Yardbirds – Train Kept A-Rollin’

This track was produced by Sam Phillips of Sun Records, the man who signed Elvis Presley. It was recorded at Phillips Recording studio, a newly updated state-of-the-art studio in Memphis TN. Jeff Beck, who is a fan of early rockabilly, said that he introduced the song to the group: “They just heard me play the riff, and they loved it and made up their version of it”

I’ve always liked this version and Beck’s filthy sound he had on his guitar.

It was written by Tiny Bradshaw, Howard Kay, and Lois Mann, this song was originally performed by Tiny Bradshaw’s Big Band in 1951. Johnny Burnette recorded a rock version in 1956, and The Yardbirds popularized the song with their rendition in 1965.

Aerosmith covered it in 1974, often playing the song as their encore in their early years. In the ’60s, Aerosmith was on the same bill as The Yardbirds for some shows, and former Yardbird Jeff Beck opened some shows for them in the ’70s.

The song didn’t chart in Billboard but was included on the album “Having A Rave Up” in 1965 which peaked at #53.

From Songfacts

This song is about a guy who is blown away by a woman, but he has to act cool to make sure he doesn’t scare her away. The train rolling is in reference to sex. 

In the beginning of the song, Jeff Beck used his guitar to create the train whistle sound.

There are two voices singing throughout the song. Both belong to lead singer Keith Relf. In the beginning, they sing different words, but by the end, both sing in unison.

When Jimmy Page joined the band and he was playing lead guitar with Jeff Beck, the Yardbirds appeared in the 1966 Michelangelo Antonioni film Blowup playing a new version of this song re-titled “Stroll On.” The Yardbirds appeared as a band in the film, which is about a London fashion photographer who may have witnessed a murder. It was one of the first major films with a full frontal nudity scene.

In an interview with Q Magazine January 2008, John Paul Jones recalls this was the first ever song he played with Robert Plant, Jimmy Page and John Bonham after joining Led Zeppelin: “I can remember the first song I played with Led Zeppelin in a tiny basement room in Soho in 1968, with wall-to-wall amps. That was ‘Train Kept A-Rollin’,’ the Yardbirds song, which I didn’t know at the time. But I knew immediately, ‘This is fun.”

Train Kept A-Rollin’

I caught the train, I met a dame,
She was a hipster, well and a real cool dame,
(She was handsome,)
She was pretty, from New York City,
Well and we trucked on down in that old Fairlane,
(Goin’ on,)
With a heave, and a ho,

Well, I just couldn’t let her go.
(Yes I did,)
Get along, sweet little woman, get along,
Be on your way,
Get along, sweet little woman, get along,
Be on your way,
With a heave, and a ho,
(Love the way you walk,)
I just couldn’t let her go.
(Yes I do now.)

Well, the train kept a-rollin’, all night long,
(Sweet little woman, get along,)
The train kept a-rollin’, all night long,
([You’re my queen?])
The train kept a-rollin’, all night long,
(Sweet little woman, get along,)
The train kept a-rollin’, all night long,
(You’re my queen?)
With a heave, and a ho,
(Love the way you walk,)
Well I just couldn’t let her go,
(Yes I do.)

We made a stop at Albuquerque,
She must have thought I was a real gone jerk,
We got out the train in El Paso,
Lookin’ so good, Jack, I couldn’t let her go.
Get along, sweet little woman, get along,
(Oh, right,)

Well, the train kept a-rollin’, all night long,
The train kept a-rollin’, all night long,
The train kept a-rollin’, all night long,
The train kept a-rollin’, all night long,
With a heave, and a ho,
Well I just couldn’t let her go.

Annie Lennox – Walking on Broken Glass

“Walking on Broken Glass” is a song written and performed by Scottish singer Annie Lennox, taken from her 1992 album, Diva. This song peaked at #14 in the Billboard 100, #1 in Canada and #8 in the UK in 1992.

The video was directed by Sophie Muller, the music video is based in part on the 1988 film Dangerous Liaisons, and on period films dealing with the late 18th century, such as Amadeus. John Malkovich, who starred in the film.

A very well done pop song. For some reason, the song has always reminded me of something Squeeze would do.

From Songfacts

The video was based on the 1988 movie Dangerous Liaisons, with elaborate costumes inspired by film, which was set in France during the 1700s. John Malkovich, who starred in the movie, also appeared in the video, as does Hugh Laurie, who went on to star in the TV show House. With the string section and harpsichord sound, the music fit the theme.

Contrary to the lilting melody, the lyrics describe a woman who is anguished over a breakup.

The elaborate photography on the Diva album was done by Anton Corbijn, who also worked with U2 and Depeche Mode. >>

Annie Lennox recalled the song’s promo in a blog promoting her 2009 greatest hits album: “This was a wonderful video to create. There were some wonderful people involved – John Malkovich and Hugh Laurie (before he had an American accent)! That was tremendous fun. The idea of it being a period piece, like Les Liaisons Dangereux. The alternative title for ‘Broken Glass’ could easily have been ‘Hell hath no more fury than a woman scorned.’ The video is very wry and tongue-in-cheek. People can take me a little seriously sometimes, but I do actually have a rather radical sense of humor.”

The music video was helmed by prolific director Sophie Muller, a frequent collaborator of Annie Lennox who cut her teeth directing several Eurythmics clips, including “I Need A Man,” “You Have Placed A Chill In My Heart,” and “Angel.”

Walking on, walking on broken glass
Walking on, walking on broken glass

You were the sweetest thing that I ever knew
But I don’t care for sugar, honey, if I can’t have you
Since you’ve abandoned me
My whole life has crashed
Won’t you pick the pieces up
‘Cause it feels just like I’m walking on broken glass

Walking on, walking on broken glass

The sun’s still shining in big blue sky
But it don’t mean nothing to me
Oh, let the rain come down
Let the wind blow through me
I’m living in an empty room
With all the windows smashed
And I’ve got so little left to lose
That it feels just like I’m walking on broken glass

And if you’re trying to cut me down
You know that I might bleed
‘Cause if you’re trying to cut me down
I know that you’ll succeed
And if you want to hurt me
There’s nothing left to fear
‘Cause if you want to hurt me
You’re doing really well, my dear

Now everyone of us was made to suffer
Everyone of us was made to weep
We’ve been hurting one another
Now the pain has cut too deep
So take me from the wreckage
Save me from the blast
Lift me up and take me back
Don’t let me keep on walking
I can’t keep on walking, keep on walking on broken glass

Walking on, walking on broken glass
Walking on, walking on broken glass
Walking on, walking on broken glass
Walking on, walking on broken glass

Thurman Munson

On August 2, 1979, I remember the news that afternoon at 6 saying that a plane crash happened in Canton Ohio and Thurman Munson was dead. It was shocking because he was only 32 years old and catcher for the Yankees.

Image result for thurman munson

While I was watching the 77 and 78 World Series there was one player I dreaded seeing at-bat with men on…, not Reggie Jackson…it was Thurman Munson. He is the only then Yankee player that I liked and respected.

Thurman is more remembered today for how his life ended than being a very good baseball player. He didn’t look like a prototypical Yankee. He was short and squatty with a sometimes difficult personality. He never did hit with a lot of power, the most home runs he ever hit in a season was 20. He ended up with a career batting average of .292 and an OBP of .346…very good for a catcher in that time period or now.

He was born in Canton Ohio in 1947 and grew up in a dysfunctional family. He kept progressing at baseball and attended Kent State. He was drafted with the 4th pick of the draft by the Yankees in 1968. He played with the Yankees from 1969 – 1979. Munson won Rookie of the Year in 1970.  He was a 7-time All-Star and an MVP in 1976. Thurman hurt his shoulder in the mid-seventies and had problems throwing the ball to second but he played through it all.

He had a rivalry with Carlton Fisk with the Red Sox and was fun to watch play. He was grumpy with reporters but good with kids and teammates. Former GM Gabe Paul said, “Thurman Munson is a nice guy who doesn’t want anyone to know it.”

He missed his family and wanted to be at home. He learned to fly and bought a prop plane so he could go home every night after a game. He kept progressing from plane to plane until he bought a Cessna $1.4 million twin-engine jet. He was practicing takeoffs and landings that day and came in and clipped some trees. He had three passengers, David Hall, and Jerry Anderson.

The plane caught fire as soon as it landed. Munson was conscious but had suffered serious spinal damage and couldn’t move. Anderson and Hall tried to pull Thurman to safety but the main door was jammed. Munson’s legs were trapped inside the crushed fuselage and wouldn’t budge. By the time the two men burst through the emergency exit, the smoke had consumed the entire plane. Hall and Anderson jumped out of the jet barely surviving. Thurman was dead at 32.

At the time I thought Thurman would be in the Hall of Fame. His numbers at the time of his death were comparable to Carlton Fisk. Munson appeared on the ballot in 1981, two years after a plane crash ended his life, and never got more than 15.5% of the vote.

Here is a list of his accomplishments from Wiki…but remember he was passed in many categories after he died.

  • 1st all time – Singles in World Series, 9
  • 10th all time – Batting average by catcher, .292
  • 11th all time – Postseason batting average, .357
  • 11th all time – Caught stealing percentage
  • 16th all time – On base percentage by catcher
  • 20th all time – OPS by catcher
  • 24th all time – Slugging by catcher
  • 26th all time – Hits by catcher
  • 26th all time – Runs by catcher
  • AL Rookie of the Year (1970)
  • AL MVP (1976)
  • 3× Gold Glove Award
  • 3 AL Pennants
  • 2 World Series titles
  • 7× All Star



The Corrs and Bono – When the Stars Go Blue

I heard this song in the early 2000s and like it the first time I listened to it. This one was written by Ryan Adams and released on his album “Gold” in 2001. The Corrs with Bono released this song in 2002 and it peaked at #18 in the Adult Top 40. The song was off the album VH1 Music First Presents: The Corrs — Live In Dublin released in 2002 and it peaked at #52 in the Billboard 200.

The Corrs are an Irish band that contain three sisters and one brother, the Corrs — vocalist Andrea, drummer Caroline, violinist Sharon, and guitarist/keyboard player Jim. In late 1995, Anthony Drennan (lead guitar) and Keith Duffy (bass guitar) joined the band and remained a permanent part of the touring and recording line-up.

When Drennan was released in early 1998 to tour with Genesis, his temporary replacement for two legs of the Talk on Corners tour was Irish guitarist Conor Brady. Jason Duffy, younger brother to Keith, joined the line-up as drummer for the Borrowed Heaven tour due to Caroline’s pregnancy. Both Anthony Drennan and Keith Duffy re-joined the band for their 2015 return.




When The Stars Go Blue

[Bono] Dancing where the stars go blue
[Andrea] Dancing where the evening fell
[Bono] Dancing in your wooden shoes
[Andrea] In a wedding gown 

[Bono] Dancing out on 7th street
Dancing through the underground
[Andrea] Dancing little marionette
[Both] Are you happy now?

Where do you go when you’re lonely?
Where do you go when you’re blue?
Where do you go when you’re lonely ? I’ll follow you…
[Bono] When the stars go blue (bluuuuue)
When the stars go blue (bluuuuue)
[Andrea] When the stars go blue (bluuuuue)
[Bono] When the stars go blue 

Laughing with your pretty mouth
[Andrea] Laughing with your broken eyes
[Bono] Laughing with your lover’s tongue
[Both] In a lullaby

Where do you go when you’re lonely?
Where do you go when you’re blue?
Where do you go when you’re lonely ? I’ll follow you…
[Bono] When the stars go blue (bluuuuue)
When the stars go blue (bluuuuue)
[Andrea] When the stars go blue (bluuuuue)
[Bono] When the stars go blue 

[Andrea] When the stars go blue (bluuuuue)
(bluuuuue) when the stars go (bluuuuue)

[Bono] When the stars go blue 

[Both] Where do you go [Bono] when you’re lonely?
[Andrea] Where do you go when you’re blue yeah?
Where do you go when you’re lonely ? I’ll follow you..

U2 – Angel of Harlem

This song has an old feel and a lot of power. It was on the Rattle and Hum album. I’ve talked to many U2 fans who don’t like the album a lot but it was a favorite of mine at the time. It broke a little from their previous albums. The Edge backed off the reverb some on this album.

The “Angel of Harlem” is Billie Holiday, a Jazz singer who moved to Harlem as a teenager in 1928. She played a variety of nightclubs and became famous for her spectacular voice and ability to move her audience to tears. She dealt with racism, drug problems, and bad relationships for most of her life, and her sadness was often revealed in her songs. She died of cirrhosis of the liver in 1959 at age 44.

The song peaked at #14 in the Billboard 100 and #9 in the UK in 1989. Rattle and Hum peaked at #1 in the Billboard 200 in 1988. The album had live and studio cuts included and a film.

Angel of Harlem was recorded at Sun Studio in Memphis.

From Songfacts

Billy Holiday’s nickname was “Lady Day.” That’s where they got the line, “Lady Day got diamond eyes, she sees the truth behind the lies.”

This is a tribute to the blues, jazz and gospel music U2 heard while touring America.

U2 recorded this at Sun Studios in Memphis while the band was touring the US in 1987. It features the Memphis Horns, who recorded on many of the blues and soul classics recorded there.

This was produced by “Cowboy” Jack Clement, who worked with Sam Phillips at Sun Studios in the ’50s before moving to Nashville and working with a variety of Country singers. When U2 asked him to work on this album, he had never even heard of them, but fortunately some of his friends were familiar with U2 and made it clear to Clement that working with them would be a good career move. By using Clement, U2 was able to recreate the famous Sun Studios’ sound they were looking for.

The line “On BLS I heard the sound…” refers to New York radio station WBLS, where U2 heard the blues and soul music that influenced this track.

This was used in the U2 documentary Rattle And Hum, which followed the band on their 1987-1988 tour of North America.

U2 played this live for the first time at the Smile Jamaica concert on October 16, 1988 in London, a benefit for the victims of Hurricane Gilbert. >>

The band was inspired by their first trip to New York City. “I wrote about it in a song. ‘Angel of Harlem,'” Bono explains in the book U2 by U2. “We landed in JFK and we were picked up in a limousine. We had never been in a limousine before, and with the din of punk rock not yet faded from our ears, there was a sort of guilty pleasure as we stepped into the limousine. Followed by a sly grin, as you admit to yourself this is fun. We crossed Triborough Bridge and saw the Manhattan skyline. The limo driver was black and he had the radio tuned to WBLS, a black music station. Billie Holiday was singing. And there it was, city of blinding lights, neon hearts. They were advertising in the skies for people like us, as London had the year before.”

During the recording session, Bono learned the important lesson that alcohol and horn players do not mix. “I thought I would lighten the session up, so I sent out for a case of Absolut Vodka. I was giving it to the horn players and we were all having a little laugh and Cowboy came up to me. Cowboy was a guy who knew how to get into trouble but he also knew when not to get into trouble. He said, ‘Bono, how long you been doing this?’ I said, ‘Ten years, nearly.’ He said, ‘Ten years and you don’t know not to give the horn section Absolut Vodka? You can give it to anybody else but you can’t give a horn section Absolut.’ I asked, ‘Why, particularly, the horn section?’ Cowboy said, ‘Listen, stupid, you try playing a horn when your lips won’t work.’

Angel of Harlem

It was a cold and wet December day
When we touched the ground at JFK
Snow was melting on the ground
On BLS I heard the sound
Of an angel

New York, like a Christmas tree
Tonight this city belongs to me

Soul love, this love won’t let me go
So long, angel of Harlem

Birdland on fifty three
The street sounds like a symphony
We got John Coltrane and a love supreme
Miles, and she’s got to be an angel

Lady Day got diamond eyes
She sees the truth behind the lies

Soul love this love won’t let me go
So long angel of Harlem
Angel of Harlem

She says it’s heart, heart and soul
Yeah yeah (yeah)
Yeah yeah (right now)

Blue light on the avenue
God knows they got to you
An empty glass, the lady sings
Eyes swollen like a bee sting
Blinded you lost your way
Through the side streets and the alleyway
Like a star exploding in the night
Falling to the city in broad daylight
An angel in Devil’s shoes
Salvation in the blues
You never looked like an angel
Yeah yeah angel of Harlem

Angel angel of Harlem
Angel angel of Harlem
Angel angel of Harlem
Angel angel of Harlem

Doris Troy – Just One Look

This song has a fifties quality to it. Doris Troy was a true one hit wonder. This is her only top 100 song. It peaked at #10 in the Billboard 100 in 1963. This was just the second Top 10 pop hit that was written and performed by the same woman, following “Gee Whiz (Look At His Eyes)” by Carla Thomas.

She appeared on Pink Floyd’s “Dark Side of the Moon” as a backup singer. In the UK, this was a #2 hit for The Hollies. It has also been covered by Lulu, and Linda Ronstadt, Mark Farner and Anne Murray.

From Songfacts

Doris Troy, born Doris Higginson in New York City, was an R&B singer/songwriter who first recorded as Doris Payne. When she was 16 years old, she got a job at the famous Apollo Theater, which featured many legendary black performers.

In a 1970 interview with Blues & Soul magazine, Troy explained: “I had the uniform and a flashlight and everything, and when I saw them stars up there performing I said to myself ‘that’s where I want to be someday,’ and I started to spend my off-duty hours in this restaurant in New York where out-of-work artists and composers hung out. I’d written ‘Just One Look’ and needed to make a demo. Well the demo got made, and it was the demo that was released. I was performing at the time, but I’d never looked on myself as ready for making hit records. I’d had a previous release out on Everest under the name of Doris Payne, but it didn’t mean a thing.

We’d taken the demo to Atlantic to sell the song, and as soon as they heard it they flipped and said they’d rush release it at once. I was on the road at the time touring with Chuck Jackson who was big then, and since I had no time to go in the studio and re-record it they issued the record straight off the demo-dub I’d had made. Wasn’t that a bitch? Well, the record took off so damn fast that it sold like crazy, and it was really lucky for me to be touring at the same time since Atlantic were able to arrange all sorts of promotional stints and interviews to tie in with the local radio stations where I was visiting.”

Troy wrote the song “How About That,” which hit #33 for Dee Clark in 1960. She worked as a session singer, appearing on recordings by Solomon Burke, Ben E. King, Dee Dee Warwick and The Drifters. “Just One Look” was her only American hit, but “Whatcha Gonna Do About It” nicked the UK charts at #37 in 1964. She moved to England in 1969 and signed with The Beatles’ Apple Records, where she release the Doris Troy album in 1970 before becoming a casualty of the rampant mismanagement at Apple. She resumed work as a session singer, and performed on The Rolling Stones’ “You Can’t Always Get What You Want” and also tracks by Tom Jones and Englebert Humperdinck. She also sang backup on the 1973 Pink Floyd album Dark Side of the Moon. Troy died in 2004 at age 67.

Troy’s version of this song appeared in a popular Pepsi commercial starring supermodel Cindy Crawford. It also appeared in a spot for DirectTV.

This appeared in the films Mermaids (1990), The Flamingo Kid (1984) and Buster (1988).

Just One Look

Just one look and I fell so hard
In love with you uh oh uh oh
I found out how good it feels
To have your love uh oh uh oh
Say you will, will be mine
Forever and always uh oh uh oh
Just one look and I knew
That you were my only one uh oh uh oh

I thought I was dreaming but I was wrong
Yeah yeah yeah
Oh but ah I’m gonna keep on scheming
‘Til I can ah make you, make you my own

So you see I really care
Without you I’m nothing uh oh uh oh
Just one look and I know
I’ll get you someday uh oh uh oh

Just one look, that’s all it took

The Sweet – Little Willy

Most of the Sweet’s singles sounded like different bands were on each one. They changed their styles quite a bit. Little Willy was their most successful single and it peaked at #3 in the Billboard 100, #1 in Canada, and #4 in the UK.

This song is a catchy pop song and they would soon move to Ballroom Blitz, Fox On The Run, and Love is Like Oxygen.

From Songfacts

This song was written by Nicky Chinn and Mike Chapman – neither of whom were members of Sweet. Instead, Chinn and Chapman were a major force in the British pop music industry in the 1970s. Just as in the US, Leiber and Stoller became known for “the Brill Building sound,” Chinn and Chapman in the UK became known as the “Chinnichap” sound. They produced songs for Suzi Quatro, and British bands Smokie, Mud, Racey, and The Arrows. Chapman would later produce albums for Blondie and The Knack, and along with Holly Knight, wrote Pat Benatar’s hit “Love Is A Battlefield.”

“Little Willy” was Sweet’s biggest US hit, peaking the charts at #3 when it was re-released in 1973. It was a non-album single, but went gold in the US and UK all by itself anyway. Critics in the UK dismissed the song as “bubblegum” and referred to the lyrics as “nursery porn.” Sweet wanted to shed their bubblegum/ glam-rock image and become more hardcore, so they later turned to writing their own songs.

Putting this song together, Chinn and Chapman used a pounding drum beat popularized by Slade and producer Mike Leander. They mixed in the riff from the Who song “I Can’t Explain,” and added the exceptionally catchy chorus, which dug into your ear and wouldn’t let go. The song didn’t tell any kind of story – just that Willy won’t go home – but listeners didn’t care and with Glam Rock, the lyrics weren’t supposed to make sense anyway.

Little Willy

North side , east side
Little Willy, Willy wears the crown, he’s the king around town
Dancing, glancing
Willy drives them silly with his star shoe shimmy shuffle down

Way past one, and feeling allright
‘Cause with little Willy round they can last all night
Hey down, stay down, stay down down
‘Cause little Willy, Willy won’t go home

But you can’t push Willy round
Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Up town, down town

Little Willy, Willy drives them wild with his run-around style
Inside, outside
Willy sends them silly with his star-shine shimmy shuffle smile
Mama done chase Willy down through the hall

But laugh, Willy laugh, he don’t care at all
Hey down, stay down, stay down, down
‘Cause little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Little Willy, Willy won’t
Willy won’t, Willy won’t

Little Willy, Willy won’t
Willy won’t, Willy won’t
Little Willy, Willy won’t
Willy won’t, Willy won’t

Little Willy, Willy won’t
Willy won’t, Willy won’t
Little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home
Little Willy, Willy won’t go home
But you can’t push Willy round

Willy won’t go, try tellin’ everybody but, oh no
Little Willy, Willy won’t go home