have a tour sponsored by Jovan. Young’s video turns it into “Concession,” with a dialogue break in the style of the ads:

“Members of the jury, this man is on trial for his smell.”
“Forgive me, but I am prettier than all of you.”
“Liar, give me back my shoes.”

A faux-Spuds MacKenzie also shows up to mock Budweiser.

At the end of the clip, Young turns his beer around to reveal his own slogan: “Sponsored by Nobody.”

There was lots of raunchy debauchery on MTV around this time, but they had a strict policy against product placement, refusing to air videos where products were mentioned by name. This was designed to protect their advertisers and make their commercials more valuable (why would Pepsi buy airtime when they could put a can in a Duran Duran video?). Citing this policy, MTV banned the video, which generated a great deal of controversy and also proved Young’s point about corporate interests infiltrating music. The ban happened in early July 1988; Young sent an open letter to MTV stating:

Forced to admit they were refusing to air an excellent video to protect their sponsors, MTV went into damage control mode and agreed to air the video. They made it into an event, debuting the video on August 21 as part of a 30-minute special about the controversy. Then they awarded it Video of the Year at the 1989 MTV Video Music Awards. Young showed up to accept it.

Young discussed his reasons for accepting the award despite it being originally banned in an interview with Village Voice Rock and Roll Quarterly: “I dunno – must be the Perry Como in me. I could do the hard-line Marlon Brando thing, not accept the award, give it to the Indians. But that’s almost the predictable thing to do. You can’t get money to make videos if MTV won’t play them. In accepting the award I thought I’d be able to make more videos and get ’em played.”

MTV at the time was about as permissive as the cable landscape got – at least in terms of bawdy behavior. That’s why it was surprising anytime they deemed something not suitable for air. In 1992, Paul McCartney recorded a concert for MTV for their Up Close series, but the network edited out his song “Big Boys Bickering,” which was about politics and the environment. MTV claimed that the song was excised because of curse words in the lyrics, although it would have been easy enough to bleep them.

This wasn’t the first single from the album: “Ten Men Workin'” was. That song made inroads on rock radio and reached #6 on Billboard’s Album Rock Tracks chart in May 1988. “This Note’s For You,” predictably, had a harder time getting airplay because of the product mentions. It garnered the most attention during the video controversy, but still only reached #19 on that chart as radio stations continued to shy away from it.

This is the title track to the only album Young recorded with The Bluenotes as his backup band, members of which included Chad Cromwell on drums and Frank Sampedro on keyboards and a six-piece horn section. Befitting their name, This Note’s For You is a blues album.

This was released as a single with the A-side a live version recorded at The Palace in Los Angeles on April 14, 1988 and the B-side a studio cut from the album.

This Note’s For You

Don’t want no cash
Don’t need no money
Ain’t got no stash
This note’s for you.

Ain’t singin’ for Pepsi
Ain’t singin’ for Coke
I don’t sing for nobody
Makes me look like a joke
This note’s for you.

Ain’t singin’ for Miller
Don’t sing for Bud
I won’t sing for politicians
Ain’t singin’ for Spuds
This note’s for you.

Don’t need no cash
Don’t want no money
Ain’t got no stash
This note’s for you.

I’ve got the real thing
I got the real thing, baby
I got the real thing
Yeah, alright.

Songs That Were Banned: Loretta Lynn – The Pill

There’s a gonna be some changes made, Right here on nursery hill, You’ve set this chicken your last time, ‘Cause now I’ve got the pill

By the time Loretta Lynn recorded “The Pill” in 1975, the birth control pill had been on the US market for over a decade, but the conservative country music scene still wasn’t ready for a song celebrating the use of contraception. Many country stations pulled the song from their playlists and it stalled at #5 in the Billboard Album Chart. But controversy breeds curiosity and curiosity boost record sales, so the song became Lynn’s highest-charting solo single on the pop chart at #70 in the Billboard 100.

Loretta Lynn: “If I’d had the pill back when I was havin’ babies I’d have taken ’em like popcorn. The pill is good for people. I wouldn’t trade my kids for anyones. But I wouldn’t necessarily have had six and I sure would have spaced ’em better.”

“The Pill”, written by Lorene Allen, Don McHan, T. D. Bayless, and Loretta Lynn.

From Songfacts

 The singer couldn’t understand what the fuss was all about. In our interview with Loretta Lynn, she explained: “I didn’t understand that, because everybody was taking the pill. I didn’t have the money to take it when they put it out, but I couldn’t understand why they were raising such a fuss over taking the pill.”

Although it was written by a team of songwriters, Lorene Allen, Don McHan, and T. D. Bayless, Lynn could certainly relate to the narrator who is sick of having babies left and right and is “makin’ up for all those years, since I’ve got the pill.” By the time she was 19, Lynn had three children and would give birth to three more, including a set of twins, just as the pill was gaining traction by 1964. 

Doctors were grateful to Lynn as the song introduced the availability of the pill to women living in rural areas.

Unbeknownst to Lynn at the time, she was almost banned from singing this at the Grand Ole Opry. She recalled in an interview with Playgirl Magazine: “You know I sung it three times at the Grand Ole Opry one night, and I found out a week later that the Grand Ole Opry had a three-hour meeting, and they weren’t going to let me [sing it]… If they hadn’t let me sing the song, I’d have told them to shove the Grand Ole Opry!”

Lynn performed this on Dolly Parton’s variety show, Dolly, in 1988, and on Roseanne Barr’s talk show, The Roseanne Show, in 1998.

This is the first popular English-language song about birth control.

The Pill

You wined me and dined me
When I was your girl
Promised if I’d be your wife
You’d show me the world
But all I’ve seen of this old world
Is a bed and a doctor bill
I’m tearin’ down your brooder house
‘Cause now I’ve got the pill
All these years I’ve stayed at home
While you had all your fun
And every year that’s gone by
Another babys come
There’s a gonna be some changes made
Right here on nursery hill
You’ve set this chicken your last time
‘Cause now I’ve got the pill

This old maternity dress I’ve got
Is goin’ in the garbage
The clothes I’m wearin’ from now on
Won’t take up so much yardage
Miniskirts, hot pants and a few little fancy frills
Yeah I’m makin’ up for all those years
Since I’ve got the pill

I’m tired of all your crowin’
How you and your hens play
While holdin’ a couple in my arms
Another’s on the way
This chicken’s done tore up her nest
And I’m ready to make a deal
And ya can’t afford to turn it down
‘Cause you know I’ve got the pill

This incubator is overused
Because you’ve kept it filled
The feelin’ good comes easy now
Since I’ve got the pill
It’s gettin’ dark it’s roostin’ time
Tonight’s too good to be real
Oh but daddy don’t you worry none
‘Cause mama’s got the pill
Oh daddy don’t you worry none
‘Cause mama’s got the pill

Songs That Were Banned: The Kinks – Lola

This song faced censorship on less common ground than most. I would have thought the subject line would have caused problems…but no. The original studio recording contained the word “Coca-Cola” in the lyrics, which violated BBC Radio’s policy against product placement.

The songwriter, Ray Davies, was forced to interrupt the Kinks’ American tour so he could change the lyric to “cherry cola” for the single’s release. He made a 6,000 mile round trip flight from New York to London and back just for this purpose.

The song peaked at #9 in the Billboard 100, #2 in the UK, #1 in New Zealand and #2 in the UK in 1970.

Ray Davies: “‘Lola’ was a love song, and the person they fall in love with is a transvestite. It’s not their fault – they didn’t know – but you know it’s not going to last. It was based on a story about my manager.”

“The subject matter was concealed,” It’s a crafty way of writing. I say, ‘She woke up next to me,’ and people think it’s a woman. The story unfolds better than if the song were called ‘I Dated a Drag Queen.'”

 

From Songfacts

This song is about a guy who meets a girl (Lola) in a club who takes him home and rocks his world. The twist comes when we find out that Lola is a man.

As stated in The Kinks: The Official Biography, Ray Davies wrote the lyrics after their manager got drunk at a club and started dancing with what he thought was a woman. Toward the end of the night, his stubble started showing, but their manager was too tanked to notice.

Ray Davies revealed to Q magazine in a 2016 interview: “The song came out of an experience in a club in Paris. I was dancing with this beautiful blonde, then we went out into the daylight and I saw her stubble. “

He added; “So I drew on that but colored it in, made it more interesting lyrically.”

The Kinks came up with the riff after messing around with open strings on guitars. The group’s guitarist, Dave Davies, contended that he deserved a songwriting credit on the track, leading to additional friction with his brother Ray, who got the sole composer credit.

This revived the career of The Kinks, at least in America where their popularity was fading. Their previous Top 40 in the States was “Sunny Afternoon” in 1966.

Ray Davies said: “I wrote Lola to be a great record, not a great song. Something that people could recognize in the first five seconds. Even the chorus, my two-year-old daughter sang it back to me. I thought, ‘This must catch on.'”

The line “You drink champagne and it tastes just like cherry cola” was recorded as “it tastes just like Coca-Cola.” The British Broadcasting Company (BBC) refused to play it because of the commercial reference, so Ray Davies flew from New York to London to change the lyric and get the song on the air.

There was speculation, fueled by a 2004 piece in Rolling Stone magazine, that this song was inspired by the famous transgender actress Candy Darling, who Kinks lead singer Ray Davies allegedly dated for a brief time. This is the same Candy mentioned in Lou Reed’s “Walk On The Wild Side” (“Candy came from out on the island, in the backroom she was everybody’s darling”)

The Kinks’ fans were not the type of people who would relate to a transvestite, but they loved this. It opened the door for artists like Lou Reed and David Bowie to explore homosexuality in songs that straight people liked too.

Weird Al Yankovic recorded a parody of this song entitled “Yoda” (based on the Star Wars movies) for his 1985 album Dare to Be Stupid

Ray Davies used his National Steel resonator guitar for the first time on this song. He recalled to Uncut: “On ‘Lola’ I wanted an intro similar to what we used on Dedicated Follower Of Fashion, which was two Fender acoustic guitars and Dave’s electric guitar so I went down to Shaftesbury Avenue and bought a Martin guitar, and this National guitar that I got for £80, then double-tracked the Martin, and double-tracked the National – that’s what got that sound.”

The Kinks probably weren’t familiar with it, but an American song published in 1918 also mentions Lola and Coca-Cola. In “Ev’ry Day’ll Be Sunday When The Town Goes Dry,” we hear the line, “At the table with Lola they will serve us Coca-Cola.”

Ray Davies told interviewer Daniel Rachel (The Art of Noise: Conversations with Great Songwriters) that he didn’t initially show the lyrics to the band. “We just rehearsed it with the la-la la-la Lo-la chorus which came first. I had a one-year-old daughter at the time and she was singing along to it.”

Lola is mentioned in the 1981 Kinks song “Destroyer,” which begins: “Met a girl called Lola and I took her back to my place.”

Lola

I met her in a club down in old Soho
Where you drink champagne and it tastes just like
Cherry Cola
C-O-L-A Cola
She walked up to me and she asked me to dance
I asked her her name and in a dark brown voice she said, “Lola”
L-O-L-A Lola, lo lo lo lo Lola

Well, I’m not the world’s most physical guy
But when she squeezed me tight she nearly broke my spine
Oh my Lola, lo lo lo lo Lola
Well, I’m not dumb but I can’t understand
Why she walked like a woman but talked like a man
Oh my Lola, lo lo lo lo Lola, lo lo lo lo Lola

Well, we drank champagne and danced all night
Under electric candlelight
She picked me up and sat me on her knee
She said, “Little boy, won’t you come home with me?”
Well, I’m not the world’s most passionate guy
But when I looked in her eyes
Well, I almost fell for my Lola
Lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola

I pushed her away
I walked to the door
I fell to the floor
I got down on my knees
Then I looked at her, and she at me
Well, that’s the way that I want it to stay
And I always want it to be that way for my Lola
Lo lo lo lo Lola
Girls will be boys, and boys will be girls
It’s a mixed up, muddled up, shook up world
Except for Lola
Lo lo lo lo Lola

Well, I’d left home just a week before
And I’d never ever kissed a woman before
But Lola smiled and took me by the hand
She said, “Little boy, gonna make you a man”
Well, I’m not the world’s most masculine man
But I know what I am and I’m glad I’m a man
And so is Lola
Lo lo lo lo Lola, lo lo lo lo Lola

Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola

Songs That Were Banned: The Who – My Generation

This week I’ll feature songs that have been banned from the radio for one reason or another for a time. I will just feature pre-9-11 songs because after 2001 practically every song was banned for a little while.

My Generation featured the chorus “Hope I Die Before I Get Old” but that was ok…It was the vocals that resembled stuttering; afraid to offend people with actual stuttering problems, the BBC prohibited the song from receiving airplay. Later, when the song proved to be a huge hit, they allowed it.

The best part of this song for me was John Entwistle’s bass solo. You just didn’t hear many bass solos at that time. John Entwistle “I bought this Danelectro bass and it had these tiny, thin wire-wound strings on. They were so thin, they sounded just like a piano, an unbelievably clear sound. The only thing was that you couldn’t buy these strings. When we recorded ‘My Generation,’ I ended up with three of these Danelectros just for the strings. The last one I had, the string busted before we actually got into the studio to re-record it, so I did it on a Fender Jazz in the end with tape-wound La Bella strings.”

Pete wrote this song for British mods at the time who didn’t think older people understood what was going on. The song peaked at #74 in the Billboard 100, #2 in the UK, and #3 in Canada in 1966.

Pete Townshend was asked if the line still resonated with him. “I think it does,”  “The line actually came from a time when I was living in a really wealthy district of London, just by accident. I didn’t really understand quite where I was living at the time. And I was treated very strangely on the street, in an imperious way by a lot of people, and it was that that I didn’t like. I didn’t like being confronted with money and the class system and power. I didn’t like being in a corner shop in Belgravia and some woman in a fur coat pushing me out of the way because she was richer. And I didn’t know how to deal with that. I could’ve, I suppose, insisted on my rights and not written the song. But I was a tucked-up little kid and so I wrote the song.”

 

From Songfacts

Roger Daltrey sang the lead vocals with a stutter, which was very unusual. After recording two takes of the song normally, The Who’s manager, Kit Lambert, suggested to Daltrey that he stutter to sound like a British kid on speed. Daltrey recalled to Uncut magazine October 2001: “I have got a stutter. I control it much better now but not in those days. When we were in the studio doing ‘My Generation’, Kit Lambert came up to me and said ‘STUTTER!’ I said ‘What?’ He said ‘Stutter the words – it makes it sound like you’re pilled’ And I said, ‘Oh… like I am!’ And that’s how it happened. It was always in there, it was always suggested with the ‘f-f-fade’ but the rest of it was improvised.”

Pete Townshend wrote this on a train ride from London to Southampton on May 19, 1965 – his 20th birthday. In a 1987 Rolling Stone magazine interview, Townshend explained: “‘My Generation’ was very much about trying to find a place in society. I was very, very lost. The band was young then. It was believed that its career would be incredibly brief.” 

Back in 1967, Pete Townshend called this song, “The only really successful social comment I’ve ever made.” Talking about the meaning, he explained it as “some pilled-up mod dancing around, trying to explain to you why he’s such a groovy guy, but he can’t because he’s so stoned he can hardly talk.”

This contains the famous line, “I hope I die before I get old.” The Who drummer Keith Moon did, dying of a drug overdose in 1978 at age 32. The rest of the band found themselves still playing the song 50 years later, giving that line more than a hint of irony.

A Singapore magazine called BigO is named for the famous line in this song – it’s an acronym for “Before I Get Old.”

This song went through various stages as they tried to perfect it. It began as a slow song with a blues feel, and at one point had hand claps and multiple key changes. The final product was at a much faster tempo than the song was conceived; it was Kit Lambert’s idea to speed it up.

This is the highest charting Who song in the UK, but it never cracked the Top 40 in America, where they were less known. In the UK, the album was also called My Generation, but in America it was titled The Who Sing My Generation.

Entwistle was the least visible member of the band, and his bass solos on this song threw off directors when The Who would perform the song on TV shows. When it got to his part, the cameras would often go to Pete Townshend, and his fingers wouldn’t be moving. Entwistle played the solos using a pick, since their manager Kit Lambert didn’t think fingers recorded well. Most of Entwistle’s next recordings were done with fingers.

The BBC refused to play this at first because they did not want to offend people with stutters. When it became a huge hit, they played it.

In 1965, Roger Daltrey stood by this song’s lyric and claimed he would kill himself before reaching 30 because he didn’t want to get old. When he did get older, he answered the inevitable questions about the “hope I die before I get old” line by explaining that it is about an attitude, not a physical age.

On September 17, 1967, The Who performed this song on The Smothers Brothers Comedy Hour. Keith Moon set his drums to explode after the performance, but the technical crew had already done so. The resulting explosion burned Pete Townshend’s hair and permanently damaged his hearing.

Also of note during this performance was Moon’s total disregard for the illusion of live performance. The band was playing along to a recorded track (common practice on the show), and while his bandmates synched their movements to the music, Moon made no effort to keep time, even knocking his cymbal over at one point.

Shel Talmy, who produced this track, was fired the next year. Talmy filed a lawsuit and won extensive royalties from future albums.

The ending of this song is electric mayhem, with Keith Moon pounding anything he can find on his drum kit and Townshend flipping his pickups on an off, something he also did on the album opener “Out in the Street.” Townshend and Daltrey go back and forth on the vocals, intentionally stomping on each other to add to the chaos.

This was covered by Iron Maiden, who was usually the Who’s polar opposite both musically and lyrically. One connection they share is the BBC-TV series Top of the Pops. Performances on the show were customarily lip-synched, but The Who performed live on the show in 1972. In 1980, Iron Maiden also performed live, and was the first band to do so since The Who. Maiden put their version of “My Generation” on the B-side to the single for “Lord of the Flies.” 

The Who played this during their set at Woodstock, which didn’t begin until 5:00 a.m. on the second day. The group turned in a solid performance, but they weren’t pleased with the scheduling and weren’t feeling the peace and love – at one point an activist named Abbie Hoffman came on stage uninvited and was forcibly ejected by Pete Townshend.

Green Day recorded this for their 1992 album Kerplunk!

When the teen pop singer Hilary Duff covered this as a B-side for her 2005 single “Someone’s Watching Over Me,” she made the curious decision to rewrite some of the lyrics. “I hope I don’t die before I get old,” doesn’t really have the same rock ‘n’ roll attitude as Townshend’s original words, and her rendition caused some consternation among Who fans.

This song fits nicely into the “primal rock” genre, which covers tunes that are raucous, rebellious, unusual, and also celebratory. Roger Reale, who was in one of these primal rock bands with Mick Ronson, explains the impact of the song:

“‘My Generation’ had no lead guitar, but a lead part played on the bass. It also had a bass breakdown, and unless you listened to a lot of jazz, there were no bass breakdowns in pop music. I remember playing the end of that track over and over and over again, because you could hear the feedback of the guitar, which was so exciting to listen to. In those days, you weren’t supposed to have an outro that was pure noise.”

My Generation

People try to put us d-down (talkin’ ’bout my generation)
Just because we get around (talkin’ ’bout my generation)
Things they do look awful c-c-cold (talkin’ ’bout my generation)
I hope I die before I get old (talkin’ ’bout my generation)

This is my generation
This is my generation, baby

Why don’t you all f-fade away (talkin’ ’bout my generation)
Don’t try to dig what we all s-s-s-say (talkin’ ’bout my generation)
I’m not trying to ’cause a big s-s-sensation (talkin’ ’bout my generation)
I’m just talkin’ ’bout my g-g-g-generation (talkin’ ’bout my generation)

My generation
This is my generation, baby

Why don’t you all f-fade away (talkin’ ’bout my generation)
And don’t try to d-dig what we all s-s-say (talkin’ ’bout my generation)
I’m not trying to ’cause a b-big s-s-sensation (talkin’ ’bout my generation)
I’m just talkin’ ’bout my g-g-generation (talkin’ ’bout my generation)

This is my generation
This is my generation, baby
My my my generation

People try to put us d-down (talkin’ ’bout my generation)
Just because we g-g-get around (talkin’ ’bout my generation)
Things they do look awful c-c-cold (talkin’ ’bout my generation)
Yeah, I hope I die before I get old (talkin’ ’bout my generation)

This is my generation
This is my generation, baby
My my my generation

(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation)
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation
(Talkin’ ’bout my generation) this is my generation

Classic TV Episodes: Fawlty Towers – The Germans

One of my favorite shows and episodes. There were only 12 episodes made…two seasons with six episodes each. Instead of milking it dry they stopped at 12 because John Cleese and wife Connie Booth didn’t think they could write anymore up to the standards they set. This is the episode most mentioned when the show comes up.

I have watched this episode countless times and it never gets old.

Listen, don’t mention the war. I mentioned it once, but I think I got away with it all right.

I was just doing it, you stupid woman. I just put it down, to come here and be reminded by you to do what I’m already doin’. I mean, what is the point in reminding me to do what I’m already doing? I mean, what is the bloody point? I’m doing it, aren’t I?

Ah, wonderful! WUNDERBAR! Ahh! Please allow me to introduce myself, I am the owner of Fawlty Towers. And may I welcome your war… your war… you wall… you all… you all, and hope that your stay will be a happy one. Now, would you like to eat first, or would you like a drink before the war… AHH! Er… trespassers will be tied up with piano wire… SORRY, SORRY!

Fawlty Towers: The Germans

The Characters: Basil Fawlty, Sybil Fawlty, Manuel, Polly Sherman, Major Gowen, Mrs. Wilson, Miss Agatha Tibbs, Miss Ursula Gatsby, Doctor, and Mr. and Mrs. Sharp

With Sybil in hospital for a few days to have an operation for an ingrown toenail, Basil is left on his own at the hotel to cope with a group of German tourists and the need for the regular semi-annual fire drill. He’s not having much success with either. The guests confuse the burglar alarm with the fire alarm and when Manuel does start a fire in the kitchen, no one pays attention. Basil suffers a rather severe blow to the head leading him to insult his German guests by making constant references to the war.

 

https://www.imdb.com/title/tt0578590/

 

Bob Dylan – Froggie Went A-Courtin’

I am amazed at how many covers there are to this song. I remember Kermit the Frog singing it long ago. I didn’t know whether to use Bob Dylan’s or others for today. Jimmie Rodgers did a great version of Froggie Went A-Courtin’.

It is on the  Dylan album Good as I Been to You that was released in 1992.

Who covered it? Here is a partial list: Jimmie Rodgers, Paul McCartney, Bruce Springsteen, Woody Guthrie, Elvis Presley, Tex Ritter, and Blind Willie McTell.

There is a reference in the Stationer’s Register of 1580 to “A Moste Strange Weddinge of the Frogge and the Mouse.” The oldest known musical version is in Thomas Ravenscroft’s Melismata in 1611.

This great old story song has quite a history. Some people claim that it goes back 400 years to England and that the frog is actually a French Duke while the mouse is Queen Elizabeth I. It has been popular in America since colonial times, and it seems to change a little with each person who performs it.

Alternative names for the song per Wiki

  • “A Frog He Would a-Wooing Go”
  • “Crambone”
  • “Die Padda wou gaan opsit” (Afrikaans version in South Africa)
  • “Frog in the Well”
  • “Froggie Went a-Courtin'”
  • “Froggy Would a-Wooing Go”
  • “The Frog’s Wooing”
  • “A Frog Went a-Walkin'”
  • “King Kong Kitchie Kitchie Ki-Me-O”
  • “There Lived a Puddie in the Well”
  • “There Was a Puggie in a Well”
  • “Y Broga Bach” (Welsh)
  • “Yo para ser feliz quiero un camión”

Thanks to Observationblogger for helping me to think of this song again.

Froggie Went A-Courtin’

1. Frog went a-courtin’, and he did ride, Uh-huh,
Frog went a-courtin’, and he did ride, Uh-huh,
Frog went a-courtin’, and he did ride.
With a sword and a pistol by his side, Uh-huh.

2. Well he rode up to Miss Mousey’s door, Uh-huh,
Well he rode up to Miss Mousey’s door, Uh-huh,
Well he rode up to Miss Mousey’s door.
Gave three loud raps and a very big roar, Uh-huh.

3. Said, “Miss Mouse, are you within?” Uh-huh,
Said he, “Miss Mouse, are you within?” Uh-huh,
Said, “Miss Mouse, are you within?”
“Yes, kind sir, I sit and spin,” Uh-huh.

4. He took Miss Mousey on his knee, Uh-huh,
Took Miss Mousey on his knee, Uh-huh,
Took Miss Mousey on his knee.
Said, “Miss Mousey, will you marry me?” Uh-huh.

5. “Without my uncle Rat’s consent, Uh-huh
“Without my uncle Rat’s consent, Uh-huh
“Without my uncle Rat’s consent.
I wouldn’t marry the president, Uh-huh

6. Uncle Rat laughed and he shook his fat sides, Uh-huh,
Uncle Rat laughed and he shook his fat sides, Uh-huh,
Uncle Rat laughed and he shook his fat sides,.
To think his niece would be a bride, Uh-huh.

7. Uncle Rat went runnin’ downtown, Uh-huh,
Uncle Rat went runnin’ downtown, Uh-huh,
Uncle Rat went runnin’ downtown.
To buy his niece a wedding gown, Uh-huh

8. Where shall the wedding supper be? Uh-huh,
Where shall the wedding supper be? Uh-huh,
Where shall the wedding supper be?
Way down yonder in a hollow tree, Uh-huh

9. What should the wedding supper be? Uh-huh,
What should the wedding supper be? Uh-huh,
What should the wedding supper be?
Fried mosquito in a black-eye pea, Uh-huh.

10. Well, first to come in was a flyin’ moth, Uh-huh,
First to come in was a flyin’ moth, Uh-huh,
First to come in was a flyin’ moth.
She laid out the table cloth, Uh-huh.

11. Next to come in was a juney bug, Uh-huh,
Next to come in was a juney bug, Uh-huh,
Next to come in was a juney bug.
She brought the water jug, Uh-huh.

12. Next to come in was a bumbley bee, Uh-huh
Next to come in was a bumbley bee, Uh-huh
Next to come in was a bumbley bee.
Sat mosquito on his knee, Uh-huh.

13. Next to come in was a broken black flea, Uh-huh,
Next to come in was a broken black flea, Uh-huh,
Next to come in was a broken black flea.
Danced a jig with the bumbley bee, Uh-huh.

14. Next to come in was Mrs. Cow, Uh-huh,
Next to come in was Mrs. Cow, Uh-huh,
Next to come in was Mrs. Cow.
She tried to dance but she didn’t know how, Uh-huh.

15. Next to come in was a little black tick, Uh-huh,
Next to come in was a little black tick, Uh-huh,
Next to come in was a little black tick.
She ate so much she made us sick, Uh-huh.

16. Next to come in was a big black snake, Uh-huh,
Next to come in was a big black snake, Uh-huh,
Next to come in was a big black snake.
Ate up all of the wedding cake, Uh-huh.

17. Next to come was the old gray cat, Uh-huh,
Next to come was the old gray cat, Uh-huh,
Next to come was the old gray cat.
Swallowed the mouse and ate up the rat, Uh-huh.

18. Mr. Frog went a-hoppin’ up over the brook, Uh-huh,
Mr. Frog went a-hoppin’ up over the brook, Uh-huh,
Mr. Frog went a-hoppin’ up over the brook.
A lily-white duck come and swallowed him up, Uh-huh.

19. A little piece of cornbread layin’ on a shelf, Uh-huh,
A little piece of cornbread layin’ on a shelf, Uh-huh,
A little piece of cornbread layin’ on a shelf.
If you want anymore, you can sing it yourself, Uh-huh.

Gerry Rafferty – Right Down the Line

Right Down The Line is a beautiful song that gets lost in the large shadow cast by the preceding single “Baker Street.” It’s a rare love song that works without coming off as overly sentimental. I’m not saying it’s better than Baker Street… but it is an underappreciated gem.

This was the follow-up single to the great song Baker Street in 1978. The song peaked at #12  in the Billboard 100, #1 US Billboard Adult Contemporary and #5 in Canada. The song came off his great City to City album which peaked at #1 on the Billboard Album Chart.

 

Right Down The Line

You know I need your love
You’ve got that hold over me
Long as I’ve got your love
You know that I’ll never leave
When I wanted you to share my life
I had no doubt in my mind
And it’s been you woman
Right down the line

I know how much I lean on you
Only you can see
The changes that I’ve been through
Have left a mark on me
You’ve been as constant as a Northern Star
The brightest light that shines
It’s been you, woman, right down the line

I just want to say this is my way
Of tellin’ you everything
I could never say before
Yeah this is my way of tellin’ you
That every day I’m lovin’ you so much more
‘Cause you believed in me through my darkest night
Put somethin’ better inside of me
You brought me into the light
Threw away all those crazy dreams
I put them all behind
And it was you woman
Right down the line

I just want to say this is my way of tellin’ you everything
I could never say before
Yeah this is my way of tellin’ you
Everything I could never say before
Yeah this is my way of tellin’ you
That every day I’m lovin’ you so much more

If I should doubt myself, if I’m losing ground
I won’t turn to someone else
They’d only let me down
When I wanted you to share my life
I had no doubt in my mind
And it’s been you woman
Right down the line