Ringo Starr – It Don’t Come Easy

Maybe Ringo’s best solo song. Ringo is the only songwriter credited on this, but he had a lot of help from George Harrison, who was very generous in giving him full writing credit. The track (less Ringo’s vocal and horn parts) was already completed when Harrison gave it to him, and it included a scratch vocal by George (youtube video at the bottom).

The song peaked at #4 in the Billboard 100, #1 in Canada and  #4 in the UK in 1971.

Pete Ham and Tom Evans from Badfinger are on this track.

From Songfacts.

If you listen carefully during the guitar solo, the backup singers throw in a “Hare Krishna,” which was mixed way down. This is a nod to George Harrison’s 1970 hit “My Sweet Lord,” where he sings the mantra. 

This was Ringo’s first big hit as a solo artist (his cover of “Beaucoups of Blues” made #87 US a year earlier). From 1971-1975 he had a string of hits, including two #1s: “Photograph” and “You’re Sixteen.”

Peter Ham and Tom Evans of Badfinger sang on the intro to this song (“It don’t come easy, ya know it don’t come easy”). Badfinger was signed to The Beatles’ Apple Records, and helped out George Harrison’s first solo album. 

This song served Ringo well throughout his career. When he assembled his first “All Starr Band” in 1989 (featuring Dr. John, Clarence Clemmons, Joe Walsh and Billy Preston), this was the opening number on their tour. Throughout several subsequent incarnations of the band, “It Don’t Come Easy” typically remained at the top of setlist when they performed live.

Ringo performed this song with his good friend, musical cohort, and brother-in-law Joe Walsh when he was inducted into the Rock and Roll Hall of Fame in 2015.

Here is the George Harrison version

It Don’t Come Easy

One, two,
One, two, three, four!

It don’t come easy
You know it don’t come easy
It don’t come easy
You know it don’t come easy

Got to pay your dues if you wanna sing the blues
And you know it don’t come easy
You don’t have to shout or leap about
You can even play them easy

Open up your heart, let’s come together
Use a little love
And we will make it work out better

I don’t ask for much, I only want your trust
And you know it don’t come easy
And this love of mine keeps growing all the time
And you know it don’t come easy

Peace, remember peace is how we make it
Here within your reach
If you’re big enough to take it

Got to pay your dues if you wanna sing the blues
And you know it don’t come easy
You don’t have to shout or leap about
You can even play them easy

Peace, remember peace is how we make it
Here within your reach
If you’re big enough to take it

I don’t ask for much, I only want your trust
And you know it don’t come easy
And this love of mine keeps growing all the time
And you know it don’t come easy

“What’s my name?” Ringo!
“What’s my name?” Ringo!

“Just in case anybody forgot”

The Mindbenders – A Groovy Kind of Love

I can’t listen to this every day but once in a while, it’s alright. It’s very mid-sixties plus it has the word groovy in it. Winner winner …

They were a beat group from  Manchester, England. They were known as Wayne Fontana and the Mindbenders but Mr. Fontana decided to quit in the middle of a concert in 1965…  Eric Stewart (later in 10cc) became the lead singer.

The song peaked at #2 in the Billboard 100 in 1966.

Phil Collins covered the song in the 1980s and it peaked at #1 in 1988.

From Songfacts.

This was written by New York songwriters Carole Bayer Sager and Toni Wine; Sager was 22 when they wrote it, and Wine was 17. They wrote the song for Screen Gems publishing, and Jack McGraw, who worked at Screen Gems’ London office, thought the song would be perfect for the British group The Mindbenders. The song became a huge hit in England, and was released in America a year later, where it was also very successful.

Sager was still teaching high school when she wrote this, and Wine was still in high school. Both went on to very successful careers in the music industry, with Sager writing popular songs for stage productions and movies (including “Arthur’s Theme (Best That You Can Do)”), and Wine writing the hit “Candida” and singing on many famous songs, including Willie Nelson’s version of “Always On My Mind” and “Sugar, Sugar” by The Archies. They wrote this in Sager’s apartment.

In our interview with Toni Wine, she explained: “We were talking about ‘Groovy’ being the new word. The only song we knew of was 59th Street Bridge Song, Paul Simon and Art Garfunkel. You know, ‘Feelin’ groovy.’ And we knew we wanted to write a song with that word in it. Because we knew it was the happening word, and we wanted to jump on that. Carole came up with ‘Groovy kinda… groovy kinda… groovy…’ and we’re all just saying, ‘Kinda groovy, kinda groovy, kinda…’ I don’t exactly know who came up with ‘Love,’ but it was ‘Groovy kind of love.’ And we did it. We wrote it in 20 minutes. It was amazing. Just flew out of our mouths, and at the piano, it was a real quick and easy song to write. Those are incredible things when those songs can get written. Like some you can just be hung on for so long, and then others just happen very quickly. And that was one of them. And it’s been so good to us.”

In 1966, this was also recorded by Patti LaBelle And The Bluebelles, but the version recorded by The Mindbenders, who released it as their first single without lead singer Wayne Fontana, became the hit.

Wayne Fontana left the Mindbenders after numerous singles failed to chart after their hit “Game of Love.” To quote an angry Eric Stewart after Wayne just walked off the stage while they were playing: “All we lost was our tambourine player. Wayne had been threatening to leave the band for some time and drummer Ric Rothwell had reached the end of patience with his groaning an moaning. Ric was urging him to take his ego trip and p–s off.” 

This was a #1 UK and US hit for Phil Collins in 1988. His version was used in the movie Buster, where Collins plays the title role of Buster Edwards. Collins put together the soundtrack using various ’60s songs because that’s when the movie was set (he enlisted Motown hitmaker Lamont Dozier to co-write “Two Hearts,” another US #1 hit used in the film). According to Toni Wine, “Separate Lives” composer Stephen Bishop wanted to record a cover and brought a demo to his pal Collins, hoping he would produce it. Instead, Collins convinced Bishop to let him record it for the movie. 

A child actor, Collins was wary about taking a movie role after becoming famous as a musician, and he made sure the song didn’t appear until the end of the film so musical perceptions wouldn’t taint his performance. The film was a box office flop, but Collins stood by it, saying it was an excellent film.

The music is based on the Rondo from “Sonatina in G Major” by Muzio Clementi.

Collins’ version was nominated for Best Male Pop Vocal Performance at the 1989 Grammy Awards, but lost to Bobby McFerrin’s “Don’t Worry Be Happy.”

Sonny & Cher recorded this for their 1967 album, In Case You’re In Love.

A Groovy Kind Of Love

When I’m feelin’ blue, all I have to do is take a look at you,
Then I’m not so blue.
When you’re close to me I can feel you heart beat 
I can hear you breathing in my ear.

Wouldn’t you agree, baby, you and me got a groovy kind of love.
We got a groovy kind of love.

Any time you want to you can turn me on to anything you want to. 
Any time at all.
When I taste your lips 
Oh, I start to shiver can’t control the quivering inside.

Wouldn’t you agree, baby, you and me got a groovy kind of love.
We got a groovy kind of love.

When I’m in your arms nothing seems to matter 
If the world would shatter I don’t care. 
Wouldn’t you agree, baby, you and me got a groovy kind of love.
We got a groovy kind of love.
We got a groovy kind of love.
We got a groovy kind of love

Soul Asylum – Runaway Train

Heard this in the nineties when I still listened to the radio on a daily basis. I remember the song being used to find missing children. The music video for “Runaway Train” featured photographs and names of missing children in the style of a public service announcement.

At the end of the video, lead singer Dave Pirner appeared and said, “If you’ve seen one of these kids, or you are one of them, please call this number” before a missing children telephone helpline number appeared. The video was edited for use outside the US to include photos and names of missing children from wherever the video was to be shown. The video drew awareness to the problem and was instrumental in reuniting several children with their families.

Runaway Train peaked at #13 in the Billboard 100 in 1993.

 

From Songfacts.

Soul Asylum lead singer Dave Pirner wrote this song, which is about depression. It took him a few years to complete the song; at first it had different lyrics with a refrain of “laughing at the rain,” which he knew was too similar to the Neil Sedaka song “Laughter In The Rain.”

Pirner had the tune in his head, but it wasn’t until he went through some dark times that the runaway train/depression metaphor hit him, and he wrote the lyrics in a single sitting.

.

The message of the video became bigger than that of the song, and the Soul Asylum singer embraced that message. In our interview with Dave Pirner, he explained: “I really got closer to an issue that I was concerned about and open to being concerned about, and thrust into a position where I was dealing with the Polly Klaas situation. There’s so much raw emotion and so much reality to a situation like that that you can’t exploit it.”

Polly Klaas was a 12-year-old girl who went missing in October 1993, a few months after the song had peaked on the charts. The case made national news, drawing more attention to the issue of missing and exploited children. It was later learned the Klaas was abducted and murdered.

Soul Asylum had released five albums prior to Grave Dancers Union. They developed a small following and did well on college radio, but “Runaway Train” was their first Pop hit and changed their fortunes. The song’s hit potential became obvious when they played it live at the University of Minnesota before recording it – the crowd responded to it and some commented that they thought it was a cover, as the tune sounded somehow familiar. This convinced the band to put some resources into developing the song, so they hired a producer named Michael Beinhorn to work on it with them.

The band had signed with Columbia Records after splitting with A&M, and Columbia was ready to invest in the album, and especially this song. They booked a high-end recording studio in New York City – The Power Station – and the band recorded it there. Recording the track went well, but Pirner had trouble getting comfortable with his vocals, so Beinhorn left him alone to record his part with just the band’s guitarist Dan Murphy present. The result was a very emotive vocal that served the song.

The video was directed by Tony Kaye, who would later direct the movie American History X. Kaye came up with the idea of using images of real missing children in the clip, and the band loved the idea, as it was truly original and could also do some good. And while Kaye’s literal interpretation – runaway children – wasn’t the real meaning behind the song, Dave Pirner didn’t mind going in that direction for the video, since he didn’t think visuals attached to a song were that important. “I had been searching for meaningfulness in the MTV world,” he said. “The tool of the video seemed like either just a raw promotion piece or just an opportunity to send a visual that isn’t really relevant. I don’t need to see a visual representation of ‘Free Bird‘ to understand what a free bird is.”

Acoustic guitars are the lead instruments on this song, but listen carefully and you’ll hear an organ in the mix. This was a Hammond B3 organ played by Booker T. Jones, who was a member of the group Booker T. & the M.G.’s (“Green Onions“). Jones played on many Soul classics of the ’60s and ’70s, mostly the Stax Records recordings, as his group served as their house band.

Getting Jones was a coup for Soul Asylum, and an opportunity to let a master do his work – producer Michael Beinhorn flew to Los Angeles to record Jones, but gave him very little direction, as the organist had been around the block a few times and knew just what to play for the seven songs he contributed to on the album.

The music video for this song changed its perception, as many viewers assumed the song was about runaway children. According to Dave Pirner, the song deals with a feeling of something missing, but associating it specifically with missing children is a stretch. “The video initiated the runaway children aspect of the song,” he told us. “It is fascinating to me that MTV was such a vehicle that it practically reinterpreted the song. I don’t think that anybody that really loves that song thinks about the video that much.”

At the 1994 ceremony, this won the Grammy Award for Best Rock Song, which went to its writer, Dave Pirner. Dave didn’t attend the ceremony, as he didn’t like the idea of proclaiming one song superior to another. When he won, Meat Loaf accepted the award on his behalf.

When this song started climbing the charts, Soul Asylum embarked on MTV’s Alternative Nation tour, a 56-date trek with Screaming Trees and Spin Doctors that had them playing shows nearly every night. They made several TV appearances as well, including at the 1993 MTV Video Music Awards where Peter Buck and Victoria Williams joined them to perform the song.

The group, and especially Pirner, were getting burned out at this point from touring and promotion, and for a while Pirner refused to perform the song in an effort to prove that there was more to Soul Asylum than “Runaway Train.”

The band’s drummer, Grant Young, didn’t play on this track, as producer Michael Beinhorn wasn’t happy with his takes. Sterling Campbell, who was a top session player, was brought in for the job, which caused a great deal of tension in the band. Young ended up quitting Soul Asylum before they recorded their next record. Campbell is credited on the album as a “percussionist.”

Runaway Train

Call you up in the middle of the night
Like a firefly without a light
You were there like a slow torch burning
I was a key that could use a little turning

So tired that I couldn’t even sleep
So many secrets I couldn’t keep
Promised myself I wouldn’t weep
One more promise I couldn’t keep

It seems no one can help me now
I’m in too deep
There’s no way out
This time I have really led myself astray

Runaway train never going back
Wrong way on a one way track
Seems like I should be getting somewhere
Somehow I’m neither here nor there

Can you help me remember how to smile
Make it somehow all seem worthwhile
How on earth did I get so jaded
Life’s mystery seems so faded

I can go where no one else can go
I know what no one else knows
Here I am just drownin’ in the rain
With a ticket for a runaway train

Everything is cut and dry
Day and night, earth and sky
Somehow I just don’t believe it

Runaway train never going back
Wrong way on a one way track
Seems like I should be getting somewhere
Somehow I’m neither here nor there

Bought a ticket for a runaway train
Like a madman laughin’ at the rain
Little out of touch, little insane
Just easier than dealing with the pain

Runaway train never comin’ back
Wrong way on a one way track
Seems like I should be getting somewhere
Somehow I’m neither here nor there

Runaway train never comin’ back
Runaway train tearin’ up the track
Runaway train burnin’ in my veins
Runaway but it always seems the same

Bob Dylan – Tangled Up In Blue

This was on the great album Blood on the Tracks. In my opinion Bob’s best album of the seventies. When I first got this album I couldn’t quit listening to it and I really wore this song out. I could sing this song in my sleep…I know every word because it’s ingrained in my head.

This would make my top 10-15 Bob Dylan songs. I’ve seen Bob 8 times and the first 6 times I saw him I kept waiting for this song because with Bob you don’t know what you will get live. He finally played it on the 7th time and I was surprised the next time because it was the only older song he played.

The song peaked at #31 in the Billboard 100 in 1975.

Talking to  Ron Rosenbaum, Bob Dylan once told him that he’d written “Tangled up in Blue”, after spending a weekend immersed in Joni Mitchell’s 1971 album Blue.

From Songfacts.

Dylan wrote this in the summer of 1974 at a farm he had just bought in Minnesota. He had been touring with The Band earlier that year.

Blood On The Tracks was Dylan’s first album under his new contract with Columbia Records. He left the label a year earlier to record for David Geffen’s label, Asylum Records.

This was influenced by the art classes Dylan was taking with Norman Raeben, a popular teacher in New York. Dylan credits Raeben for making him look at things from a nonlinear perspective, which was reflected in his songs.

This is a very personal song for Dylan. It deals with the changes he was going through, including his marriage falling apart.

Dylan sometimes introduced this on stage by saying it took “Ten years to live and two years to write.”

Tangled Up In Blue

Early one mornin’ the sun was shinin’
I was layin’ in bed
Wondrin’ if she’d changed at all
If her hair was still red
Her folks they said our lives together
Sure was gonna be rough
They never did like
Mama’s homemade dress
Papa’s bank book wasn’t big enough
And I was standin’ on the side of the road
Rain fallin’ on my shoes
Heading out for the east coast
Lord knows I’ve paid some dues
Gettin’ through
Tangled up in blue

She was married when we first met
Soon to be divorced
I helped her out of a jam I guess
But I used a little too much force
We drove that car as far as we could
Abandoned it out west
Split up on a dark sad night
Both agreeing it was best
She turned around to look at me
As I was walkin’ away
I heard her say over my shoulder
We’ll meet again some day
On the avenue
Tangled up in blue

I had a job in the great north woods
Working as a cook for a spell
But I never did like it all that much
And one day the axe just fell
So I drifted down to New Orleans
Where I happened to be employed
Workin’ for a while on a fishin’ boat
Right outside of Delacroix
But all the while I was alone
The past was close behind
I seen a lot of women
But she never escaped my mind
And I just grew
Tangled up in blue

She was workin’ in a topless place
And I stopped in for a beer
I just kept lookin’ at the side of her face
In the spotlight so clear
And later on as the crowd thinned out
I’s just about to do the same
She was standing there in back of my chair
Said to me “Don’t I know your name?”
I muttered somethin’ under my breath
She studied the lines on my face
I must admit I felt a little uneasy
When she bent down to tie the laces
Of my shoe
Tangled up in blue

She lit a burner on the stove
And offered me a pipe
I thought you’d never say hello, she said
You look like the silent type
Then she opened up a book of poems
And handed it to me
Written by an Italian poet
From the thirteenth century
And everyone of them words rang true
And glowed like burnin’ coal
Pourin’ off of every page
Like it was written in my soul
From me to you
Tangled up in blue

I lived with them on Montague Street
In a basement down the stairs
There was music in the cafes at night
And revolution in the air
Then he started into dealing with slaves
And something inside of him died
She had to sell everything she owned
And froze up inside
And when finally the bottom fell out
I became withdrawn
The only thing I knew how to do
Was to keep on keepin’ on
Like a bird that flew
Tangled up in blue

So now I’m goin’ back again
I got to get to her somehow
All the people we used to know
They’re an illusion to me now
Some are mathematicians
Some are carpenters’ wives
Don’t know how it all got started
I don’t know what they’re doin’ with their lives
But me, I’m still on the road
Headin’ for another joint
We always did feel the same
We just saw it from a different point
Of view
Tangled up in blue

Freda Payne – Band of Gold

I’ve always liked this song. It’s a bit of a soap opera but it’s a really good soul song. The song peaked at #3 in the Billboard 100 in 1970. The guitar had a rubberband type effect that was used on this song.

Because of the subject matter, Freda Payne did not want to record this at first. She thought the song was about a woman who was a virgin or sexually naïve and felt it was more suitable for a teenager. When Payne objected to this song, Ron Dunbar (co-writer of the song) said to her, “Don’t worry. You don’t have to like them! Just sing it,” and she did. Little did she know that this song would become her biggest hit and would give her her first record of gold.

The lead guitarist on this track was Ray Parker Jr., who later found success with the theme song for the comedy movie Ghostbusters.

 

From Songfacts.

There is some mystery to this song. Some people think it is about an impotent man, while others think it is about a frigid woman. In a Songfacts interview with Lamont Dozier, who co-wrote the song, he explained: “The story was, the girl found out this guy was not all there. He had his own feelings about giving his all. He wanted to love this girl, he married the girl, but he couldn’t perform on his wedding night because he had other issues about his sexuality. I’ll put it that way.

It was about this guy that was basically gay, and he couldn’t perform. He loved her, but he couldn’t do what he was supposed to do as a groom, as her new husband.”

This was released on Invictus Records, which Brian Holland, Lamont Dozier and Eddie Holland formed after they left Motown in 1968. Holland-Dozier-Holland produced the track and wrote it with their collaborator Ron Dunbar, but because of their dispute with Motown, the H-D-H trio couldn’t put their names on the label and credited themselves as “Edythe Wayne.” Members of the Motown house band The Funk Brothers played on the track.

Freda Payne is the older sister of Scherrie Payne, the final lead singer of The Supremes. Holland-Dozier-Holland wrote many of The Supremes’ hits.

According to 1000 UK #1 Hits by Jon Kutner and Spencer Leigh, Freda Payne said of this song: “It is about a wedding night that didn’t work out. I wondered why a girl would have a problem on her wedding night and why they would be in separate rooms, but they said, ‘Just learn it.’ I had no idea that it would be such a big hit.”

Band of Gold

Now that you’re gone,
All that’s left is a band of gold
All that’s left of the dreams I hold
Is a band of gold
And the memories of what love could be
If you were still here with me

You took me from the shelter of my mother
I had never known or loved any other
We kissed after taking vows
But that night on our honeymoon,
We stayed in separate rooms

I wait in the darkness of my lonely room
Filled with sadness, filled with gloom
Hoping soon
That you’ll walk back through that door
And love me like you tried before

Since you’ve been gone,
All that’s left is a band of gold
All that’s left of the dreams I hold
Is a band of gold
And the dream of what love could be
If you were still here with me

Ohhh

Don’t you know that I wait
In the darkness of my lonely room
Filled with sadness, filled with gloom
Hoping soon
That you’ll walk back through that door
And love me like you tried before

Since you’ve been gone,
All that’s left is a band of gold
All that’s left of the dreams I hold
Is a band of gold
And the dream of what love could be
If you were still here with me

Since you’ve been gone,
All that’s left is a band of gold
All that’s left of the dreams I hold
Is a band of gold
And the dream of what love could be
If you were still here with me

Thin Lizzy – Whiskey In the Jar

This is an old traditional Irish song that was spruced up by Thin Lizzy. What set Thin Lizzy apart from other rock groups was Phil Lynott’s writing, bass playing, and singing. On this song, the guitar solo sounds fantastic.

Whiskey in the Jar peaked at #6 in the UK charts in 1973.

Although a massive first hit for Thin Lizzy, this was actually meant to be the B-side. The band recorded “Black Boys On The Corner” as the A-side and put the old traditional Irish Song “Whiskey In The Jar” on the B-side because they didn’t have anything else. It was the record company that decided to make “Whiskey in the Jar” the A-side.

 

From Songfacts.

Traditionally an Irish folk song, this was covered by The Dubliners in 1967 before Thin Lizzy rocked it up in 1972 for their breakthrough hit. >>

The song tells the story of a bandit in southwest Ireland who robs an English Army Officer to keep his girlfriend Molly happy after she promises to love him forever. She then betrays him and the young man is taken to jail.

Metallica recorded a popular cover of this song on their 1998 Garage, Inc. album – an outlier for them as they rarely mention girls in their songs. Other notable versions are by The Pogues, The Dubliners, U2, Pulp and Smokie. The lyrics of this song can vary from version to version, but most covers use the Thin Lizzy lyrics. >>

Whiskey In The Jar

As I was goin’ over the Cork and Kerry mountains.
I saw Captain Farrell and his money he was countin’.
I first produced my pistol and then produced my rapier.
I said stand o’er and deliver or the devil he may take ya.

Musha ring dumb a do dumb a da.
Whack for my daddy-o,
Whack for my daddy-o.
There’s whiskey in the jar-o.

I took all of his money and it was a pretty penny.
I took all of his money and I brought it home to Molly.
She swore that she’d love me, never would she leave me.
But the devil take that woman for you know she tricked me easy.

Musha ring dumb a do dumb a da.
Whack for my daddy-o,
Whack for my daddy-o.
There’s whiskey in the jar-o.

Being drunk and weary I went to Molly’s chamber.
Takin’ my money with me and I never knew the danger.
For about six or maybe seven in walked Captain Farrell.
I jumped up, fired off my pistols and I shot him with both barrels.

Musha ring dumb a do dumb a da.
Whack for my daddy-o,
Whack for my daddy-o.
There’s whiskey in the jar-o.

Now some men like the fishin’ and some men like the fowlin’,
And some men like ta hear a cannon ball a roarin’.
Me? I like sleepin’ specially in my Molly’s chamber.
But here I am in prison, here I am with a ball and chain, yeah.

Musha ring dumb a do dumb a da.
Whack for my daddy-o,
Whack for my daddy-o.
There’s whiskey in the jar-o.

And I got drunk on whiskey-o
And I love, I love, I love, I love, I love, I love my Molly-o.

The Music Explosion – A Little Bit Of Soul

A good song for a beginner on guitar plus it’s just a cool 60s pop/rock song. I bought the single when I was a kid after I heard it on AM radio. The Music Explosion was an American garage rock band from Mansfield, Ohio. It’s one of those songs that will stick in your head all day…in a good way.

The song peaked at #2 in the  Billboard 100.

From Songfacts.

The remedy for life’s lows is found in this little pop ditty from 1967, which claims all you need to get by is a “little bit o’ soul.” It was written by British songwriting duo John Carter and Ken Lewis, who wrote the 1965 hit “Can’t You Hear My Heartbeat” for Herman’s Hermits. That same year, The Little Darlings recorded an early version of “Little Bit O’ Soul,” but it was largely ignored until a band from Mansfield, Ohio, called The Music Explosion got a hold of it. They were auditioning for producers Jeff Katz and Jerry Kasenetz, known as the Kings of Bubblegum, when they were given the song to practice.

“It was a folk version, sung like a ‘Puff The Magic Dragon,’ with a flat-top guitar,” Richard Nesta, the band’s guitarist, recalled in the book One Hit Wonders by Wayne Jancik. “It was a chordy song. Nothin’ special.”

That is, until they came up with the tune’s signature bass guitar riff (played by Butch Stahl). The Music Explosion’s version started out as a local hit and, once Kasenetz started shopping it around to California stations, it shot to #2 on the Hot 100.

All that roof raising that was going on in the late ’90s can be traced back to this song, with frontman Jamie Lyons singing, “When you raise the roof with your rock ‘n roll, you’ll get a lot more kicks with a little bit o’ soul.”

The controversial rap group 2 Live Crew sampled the riff in their 1989 song “The F–k Shop.” The group’s Luther Campbell, aka Luke, also recorded a #1 rap single in 1997 called “Raise the Roof,” which popularized the hands-in-the-air dance of the same name.

The Music Explosion disbanded in 1969. Their only other hit on the Hot 100 was 1967’s “Sunshine Games,” which peaked #63.

The Ramones covered this on their 1983 album, Subterranean Jungle.

This was used on the TV drama The Wire in the 2004 episode “Middle Ground.”

This was used in the 2017 film Detroit, set during the 1967 Detroit riots.

Little Bit Of Soul

Now when you’re feelin’ low and the fish won’t bite
You need a little bit o’ soul to put you right
You gotta make like you wanna kneel and pray
And then a little bit of soul will come your way

Now when your girl is gone and you’re broke in two
You need a little bit o’ soul to see you through
And when you raise the roof with your rock’n’roll
You’ll get a lot more kicks with a little bit o’ soul

And when your party falls ’cause ain’t nobody groovin’
A little bit o’ soul and it really starts movin’, yeah

And when you’re in a mess and you feel like cryin’
Just remember this little song of mine
And as you go through life tryin’ to reach your goal
Just remember what I said about a little bit o’soul

A little bit o’ soul, yeah (a little bit o’ soul)