Now, this was cool. I had a few friends with one but it was one thing I could not get. We lived on a dirt road with a gravel driveway. Big Wheels didn’t really work on gravel and dirt too well. I loved the pull-up brake you could engage on one wheel while you were coming to a stop and spin around.
You were low to the ground and with a good hill, you could really go. If it rained you would pedal that plastic wheel and go nowhere until you caught some traction.
The Big Wheel was developed by Louis Marx and Company in 1969. The toy was hugely popular in the 70s and 80s because of its low cost and partly because consumer groups said it was a safer alternative to the traditional tricycle or bicycle.
Different versions came out as it was copied by other companies. The Green Machine made by Huffy was a version of the Big Wheel.
Just in case you want to own an iconic 1970s Big Wheel…not just a Big Wheel but a Big Wheel Deluxe with the box…no problem just shell out $2,500.
This song was originally off the Walking Into Clarksdale album by Robert Plant and Jimmy Page.
This version peaked at #20 in the U.S. Billboard Bubbling Under Hot 100 and #102 in the UK in 2009. I like the original version but Krauss’s harmony lifts this version up over that and turns into a great record. The arrangement to this version highlights the lyrics and enhances the song. It took a few listens but I was hooked after a while.
It won The Grammy Award for Record of the Year in 2009. The song was off of the Raising Sand album.
Both Krauss and Plant achieved their highest-ranking albums in the Billboard 200 chart under their own names with Raising Sand. It overtook Krauss’s placing for her earlier 2007 album A Hundred Miles or More: A Collection, which reached #10. Plant ‘s highest-ranking solo title had been the #4 peak of No Quarter in 1994. Ten years prior to that he’s also reached #4 with Volume One, a one-off side project by the Honeydrippers. Of course, Plant had been to the top of The Billboard 200 seven times as a member of Led Zeppelin.
This won for Record of the Year at the Grammy Awards in 2009. Accepting the award, Robert Plant said: “When we started this project together, the whole game was a mystery. We gave ourselves three days, and we said if it doesn’t work, we’ll just take lunch, and I’ll go back to Wolverhampton. But we brought this song out and it’s been given that Nashville touch and it feels pretty good.”
Please Read the Letter
Caught out running With just a little too much to hide Maybe baby Everything’s gonna turn out fine Please read the letter I mailed it to your door It’s crazy how it all turned out We needed so much more
Too late, too late A fool could read the signs Maybe baby You’d better check between the lines Please read the letter, I Wrote it in my sleep With help and consultation from The angels of the deep
Once I stood beside a well of many words My house was full of rings and Charms and pretty birds Please understand me, my Walls come falling down There’s nothing here that’s left for you But check with lost and found
Please read the letter that I wrote Please read the letter that I wrote
One more song just before we go Remember baby All the things We used to know Please read my letter And promise you’ll keep The secrets and the memories and Cherish in the deep
Ah…
Please read the letter that I wrote Please read the letter that I wrote Please read the letter that I wrote
Please read the letter that I wrote Please read the letter that I wrote Please read the letter that I wrote
This is a great country – rock song and its acoustic feel is great. The song peaked at #27 in the Billboard 100 and #40 in Canada in 1975.
This is an article from the Tennessean about Amie… written by Dave Paulson in 2016
“Amie, what you want to do? I think I could stay with you for a while, maybe longer if I do.”
“Aime” certainly has stuck around. The Pure Prairie League song — recorded in 1972 — took three years to turn into a hit, but has since endured for decades. The band’s Craig Fuller told the story of “Aime” to Bart Herbison of Nashville Songwriters Association International.
Let’s take it back. Pure Prairie League is a band out of Ohio. You’ve done it the hard way; you’ve played the clubs, been on the road for years. In 1971 you finally attract the attention of RCA.
CF: RCA New York. They came to see us play a festival in Cleveland. … I think they brought the (A&R) fellow back with the power to sign. Then we played on the front porch of our house and they said, “Oh, that’s good, let’s do that.”
So you recorded the album “Bustin’ Out.” In terms of musicianship, it’s still one of my favorite records ever. It still actually sells CDs. And RCA signed you, but then they drop you. But “Amie” gets some airplay on country stations and airplay on pop stations and college stations and AOR stations. … So in 1975 they re-sign the band and put the single out.
CF: Well, when we recorded it in that mecca of country music Toronto, Canada, it was longer, and I think they edited it for radio and got it shorter. I guess you’re right. It kept bubbling there along and they decided to give it another shot promotion-wise.
Who is Amie?
CF: Just a song I wrote. Just an exercise in song craftsmanship.
Boy, people really dissect that song — about what it’s about. I’ll give you my take on it: The guy may have waited too long. You don’t know what you’ve got ‘til it’s gone.
CF: That’s just as fair as my take on it, because all I was doing was stringing words and music together.
There’s some genius to it. You fell into one, Craig, I’m telling you.
CF: I think the track on that song had a lot to do with it. We were up there luxuriating (with) a large budget for back then. We were in Toronto all summer right across from Maple Leaf Gardens. It took us all summer to record that record. It wasn’t even mixed yet and at that time Gordon Lightfoot came in. We had the whole (studio) blocked out in the days and Gordon Lightfoot would come in and record in the evening. He did a record in two weeks. Stompin’ Tom Connors, who was a guy from Canada, country kind of guy, he did a record in two nights. So we were just up there having a good time.
So tell me about the resilience of that song. Through the decades you’ve played it around the world. That’s one that everybody recognizes. So the lead singer of Evanescence, Amy Lee, apparently was named after that song, even though she spells it with a Y. I told you we were just in D.C. lobbying for songwriters two or three weeks ago and ran into another Amie that allegedly was named after that song. You’ve got to hear that a lot.
CF: I’ve had mothers come up and say, “I named my daughter Amie — and she named her daughter Amie.”
Wow. That means it’s been a while, right?
CF: Exactly. That was the joke.
So one last question, Craig. In your mind’s eye, did you get back with Amie?
CF: Amie is just a song so I get along with Amie really well.
Yeah, but did you get back with her? Have you ever thought about that?
CF: Does the character?
Yeah, does the character get back with her? Do they end up happily ever after or is it a hard lesson learned for him for the rest of his life?
CF: I suppose the protagonist of the song is just laying it out and then it’s up to her.
I love that version.
Amie
I can see why you think you belong to me, I never tried to make you think, Or let you see one thing for yourself, And now you’re off with someone else and I’m alone, You see I thought I might keep you for my own.
Amie, what you wanna do? I think I could stay with you, For a while maybe longer if I do.
Don’t you think the time is right for us to find, That all the things we thought weren’t proper could be right in time, Can’t you see which way we should turn together or alone, I can never see what’s right or what is wrong, ‘Cause that take too long to see now.
Amie, what you wanna do? I think I could stay with you, For a while maybe longer if I do.
Come on now, Amie, what you wanna do? I think I could stay with you, For a while maybe longer if I do.
Now it’s come to what you want, you’ve had your way, And all the things you thought before just faded into gray, And can you see that I don’t know if it’s you or it’s me, But if it’s one of us I’m sure we both will see, yeah, Won’t you look at me and tell me.
Amie, what you wanna do? I think I could stay with you, For a while maybe longer if I, longer if I do.
Amie, what you wanna do? I think I could stay with you, For a while maybe longer if I do.
I keep fallin’ in and out of love with you, Fallin’ in and out of love with you, Don’t know what I’m gonna do, I keep fallin’ in and out of love with you.
Since it is Halloween I thought I would post this song by Jim Stafford. It reached #39 in the Billboard 100 and #46 in Canada in 1973. My sister had this single but to this six-year-old it was scary. The song described a town by the bayou with an uneasy relationship with the local Witch…which seems to be a prerequisite of a town near the bayou.
The town gets hit with a plague and the Witch (Hattie) helps the town out but not before they all thought Hattie caused the plague to begin with… She cures them and after that, they decide to fetch her from the woods…bad idea.
I think the lesson here is…leave well enough alone.
Swamp Witch
Black water Hattie lived back in the swamp Where the strange green reptiles crawl Snakes hang thick from the cypress trees Like sausage on a smokehouse wall Where the swamp is alive with a thousand eyes An’ all of them watching you Stay off the track to Hattie’s Shack in the back of the Black Bayou
Way up the road from Hattie’s Shack Lies a sleepy little Okeechobee town Talk of swamp witch Hattie lock you in when the sun go down Rumors of what she’d done, rumors of what she’d do Kept folks off the track of hattie’s shack In the back of the Black Bayou
One day brought the rain and the rain stayed on And the swamp water overflowed Mosquitoes and the fever grabbed the town like a fist Doctor Jackson was the first to go Some say the plague was brought by Hattie There was talk of a hang’n too But the talk got shackled by the howls and the cackles From the bowels of the Black bayou
Early one morn ‘tween dark and dawn when shadows filled the sky There came an unseen caller on a town where hope run dry In the square there was found a big black round Vat full of gurgling brew Whispering sounds as the folk gathered round “It came from the Black Bayou”
There ain’t much pride when you’re trapped inside A slowly sink’n ship Scooped up the liquid deep and green And the whole town took a sip Fever went away and the very next day the skies again were blue Let’s thank old Hattie for sav’n our town We’ll fetch her from the Black Bayou
Party of ten of the town’s best men headed for Hattie’s Shack Said Swamp Witch magic was useful and good And they’re gonna bring Hattie back Never found Hattie and they never found the shack And they never made a trip back in ‘Twas a parchment note they found tacked to a stump Said don’t come look’n again
I had this as a kid and would play it at family gatherings at our house. I bought an original one from 1969 from eBay a couple of years ago and still once in a while will play it. It plays like a carnival game. My son didn’t think much of it at first but when he started to play it…he liked it.
The game came out in 1969 by the Ideal Toy Company. The game was designed by Marvin Glass and Associates and created by Hank Kramer, Larry Reiner, and Walter Moe.
They still sell a version of it today.
It’s tic tac toe with bean bags…that about sums it up. Go Go Go for 3 in a row!
Now… please tell me what the little girl says after the dog drops the bag…please
I remember having Stretch and stretch him I did. He lasted a few months before it happened. Mr. Armstrong sprung a leak and out came this gooey liquid everywhere.
Jesse Horowitz designed Stretch… he tried a sumo wrestler but it was too big and he dropped the idea. He thought about a stretch woman to rival Barbie but smartly dropped that idea.
In 1976 Stretch Armstrong was sold to the masses, and the $11 toy that made Kenner over $50 million in revenue had a secret: He was basically just a big sack of corn syrup… but to a kid…a fun $11 big sack of corn syrup.
The fad wore out after a while other companies started to do their own Stretch dolls. The Mega company started their own line with Batman, Spider-Man, and Superman stretchable figures. Kenner sued but by the time anything was done Stretch’s time in the sun was over and his popularity faded.
Maybe I shouldn’t have stretched Stretch so much…
Armstrong dolls in a box that aren’t leaking profusely from ’70s wounds can fetch over $1000 on auction sites, with especially rare versions or prototypes worth more.
Always been one of my favorites of the Small Faces. It came off the great album Ogdens’ Nut Gone Flake. The Small Faces didn’t intend to release this song. Marriott was against his manager Andrew Loog Oldham’s decision to release this as a single and that was one reason why he left the group shortly afterward. The band didn’t take the song seriously and made it into a joke. Steve sang some of the voices with a cockney accent.
They were touring Germany and they picked up a music paper and saw it was not only released but a hit. Steve wanted a tougher image for the band and this was more of a pop song.
This Steve Marriott penned song has a traditional East End of London Music Hall sound. Keyboardist Ian McLagan recalled to Uncut magazine: “When Steve came in with this it was slower. We started taking the piss out of it while he was out of the room. The ‘Root-ti-doo-ti-di-day’ thing stop and he laughed when he came back in and heard us. So we cut it like that. It was a piss take!”
Marriott sang much of the song in a greatly exaggerated cockney accent. Drummer Kenney Jones told Uncut : “Steve had been a child actor, he was the first Artful Dodger in Lionel Bart’s Oliver in the West End. He brought back that theatricality to this.”
Lazy Sunday
A-wouldn’t it be nice to get on with me neighbours? But they make it very clear, yhey’ve got no room for ravers They stop me from groovin’, they bang on me wall They doing me crust in, it’s no good at all, ah Lazy Sunday afternoon I’ve got no mind to worry I close my eyes and drift away-a Here we all are sittin’ in a rainbow Gor blimey, hello Mrs. Jones, how’s old Bert’s lumbago? (he mustn’t grumble) (Tweedle-dee) I’ll sing you a song with no words and no tune (twiddly-dee) To sing in your party while you souse at the moon (oh yeah) Lazy Sunday afternoon, I’ve got no mind to worry Close my eyes and drift away-a
Root-de-doo-de-doo, a-root-de-doot-de-doy-di A-root-de-doot-de-dum, a-ree-de-dee-de-doo-dee (doo-doo, doo-doo) There’s no one to hear me, there’s nothing to say And no one can stop me from feeling this way, yeah Lazy Sunday afternoon I’ve got no mind to worry Close my eyes and drift away Lazy Sunday afternoon I’ve got no mind to worry Close my eyes and drift a- Close my mind and drift away, close my eyes and drift away
Good song and singer in Patty Smyth. This song made it to #65 in the Billboard 100 in 1982. I would have sworn it made it higher than that. It was played heavily by MTV at the time. Scandal would have a top ten hit in 1984 with The Warrior.
This was written by Scandal guitarist Zack Smith. It’s a breakup song where Patty Smyth sings about moving on from a relationship. Smith wrote most of Scandal’s songs, while Smyth fronted the group, moving on to success as a solo artist and eventually marrying tennis star John McEnroe.
Patty Smyth credits MTV for this song’s success. The song didn’t get much radio airplay, but the video got a lot of spins on MTV. The clip was a typical, low budget, performance video, but Smyth was easy on the eyes and MTV was hankering for American Rock acts, especially females (note Pat Benatar’s early acceptance on the network).
Goodbye to You
Those times I waited for you seem so long ago I wanted you far too much to ever let you go You know I never got by, “I feel it too” And I guess I never could stand to lose It’s such a pity to say
Goodbye to you Goodbye to you
Could I have loved someone like the one I see in you I remember the good times baby now, and the bad times too These last few weeks of holdin’ on The days are dull, the nights are long Guess it’s better to say
Goodbye to you Goodbye to you Goodbye to you Goodbye to you
‘Cause baby it’s over now No need to talk about it It’s not the same My love for you’s just not the same And my heart, and my heart And my heart can’t stand the strain And my love, and my love And my love won’t stand the pain And my heart, and my heart And my heart can’t stand the strain And my love, and my love And my love
Goodbye to you Goodbye to you Goodbye to you Goodbye to you
Now, could I have loved someone like the one I see in you Yeah, I remember the good times baby now, and the bad times too These last few weeks of holdin’ on The days are dull, the nights are long Guess it’s better to say
Goodbye to you Goodbye to you Goodbye to you Goodbye to you
The title alone made me want to listen to this song. This song went to #2 in the U.S. Billboard Hot Country Singles chart and #1 in the Canadian Country Charts in 1968. Rod Stewart also made a great cover of this song. The Stewart version is the one I listen to the most, but I like both versions.
Jerry Lee Lewis took the song to #94 in the Billboard 100 in 1968, but that’s the only version of the song to chart in that country. Rod Stewart’s 1972 rendition was a much bigger hit in the UK, even though the song is very American in its subject matter.
This was written by Glen Sutton, who was the first husband of country singer Lynn Anderson. They married in 1968 and divorced in 1977. Anderson recorded a version on her 1971 album How Can I Unlove You.
It’s late and she is waiting, and I know I must go home, But every time I start to leave, they play another song, Then someone buys another round and whatever drinks are free, What made Milwaukee famous has made a loser out of me.
Baby’s begged me not to go, so many times before, She said love and happiness can’t live behind those swingin’ doors, Now she’s gone and I’m to blame, too late I finally see, What made Milwaukee famous has made a loser out of me.
Baby’s begged me not to go, so many times before, She said love and happiness can’t live behind those swingin’ doors, Now she’s gone and I’m to blame, too late I finally see, What made Milwaukee famous has made a loser out of me.
What made Milwaukee famous has made a loser out of me, What made Milwaukee famous has made a loser out of me. What made Milwaukee famous has made a loser out of me.
I had a stereo that had a record-able 8-track system built in. I would record straight off the radio to the 8-track and from records. I will add that it could be a miserable format to listen to music. If you had a favorite song that you wanted to hear a couple times in a row…get ready to wait till it came back around and then for the infamous “click” and you would switch tracks…and either wait some more or miss the beginning.
But there is more… you may be listening to a song and suddenly the song fades out for a while because it’s too long for the track and then finally the “click” and it finishes out on the next track.
William Powell Lear, the man behind LearJet, was also the inventor of the 8-track cartridge tape system. In 1964 William Lear convinced Ford to install the 8-track in their cars.
In September 1965, Ford Motor Company offered 8-track players as an option in their 1966 model cars. A Ford spokesperson reported that 65,000 players were installed in the first year. As a result of the popularity, the 8-track player soon became standard in all Ford cars.
In 1966 home units and portable units were offered. Now people could share their tapes with each other. The peak years of the eight-track were 1967 through 1975. Then, improvements in the tape quality of smaller cassettes and decreasing quality in eight-tracks led consumers away from the eight-track tape.
The last official release on 8-track was Fleetwood Mac’s Greatest Hits in 1988. By then though Compact Disc had taken over the market.
I did have quite a collection of official 8-tracks and self-made 8-tracks. I also have an old 8-track system in my closet…hey you never know.
This video is a must. It shows an Eight Track Museum. It is interesting.
Before chat rooms, My Space, Facebook, cell phones, WordPress, or messenger we had CB Radio. In the 1970’s this fad took off.
When Al Gross invented the CB radio in 1945, the Federal Communications Commission (FCC) quickly opened up radio services for personal users of the radio. in the 1960s businesses and hobbyist used the radio frequently.
In the early 1970s, the oil crisis caused gas to go up in price and the speed limit dropped to 55 mph. It was then people realized that CB’s could be used to spread the word about what gas stations had gas and what speed traps were set up ahead. Not only truckers were using the CB but it had caught on as a fad.
Movies such as Smokey and the Bandit helped popularize it more and also songs such as Convoy.
As a kid, I remember cars having the CB antennas and people at home. Everyone was getting into the game. People used CB slang and nicknames. Even The First Lady, Betty Ford, was on as “First Mama”…yea some cringe-worthy moments.
CB radio is still used today but the popularity is not like it was through the 70s and 80s… 10-4 (I just had to add that)
I first saw the video of this song on television in the seventies. I might have seen it on the SNL broadcast…probably a repeat. A good catchy song by George off of his Thirty Three & 1/3 album. The song peaked at #19 in the Billboard 100 and #19 in Canada.
The album peaked at #11 in the Billboard 200 and #10 in Canada.
In the music video, future Rutle Neil Innes played the nurse pushing George in a pram. George’s future wife Olivia Arias played one of the scantily dressed women standing next to his bed.
This song was inspired by Friar Park, a 120 room neo-Gothic mansion that Harrison lived in from 1970, until his death in 2001. The song’s title was Harrison’s nickname for his home.
Harrison’s line “It’s twoo, it’s twoo” was lifted from the movie Blazing Saddles. It was a line spoken by Madeline Kahn about what she had heard about black men. George loved offbeat comedies like that.
Crackerbox Palace
I was so young when I was born My eyes could not yet see And by the time of my first dawn Somebody holding me . . . they said
I welcome you to Crackerbox Palace We’ve been expecting you You bring such joy in Crackerbox Palace No matter where you roam know our love is true
While growing up or trying to Not knowing where to start I looked around for someone who May help reveal my heart – someone said
While you’re a part of Cracerbox Palace Do what the rest all do Or face the fact that Crackerbox Palace May have no other choice than to deport you
I welcome you to Crackerbox Palace We’ve been expecting you You bring us joy in Crackerbox Palace No matter where you roam know our love is true
Sometimes are good . . . sometimes are bad That’s all a part of life And standing in between them all I met a Mr. Grief – and he said
I welcome you to Crackerbox Palace Was not expecting you Let’s rap and tap at Crackerbox Palace Know that the Lord is well and inside of you
Chi Coltrane can sing rock, blues, and anything in between. I remember this son,g but I’m stunned that she didn’t have more hits. She was signed by Clive Davis and had this hit single and a couple of critically acclaimed albums. This song was her only hit back in 1972. It peaked at #17 in the Billboard 100, #4 in Germany, and #18 in Canada. She moved to Europe in 1977 and started a career there. She gained a large following with many hits and still performs to this day.
She is an excellent musician, producer, singer, and songwriter. She wrote Thunder and Lightning. Unlike some other singer-songwriters of the time…Chi was said to have been equal to a session musician in her piano playing.
Thunder and Lightning
Oooh, what a good thing I’ve got Oh, it’s such a good thing I’ve got I don’t think I can stand it
Thunder and lightning, oh yeah! I tell you it’s frightening, oooh! It’s thunder and lightning And you’re in control
I thought my life was complete But look what you’re doin’ to me Oh, you’re makin’ me crazy
Thunder and lightning, oh yeah! I tell you it’s frightening, ooohooo! It’s thunder and lightning And you’re in control
I don’t know how to handle it It’s more than I would dare I wouldn’t try to run from it It reaches everywhere
I’m feelin’ dizzy and weak You make me forget how to speak I can feel it happening
It’s thunder and lightning, oh yeah! I tell you it’s frightening, ooohooo! Thunder and lightning And you’re in control
Oh, thunder and lightning, ooohooo! I tell you it’s frightening, oh yeah! I tell it’s thunder and lightning, ooohooo! I tell you it’s frightening, oh yeah!
I tell you thunder and lightning, oh yeah! Don’t you know that it’s frightening, oh yeah! I know it’s thunder and lightning
I own a couple of lava lamps and I run them quite a bit. I didn’t get my first one until the 80s and I still have it. They do nothing but do their thing…and they create a mood. I have one in my office at work…it helps at times.
The lava lamp was invented in 1963 by Edward Craven Walker. He was passing the time in a pub when he noticed a homemade egg timer crafted from a cocktail shaker filled with alien-looking liquids bubbling on a stove top. Craven Walker’s company was manufacturing millions of “Astro Lamps,” as he called them, per year. In 1965, he sold the U.S. manufacturing rights to a company called Lava Lite.
Lava lamps caught on in the sixties and continued to be big to the late seventies. The sales cooled off until the Austin Power movies and the sales started to pick up again in the hundreds of thousands a year. Now Lava Lite supplies millions of lava lamps to retailers.
At one time this novelty song was true…you wanted to be on the cover of Rolling Stone when it was a good magazine…but that is a different discussion. This song was released in 1972 and peaked at #6 in the Billboard 100 and #2 in Canada. Dr. Hook was very successful with 6 top ten hits in their career. They were also known as Dr. Hook and the Medicine Show.
This is a parody of the rock and roll lifestyle. It pokes fun at all the things that rock stars indulge in when they’re successful: groupies, shady characters hanging around, limo rides, etc.
The group had a funny side and a serious side, but it was the funny side that came out on stage and framed their image. The pirate theme added to the novelty of the group: originally known as the Chocolate Papers, they took the name Dr. Hook & the Medicine Show after the character in Peter Pan, which also played up the eye patch worn by their singer Ray Sawyer, who many people assumed was “Dr. Hook.” Sawyer wore the eye patch as a result of a car accident.
Cover of the Rolling Stone
Well, we’re big rock singers We got golden fingers And we’re loved everywhere we go (that sounds like us) We sing about beauty and we sing about truth At ten-thousand dollars a show (right) We take all kinds of pills that give us all kind of thrills But the thrill we’ve never known Is the thrill that’ll gitcha when you get your picture On the cover of the Rollin’ Stone
(Rollin stone) want to see my picture on the cover (Stone)Wanna buy five copies for my mother (yes) (Stone)Wanna see my smilin’ face On the cover of the Rollin’ Stone (that’s a very very good idea)
I got a freaky ole lady name a cocaine Katy Who embroideries on my jeans I got my poor ole grey haired daddy Drivin’ my limousine Now it’s all designed to blow our minds But our minds won’t really be blown Like the blow that’ll gitcha when you get your picture On the cover of the Rollin’ Stone
(Rollin Stone) want to see our pictures on the cover (Stone) want to buy five copies for our mothers (yeah) (Stone) want to see my smilin’ face On the cover of the Rollin’ Stone (talking) Hey, I know how Rock and roll
Ah, that’s beautiful We got a lot of little teenage blue eyed groupies Who do anything we say We got a genuine Indian Guru Who’s teaching us a better way We got all the friends that money can buy So we never have to be alone And we keep getting richer but we can’t get our picture On the cover of the Rollin’ Stone
(Rollin stone)Gonna see my picture on the cover (Stone) Gonna buy five copies for my mother (wa wa) (Stone) Gonna see my smilin’ face On the cover of the Rollin’ Stone On the cover of the Rollin’ Stone) Gonna see my picture on the cover (talking) I don’t know why we ain’t on the cover, baby (Stone) Gonna buy five copies for my mother (talking) We’re beautiful subjects (Stone) Want to see my smilin’ face (talking) I ain’t kiddin’, we would make a beautiful cover On the cover of the Rollin’ Stone (talking) Fresh shot, right up front, man I can see it now, we’ll be up in the front Smilin, man Ah, beautiful.
PowerPop... An Eclectic Collection of Pop Culture 