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Tom Petty & the Heartbreakers – Into The Great Wide Open

I’ve always liked this song and album. I saw them on this tour and it would be the only time I got to see Tom Petty and the Heartbreakers. The song is a cautionary tale about stardom and the record business. The album of the same name peaked at #13 in 1991. This was the first Heartbreakers album since Let Me Up (I’ve Had Enough) in 1987. Tom Petty released his solo album Full Moon Fever two years before this.

The song peaked at #4 in the Billboard Album Rock Tracks.

The video to the song was well made. Petty later commented that he was approached about making a movie out of the song. The video not only featured Johnny Depp but also Faye Dunaway.

From Songfacts

“‘Into The Great Wide Open’ had a lot of dark humor,” Tom Petty told Mojo in 2009.

The song tells the story of a guy named Eddie who moves to Los Angeles, meets a girl and becomes a rock star. On their journey, there is a struggle, but always a possibility, as the future is wide open. Eddie plays from the heart, and it pays off with a record deal and a hit. But once he’s achieved his dream, the sky is no longer the limit, as his A&R man spouts that industry cliché, “I don’t hear a single.”

Petty, who knows a thing or two about record company machinations, leaves it to the listener to decide what happens next. There’s a good chance it doesn’t go so well for Eddie.

In the music video, Johnny Depp stars as Eddie. It was directed by Julien Temple and also features Faye Dunaway as Eddie’s manager, Gabrielle Anwar as his girlfriend, and appearances by Matt LeBlanc, Terence Trent D’Arby and Chynna Phillips. As in many of his videos, Tom Petty opens the book to reveal the story. In this one, Petty also plays the roadie Bart, the tattoo artist, and the reporter.

In the video, Eddie becomes a boorish narcissist and his career tanks. Dropped by his label, he goes into the same tattoo parlor where he started and sees himself inking up a newcomer (LeBlanc).

This was the first music video in which Johnny Depp starred. He was a big deal at the time (it was after Edward Scissorhands but before What’s Eating Gilbert Grape), and Petty remarked, “I never met so many women in my life as when we had Johnny Depp in this video.”

Depp later featured in videos for Lemonheads (“It’s A Shame About Ray”), Johnny Cash (“God’s Gonna Cut You Down”) and Alice Cooper (“I’ll Bite Your Face Off”). He also played guitar on songs by a number of high-profile artists, including Oasis (“Fade In-Out”), Patti Smith (“Banga”) and Paul McCartney (“My Valentine”).

This was used in the 2013 Family Guy episode “12 and a Half Angry Men.”

Into The Great Wide Open

Eddie waited till he finished high school
He went to Hollywood, got a tattoo
He met a girl out there with a tattoo too
The future was wide open

They moved into a place they both could afford
He found a nightclub he could work at the door
She had a guitar and she taught him some chords
The sky was the limit

Into the great wide open
Under them skies of blue
Out in the great wide open
A rebel without a clue

The papers said Ed always played from the heart
He got an agent and a roadie named Bart
They made a record and it went in the charts
The sky was the limit

His leather jacket had chains that would jingle
They both met movie stars, partied and mingled
Their A&R man said “I don’t hear a single”
The future was wide open

Into the great wide open
Under them skies of blue
Out in the great wide open
A rebel without a clue

Into the great wide open
Under them skies of blue
Into the great wide open
A rebel without a clue

David Bowie – Ziggy Stardust

What hooked me on this song was the guitar riff played by Mick Ronson. Bowie said that the song is “about the ultimate rock superstar destroyed by the fanaticism he creates.”

The song is off of The Rise and Fall of Ziggy Stardust and the Spiders from Mars and it peaked at #75 in the Billboard 100 in 1973 and #5 in the UK in 1972.

Ziggy Stardust is a character Bowie created with the help of his then-wife, Angela. The character’s name was inspired by the 1960s psychobilly musician, Legendary Stardust Cowboy. Bowie performed under the Stardust persona for about a year.

In 2010 the song ranked at No. 282 on Rolling Stone‘s list of “The 500 Greatest Songs of All Time.”

In the middle of this period, Bowie was itching to move on from Ziggy. “I’d said all I could say about Ziggy,” Bowie said. “I’m very tempted to go further with this Ziggy thing only because it’s so popular, but actually, it’s not what I really want to do. I’ve created this bloody thing, how do I sort of get out of it?” He soon did… Bowie abandoned Ziggy and re-imagined himself again. “He really grew, sort of out of proportion — got much bigger than I thought Ziggy was going to be,” “Ziggy just overshadowed everything.”

Bowie said that Ziggy “wouldn’t leave me alone for years. That was when it all started to go sour … My whole personality was affected. It became very dangerous. I really did have doubts about my sanity.”

From Songfacts

This specific song is about Stardust growing too conceited: “Making love with his ego, Ziggy sucked up into his mind.” Stardust’s band, The Spiders From Mars, consequently plan to get revenge on the egotistical front man: “So we bitched about his fans, and should we crush his sweet hands?”

Iggy Pop (note the name: zIGGY), Lou Reed, Marc Bolan, Gene Vincent and Jimi Hendrix (“He played it left hand, but made it too far” – Hendrix was left-handed), were all likely influences on the character Ziggy Stardust, but the only musician Bowie admits was a direct influence is Vince Taylor, an English singer who took the “rock star” persona to the extreme, calling himself Mateus and declaring himself the son of God. Taylor was popular in France in the early ’60s, and Bowie met him in 1966 after his popularity had faded.

Bowie-based the clothes, hair, and makeup of Ziggy Stardust on the Malcolm McDowell character in A Clockwork Orange, and on William Burroughs book Wild Boys. Some of the posturings were inspired by Gene Vincent, a rockabilly star who injured his leg in a 1960 car accident that killed Eddie Cochran. When Bowie saw Vincent in concert, he was wearing a leg brace and had to stand with his injured leg behind him; Bowie appropriated this stance, calling it “position number one for the embryonic Ziggy.”

“Weird and Gilly” were two of Bowie’s bandmates in The Spiders From Mars: bassist Trevor Bolder and drummer Woody Woodmansey.

This song and the Ziggy Stardust persona as a whole was a major influence on glam rock bands like T-Rex and Suede. Glam rock was characterized by outrageous costumes, flamboyant stage antics, and sexual ambiguity.

Bowie was very theatrical and a student of acting and mime. He admitted that the Ziggy character was his way of dealing with the mental health issues that plagued his family – he basically went into character so he wouldn’t go crazy. “One puts oneself through such psychological damage in trying to avoid the threat of insanity,” Bowie said. “As long as I could put those psychological excesses into my music and into my work, I could always be throwing it off.” After a while, Ziggy started to scare David, as he was getting engrossed in the persona. He was afraid that the blurring of Stardust and Bowie would lead to madness, and on July 3, 1973, David did his last show as Ziggy at the Hammersmith Odeon in London. The show was made into a movie directed by D.A. Pennebaker called Ziggy Stardust and The Spiders From Mars. It was released on DVD in 2003. For years Bowie would not look at tapes of himself performing as Ziggy Stardust, but when he finally did, he thought they were hilarious.

The album cover shows David Bowie (dressed as Ziggy Stardust) standing outside the furriers, K. West, which was located at 23 Heddon Street, London. In March 2012, a plaque honoring Ziggy Stardust was installed where the K. West sign once hung. This plaque is one of the few in the UK dedicated to a fictional character.

While doing an interview in character as Ziggy Stardust, Bowie admitted he was gay. This gave him a great deal of publicity, even though it was not entirely true. Bowie later married the model, Iman.

Bauhaus recorded a version of this song in 1982 that hit #15 in the UK. The song has also been recorded by Def Leppard, Nina Hagen, and Hootie And The Blowfish.

A production error meant a live version of this song was left off some copies of the 3-CD set Bowie At The Beeb. Bowie later made the track available for download to those fans who did not get it on the album.

This never charted because it was not released as a single. Many British acts at the time focused on albums and tried to limit the number of singles they issued.

There is a plaque outside the pub in London where Bowie created the Ziggy Stardust character. Bowie performed there when it was The Three Tuns. It is now called The Rat And Parrot.

Ziggy Stardust

Ziggy played guitar, jamming good with Weird and Gilly
And the spiders from Mars. He played it left hand
But made it too far
Became the special man, then we were Ziggy’s band

Now Ziggy really sang, screwed up eyes and screwed down hairdo
Like some cat from Japan, he could lick ’em by smiling
He could leave ’em to hang
‘Came on so loaded man, well hung and snow white tan

So where were the spiders, while the fly tried to break our balls
With just the beer light to guide us
So we bitched about his fans and should we crush his sweet hands?

Ziggy played for time, jiving us that we were voodoo
The kid was just crass, he was the nazz
With God given ass
He took it all too far but boy could he play guitar

Making love with his ego Ziggy sucked up into his mind
Like a leper messiah
When the kids had killed the man I had to break up the band

Ziggy played guitar

Beatles – Happiness Is A Warm Gun

This song took a while to grow on me but it did and became one of my favorites from the White Album. The song is divided into three different sections that fit together and climaxing at the end with the great chorus Happiness is a warm gun (bang bang shoot shoot). It has a fifties sound with the backup vocals.

John saw an article in a gun magazine that George Martin had in the studio. The article was titled Happiness is a Warm Gun… John: “Wow! Incredible,’ you know, the fact that happiness was a warm gun that had just shot something or somebody…I thought it was a fantastic, insane thing to say.”

The magazine in question was the May 1968 edition of “American Rifleman,” which contained an article entitled “Happiness Is A Warm Gun.” This article, written by Warren W. Herlihy, relates the author’s pride in his 18-year-old son John who has been shooting guns since the age of seven.

The song seems to have had drug references in the song although John usually denied them. The line “I need a fix ’cause I’m going down” does point that direction. According to Paul and others around him at this time, John was into heroin.

Paul McCartney said: “and so his songs were taking on more references to heroin. Until that point, we had made rather mild, rather oblique references to pot or LSD. Now John started to be talking about fixes and monkeys and it was a harder terminology which the rest of us weren’t into. We were disappointed that he was getting into heroin because we didn’t really see how we could help him…It was a tough period for John, but often that adversity and that craziness can lead to good art, as I think it did in this case.”

The chorus is what won me over at first but the lyrics are fascinating in the first section.

She’s well acquainted with the touch of the velvet hand like a lizard on a window pane.
The man in the crowd with the multi-colored mirrors on his hobnail boots.
Lying with his eyes while his hands are busy working overtime.
A soap impression of his wife which he ate and donated to the National Trust.

Lennon said that the Mother Superior jump the gun section was about Yoko.

John: “She was rabbiting on in the car one day, and I said, ‘mother superior jumped the gun again,’ because she’s always one jump ahead. So that was Yoko really. It was camp.”

The White Album was a stressful album to make but there were some fun and camaraderie during this time also. One such occasion was the recording of this song. All four Beatles have been quoted as saying they liked the song, Paul even naming it as the best on the White Album.

From Songfacts

In the last section of the song, the backing vocals are “Bang, Bang, Shoot, Shoot.”

A popular theory is that Lennon meant for this to be a drug metaphor for doing heroin:

“Needing a fix”

“Jump the gun” – meaning to cook it up

“Bang, Bang, SHOOT, SHOOT”

“When I hold you in my arm, nobody can do me no harm” – heroin addicts tell how when you’re on it, nothing can do you no harm and Lennon’s overall nature seem to point to this

This was banned by the BBC for sexual symbolism. They thought the gun was a phallic symbol.

The original line “When I hold you in my arms and feel my finger on your trigger…” appears in unreleased, bootlegged versions of “I’m So Tired” as “When I hold you in your arms, when you show me each one of your charms, I wonder should I get up, and go to the funny farm.” This could mean the line was originally sexual but was put in as a metaphor for a gun later on.

The final doo-wop chorus of this song has the exact same chord progression as “This Boy,” just in a different key.

The phrase “happiness is a warm gun” is a play on a Peanuts comic strip from 1960 where Lucy hugs Snoopy and says, “Happiness is a warm puppy.” That phrase became a popular slogan, appearing on mugs, T-shirts and lots of other merch.

Tori Amos covered this on her 2001 album Strange Little Girls. All the songs on the album were written by men – Amos took on different characters to interpret them from a woman’s point of view. Yoko Ono had to approve this, and she did.

The Breeders covered this on their 1990 album Pod.

This is the song that inspired 2Pac to cast his gun as his girlfriend in “Me and My Girlfriend”: “She’s the only woman I need!”

Happiness Is A Warm Gun

She’s not a girl who misses much
Do do do do do do, oh yeah

She’s well acquainted with the touch of the velvet hand like a lizard on a window pane.

The man in the crowd with the multi-colored mirrors on his hobnail boots.

Lying with his eyes while his hands are busy working overtime.

A soap impression of his wife which he ate and donated to the National Trust.

I need a fix ’cause I’m going down
Down to the bits that I left uptown
I need a fix ’cause I’m going down

Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun

Happiness is a warm gun (bang bang shoot shoot)
Happiness is a warm gun, mama (bang bang shoot shoot)
When I hold you in my arms (oh, yeah)
And I feel my finger on your trigger (oh, yeah)
I know nobody can do me no harm (oh, yeah)
Because, (happiness) is a warm gun, mama (bang bang shoot shoot)
Happiness is a warm gun, yes it is (bang bang shoot shoot)

Happiness is a warm, yes it is, gun
Happiness (bang bang shoot shoot)

Well don’t you know that happiness (happiness) is a warm gun, (is a warm gun, yeah).

CSN&Y – Woodstock

The intro and the harmonies are great in this song. One of my favorite CSN&Y songs. This song was written by Joni Mitchell. She did not perform at Woodstock. The fear of missing the Dick Cavett Show is what actually led to Joni Mitchell canceling a scheduled appearance at Woodstock. Her manager David Geffen convinced her that it was more important for her career to do the Cavett Show than it was to appear at Woodstock.

The song was on Déjà Vu that peaked at #1 in 1970. Woodstock peaked at #11 in the Billboard 100 in 1970.

Joni Mitchell: “I was one of the many who were thwarted,” “That was the place every kid wanted to be. I got to the airport with CSN and our agent, David Geffen, and our manager, Elliott, on a Sunday night. It was a catastrophe. I had to do The Dick Cavett Show the following day, and it was Geffen who decided we can’t get Joni out in time. So he took me back to his suite where he lived, and we watched it on TV. I was the deprived kid who couldn’t go, so I wrote it from the point of view of a kid going. If I had been there in the back room with all the egomaniacal crap that goes on backstage, I would not have had that perspective.”

From Songfacts

That Tuesday, Mitchell, David Crosby and Stephen Stills all appeared on The Dick Cavett Show. Crosby has said that he and Stills were talking about the festival, and Mitchell wrote the song based on their experience there. Mitchell, however, claimed that she wrote the song before the band returned.

Joni Mitchell watched coverage of the Woodstock festival from a New York City hotel room. She had given up religion long ago, but found herself going through a “born-again Christian trip” when she wrote this song. Said Mitchell: “Suddenly, as performers, we were in the position of having so many people look to us for leadership, and for some unknown reason, I took it seriously and decided I needed a guide and leaned on God. So I was a little ‘God mad’ at the time, for lack of a better term, and I had been saying to myself, ‘Where are the modern miracles?’ Woodstock, for some reason, impressed me as being a modern miracle, like a modern-day fishes-and-loaves story. For a herd of people that large to cooperate so well, it was pretty remarkable and there was tremendous optimism. So I wrote the song ‘Woodstock’ out of these feelings.”

Joni Mitchell released this the same year on Ladies of the Canyon. It was also the B-side to her song “Big Yellow Taxi.” Her version is much more basic than the CSN&Y release.

Crosby, Stills, Nash and Young’s performance at Woodstock was only their second show together. Before forming the band, Crosby had been a member of The Byrds, Nash was with The Hollies, Stills and Young were members of Buffalo Springfield. Neil Young played with the group for only part of the set.

It may seem odd that the most famous song about Woodstock came from someone who wasn’t there, but Mitchell had a different perspective.

Without Neil Young, Crosby, Stills & Nash returned to play Woodstock ’94. Other acts that played both festivals include Joe Cocker, The Band, and Santana.

Neil Young is not seen in the Woodstock movie even though he was there for part of the set. He strongly disagreed with the idea of the movie, so he declined to appear in it. If he were to play any songs in the movie, he’d have to be cropped out of frame. >>

The opening lyrics are a reference to the book of Matthew in which it says, “Blessed are those who try to make peace for they will be called children of God.”

In the UK the best-known version is the more country-rock flavored recording by Matthews’ Southern Comfort, which topped the British singles and peaked at #23 in the US. Ian Matthews had been the lead singer with Fairport Convention, leaving in 1969 to form Matthews’ Southern Comfort. He recalled in 1000 UK #1 Hits by Jon Kutner & Spencer Leigh: “I had bought Joni Mitchell’s album and we had to do four songs on a BBC lunchtime show. We worked up an arrangement for ‘Woodstock’ and the response was so good that we put it out as a single. Crosby, Stills & Nash’s record had just come out and so we waited to see what happened to that first.” In 1978 Matthews had a #13 hit in the US as a solo artist with “Shake It.”

Joni Mitchell’s no-show at Woodstock was sometimes reported as being caused by “transportation problems.” A persistent rumor was that James Taylor was supposed to give her a lift up the New York Thruway from her hotel in New York City, but Taylor was in a bad motorcycle accident on Martha’s Vineyard, breaking both arms and keeping him out from behind the wheel and away from the guitar for months. That was it for Joni’s trip to Woodstock.

In September 1969, Stephen Stills was invited to a Jimi Hendrix session at the Record Plant in New York. Stills burst into the session with a song Joni Mitchell had recently composed, titled “Woodstock.” Joined by Hendrix and Buddy Miles, the trio laid down the tune months before Crosby, Stills, Nash & Young released their popular rendition. The Hendrix, Stills and Miles version can be heard on Both Sides of the Sky, a 2018 compilation of previously unheard Hendrix material.

Woodstock

Well, I came upon a child of God
He was walking along the road
And I asked him, Tell me, where are you going
This he told me

Said, I’m going down to Yasgur’s Farm
Gonna join in a rock and roll band
Got to get back to the land and set my soul free

We are stardust, we are golden
We are billion year old carbon
And we got to get ourselves back to the garden

Well, then can I roam beside you?
I have come to lose the smog,
And I feel myself a cog in somethin’ turning
And maybe it’s the time of year
Yes and maybe it’s the time of man
And I don’t know who I am
But life is for learning

We are stardust, we are golden
We are billion year old carbon
And we got to get ourselves back to the garden

By the time we got to Woodstock
We were half a million strong
And everywhere was a song and a celebration
And I dreamed I saw the bomber death planes
Riding shotgun in the sky,
Turning into butterflies
Above our nation

We are stardust, we are golden
We are caught in the devils bargain
And we got to get ourselves back to the garden

May 25, 1935: Ruth hits the last 3 home runs of his career

84 years ago today on May 25, 1935, Babe Ruth was a Boston Brave in his last season in the Major Leagues. He was showing his age at 40 years old and the Yankees let him go and he signed with the Braves.

The Braves traveled to Forbes Field to play the Pirates and were 8-19 going into the game. Babe was hurting and out of shape. He rose to the occasion one more time in his long career. He ended up going 4-4 with 6 RBI’s and most importantly 3 home runs. His 712, 713, and 714th of his career.

The last home run he hit on this day would be his last in his career. Pirates pitcher Guy Bush pitched to him in the seventh inning and Ruth not only homered (his second off Bush for the day and third altogether of the day) but the ball went out of the park. Not just over the fence but clearing Forbes Field’s right field roof—for the first time in the ballpark’s 26-year history.

That is called going out in style. Babe Ruth had a dramatic touch about him and would rise to the occasion time and time again.

Babe would not get another hit in his career but he would retire five days later on May 30, 1935. His wife and agent wanted him to retire after this game but he wanted to honor his commitment to the owner of the Braves to play through Memorial Day Weekend.

The Who – We’re Not Gonna Take It/See Me, Feel Me

Yesterday my friends Hanspostcard and Dave featured The Who’s Tommy’s 50th anniversary. I missed out on that so I picked one of my favorite songs off of the Tommy album. Pete Townsend said this song’s message is “we’re not gonna take fascism.”

I’ve never been a big Woodstock fan but there were a few great performances there. The Who performing this song was one of them. It was raw, huge, powerful and almost spiritual sounding. Pete Townsend’s SG there sounded HUGE and it was a great performance considering the circumstances.

When the lyrics get to Listening to you, I get the music…it rises to another level.

In the story, the song is about Tommy’s followers who are revolting against him when they feel exploited.

We’re Not Going To Take It/See Me Feel Me

Welcome to the Camp,
I guess you all know why we’re here
My name is Tommy
And I became aware this year

If you want to follow me,
You’ve got to play pinball
And put in your earplugs
Put on your eye shades
You know where to put the cork

Hey you getting drunk, so sorry!
I’ve got you sussed
Hey you smoking Mother Nature!
This is a bust!
Hey hung up old Mr. Normal
Don’t try to gain my trust!
‘Cause you ain’t gonna follow me any of those ways
Although you think you must

We’re not gonna take it
We’re not gonna take it
We’re not gonna take it
We’re not gonna take it

We’re not gonna take it
Never did and never will
We’re not gonna take it
Gonna break it, gonna shake it
Let’s forget it better still

Now you can’t hear me
Your ears are truly sealed
You can’t speak either
Your mouth is filled
You can’t see nothing
And pinball completes the scene
Here comes Uncle Ernie to guide you to
Your very own machine

We’re not gonna take it
We’re not gonna take it
We’re not gonna take it
We’re not gonna take it

We’re not gonna take it
Never did and never will
Don’t want no religion
And as far as we can tell
We ain’t gonna take you
Never did and never will
We’re not gonna take you
We forsake you
Gonna rape you
Let’s forget you better still

We forsake you
Gonna rape you
Let’s forget you better still

See me
Feel me
Touch me
Heal me

Listening to you
I get the music
Gazing at you
I get the heat
Following you
I climb the mountains
I get excitement at your feet

Right behind you
I see the millions
On you
I see the glory
From you
I get opinions
From you
I get the story

Listening to you
I get the music
Gazing at you
I get the heat
Following you
I climb the mountains
I get excitement at your feet

Right behind you
I see the millions
On you
I see the glory
From you
I get opinions
From you
I get the story

Listening to you
I get the music
Gazing at you
I get the heat
Following you
I climb the mountains
I get excitement at your feet

Right behind you
I see the millions
On you
I see the glory

Platoon

I remember seeing this movie in the 80s. My girlfriend was working so Paul… a friend of mine and I went to see it. We saw a lot of bad and good movies during this time because we had time to kill and he knew the owner or the manager of the movie theater and we would get in free. We bought popcorn and coke so I didn’t feel so bad.

This is the first movie I remember leaving afterward and us not saying a word to each other for a good 30 minutes. Not the usual laughter and carrying on. This was one of those movies that really affected me. The village scene was brutal and it took a while to process it all. I just saw it again a couple of nights ago and it still works.

I’ve seen Vietnam Vets interviewed who have said this film brought a lot of it back…good and mostly bad. This is not a feel-good film but its a superb movie.

You see Tom Berenger as Sergeant Bob Barnes as he snaps and Charlie Sheen’s character Chris Taylor tries to hold it together at the end.

Oliver Stone put these actors through hell. Two weeks of intense basic training in the jungle with a Marine trainer. They dug their own holes and lived off of rations over the shoot.

From Wiki the cast

Charlie Sheen as Chris Taylor
Tom Berenger as Staff Sergeant Bob Barnes
Willem Dafoe as Sergeant Elias
Keith David as King
Forest Whitaker as Big Harold
Francesco Quinn as Rhah
Kevin Dillon as Bunny
John C. McGinley as Sergeant O’Neill
Reggie Johnson as Junior
Mark Moses as Lieutenant Wolfe
Corey Glover as Francis
Johnny Depp as Lerner
Chris Pedersen as Crawford
Bob Orwig as Gardner
Corkey Ford as Manny
David Neidorf as Tex
Richard Edson as Sal
Tony Todd as Sergeant Warren
Dale Dye as Captain Harris

Smokey Robinson & the Miracles – I Second That Emotion

Smokey has one of the best voices ever and he can write like no one else. Everyone from John Lennon to Bob Dylan was a fan. I had the single “Tears of a Clown” given to me as a kid by my cousin along with this one.

This song peaked at #4 in the Billboard 100 in 1967.

Al Cleveland and Smokey Robinson wrote this song. It was inspired by a trip to a department store. Robinson and Cleveland were shopping at a Detroit department store. Smokey found a set of pearls for his wife, Claudette. “They’re beautiful,” he said to the salesperson. “I sure hope she likes them.” Cleveland then added, “I second that emotion.” and the song was born.

From Songfacts

“I second that motion” is a common phrase heard at meetings in America where policy is being determined. It’s what Motown producer Al Cleveland meant to say when he was on a shopping trip with Smokey Robinson.

Robinson and Cleveland produced the song, and it was released in October 1968, entering the US Top 40 in December, about a year after it was written. The song was also a #1 R&B hit.

This was the first Top 10 hit for the group after their 1967 name change from The Miracles. Robinson and Cleveland teamed up to write several more hits for the group, including “Special Occasion” (#26 US, 1968), “Yester Love” (#31 US, 1968), and “Baby, Baby Don’t Cry” (#8 US, 1969).

Robinson and Cleveland wrote a third verse for this song, which pushed the length to 3:15. Acutely aware that songs longer than 3 minutes were often denied airplay, Motown head Berry Gordy had them eliminate the verse and bring the song down to 2:38, which was much more palatable for radio programmers. Robinson was OK with altering the song, as he had tremendous respect for Gordy’s judgment and wanted the song to be a hit. He felt that he could tell a story in a song in whatever time he was allotted – even under 3 minutes.

In songwriting circles, this one is often studied for its use of secondary rhymes and melodic intricacy. Smokey Robinson sprinkled in words like “notion” and “devotion” to compliment the title, all while rhyming verses with phrases like “kisses sweet” and “no repeat.” The guitar line also perfectly accents the vocal. Robinson credits Berry Gordy for his songwriting evolution. Gordy was a songwriter before he started Motown (he wrote song for Jackie Wilson), and he taught Robinson how to write intricate, yet accessible songs like this one.

This was featured on the soundtrack of the 1983 film The Big Chill.

This song was a favorite of Jerry Garcia; he often performed it with the Grateful Dead and with the Jerry Garcia Band. These versions show up on a variety of bootleg recordings.

I Second That Emotion

Maybe you’ll wanna give me kisses sweet
But only for one night with no repeat.
And maybe you’ll go away and never call,
And a taste of honey is worse that none at all.
Oh little girl!

In that case I don’t want nobody
I do believe that that would only break my heart
Oh, but if you feel like lovin’ me
If you got the notion,
I second that emotion.
So, if you feel like giving me a lifetime of devotion
I second that emotion.

Maybe you’ll think that love will tie you down
And you don’t have the time to hang around.
Or maybe you’ll think that love will make us fools,
And so it makes you wise to break the rules.
Oh little girl!

Sam Cooke – Wonderful World

Sam Cooke is one of the artists that you have to think…what could have been if he wouldn’t have had such a tragic death at such a young age… Not that he didn’t have a very successful career to that point. He had 20 Top Ten Hits, 29 Top 40 Hits, and 4 Number 1 hits in the R&B Charts.

In the Billboard 100, he had 34 songs in the top 100 and 4 top ten hits. He died when he was only 33 years old. I would suggest reading All Things Thriller’s post about Sam Cooke’s death.

The first time I heard the Cooke version of this song was in Animal House when Belushi was heading down the cafeteria line and for me this is my go-to version. Cooke had such a smooth soulful voice.

Cooke recorded Wonderful World on Keen Records shortly before he left the label over a royalty dispute in 1959. In 1960, Cooke had moved on to RCA Victor, but Keen, still owning the rights to Wonderful World, released the single in April 1960.

From Songfacts

“Wonderful World,” or “(What a) Wonderful World,” was one of Sam Cooke’s 29 US Top 40 hits released between 1957 and 1964. The song was released on April 14, 1960 and quickly reached #2 on the US Black Singles chart, #12 on the US Pop Singles chart, and #27 on the UK Singles chart.

“Wonderful World” was originally written by music legends Lou Alder and Herb Alpert, but Cooke added the finishing lyrical touches, and the trio used the songwriting pseudonym “Barbara Campbell,” the name of Cooke’s high school sweetheart. Adler went on from this success to found Dunhill Records and manage big name artists such as Jan & Dean, The Mamas & The Papas, and Carole King. Not to be outdone, his writing partner, Herb Alpert, put the “A” in A&M Records after performing for several years with his band Herb Alpert & The Tijuana Brass.

Don’t let the bouncy rhythm and upbeat tempo fool you. According to Craig Werner, a professor of African American Studies at the University of Wisconsin-Madison, the song may have a more politically charged meaning. In his book, A Change Is Gonna Come: Music, Race and the Soul of America, Werner writes that “Wonderful World” may be one of the first examples of Cooke’s crossover into politics, where he informs white listeners that he “don’t know much about history” and “don’t know much biology” as a comment that these are the things to forget about African-Americans, and all they need to remember is love.

Throughout the years, “Wonderful World” has been covered by a number of artists including Otis Redding, Bryan Ferry, Michael Bolton, and Rod Stewart. After Sam Cooke’s death in 1964, there were a rash of “tribute” covers released including a 1965 up-tempo version by Herman’s Hermits, which reached #4 on the US Pop Singles chart and #7 on the UK Singles chart, and a rendition by The Supremes released on their 1965 album “We Remember Sam Cooke.” In 1977, Art Garfunkel put his spin on the hit for his album, Watermark, which featured harmonies by friend, James Taylor, and former partner, Paul Simon.

“Wonderful World” has been a hit with filmmakers since its release. The song can be heard in the famous lunchroom scene of the 1978 classic, Animal House. It was also featured in the 1983 Richard Gere drama, Breathless, and appeared in the opening titles of the 2005 Will Smith comedy, Hitch. A Greg Chapman cover of “Wonderful World” was spotlighted in the 1985 film, Witness, which spurred resurgence in popularity for the single and led to use of the Cooke original in a well-remembered 1986 British ad for Levi 501 Jeans. The song originally peaked at #27 in the UK, but after the commercial, the song was re-released there and reached #2.

According to Rolling Stone, before the song came out, Cooke liked to sing it for women he met, telling them he’d made it up on the spot just for them.

Wonderful World

Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

Don’t know much about geography,
Don’t know much trigonometry
Don’t know much about algebra,
Don’t know what a slide rule is for
But I do know that one and one is two,
And if this one could be with you,
What a wonderful world this would be

Now, I don’t claim to be an “A” student,
But I’m tryin’ to be
For maybe by being an “A” student, baby,
I can win your love for me

Don’t know much about history,
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

History
Biology
Science book
French I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

Rolling Stones – Ruby Tuesday

I wish this era of the Stones would have lasted longer. Yes, I love the electric blues slanted work they did after this but they wrote some great pop songs. Brian Jones plays the recorder (it sounds like a flute) in this song. You don’t hear much about Brian now but he expanded their sound in the mid-sixties with an array of instruments.

Bill Wyman said that Keith wrote the lyrics and Brian helped finish the melody. This song was the B side to “Let’s Spend The Night Together.”

This song peaked at #1 in the Billboard 100 in 1967.

Keith Richards: “That’s one of those things – some chick you’ve broken up with. And all you’ve got left is the piano and the guitar and a pair of panties. And it’s goodbye you know. And so it just comes out of that. And after that, you just build on it. It’s one of those songs that are easiest to write because you’re really right there and you really sort of mean it. And for a songwriter, hey break his heart and he’ll come up with a good song.”

From Songfacts

The fourth US #1 hit for the Rolling Stones, this ballad is about a groupie. It may have been inspired by Linda Keith, who was Keith Richards’ girlfriend. Richards said in According to the Rolling Stones: “It was probably written about Linda Keith not being there (laughs). I don’t know, she had pissed off somewhere. It was very mournful, very, VERY Ruby Tuesday and it was a Tuesday.”

Originally, this was called “Title B.”

Keith Richards and Brian Jones wrote most of this, but in keeping with Stones tradition, it was credited to Mick Jagger and Keith Richards.

Brian Jones was their lead guitarist until he died in 1969, and could play just about any instrument.

A large double-bass was used. Bill Wyman plucked the notes while Richards played it with a bow.

This was not on the English version of Between The Buttons because it was already released as a single there, and it was customary not to put singles on albums.

This was supposed to be the B-side of “Let’s Spend the Night Together,” but many radio stations shied away from the sexual implications of that song, so they played this instead and made it a hit.

Jagger: “Ruby Tuesday is good. I think that’s a wonderful song. It’s just a nice melody, really. And a lovely lyric. Neither of which I wrote, but I always enjoy singing it.”

The singer Melanie, who had a #1 hit with “Brand New Key” in 1971, released a cover of “Ruby Tuesday” in 1970 that went to #9 in the UK and #52 in the US. Rod Stewart also released a popular cover that was accompanied by a video. His version made #11 in the UK in 1993.

Ruby Tuesday

She would never say where she came from
Yesterday don’t matter if it’s gone
While the sun is bright
Or in the darkest night
No one knows, she comes and goes

Goodbye Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I’m gonna miss you

Don’t question why she needs to be so free
She’ll tell you it’s the only way to be
She just can’t be chained
To a life where nothings gained
And nothings lost, at such a cost

Goodbye Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I’m gonna miss you

“There’s no time to lose”, I heard her say
Catch your dreams before they slip away
Dying all the time
Lose your dreams and you will lose your mind
Ain’t life unkind?

Goodbye Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I’m gonna miss you

Paul McCartney – Take It Away

That simple bass guitar riff hooks me when it comes in during the drum intro.

A good pop song from Paul McCartney in the 1980s. This was on an album called Tug of War which peaked at #1 in the Billboard album charts. The highlight to me is another McCartney bass line. The song peaked at #10 in the Billboard 100 in 1982.

Paul played bass, Ringo played drums, and George Martin played electric piano. Eric Stewart from 10cc influenced the layered backup vocals.

Paul McCartney:

“Well, there were a couple of songs that we ended up recording which Ringo asked me to write at a certain period. I was writing some songs for Ringo and “Take It Away” was in amongst those songs. I thought it would suit me better the way it went into the chorus and stuff; I didn’t think it was very Ringo.”

“I mean, the chorus I think, was Ringo, the other bits… but that’s how that comes to be that kind of track I think, I was right in that sort of direction with Ringo in mind actually.”

Take It Away

Take it away
Want to hear you play
Till the lights go down
Take it away
Don’t you want to stay
Till there’s no one else around?

Lonely driver
Out on the road
With a hundred miles to go
Sole survivor
Carrying the load
Switches on his radio

Take it away
Want to hear you play
Till the lights go down (down down)
Take it away
Don’t you want to stay
Till there’s no one else around?

In the audience
Watching the show
With a paper in his hand
(In his hand, in his hand)
Some important impresario
Has a message for the band

Oh
Take it away
Want to hear you play
Till the lights go down (down down)
Take it away
Don’t you want to stay
Till there’s no one else around?

You never know who may be
Listening to you
Never know who may be
Listening to you
You never know who may be
Listening to you
Take it away, take it away

After hours
Late in the bar
By a darkened corner seat
Faded flowers wait in the jar
Till the evening is complete

Ah
Ah
Ah
Ah

Led Zeppelin – Ozone Baby

This was on the album Coda it was released two years after John Bonham’s death and features outtakes from sessions throughout their career. I heard this one more than the others on the album.

Recorded in 1978 at a studio in Sweden owned by Abba, this song was intended for the Led Zeppelin album In Through the Out Door, but it didn’t make the cut. Ozone Baby peaked at #14 in the Mainstream Rock Songs Charts in 1982. Coda was released in 1982 and peaked at #6 in the Billboard Album Charts in 1983.

Coda is by no means a great album but it does have some enjoyable tracks like Wearing and Tearing and Darlene. It’s not like they set out to record an album… it was released to honor contractual commitments to Atlantic Records.

From Songfacts

The entire band’s instrumentals come in right at the opening with Robert Plant’s vocals starting in soon after. This was Zeppelin’s typical style, a straightforward “get it done” 12-bar-blues attitude without very much pretension. It shows something of their character that they were consistent in doing this on one of the last songs done by the classic lineup.

Another telling sign of Zeppelin’s character: How many drummers do most bands go through? Next to the bass, the drummer is usually the most-rotated spot. Not Zeppelin! Lose the drummer, and that’s it, the band calls it quits – but to be fair, growing tensions within the band could have broken them up anyway.

A bit of rock history trivia: Led Zeppelin today is remembered as practically having walked on water. One easily forgets that back when these albums were coming out, while they had a huge fan base, rock critics panned them almost unanimously. Rolling Stone raspberried every single Zep album.

Ozone Baby

I hear ya knock on my door
I ain’t been saving this scene for ya honey
Don’t wantcha ringin’ my bell
It’s too late for you to be my honey

Oh, it’s my love
Oh, it’s my own true love

Don’t want you wasting my time
Tired of ya doing the things that you do
It’s no use standing in line
Follow the line, you better follow queue

I say, oh, it’s my love
Oh, it’s my own true love

Oh, it’s my love
Oh, it’s my own true love, my my own

I could sail a river run dead, but I know it’s dead
I could I wish for a million, yeah but I know it’s dead
I could cry within the darkness, I sail away
I save a lifetime forever?
But you know, you know, you know what I say

And I say oh, it’s my love
Oh, it’s my own true love

Oh, it’s my love
Oh, it’s my own true love, my my own

Oh, it’s my love
Oh, it’s my own true love

Oh, it’s my love
Oh, it’s my own true love, my own true love
My own true love, my own true love
My own true love
I said Oh, it’s my love
Oh, it’s my own true love
Oh, it’s my love
Oh, it’s my own true love, my own

Beatles – If I Needed Someone

Mid-Sixties pop classic. If I Needed Someone is a George Harrison song that was on the album Rubber Soul. In America this was one of the four songs left off of Capital’s version of Rubber Soul…it was included on Yesterday and Today…an album that Capital put together for the American market. It was originally issued only in the United States and Canada

George Harrison said the song was influenced by the Byrds: “It was based on the twelve-string figure from ‘The Bells Of Rhymney’ by The Byrds.”

McCartney called the song the first “landmark” song written by George for the Beatles.

George Harrison: “It was like a million other songs written around one chord, a D chord actually.” “If you move your fingers about you get various little melodies. That guitar line, or variations on it, is found in many a song, and it amazes me that people still find new permutations of the same notes.”

As a guitarist, there are many songs that have been written around the D chord by moving your fingers in different positions. Here Comes The Sun, Woman by Lennon, Free Falling, Sweet Home Alabama, and like George said…a million others.

On January 24th, 1996, “If I Needed Someone” got its first and only release on a single. The Capitol series of “For Jukebox Only” singles paired the song as the b-side to “Norwegian Wood” and was printed on both black and green vinyl.

The Hollies received an early version of the song and then quickly recorded their own version of the song and released it as their next single at the end of 1965. It reached #20 in the UK, making it the first George Harrison composition to make the charts.

George made it known he didn’t like their version…but to me, the Hollies did a good job.

From Songfacts

This was written by George Harrison, who got the idea from a few of The Byrds’ songs including “The Bells of Rhymney” and “She Don’t Care About Time.” It was not Ravi Shankar that introduced George to the wonderment of sitar, but Byrd traveler David Crosby shortly after Shawn Phillips had shown him the basic steps. In 1965 The Beatles toured the US and visited Ravi at World Pacific Studios where The Byrds had permanent residency. It was also here that Roger McGuinn’s Rickenbacker jingle jangle influenced Harrison’s “If I Needed Someone.” In turn, The Byrds were influenced by Harrison’s 12-string guitar work. >>

Former Byrds guitarist Roger McGuinn recalled to Christianity Today magazine: “George Harrison wrote that song after hearing the Byrds’ recording of “Bells of Rhymney.” He gave a copy of his new recording to Derek Taylor, the Beatles’ former press officer, who flew to Los Angeles and brought it to my house. He said George wanted me to know that he had written the song based on the rising and falling notes of my electric Rickenbacker 12-string guitar introduction. It was a great honor to have in some small way influenced our heroes the Beatles.”

If I Needed Someone

If I needed someone to love
You’re the one that I’d be thinking of
If I needed someone

If I had some more time to spend
Then I guess I’d be with you my friend
If I needed someone
Had you come some other day
Then it might not have been like this
But you see now I’m too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah, ah, ah

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah

Jefferson Starship – Count On Me

I’ve never been a fan of the Jefferson Airplane/Starship or just plain Starship but this one has good memories connected to it. It was released in 1978 and it peaked at #8 in the Billboard 100, #9 in Canada, and #24 in New Zealand. This is the last output by the band that I liked.

Marty Balin sang this song…whenever I think of Marty Balin I think of when he was in The Jefferson Airplane at Altamont. He stood up to the Hells Angels and got walloped over the head for his trouble. Paul Kantner (guitar player for the Airplane) then announced what happened. It went something like this.

Kantner to the crowd: “Hey man, I’d like to mention that the Hell’s Angels just smashed Marty Balin in the face and knocked him out for a bit. I’d like to thank you for that.”

A Hell’s Angel grabs a microphone: “Is this on? If you’re talking to me, I’m gonna talk to you.”

Kantner: “I’m not talking to you, I’m talking to the people who hit my lead singer in the head.”

Hell’s Angel: “You’re talking to my people.”

Kantner: “Right.”

Hell’s Angel: “Let me tell you what’s happening: You are what’s happening.”

Paul Kantner, Marty Balin and later Keith Richards stood up to the Angels at Altamont.

That Time When Paul Kantner Stood Up to the Hell’s Angels

Count On Me

Precious love
I’ll give it to you
Blue as the sky and deep in the
Eyes of a love so true
Beautiful face
You make me feel
Lite on the stairs and lost in the
Air of a love so real

And you can count on me girl
You can count on my love
Woman
You can count on me baby
You can count on my love to see
You through

Emerald eyes and China perfume
Caught in the wheel and lost in
The feel of a love so soon
Ruby lips
You make my song
Into the night and saved by the lite
Of a love so strong

See you through
Oh
You can count on me girl
You can count on my love

Kinks – Village Green Preservation Society

Some songs can be written by anyone. Songs can be very popular but generic. Some can only be written by certain songwriters. This would be one of those songs. Ray Davies’s songs have their own DNA. This was on the great 1968 album The Kinks Are the Village Green Preservation Society.

This nostalgic song is a favorite of mine. This is a big jump from You Really Got me to…”We are the Sherlock Holmes English-speaking Vernacular, God save Fu Manchu, Moriarty and Dracula.”

Ray Davies: “You have to remember that North London was my village green, my version of the countryside. The street and district I grew up in was called Fortis Green, and then there was Waterlow Park and the little lake. I sang in the choir at St James’s Primary School until I was about 10, then I trained myself to sing out of tune so I could hang around with a gang called the Crooners instead. Our Scottish singing teacher Mrs. Lewis said, ‘Never mind, Davies – I hear crooners are making a lot of money these days.'”

From Songfacts

A very reflective and nostalgic song written by lead singer Ray Davies, this is about the innocent times in small English towns, where the village green was the community center. The entire album was based on this theme.

This plays in the movie Hot Fuzz as Sgt. Angel is jogging through a village.

Some critics thought the album’s snapshots of village life were partly inspired by performances by the Kinks in rustic Devon. Instead, they were based on memories of his growing up in London.

Ray Davies namechecks various fictional characters that bring back childhood memories, such as music hall act Old Mother Riley and Mrs. Mopp, who was a character from the wartime radio comedy, ITMA.

We are the Draught Beer Preservation Society.
God save Mrs. Mopp and good old Mother Riley.

Davies explained to Q magazine: “The people in it are all characters I liked as a kid or people my family could relate to, like Old Mother Riley and Mrs Mopp. Because I used to love listening to the BBC Light Programme on Sundays, like Round The Horne with Kenneth Williams. A time when the population was allowed to be trivial.”

Village Green Preservation Society

We are the Village Green Preservation Society.
God save Donald Duck, vaudeville and variety.
We are the Desperate Dan Appreciation Society.
God save strawberry jam and all the different varieties.

Preserving the old ways from being abused.
Protecting the new ways, for me and for you.
What more can we do?

We are the Draught Beer Preservation Society.
God save Mrs. Mopp and good old Mother Riley.
We are the Custard Pie Appreciation Consortium.
God save the George Cross, and all those who were awarded them.

Oooh…

We are the Sherlock Holmes English-speaking Vernacular.
God save Fu Manchu, Moriarty and Dracula.
We are the Office Block Persecution Affinity.
God save little shops, china cups, and virginity.
We are the Skyscraper Condemnation Affiliates.
God save Tudor houses, antique tables, and billiards.

Preserving the old ways from being abused.
Protecting the new ways, for me and for you.
What more can we do?

God save the village green!