Bruce Springsteen – Page 2 – PowerPop… An Eclectic Collection of Pop Culture

Bruce Springsteen – Merry Christmas Baby

We are getting close to Christmas. I hope everyone is ready…and most, if not all, of your shopping is done. There have been many versions of this song but this one is the one I listen to the most. The dynamics in this version are great.

This Dec 31st, 1980 performance of Merry Christmas Baby was recorded at Nassau Veterans Memorial Coliseum in Uniondale, NY, during The River Tour. The song was played in its E Street Band arrangement. It was released in November 1986 as the B-side to WAR. This was the lead single from the Live/1975-85 box set.

Although Chuck Berry and Elvis Presley covered “Merry Christmas Baby” before Bruce did, it sounds like he based his version on Otis Redding’s 1968 version.

Lou Baxter wrote this song but it was called “Merry Christmas Blues” and Charles Brown took it home to work it out. He rewrote it with the new title. Baxter wanted Charles Brown to record it the way Charles rewrote it and it became a big hit with Brown singing with Johnny Moore’s Three Blazers.

Then the music business struck again…The company promised Charles he would have a co-writer credit but of course, it didn’t happen and Johnny Moore had his name listed on the song instead. Charles never got paid royalties for the song. It was originally released in 1947 and peaked at #3 in the Charts.

Moore died, largely unknown, in the 1960s. Brown, meanwhile, became renowned as a pioneer of the laid-back, piano-driven style of West Coast blues and was recognized as an early influence on Ray Charles; he had a renaissance in the 1990s, touring with Bonnie Raitt.

Charles Brown was inducted into the Rock and Roll Hall of Fame in 1999 but died before the induction.

It was also on a complication album A Very Special Christmas of various artists released in 1987.

Merry Christmas Baby

Bring it down, band!

Now, I just came here tonight to say…
I just wanna say…
I just wanna say…

Merry Christmas baby, you surely treat me nice
Come on, merry Christmas baby, you surely treat me nice
I feel just like I’m living, living in paradise

Now listen
Now you see, I feel real good tonight
And I got music on the radio
And I feel real good tonight
And I got music on the radio
And the boys in the band are playing pretty good!
Now, I feel just like I wanna kiss you
Underneath my mistletoe

But now listen
Santa came down chimney, half past three
With lots of nice little presents for my baby and me
Merry Christmas baby, you surely treat me nice
And I feel like I’m living, just living in paradise
Come on boys!

Well now, Santa came down chimney, half past three
With lots of nice little presents for my baby and me
Merry Christmas baby, you surely treat me nice
I feel like I’m living, I’m living in paradise

And I just came down to say
Merry Christmas baby
I just wanna say, merry Christmas baby
I just wanna say, merry Christmas baby
I just wanna say, merry Christmas baby
And happy New Year, too!
Oh yeah!
Play it boys, go!
Merry Christmas
Ha-ha-ha-ha-ha-happy New Year
Ohhhh!

Oh yeah!
Merry Christmas baby!

Max Picks …songs from 1980

1980

We are entering the new decade. This is the year I became a teenager and I was looking forward to the 1980s. It started off terrible in December of 1980. John Lennon was murdered for no reason. As the decade went on my love for the top 40 practically vanished in around 84-85. This is the decade that I found alternative music like The Replacements and R.E.M. This is the decade of big hair, one glove, parachute pants, synths, and yes some good music came out of it.

John Lennon – (Just Like) Starting Over. Great song but every time I hear it…it’s December 1980 again and I’m watching news stories about Lennon’s death. Double Fantasy was a strong comeback album for John…a little more Yoko than I would have liked but a good album all the same. John would have been 83 if he would have lived.

When it was released Ringo had said John Lennon sounds like Elvis at the beginning of this song…then he said no…he doesn’t sound like Elvis…he IS Elvis. John Lennon himself said: “All through the taping of ‘Starting Over,’ I was calling what I was doing ‘Elvis Orbison.’ It’s like Dylan doing Nashville Skyline, except I don’t have any Nashville, being from Liverpool. So I go back to the records I know – Elvis and Roy Orbison and Gene Vincent and Jerry Lee Lewis.”

ACDC – Back In Black -The album Back In Black was very popular. I think it was a requirement for every teenage boy to own a copy or two all over the world.

The rock band I was in my Sophomore year in high school played this song in our first gig in the school theater. We had the only singer around who could actually sing it. The riff to the song is one of the more memorable ones in rock.

This was the first AC/DC single and album featuring new lead singer Brian Johnson. He replaced Bon Scott, who died on February 19, 1980, after a drinking binge. Scott’s father made it clear to the band that they should find a new singer and keep going.

Bruce Springsteen released The River this year. The title track of the album is one of the most depressing but best songs ever…the reason is because it’s so true.

Bruce saves the best for last though. He is talking about the dreams we have when we are younger about what we are going to do in life until life wakes us up with a bang…at least that is what I interrupt.

Now those memories come back to haunt me
They haunt me like a curse
Is a dream a lie if it don’t come true
Or is it something worse

Queen – Another One Bites The Dust – Supposedly Steve McQueen is Steve in the opening lyrics. Steve died the year this was released on November 7, 1980. You couldn’t go anywhere in 1980 without hearing someone sing, whistle, or hum this song. I remember the high school band did a version of it. Queen released The Game in 1980 and it was huge here.

Brian May: “Freddie sung until his throat bled on Another One Bites The Dust. He was so into it. He wanted to make that song something special.”

Motorhead – Ace Of Spades. I’m not a huge Motorhead fan and it’s a bit harder music than I usually listen to… but I do like this song. I also like any interview of Lemmy I’ve ever listened to. After playing this for years, Lemmy admitted he was sick of the song, but said he kept it in the setlist because, “If I went to a Little Richard concert, I’d expect to hear Long Tall Sally.”

Max Picks …songs from 1975

1975

This year was very interesting. I had a hard time with the 5th pick. You have The Who and Led Zeppelin releasing albums and with me…normally I would go with the Who but in this year…Led Zeppelin’s Physical Graffiti won out. I think it would be hard to say that none of these belong. I like all of them of course or they would not be on here.

Born To Run broke Bruce Springsteen through to the masses after two very good to great albums but commercial failures. Columbia Records got behind this album, too much so for Bruce’s tastes, and they hit gold with it. With his face on Newsweek and Time magazine…everyone was introduced to Mr. Springsteen. In simple terms… 1975 was Springsteen’s year.

This was on the great album Blood on the Tracks. In my opinion Bob Dylan‘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 5 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. He finally played it on the 7th time and I was surprised the next time because it was the only older song he played.

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.

Queen used so many overdubs that the tape was virtually transparent on Bohemian Rhapsody. All the oxide had been rubbed off. They hurriedly made a copy so they could preserve what they had already. They were working with a 24-track machine but they still had to bounce tracks. They used `180 overdubs… The song took 3 weeks to record. The song was on A Night At The Opera album.

This made a huge comeback courtesy of Waynes World in 1991. The song was written by Freddie Mercury.

Elton John owned the early to mid-seventies Billboard Charts. Even Elton said he was tired of hearing himself in America on AM radio. Philadelphia Freedom was just another #1 for Elton.

Elton had an interesting B-side on this single. The B-side was a live duet of The Beatles hit “I Saw Her Standing There” that Elton recorded with his friend John Lennon. Elton had previously sung on Lennon’s “Whatever Gets You Through The Night” and also released a version of “Lucy In The Sky With Diamonds,” which was written by Lennon. This song was written by Elton John and his songwriting partner Bernie Taupin.

Led Zeppelin‘s Kasmir is one of their best if not their best song. It was on the Physical Graffiti Album released in 1975. The song did not chart but is hugely popular on the radio.

The song is hypnotic to listen to. The drums are the key to this song… Jimmy Page has said this about John Bonham on Kashmir… It was what he didn’t do that made it work.

The song was written by Jimmy Page, Robert Plant, and John Bonham.

Bruce Springsteen – Born To Run

I’ve covered a lot of Springsteen’s songs and I was going to look at my post of this one. I never covered it so I’m correcting that mistake today. This is one of those epic songs like A Day In The Life, Stairway To Heaven, Layla, and Free Bird.

1975 was the year of Bruce Springsteen. He was featured in Newsweek and Time magazine to his horror. The magazines were each granted interviews with Springsteen. Although they both featured similar details about his background and newfound stardom after his first two albums failed, the two articles were strikingly different in tone.

Time magazine wrote an article called “Rock’s New Sensation” in which he heaped praise on the new star. The writer knew music and realized how great Bruce was at the time. Newsweek was a different story. They wrote a story called “The Making of a Rock Star,” and looked at Columbia Records’ marketing campaign for ‘Born to Run’ and concluded it was pretty much hype. The ironic thing was that Bruce hated hype. Before he played the Hammersmith Odeon in London he ripped down a Springsteen promotional poster inside the Theatre before going upstairs and joining his party, after talking to a couple of the Record Company Executives he told his manager to instruct CBS to stop the hype and let the music sell itself.

Springsteen did try to use the Time and Newsweek covers to his advantage the next year. While touring Memphis he went to Graceland and jumped the fence but Elvis’s people were not amused. They escorted him out and told him that Elvis was in Lake Tahoe…which he was at the time. Bruce wanted to give him a song that he later gave the Pointer Sisters…Fire.

Now the song Born to Run. I think it’s fair to say that Born to Run is the song and album that broke him into stardom. On this album he had rock critic Jon Landau help him with the recording. That set off problems between Bruce and his manager Mike Appel…Appel wanted to stop Landau from working with Bruce after the album was made. That started a long saga of Bruce suing Appel which he didn’t want to do but he had to.

We all know Phil Spector’s “Wall of Sound” Well Bruce did his own Wall of Sound in this one. Springsteen has said that he counted 24 guitar overdubs in this track…that is why it sounds so huge. This was the only song on the album that Ernest “Boom” Carter played on. The original drummer Vini “Maddog” Lopez was fired in 1974 and Carter came in and helped out. He played this one song and then Max Weinberg took over the drums and still holds that spot. Carter left for a career in jazz. The keyboard player David Sancious only played on this song also and left for a very successful career in jazz. He would work on Springsteen’s solo albums later on.

Springsteen had other names for the album until deciding on this song as the title song. Other names he had were War And Roses, The Hungry, The Hunted, American Summer, and Sometimes At Night.

The song peaked at #23 on the Billboard 100 and #53 in Canada in 1975. It didn’t chart in the UK until 1987 when a live version peaked at #16. There was talk of making this the official state song of New Jersey.

Bruce Springsteen: “One day I was playing my guitar on the edge of the bed, working on some song ideas, and the words ‘born to run’ came to me,” he recalled. “At first I thought it was the name of a movie or something I’d seen on a car spinning around the circuit. I liked the phrase because it suggested a cinematic drama that I thought would work with the music that I’d been hearing in my head.”

Bruce Springsteen: “This is a song that has changed a lot over the years. As I’ve sung it, it seems to have been able to open up and let the time in. When I wrote it, I was 24 years old, sitting in my bedroom in Long Branch, New Jersey. When I think back, it surprises me how much I knew about what I wanted, because the questions I ask myself in this song, it seems I’ve been trying to find the answers to them ever since. When I wrote this song, I was writing about a guy and a girl that wanted to run and keep on running, never come back. That was a nice, romantic idea, but I realized after I put all those people in all those cars, I was going to have to figure out someplace for them to go, and I realized in the end that individual freedom, when it’s not connected to some sort of community, can be pretty meaningless. So, I guess that guy and that girl out there were looking for connection, and I guess that’s what I’m doing here. So, this is a song about two people trying to find their way home. It’s kept me good company on my search, and I hope it keeps you good company on yours.”

Before playing this song on December 9, 1980, Springsteen said before starting this song: “If it wasn’t for John Lennon, a lot of us would be someplace much different tonight. It’s a hard world that asks you to live with a lot of things that are unlivable. And it’s hard to come out here and play tonight, but there’s nothing else to do.”

Steven Van Zandt: “Bruce and I were just friends at this point. He said I wanna play you my new record. And he played ‘Born to Run’ for me, with me lying on the floor of the studio. He’d been working on it for months – I mean, literally months on one song, which is incredible now. But he played it from me, and I said, Oh, that’s great. I particularly love that minor riff, very Roy Orbison, something The Beatles would do. And he said, ‘What minor riff? What do you mean?’

What was happening was he was doing a Duane Eddy style riff, with a bunch of echo on it, and he was bending up to the last note. But you never heard him bending up to the notes, it didn’t register in your ear. He said, ‘Oh my f—ing God,’ and then played it how I heard it for the other guys, and I guess they all started to hear it the way I was, which was the way the whole world was gonna hear it! So they had to redo the guitar part and then the whole f–‘ing mix. The mix alone took them a couple of weeks, because in those days there was no automation and there was a lot going on in the song.”

Born To Run

In the day we sweat it out on the streets of a runaway American dream
At night we ride through the mansions of glory in suicide machines
Sprung from cages out on highway nine,
Chrome wheeled, fuel injected, and steppin’ out over the line
Oh, baby this town rips the bones from your back
It’s a death trap, it’s a suicide rap
We gotta get out while we’re young
‘Cause tramps like us, baby we were born to run

Wendy let me in I wanna be your friend
I want to guard your dreams and visions
Just wrap your legs ’round these velvet rims
And strap your hands ‘cross my engines
Together we could break this trap
We’ll run till we drop, baby we’ll never go back
Oh, will you walk with me out on the wire
Girl I’m just a scared and lonely rider
I gotta find out how it feels
I want to know if love is wild
I want to know if love is real

Oh can you show me?

Beyond the palace hemi-powered drones scream down the boulevard
Girls comb their hair in rear view mirrors
Boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in a mist
I wanna die with you Wendy on the street tonight
In an everlasting kiss

One, two, three

Highway’s jammed with broken heroes on a last chance power drive
Everybody’s out on the run tonight
But there’s no place left to hide
Together wendy we can live with the sadness
I’ll love you with all the madness in my soul
Oh, someday girl I don’t know when
We’re gonna get to that place
Where we really wanna go
We’ll walk in the sun
But till then tramps like us
Baby we were born to run

Tramps like us baby we were born to run
Tramps like us baby we were born to run

(Oh oh oh oh)

Max Picks …songs from 1974

1974

After appearing on the covers of Time and Newsweek in October 1975, Springsteen sometimes changed the words to “Tell your papa I ain’t no freak, ’cause I got my picture on the cover of Time and Newsweek” when he performed it live. This wasn’t a “hit” at the time but it still lives on in classic radio and is a key song in Bruce’s catalog.

I’ve seen Bruce do this song live and it is special. It’s one of the best live songs I’ve ever heard along with The Who’s Won’t Get Fooled Again. The song is exciting as he pleads with Rosie and calls out the nicknames of their friends.

I was around 7 years old when this was released. I remember being in a tire swing in my Aunt’s front yard when I heard this Hollies on a radio that was playing from a car that someone was working on. I still remember smelling the grass and the green surroundings of that day.

This song would be way up in my favorite songs ever. Graham Nash had left by this time and the band turned a corner when he had gone. They went from a pop sixties band to more of a rock/pop band with hits like Long Cool Woman in a Black Dress, He Ain’t Heavy (He’s My Brother), and finally this song which was their last top ten hit in the US and Canada. It was written by Albert Hammond and Mike Hazlewood.

Great song great music great voice. This song was performed by Rufus with Chaka Khan and written by Stevie Wonder. The Talk-Box which Frampton later used sounds great in this song.

Rufus evolved from a group called The American Breed, who had a hit with “Bend Me, Shape Me.” They took their name from a column in Popular Mechanics magazine called “Ask Rufus,” later shortened to Rufus when Chaka Khan joined the band in 1972.

Paul McCartney‘s Band on the Run was one of his best songs since the Beatles. This song fell in a grey area. The album was released in December of 1973 but the single was released in April of 1974 so it could have gone in either year.

The song was recorded in two parts, in different sessions. The first two were taped in Lagos while the third section was recorded in October 1973 at AIR Studios in London. Paul was robbed at knifepoint in Lagos, Nigeria and they took the tapes that he had at the time. They were never recovered and Paul figured they recorded over them.

The song was off the album Band On The Run which was I think Paul’s best solo album. It was written by Paul and Linda McCartney.

Trying to figure out Elton’s lyrics has always been interesting…not what they mean…I won’t even try that. No, it’s… what is he singing? “He’s got electric boots a mohair suit You know I read it in a magazine, oh” I wasn’t even close. I thought “masseuse” was in there. I don’t think I can even spell what I’ve been singing along with for years. Mick Jagger does this well also.

Regardless of the hard-to-decipher words…I love the song.

Elton wrote the music to this song as an homage to glam rock, a style that was popular in the early ’70s, especially in the UK…and of course, Bernie Taupin co-wrote it with Elton.

…

Willie Nile – Places I Have Never Been

I’ve really been into New York music recently. I’ve been listening to Garland Jeffries, Mink DeVille, Willy DeVille, and now Willie Nile. He is an incredible songwriter. He has been compared to Dylan and Springsteen as you will see below. This guy is very accomplished for not being as well known as some.

By the late 1970s, Nile was part of the wave of young New York musicians who were breaking through. He was a regular performer at CBGB and the now-closed Kenny’s Castaways on Bleeker Street, a venue that gave performers like Patti Smith and the Smithereens a stage. In 1978, the New York Times wrote a rave review about Nile, comparing him with Buddy Holly, Bob Dylan, and Bruce Springsteen. That led to his first record contract with a major label.

Willie Nile: “So I made a record, I toured with a band across the United States for the first time. We finished the tour at The Roxy Theatre in Los Angeles. There was all kinds of talk about this new hot shot from New York City. Freddie Mercury came to the show. That’s when The Who’s manager offered me the tour. I went from playing 300 or 400-seat clubs to playing 25,000-seat arenas. It was amazing.”

Willie Nile made his self-titled debut album in 1980. He promptly got the “kiss of death” thrust upon him…”The New Bob Dylan” was hung on him. After releasing another album in 1981 he suddenly stopped. “I had two highly acclaimed records, but I was dissatisfied with problems from the business end, there were managers and lawyers. I thought, I didn’t get into this for hassles and I don’t want anyone to kill my buzz with music. So I just walked away.”

He didn’t release another until 1991 and that is what today’s song came off of. Roger McGuinn, Richard Thompson, and Louden Wainwright are on that album…including two musicians from Paul McCartney’s band. That’s a hell of a lineup and shows you how highly regarded Nile is.

The song today was the title track to the album Places I Have Never Been. The guy has his admirers everywhere. He has garnered respect and admiration from the likes of Bruce Springsteen, The Who, Ringo Starr, and Lucinda Williams. His wide audience appreciates his songwriting and ability to bring rock and roll to life.

One thing I really admire about the guy is every article I read…it says what a humble and nice guy he is in real life. He is still out there making albums and touring.

Willie Nile: “The last show that (saxophonist) Clarence Clemons played was in Buffalo, although we didn’t know it at the time, I went with my daughters, and was given great seats by the side of the stage. Bruce was up there rocking, and wandered near us. I leaned over and said to my daughter, ‘I think he just saw me.’ Five minutes later, I get a text from an assistant saying ‘Bruce wants you up here. Come backstage now.’ Next thing you know, I’m sharing a microphone with Little Steven singing Jackie Wilson’s ‘Higher and Higher.’ It was an amazing performance by the band. I looked at my daughters and we were just laughing. You can’t make this stuff up.”

Willie Nile: “I don’t put out songs unless I think they can be special, I want my music to be meaningful to people who listen. I have no interest in being full of myself or being famous. Fame didn’t do a lot for Michael Jackson or Whitney Houston. For me, it’s all about the songs and the music: the recording and the shared experience of playing live. Life is hard for everybody. I’m able to go onstage for two hours, have a blast with my mates, and hopefully raise spirits.”

Places I Have Never Been

The streets of Rome are filled with wonder
The Chinese wall is lined with gold
I hear the lightning and the thunder
Of a thousand tales untold

All my doors are open
All my thoughts are free
There’s a great big world out there
For you and me

Come and take me on a trip so far away
Come and show me things that I have never seen
Come and walk me through your world – unpredictable
Come and take me places I have never been

You gave me food when I was hungry
You gave me drink when I was young
You took me in when I was lonely
You put your lips right on my tongue

Now my wars are over
All my battle past
All I want is for this moment here
To last and last

Come and take me on a trip so far away
Come and show me things that I have never seen
Come and walk me through your world – so wonderful
Come and take me places I have never been
All my doors are open (wide)
All my thoughts are free (hey)
Hey Babe, are those telepathic messages for me

Come and take me on a trip so far away
Come and show me things that I have never seen
Come and walk me through your world – so magical
Come and take me places I have never been

Come and take me on a trip so far away
Come and show me things that I have never seen
Come and walk me through your world – unpredic

Garland Jeffreys …a New York Original

CB (Cincinnati Babyhead) and I have got together again and worked on this post. When CB sent me the link to “Wild In The Streets” I was sold, hooked, and happy. The more I listened to Jeffreys music the more it affected me like Bruce Springsteen and Van Morrison did when I first heard them. Jeffreys’ music found a spot in me where Morrison and Springsteen lives. It’s deep, sprawling, and meaningful. Not many artists affect me like this. Like Big Star, The Replacements, and others…this man should be known to more people.

This post is a sample platter…I kept it relatively short so you can enjoy the songs. I’ll be covering more Garland Jeffreys coming up in the next few weeks to give more information rather than cramming everything in one post.

Jeffreys is a Brooklyn, N.Y.-born singer/songwriter who has released 15 studio albums in his 53-year career. His mixed heritage Puerto Rican and African-American is mirrored in his music, which embraces rock, soul, R&B, and reggae. He began his career performing solo in Manhattan clubs in 1966 after attending college at Syracuse University as an art major, where he became friends with Lou Reed. He then spent some time in Italy studying art before he came back to further his education at New York’s Institute of Fine Arts.

In 1969 he formed a band called Grinder’s Switch, they released just one album Garland Jeffreys & Grinder’s Switch. Members of that band played on the debut album of John Cale of the Velvet Underground. Jeffreys wrote a song for the album called Fairweather Friend and did backup vocals for it. In 1973 he released his first album entitled Garland Jeffreys.

Springsteen opened for Jeffreys at the Cafe Au Go Go back in 1972. They’ve stayed in touch ever since. Jeffreys appears on Light of Day, a great Springsteen tribute album, performing “Streets of Philadelphia” with just as much emotion as its author. He was friends with peers like Lou Reed, Bob Marley, John Lennon, and Joe Strummer, explored in both original songs (“Reggae on Broadway”) and a pair of choice covers (“I’m Waiting for the Man,” “Help”).

One thing I found is he really connected with baseball. His album One Eyed Jack has him on the front cover when he was a young kid in a baseball uniform and his childhood idol Jackie Robinson was on the back. Some of his credits list baseball players from Bobby Bonds to Brian Doyle.

Let us start off with the first song that CB sent me that won me over within a few seconds. It’s as New York as Martin Scorsese, Springsteen, The Yankees, The Statue of Liberty, and subways. It was released in 1973 as a single and was included in the 1977 album Ghost Writer… it is called Wild In The Streets. It’s naked, raw, and genuine…just like Jeffreys.

35 Millimeter Dreams is a song off of the 1977 album Ghost Writer. This one is catchy and it’s too bad it didn’t catch on when released as a single.

Hail Hail Rock and Roll…CB did a take on Hail Hail Rock and Roll. Some of his take: A little tribute to Rock n Roll by one of the best guys out there. This song gets into your blood. Garland knows his stuff. CB has been thinking about this rock and roll thing lately. All the music and pioneers that have contributed to this thing he loves so much. This song more than touches on a lot of those thoughts and feelings.

It was released in 1983 on the album Don’t Call Me Buckwheat.

Roller Coaster Town was released in 2011 on the album The King Of In Between. The album made numerous annual Best Of lists with NPR naming it a “best of the year so far” and Rolling Stone calling it one of the Best Under The Radar Albums of 2011.

City Kids is off the American Boy and Girl album released in 1979. Here is what CB says about the album: “This is NY music from Jeffrey’s experience. He’s lived it. Another one of those “How come artists that never made it bigger?” He is a NY poet. Songs got into me, moved me. What can I say? Springsteen’s ‘Wild Innocent’ vibe. This is his world like Scorsese’s. Close to the streets. When he sings ‘City Kids’ I’m gone with him. Sends a few shivers. Love the feel. Cousin to ”Jungleland’ by Bruce. ‘Matador’ is just beautiful. Sung in his distinctive voice. Hit the romantic side of CB.”

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Dave Edmunds – From Small Things (Big Things One Day Come)

When CB and I did the Dave Edmunds post a few weeks ago I had a couple of sentences about this one but I knew…I wanted to dive deeper. It’s such a likable song from the first time you hear it.

Bruce Springsteen wrote and recorded this song during the 1979 River sessions. Bruce didn’t release it though until 2003 on the bonus disc of The Essential Bruce Springsteen. He would meet Edmunds in 1981 and give him the song (see long Dave Edmunds quote at the bottom…it’s well worth the read). Bruce described the song to Dave like this… “This is like a Chuck Berry thing that tells a story without repeating any of the lyrics, like The Promised Land.”

Bruce Springsteen and Dave Edmunds

You couldn’t have written a better song for Dave Edmunds. As Dave says…it was perfect for him. Edmunds released the song in 1982. The song peaked at #28 in the Billboard Mainstream Rock Charts and #15 in Sweden.

On July 4, 1981, Bruce Springsteen was playing at Wembley Stadium and Dave Edmunds went backstage. He wasn’t sure if Bruce would know who he was but of course, he did along with the E Street Band. Instead of me paraphrasing what he said…I think Dave should tell the story…not me.

Dave Edmunds: I’d never met Bruce Springsteen before and had no idea of what he knew about me (except, perhaps, for my recording of ‘I Hear You Knocking’ and a few others). How had he known that I was at the gig? The security guy led me through the backstage area to Bruce’s dressing room, where he was sitting alone. Being careful not to blurt out, “Great show, man!” (you don’t do that), and before either of us could say anything, a noisy E Street Band stormed through making their way towards the hospitality area: “Hi Dave, love your records!” And, “Hi Dave, you’re terrific, man!” – and so on. And off they went.

We talked – about what I don’t recall. He asked me if I’d been recording lately and I said, “No” – “Got anything…?” He strapped on his Fender Esquire and explained, “This is like a Chuck Berry thing that tells a story without repeating any of the lyrics, like The Promised Land.” And he played ‘From Small Things Mama Good Things One Day Come’ (not the snappiest of titles) – from beginning to end. It was perfect for me! “It’s yours, man!”

He hadn’t recorded the song but promised he’d lay down a rough cassette with just guitar and vocal – for me! “Gimme a couple of weeks…,” and I could pick it up at his manager’s office, in New York. In such encounters, such promises can evaporate before you leave the room. The way things worked out, I needed to be in New York a few weeks later, and that’s the truth. I went to his manager’s office and, sure enough, there was a cassette of Bruce’s song, with my name on it, awaiting me. That’s class.

Six months later, midway through a US tour with my band, I was playing at the Peppermint Lounge in Manhattan. Bruce turned up — unannounced and alone but for his Fender Esquire. It was good to see him. He waited patiently in the dressing room until the end of my set, and then (although the audience knew something was cooking) he sauntered onstage — you can imagine. We played a load of Chuck Berry songs and ended with “Small Things.” So, good things one day come.

From Small Things (Big Things One Day Come)

At sixteen she quit high school to make her fortune in the promised land
She got a job behind the counter in an all-night hamburger stand
She wrote faithfully home to mama, “Now mama, don’t you worry none
From small things, mama, big things one day come”

It was late one Friday, he pulled in out of the dark
He was tall and handsome, first she took his order then she took his heart
They bought a house up on the hillside where little feet would soon run
From small things, mama, big things one day come

Oh, but love was fleeting
It’s sad but it’s true
When your heart is beating
You don’t want to hear the news

She packed her bags and with a Wyomie County real state man
She drove down to Tampa in an Eldorado Grand
She wrote back, “Dear mama, life is just heaven in the sun
From small things, mama, big things one day come”

Well, she shot him dead
On a sunny Florida road
When they caught her all she said
Was she couldn’t stand the way he drove

Back home, lonesome Johnny waits for his baby’s parole
He waits high on the hillside where the Wyomie rivers roll
At his feet and almost grown now, a blue-eyed daughter and a handsome son
From small things, mama, big things one day come
From small things, mama, big things one day come
Well, from small things, mama, big things one day come

From small things, mama, big things one day come
From small things, mama, big things one day come
Yeah, from small things, mama, big things one day come

Bruce Springsteen – Does This Bus Stop At 82nd Street?

Under the Covers Tuesday will be back next week.

This was originally posted at Dave’s Turntable Talk. This is what Dave asked for… Tell us about a song (or album if you’re more ambitious) you like that is all about going somewhere. Trains, planes, automobiles – there’ve been scores of good songs about traveling, geographically or even mentally, not to mention songs about specific destinations from ‘Viva Las Vegas’ to ‘One Night in Bangkok’ and about everyplace in between.

After Dave asked us to write a post about traveling… it was between Promise Land by the Big E and this one by Bruce. I had to go with this one.

This song is a journey through an enjoyable play of words. It was written about a bus journey to Bruce’s girlfriend’s house. This song was also based on people and places Springsteen met in his early years as a songwriter. His father was a bus driver for a time, which helped inspire the song.

I listened to it so many times that I know every word to this day. I was surprised to see that he still plays this in concert every now and then…but you can’t beat the studio version.

I was around 19 (1986) or so when I found this album, or when the album found me, and I was going through an angry young man phase. I had just bought a 1976 Fender Musicmaster guitar (I still have it) and a black leather jacket so I was ready. The imagery flows like water with Greetings From Ashbury Park, Bruce’s debut album in 1973… It’s not very polished but that adds to it. The songs have a stream-of-consciousness feel to them. It was critically praised but did not have huge sales. The album only peaked at #60 in the Billboard Album Charts.

This album is my favorite by Springsteen. Yes, I like his other albums…but I love the wordplay on this one. I think the only song that halts the album is Mary Queen of Arkansas. I hear some Dylan and a very strong Van Morrison influence on this album and song. It is rough and raw and unpredictable.

Wizard imps and sweat sock pimps
Interstellar mongrel nymphs
Rex said that lady left him limp
Love’s like that (sure it is)

Songs like this helped give Springsteen the tag….” the new Dylan” and he was the one performer who actually lived up to it…strap in and ride the Springsteen-driven bus.

Does This Bus Stop At 52nd Street?

Hey bus driver, keep the change
Bless your children, give them names
Don’t trust men who walk with canes
Drink this and you’ll grow wings on your feet
Broadway Mary, Joan Fontaine
Advertiser on a downtown train
Christmas crier bustin’ cane
He’s in love again

Where dock worker’s dreams mix with panther’s schemes
To someday own the rodeo
Tainted women in VistaVision
Perform for out-of-state kids at the late show

Wizard imps and sweat sock pimps
Interstellar mongrel nymphs
Rex said that lady left him limp
Love’s like that (sure it is)
Queen of diamonds, ace of spades
Newly discovered lovers of the Everglades
They take out a full-page ad in the trades
To announce their arrival
And Mary Lou, she found out how to cope
She rides to heaven on a gyroscope
The Daily News asks her for the dope
She said, “Man, the dope’s that there’s still hope”

Senorita, Spanish rose
Wipes her eyes and blows her nose
Uptown in Harlem she throws a rose
To some lucky young matador

Chuck Berry – Little Queenie

There she is againStandin’ over by the record machineLooking like a modelOn the cover of a magazine

Every single time I post a Chuck Berry song I go on and on about how great a lyricist he was…and this one will be no different. The words in his songs have a flow to them that seems so natural.

This song has the Chuck Berry style all over it. It appeared on the 1959 album Chuck Berry Is on Top and was released as a double A-side with “Almost Grown.” He has a line in the song that people seem to frown on these days. “She’s too cute to be a minute over seventeen” because of her age. What some forget is back then the target audience was teenagers. The singer whether it be Chuck Berry, Little Richard, Fats Domino, or Buddy Holly…they were the voice of the teens. They were the teenagers talking…the rock stars were the teen’s voices.

The song peaked at #80 on the Billboard 100 in 1959.

Later on in the late 60s and to the 2000’s he would tour by himself and in his contract…the promoter had to provide a backing band. He did this to save money but it affected the quality of the shows at times. He did have a super backing band at one of his gigs in 1973.

Berry’s contract stipulated that it was the promoter’s responsibility to supply him with a backing band for this concert. Apparently, Bruce Springsteen learned about a week before the show that the promoter was seeking a group to support Berry and immediately volunteered his band’s services for free, which the promoter gladly accepted.

There was no rehearsal or soundcheck with Berry, so Bruce and the band improvised as best they could. The show was Bruce’s first known appearance in Maryland. Bruce and the E-Street Band opened their part of the show with a 50-minute set, followed by a 60-minute set by Jerry Lee Lewis and his band. Chuck Berry (with Springsteen’s entire band backing him, including Bruce and Southside Johnny) closed the evening’s festivities with a 70-minute performance.

Springsteen asked Chuck what songs they were going to do. Berry said: “We’re going to do some Chuck Berry songs.” That is one of the funniest rock stories I’ve ever heard. Imagine being on stage and not knowing what song is coming. What makes it worse is that Chuck would change the keys of songs. So instead of playing in the universally known A chord to Johnny B Goode…he would start in an F# chord sometimes. Luckily the bass player Gary Tallent was a music historian so he led the band that night. He played in those keys because his former piano player Johnnie Johnson helped him write and arrange those songs so Chuck would play them in keys as a piano player would.

More than 20 years later, Springsteen again played backup for Berry, at a concert at Cleveland Municipal Stadium, celebrating the opening of the Rock and Roll Music Hall of Fame.

Bruce Springsteen when Chuck Berry died: “Chuck Berry was rock’s greatest practitioner, guitarist, and the greatest pure rock ‘n’ roll writer who ever lived. This is a tremendous loss of a giant for the ages.”

Little Queenie

I got lumps in my throatWhen I saw her comin’ down the aisleI got the wiggles in my kneesWhen she looked at me and sweetly smiledThere she is againStandin’ over by the record machineLooking like a modelOn the cover of a magazineShe’s too cute to be a minute over seventeen

Meanwhile I was thinkin’

If she’s in the mood no need to break itI got the chance and I oughta take itIf she can dance we can make itC’mon queenie let’s shake it

Go, go, go, little queenieGo, go, go, little queenieGo, go, go, little queenie

Tell me who’s the queenStandin’ over by the record machineLooking like a modelOn the cover of a magazineShe’s too cute to be a minute over seventeen

Meanwhile, I was still thinkin’If it’s a slow song, we’ll omit itIf it’s a rocker, then we’ll get itAnd if it’s good, she’ll admit itC’mon queenie, let’s get with it

Go, go, go, little queenieGo, go, go, little queenieGo, go, go, little queenie

Favorite Rock Lyrics 4

Hope you all are having a good week…happy Wednesday!

And he dug up her grave and built a cage with her bonesExcitable boy, they all said well, he’s just an excitable boy …. Warren Zevon

I’ll be in my basement room with a needle and a spoonAnd another girl can take my pain away…Rolling Stones

We were the first band to vomit at the bar and find the distance to the stage too far meanwhile it’s getting late at ten o’clock rock is dead they say Long Live Rock…The Who

Cause when life looks like Easy Street there is danger at your door… The Grateful Dead

Then here come a man with a paper and a pen tellin’ us our hard times are about to end… The Band

I could walk like Brando right into the sun then dance just like a Casanova… Bruce Springsteen

Elementary penguin singing Hare Krishna man, you should have seen them kicking Edgar Allen Poe …The Beatles

Mother, you had me but I never had you I, I wanted youYou didn’t want me so, I just got to tell you goodbye … John Lennon

Exchanging “good luck”s face to face checkin’ his stash by the trash at St. Mark’s place …The Replacements

We come from the land of the ice and snow from the midnight sun where the hot springs flow… Led Zeppelin

Every day, I look at the world from my window but chilly, chilly is the evening timeWaterloo sunset’s fine… The Kinks

I don’t wanna be a candidate for Vietnam or Watergate… Queen

If I ventured in the slipstream between the viaducts of your dream… Van Morrison

I am just a dreamer but you are just a dream and you could have been anyone to me… Neil Young

So we bought a pack of cigarettes and Mrs. Wagner piesand walked off to look for America…Simon and Garfunkel

Patti Smith – Because The Night ….Under The Covers Tuesday

I first heard this song by Springsteen before I ever heard it by Patti Smith. I’m not sure how I kept missing her version.

Patti Smith has more of a cult following and this is by far the biggest hit she ever had.

Bruce Springsteen started to write this song in 1976. That was a troubled year for the singer. He sued his manager Mike Appel and Bruce wanted to work with Jon Landau. This went on for around 10 months. This was coming after 1975 which was huge in Springsteen’s life. He would be on the cover of Newsweek and Time at the same time. His Born To Run album blanketed rock at the time and he was hailed as the future of Rock and Roll. But instead of capitalizing on his success and hitting the studio to record another album he put on a suit and went to court.

Springsteen did what a lot of artists at that time did…he signed a management contract on the hood of a car in a New Jersey parking lot, Springsteen’s contract allotted him 18¢ per album sold. Appel made a minimum royalty of 40¢ per record. On top of that, the contract called for Springsteen to record 10 albums for CBS but it only called for Springsteen to record five for Appel’s Laurel Canyon management and production company. It was a terrible contract and although Springsteen didn’t care about the money then…he was always broke because he was keeping less than 10 percent of his income.

Appel wanted to stop Landau from working with Bruce also…who had just helped Springsteen with Born To Run. When Appel started to tell Bruce what he could and could not do…that was it. Bruce sued Appel and they went to court. Two days after Springsteen filed suit against Appel for fraud, undue influence, and breach of trust, Appel responded by seeking a permanent injunction in New York State Supreme Court barring Springsteen and Landau from entering the recording studio together. He stated that only he and Springsteen would make a “winning combination.”

So long story short…he was barred from recording until this was settled. All he could do was tour…and tour he did. They ended up settling the suit. Appel gave up publishing rights on most of Springsteen’s music in exchange for $800,000, and he took a cut in production points from six to two. Bruce was free to record.

So this song was born in this chaos. It wasn’t completely finished but he could not record the song. The song lay dormant until Springsteen’s producer, Jimmy Iovine, convinced him to give a copy to Patti Smith, who eventually got around to filing in the verses and recording the song. Iovine was also producing Smith’s Easter album and convinced her to record it for the set.

Smith’s boyfriend at the time was Fred “Sonic” Smith and while waiting for him to call…she finished the verses in 1977. It makes sense because she used the longing for Smith for some of the verses like… Have I doubt when I’m alone
Love is a ring, the telephone.

The song appeared on Smith’s album called Easter. At first,. she didn’t want to use the song because she didn’t write all of it. Jimmy Iovine, her producer, along with bandmates convince Smith to record the song.

Fred Smith died of a heart attack in 1994. A year before 10,000 Maniacs recorded the song and it was a hit. The royalties from that song helped keep Smith above water and care for her two young children.

The Patti Smith version peaked at #13 on the Billboard 100, #13 in Canada, and #5 in the UK in 1978. The album Easter peaked at #20 on the Billboard Album Charts.

Bruce Springsteen: “It was a love song and I really wasn’t writing them at the time. I wrote these very hidden love songs like For You, or Sandy, maybe even Thunder Road, but they were always coming from a different angle. My love songs were never straight out, they weren’t direct. That song needed directness and at the time I was uncomfortable with it. I was hunkered down in my samurai position. Darkness… was about stripping away everything – relationships, everything – and getting down to the core of who you were. So that song is the great missing song from Darkness On The Edge. I could not have finished it as good as she did. She was in the midst of her love affair with Fred ‘Sonic’ Smith and she had it all right there on her sleeve. She put it down in a way that was just quite wonderful.”

Patti Smith: “I could have never written a song like that. I’d never write a chorus like that.”

Because The Night

Take me now, baby, here as I am
Pull me close, try and understand
Desire is hunger, is the fire I breathe
Love is a banquet on which we feed

Come on now, try and understand
The way I feel when I’m in your hands
Take my hand, come undercover
They can’t hurt you now
Can’t hurt you now, can’t hurt you now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

Have I doubt when I’m alone
Love is a ring, the telephone
Love is an angel disguised as lust
Here in our bed until the morning comes

Come on now, try and understand
The way I feel under your command
Take my hand as the sun descends
They can’t touch you now
Can’t touch you now, can’t touch you now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

With love we sleep
With doubt the vicious circle
Turns and burns
Without you, oh, I cannot live
Forgive, the yearning burning
I believe it’s time, too real to feel

So touch me now, touch me now, touch me now

Because the night belongs to lovers
Because the night belongs to love
Because the night belongs to lovers
Because the night belongs to us

Because tonight there are two lovers
If we believe, in the night we trust
Because the night belongs to lovers
Because the night belongs to love

Because the night belongs to lovers
Because the night belongs to love
‘Cause we believe tonight we’re lovers
‘Cause we believe, in the night we trust
Because the night belongs to lovers

Manfred Mann’s Earth Band – Blinded By The Light ….Under The Covers Tuesday

This was left over from last week so I thought today would be a good day to put it to use.

I first heard this on AM radio in the 70s as a kid. I didn’t know it was a cover at the time but later I bought Springsteen’s debut album and found it. I know I’m in the minority on this one…I like Bruce’s version more. I do like Manfred Manns’s version though…they made it an epic production and song…and if it wasn’t for their version…the song would not be as well known today so they did a great job on it. I like the way Bruce did the vocals and the extra verses are some lyrical gymnastics.

When putting their own spin on “Blinded by the Light,” Manfred Mann’s Earth Band changed a few of Springsteen’s original lyrics. The most recognizable part of the song, Blinded by the light / Revved up like a Deuce / Another runner in the night, was initially, Cut loose like a Deuce / Another runner in the night.

Bruce’s version is more stripped down as a more common song. The lyrics flow everywhere. The keyword Bruce wrote was “Deuce” and it came out as Douche in the Manfred Mann version. Bruce once said ” “Deuce was like a Little Deuce Coupe, as in a 2-seater Hot Rod. Douche is a feminine hygienic procedure. But what can I say, the public spoke.”

When the band was recording “Blinded by the Light,” they did everything they could do to make it a hit. As they played in the studio, they got stuck trying to transition between the chorus and the verses. Near the end, the drummer Chris Slade said to put the piano tune “Chopsticks” over it. Mann was skeptical of the idea and turned it down multiple times. But when Slade kept insisting, they tried it out. It worked surprisingly well.

The song peaked at #1 on the Billboard 100, #1 in Canada, #8 in New Zealand, and #6 in the UK in 1976-77.

Manfred Mann: “When we finally finished the album track I thought it had a great vibe, but the next question was how to get that into a single. The real problem was how to get from the chorus to the verse smoothly. The way we did it on the album wouldn’t work. I just couldn’t figure out a way to do it. And then – and this is why you need to be in a band – our drummer Chris Slade said: ‘Play Chopsticks over it’. We already had that elsewhere in the song, and I told him it wouldn’t work. But he kept insisting, and I kept saying no, until I suddenly realised that he wasn’t hearing Chopsticks itself, just the chords, which fitted perfectly. So we recorded those as backing vocals and added that to the original. This was in the days when you had to try and lock two tape machines in tandem, so that took another two days.”

Blinded By The Light

Blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night

Madman drummers bummers, Indians in the summer
with a teenage diplomat
In the dumps with the mumps as the adolescent pumps
His way into his hat
With a boulder on my shoulder, feelin’ kinda older
I tripped the merry-go-round
With this very unpleasin’ sneezin’ and wheezin’
The calliope crashed to the ground

The calliope crashed to the ground

But she was blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night

Some silicone sister with a manager mister
Told me I got what it takes
She said, “I’ll turn you on, sonny, to something strong
Play the song with the funky break”
And go-kart Mozart was checkin’ out the weather chart
To see if it was safe outside
And little Early-Pearly came by in his curly-wurly
And asked me if I needed a ride

Asked me if I needed a ride

But she was blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light

She got down but she never got tired
She’s gonna make it through the night
She’s gonna make it through the night

But mama, that’s where the fun is
But mama, that’s where the fun is
Mama always told me not to look into the eyes of the sun
But mama, that’s where the fun is

Some brimstone baritone anticyclone rolling stone
Preacher from the east
Says, “Dethrone the dictaphone, hit it in it’s funny bone
That’s where they expect it least”
And some new-mown chaperone was standin’ in the corner
Watchin’ the young girls dance
And some fresh-sown moonstone was messin’ with his frozen zone
Remindin’ him of romance

The calliope crashed to the ground

But she was blinded by the light
Revved up like a deuce, another runner in the night
Blinded by the light
Revved up like a deuce, another runner in the night

Blinded by the light (madman drummers bummers, Indians in the summer)
Revved up like a deuce, another runner in the night (with a teenage diplomat)
Blinded by the light (in the dumps with the mumps as the adolescent pumps)
Revved up like a deuce, another runner in the night (his way into his hat)
Blinded by the light (with a boulder on my shoulder, feelin’ kinda older)
Revved up like a deuce, another runner in the night (I tripped the merry-go-round)
Blinded by the light (with this very unpleasin’ sneezin’ and wheezin’)
Revved up like a deuce, another runner in the night (the calliope crashed to the ground)
Blinded by the light (now Scott with a slingshot finally found a tender spot)
Revved up like a deuce, another runner in the night (and throws his lover in the sand)
Blinded by the light (and some bloodshot forget-me-not said daddy’s within earshot)
Revved up like a deuce, another runner in the night (save the buckshot, turn up the band)
Blinded by the light (some silicone sister with a manager mister)
Revved up like a deuce, another runner in the night (told me I got what it takes)
Blinded by the light (she said, “I’ll turn you on, sonny, to something strong”)

She got down, but she never got tired
She’s gonna make it through the night

…

Gary U.S. Bonds – Out Of Work

Lately, I needed to do something different so…tomorrow I will start“Under The Covers Week” here…nothing but covers next week. I hope you enjoy it. It’s good to breakup things once in a while.

When I posted the song Soul Deep by the Box Tops…CB reccomended the Gary US Bonds version and yes…it’s very soulful and and a great version. That got me listening to Bonds again and I can’t believe I forgot about this song. I remember this song in the early 80s but I haven’t heard it in forever. When heard This Little Girl in the early 80s I didn’t know much about Bonds. I soon found the song Quarter Till Three and more of his sixties hits. His voice is just golden and still is. He puts a ton of soul and grit into every song I’ve heard from him.

This song has a Springsteen feel for good reason. Bruce wrote it and backed Bonds in a comeback in the early eighties. This song and This Little Girl were the first hits Bonds had since the 60s. This one was on the album On The Line released in 1982.

Springsteen wrote more songs than he could record, and three of them went to Bonds: “This Little Girl,” “Your Love” and the title track. Springsteen and members of his E Street band also played on the album and worked on the production. “This Little Girl” was a hit, going to #11 in the US and reviving Bonds’ career. When Springsteen brought Bonds on stage a few times in 1981, the crowds were far more familiar with him. In 1982, Springsteen and his band worked on another album for Bonds… On the Line and more songs like Out of Work

The album Dedication peaked at #27 on the Billboard Album Charts, and On The Line peaked at #52. Out of Work peaked at #21 on the Billboard 100 and #22 in Canada in 1982. This was the last single to date to chart in the Billboard 100.

Out Of Work

Eight a.m., I’m up and myFeet beatin’ on the sidewalkDown at the unemployment agencyAll I get’s talkI check the want ads but thereJust ain’t nobody hiringWhat’s a man supposed to doWhen he’s down and

Out of workI need a job, I’m out of workI’m unemployed, I’m out of workI need a job, I’m out of work

I go to pick my girl upHer name is Linda BrownHer dad invites me inHe tells me to sit downThe small talk that we’re makingIs going pretty smoothBut then he drops a bomb“Son, what d’ya do?”

I’m out of workI need a job, I’m out of workI’m unemployed, I’m out of workI need a job, I’m out of workYeah, yeah, yeah

Hey, Mr. PresidentI know you got your plansYou’re doing all you can nowTo aid the little manWe got to do our best toWhip that inflation downMaybe you got a job for meJust driving you around

These tough times, they’re enoughTo make a man lose his mind(I’m out of work)Up there you got a job but down here below

I’m out of workI need a job, I’m out of workI’m unemployed, I’m out of workI need a job, I’m out of work

Ooh, I’m out of workI’m out of workI’m out of workI’m out of workI’m out of workI’m out of workI’m out of work

…

Bruce Springsteen – The River

My friend Dave from A Sound Day wanted some bloggers to pick a song that has lyrics that we liked or can relate to. He stated, “I just want you to pick one song that you think has fantastic lyrics, or one you like because of the lyrics, and say a bit about why you love it.”

I went through many songs to get to this one. Dylan songs mostly before I realized this one hit home. This was the title track to Bruce’s 1980 double album. I picked this song because it is so easy to relate to. I’ve known friends who have lived this song. This is not a party starter song by any stretch of the imagination. The lyrics are downright sad because they are so damn real. It contains one of my favorite Springsteen lines “And for my nineteenth birthday I got a union card and a wedding coat.”

I grew up in a small town with a population of around a thousand or so at the time. The jobs there were dead-end jobs and the pay was even worse. I saw a cycle even at an early age by seeing parents and their kids doing the same thing generation after generation. Nothing wrong with that but they hated doing what they were doing. It was enough inspiration for me to explore and find new things…and to get out. Some of my friends never made it out. They are doing now what they swore they wouldn’t do before.

I saw my sister get into the same position as the Mary character in the song. It ended many years later in a divorce but at least she is happy now so there are good endings. Her son was the best thing that happened to her. The funny thing is I ended up moving back near that town but I’m doing what I want to be doing not in a job or rut that I hate. Some of my friends are not in that position.

I came to realize…it wasn’t the location at all. It was and still is a nice small town…no that wasn’t it. It was the expectations at the time set upon every one that made it seem pre-ordained for bad choices to happen.

The wedding in the song relates to Springsteen’s sister, who got married when she was still a teenager. She knew it was about her and her husband the first time she heard it. It was also based on conversations Springsteen had with his brother-in-law. After losing his construction job, he worked hard to support his wife and young child but never complained.

The song’s lyrics are outstanding. Even the opening lines are so close to how I grew up. I did grow up in a valley. “I come from down in the valley,
Where mister when you’re young, They bring you up to do like your daddy done.” So it’s easy to relate to.

Now those memories come back to haunt me
They haunt me like a curse
Is a dream a lie if it don’t come true
Or is it something worse

The song didn’t chart in America or Canada but did make it to #35 in the UK. The album was #1 in the Billboard album charts, #1 in Canada, and #2 in the UK.

The River

I come from down in the valley
Where mister when you’re young
They bring you up to do like your daddy done
Me and Mary we met in high school
When she was just seventeen
We’d ride out of that valley down to where the fields were green

We’d go down to the river
And into the river we’d dive
Oh down to the river we’d ride

Then I got Mary pregnant
And man that was all she wrote
And for my nineteenth birthday I got a union card and a wedding coat
We went down to the courthouse
And the judge put it all to rest
No wedding day smiles no walk down the aisle
No flowers no wedding dress

That night we went down to the river
And into the river we’d dive
Oh down to the river we did ride

I got a job working construction for the Johnstown Company
But lately there ain’t been much work on account of the economy
Now all them things that seemed so important
Well mister they vanished right into the air
Now I just act like I don’t remember
Mary acts like she don’t care

But I remember us riding in my brother’s car
Her body tan and wet down at the reservoir
At night on them banks I’d lie awake
And pull her close just to feel each breath she’d take
Now those memories come back to haunt me
They haunt me like a curse
Is a dream a lie if it don’t come true
Or is it something worse
That sends me down to the river
Though I know the river is dry
That sends me down to the river tonight
Down to the river
My baby and I
Oh down to the river we ride