Barney Bentall and the Legendary Hearts – Something To Live For

I like many of the Canadian bands and artists I’ve listened to. I’m not going to mention all the popular ones like The Guess Who, Neil Young, etc, but artists like Sloan, Tragically Hip, Blue Rodeo, 54.40, Art Bergmann, Blue Northern, Blue Shadows, and now Barney Bentall and the Legendary Hearts. Their songs sound earnest and full of hooks that still sound fresh today.

Barney Bentall was born in Toronto, but he made his musical mark in Vancouver. By the early 1980s, he’d already put together the band that would carry his name: the Legendary Hearts. The lineup included longtime friends and collaborators, Colin Nairne, Jack Guppy, Barry Muir, Cam Bowman, and David Reimer. They were a real road band, a grassroots effort, slowly building a reputation as one of the tightest rock bands around

Their name was a nod to Lou Reed’s 1983 album Legendary Hearts. In 1988, after years of touring, the band signed with Epic Records and released their self-titled debut. This single was the first song released from that album. It peaked at #17 on the Canadian Charts in 1988. It was soon followed by “House of Love (Is Haunted)” and “Come Back to Me,” tracks that got serious radio play and earned the band a Juno Award for Most Promising Group of the Year in 1989.

Barney Bentall isn’t a household name here, but up in Canada, he charted quite a few songs. He is one of those artists who never quite hit the MTV rotation, but stayed on the radio in Canada. What I liked about Bentall is that he has a Mellencamp/Petty/Springsteen-grounded sound to him. The track itself feels like a heartland rocker. 

Give Barney Bentall a listen; Barney and his band are worth it. I’m including a bonus song…Living in the 90s from 1992. 

Something To Live For

WooAlright

Bobby drives a pickupFor the corner storeFour bucks an hourAnd he’s hoping for more

He’s twenty eight years oldAnd he still lives at homeBobby’s got ideasBut he ain’t alone

There’s a millionBobby’s across this landEverybody’s gotReal big plans

He’s got something to live forSomething so realHe’s got something to live forThat one, big deal

Bobby’s got an uncleHe talks a mean streakMakes more in an hourThan Bobby in a week

He tells the boyDon’t waste your timeBe useless like your fatherNickel and dime

There’s a millionBobby’s across this landEverybody’s gotReal big plans

He’s got something to live forOh, something so realHe’s got something to live forThat one, big deal

Well Bobby could’a done itIf he only triedCould’a been a contenderCould’a been a big guy

But he didn’t rob a bankOr write a hit songGot a raiseMarried Yvonne

YeaTurn it onTurn it up now babyLet’s go

He’s got something to live forSomething so realHe’s got something to live forThat one, big deal

He’s got something to live forThat one sweet dealHe’s got something to live forOhh oh one sweet dealHe’s got something to live forThat one big dealHe’s got something to live forOh oh

Beatles – Free As A Bird video

I wrote this for Dave’s Turntable Talk back in April. Now I’m glad I waited to post it myself. The Beatles have remixed the song (along with the Anthology) and smoothed out this great video. This is my favorite post-Beatles song they did.

Dave wanted us to pick a favorite video of theirs and tell us a bit about it, or why they love it. 

In the 1990s, I kept reading about the Beatles Anthology coming out and the three surviving Beatles getting back together to release some unheard-of older music as well as new. They would take a John Lennon demo and add something to it. This was beyond exciting for me. I was too young to remember a new Beatles song coming out.

It had an older feel, but sounded modern at the same time. George Harrison’s distorted guitar playing brought an edge to it. It even had a strange ending like some of their other songs. I got an early release of the Anthology CD from a friend of mine who worked in a record store, and he said…don’t tell anyone. I sat glued to Free As a Bird because for once I was listening to a new Beatles song… I was one year old in 1968, so I missed them when they were originally out. I liked the song and still do. I have talked to Beatles fans who don’t really like it that much, but the song has stuck with me. Real Love…the second release didn’t do as much for me because it was basically a solo John Lennon song.

Was Free As a Bird the best song in the Beatles’ catalog? No, not even close but just to hear something new was fantastic. The Anthology videos and CDs jump-started their popularity all over again…and it hasn’t stopped since then. I had cousins who were teenagers at the time who never had an interest in them until Anthology came out. All I could say to them was…I’ve told you for years.

The video of Free As a Bird is fantastic and still my favorite music video. It told their history through the different eras of their career. Every time I watch it I always notice something I didn’t notice before. I just wish they would go in now (and they did!) and smooth it out. In some spots, it can be a bit bitmappy, but it’s still great.

 Apple Corps commissioned the services of Joe Pytka, well-known in the U.S. industry for his TV commercials. His task was to assemble a video based on Iyrical themes from the band’s songbook.

‘Free As A Bird’ was the result of discussions between Pytka and his team, the three Beatles and Neil Aspinall, who agreed that archive film of the band members should be added into new footage shot in Liverpool, London and Los Angeles, bringing to life song titles like ‘Paperback Writer’, ‘Penny Lane’ and ‘She’s Leaving Home’.

Though the video has been described as a “post-production nightmare”, producer Vincent Joliet is more upbeat about the project. “It wasn’t easy but we did exactly what we set out to do. There weren’t many surprises on our part,” he said.

Location work began in Liverpool on October 23rd 1995. Joliet comments: “We shot the location scenes knowing that something was going to be added later. We had to find the right footage. With the accident scene, for example, we selected the best take and then looked at all the old footage for the shots of John’s head and body movements that would fit best. The post-production itself took about three weeks from the moment we finished the location shoots to the moment we delivered the tapes.

Little did he know that day in 1977 when John made a demo of a song idea on a cheap cassette recorder… it would be a future Beatle song. Not to mention that the tape itself would be part of the song.

The song did win a Grammy Award for Best Pop Performance by a Duo or Group with Vocal…

After reading the mixed reactions, one thing dawned on me. The Beatles did the right thing by not reuniting when John was alive. There is no way they could have made anything that would have lived up to the expectations of everyone…You cannot compete against a memory because you lose every time… But yea… I still would have loved to hear it.

Here is the new version of the video. Still not perfect but, it looks MUCH better!

Here is a cheat sheet from Beatlesagain.com

BEATLE REFERENCES IN “FREE AS A BIRD” VIDEO

***Obvious references***

:07 - portraits of Beatles as children on mantle (from left to right,

      John, George, Paul. Ringo in front)

:14 - more portraits (left to right, Paul, John, Ringo, George)

:38 - Beatles walk through dock workers

:48 - Cavern Club (club where Beatles played many shows before becoming

      famous)

:52 - Beatles performing at Cavern Club

1:06 - Strawberry Field ("Strawberry Fields Forever")

1:18 - Eggman appears ("I Am the Walrus")

1:27 - Beatles begin to walk off curb behind eggman

1:33 - Pretty nurse selling poppies from tray ("Penny Lane")

1:42 - Barber shop, with pictures of every head he's had the pleasure

       to know, including the Fab Four ("Penny Lane")

1:47 - Sign on wall reads "Help" ("Help!")

1:49 - Boy holds up hand to whisper to girl ("Do You Want to Know

       a Secret?")

1:50 - Ringo jumps from doorway

1:54 - Beatles stand by car

1:56 - Window has Beatles montage. First third looks like

       Anthology 1 cover.  Other panels may be covers of other two

       volumes. [They Are, ed.]

2:02 - Birthday cake ("Birthday")

2:02 - Cake has a 6 and a 4 on it ("When I'm Sixty-Four")

2:07 - George appears on street

2:13 - George walks into office (In reality, Apple headquarters) with

       sign that reads "Dr. Robert" ("Dr. Robert")

2:18 - Ringo runs by

2:22 - John in crowd scene at car wreck, craning neck while others

       turn away ("A Day in the Life")

2:26 - Car wreck of Tara Browne ("A Day in the Life" definitely, "Don't Pass Me By"

       possibly)

2:27 - Fire engine ("Penny Lane")

2:29 - Policemen in a row ("I Am the Walrus")

2:32 - Fireman ("Penny Lane")

2:38 - Helter Skelter slide (It looks like a lighthouse, but you can

       see the slide circling the building. "Helter Skelter," of course.)

2:38 - Kite ("Being for the Benefit of Mr. Kite")

2:42 - Children run by in pig masks ("Piggies")

2:43 - Someone enters house through window from ladder ("She Came in

       Through the Bathroom Window")

2:51 - Writer working at desk ("Paperback Writer")

2:54 - Beatles walk behind children in pig masks (It's small, but it's

       obvious it's them)

3:05 - Beatles on TV

3:06 - John sitting in chair

3:08 - Copy of Daily Mail on table ("Paperback Writer")

3:08 - Bowl of green apples (reference to Apple Corps, Ltd.)

3:08 - Box of Savoy Truffles sits on table (kind of hard to make out,

       but that's what it says: "Savoy Truffle")

3:10 - Picture of Chairman Mao in window ("Revolution")

3:13 - Workers repairing hole in roof ("Fixing a Hole")

3:13 - Blue Meanie pops his head through hole (the film

       "Yellow Submarine")

3:18 - Newspaper taxi appears ("Lucy in the Sky with Diamonds")

3:22 - Woman leaves home ("She's Leaving Home")

3:22 - Picture of Mao being carried across street ("Revolution"

       definitely, "Carry That Weight" possibly)

3:22 - John and Yoko waltz by (taken from film "Let It Be" and

       probably representing "The Ballad of John and Yoko.")

3:23 - Blue Meanie pops head up from out of sewer (the film

       "Yellow Submarine")

3:25 - Magical Mystery Tour bus passes in far background (Hard to see,

       but it's there)

3:31 - Big game hunter leads procession, including elderly lady and

       elephant, out of party ("The Continuing Adventures of Bungalow

       Bill," who always went hunting with his elephant and gun and

       always took his mum.)

3:33 - Ringo at table near door

3:45 - Brian Epstein begins to put on his scarf

3:47 - Head of Stu Sutcliffe on body of James Dean from "Sgt Pepper"

       cover

3:48 - Flowers, drum and tuba from "Sgt Pepper" cover

3:49 - H.G. Wells and Lawrence of Arabia from "Sgt Pepper" cover

       chat (I know other guests are supposed to be rest of people on

       the cover, but they aren't as clearly identifiable as these two)

3:58 - Eleanor Rigby headstone ("Eleanor Rigby")

4:00 - Priest walks from grave ("Eleanor Rigby")

4:01 - Sheepdog runs through cemetery ("Martha My Dear" definitely,

       "Hey Bulldog" possibly)

4:04 - Long and winding road in background ("The Long and Winding Road")

4:05 - Paul romps on hill ("The Fool on the Hill")

4:12 - Crosswalk from the cover of "Abbey Road"

4:14 - Meter maid with bag across her shoulder steps onto curb

       ("Lovely Rita."  She's definitely wearing a uniform and

       carrying a little white book.)

4:30 - Beatles walk into theater (taken from "A Hard Days Night")







***References with more than one possible interpretation***




:01 - Bird flying. (Interpretations range from "Blackbird" to

      "And Your Bird Can Sing" to "Norwegian Wood (This Bird Has

      Flown)" to even "Blue Jay Way." The flapping of the wings,

      though, sounds like the intro to the original version of

      "Across the Universe" which I think it's meant to represent.

      The entire concept of flying in the whole video could be

      taken to represent "Flying.")

1:27 - Children run by holding hands ("Lady Madonna" is most likely,

       but "I Wanna Hold Your Hand" is another possibility.)

1:45 - Woman appears in plastic-appearing coat (Some say, and I

       agree, that she is "Polythene Pam," but others have suggested

       she is "Sexy Sadie," or that her companion in the white coat

       is "Sexy Sadie." Since I can't locate a "Sexy Sadie" anywhere

       else in the video, I'll play it safe and place it in this

       category.)

1:53 - Couple kissing in car (may be banker on corner with a motorcar

       from "Penny Lane" or amorous couple from "Drive My Car." Most

       likely, though, it's "Why Don't We Do It  In The Road?")

2:45 - Sunflowers. (I lean toward saying they're "the flowers that

       grow so incredibly high" from "Lucy in the Sky with Diamonds."

       Other interpretations are "I'll Follow the Sun" (since that is

       what flowers do), "Sun King" and "Here Comes the Sun," hence

       its inclusion here.)

3:08 - Portrait of Queen Elizabeth II sits on floor ("Her Majesty" or

       portrait of the Queen from "Penny Lane," though it's hardly

       pocket-sized)

3:53 - Statue in cemetery turns head (Statue could be of the Madonna

       ("Lady Madonna") or could be Mother Mary ("Let It Be")



***Reference that may not actually *be* references***




1:18 - Marketplace (Could be reference to "Ob-La-Di, Ob-La-Da," but

       since I see no one with a barrow in the marketplace, I'm

       unconvinced.)

3:38 - Last boy in Bungalow Bill's entourage looks very much like

       Sean Lennon. Could be a cameo or just a coincidence.

3:50 - Sun through panes in roof (It's the only intentional shot of

       the sun in the whole video. It could be meant to represent

       "Here Comes the Sun," "Sun King," "Good Day Sunshine" or

       "I'll Follow the Sun.")

4:06 - Woman walks down road with suitcase (could be "She's Leaving

       Home," but since we already had that song done with the woman

       leaving home in the newspaper taxi at 3:22, would she need to

       appear again?)

4:06 - Car heads up long and winding road ("Drive My Car"? Not many

       other cars in video, and one of few that's moving)




and let us not forget ...




***The Voice***




4:36 - Voice at end of song. It sounds like backward masking, and it

       is definitely John's voice. Interpretations I've seen include:

      

       "Turned out well at the end"

       "There's that noise again"

       "Turned out nice again."




       Strangely, though, the backward tape sounds like John saying

       "My name is John Lennon" to me. It's possible the Fab Three put

       the tape on the end not only because it's a throwback to their

       backward tape use in the '60s, but also because it SOUNDS like

       "My name is John Lennon" when it's played backward.

Babe Ruth and The Beatles

This very well could be one of those posts that sounded good in thought but not as good in action. 

Strange title, huh? Two of my biggest interests growing up were Babe Ruth and The Beatles. An unlikely pair, but they caught my attention and started me down the path of researching and, most importantly, reading. I can be very obsessive about subjects. I probably would be diagnosed with something.  When I find out about someone or some event, it’s not enough to know the event, but I want to know why, where, and how. Maybe that is the reason I started to blog. On the blogs, if Dave mentions a music festival that has been long forgotten, I want to know. If Lisa shows a painting on her site, I want to know who did it and what inspired them. When Halffastcyclingclub mentions a little-known artist or song, I want to know more about them. 

I always pay attention to the comment section. That is why I blog. When all of you start commenting, I look up the bands you mention. CB, obbverse, M.Y.,  Warren, Jim, Randy, Matt, Christian, Clive, Phil, Nancy, and Colin (apologies to everyone I left off!) have supplied me with artists that I listen to on a normal basis. Just because I don’t post on them doesn’t mean I don’t listen to that band or artist. It might be months, but they will usually always pop up. Anyway, enough of this boring stuff…on to this other boring stuff. I guess I felt I had to set this up. 

When I was a kid, George Herman Ruth was one of my heroes. I’m not a Yankee fan (always have been a Dodger fan); in fact, I usually root against them (especially last November). Those  Red Sox and Yankee teams he was on are great to look back on from 1914 through 1935. His stats are unbelievable, and his personality was as big as his home runs. The man would not leave a kid behind waiting for an autograph. He did have bad habits; you could ask any brothel about him if they were still alive. 

I parallel my interest in Babe Ruth with my interest in the Beatles. It’s not just the stats of Babe’s career or the popularity of the Beatles. It was never about popularity. No, because I didn’t know how great they were until I started to read about them. It’s an incredible story they both have. To start with little hope of making it in life, hardly at all…much less gaining popularity worldwide… and end up owning the world. Babe came from a poorer background, but the Beatles’  meeting at the right place and time defied the odds. So many things could have happened, but both worked out.

Both were bigger than life. People would travel from miles around to see The Babe hit one out or strike out, and the Beatles drew their share of people as well. They both defined a generation and are still talked about decades and in Babe’s case, a century later. Both are known around the world. You could go almost anywhere in the 20s – 50s and mention Babe Ruth, and they would know exactly who you were talking about. Even now, his name is alive, and the average person has heard of him, and it’s the same with The Beatles. 

Maybe that is the reason I’m drawn to Big Star, The Replacements, and other lesser-known artists, and I like to spotlight them. Why did some get so big and others with a lot of talent didn’t? There are similarities between sports and music. Yes, you can be a one-hit wonder in both. The Kingsmen with Louie Louie and Mark Fidrych with one huge season. Both professions can make you a star or a goat. You could get on Bubblegum cards with both as well. 

There is one difference between music and baseball/sports. In baseball, if you produce, you WILL get noticed or remembered. You might not be a Hall of Fame player, but you will get remembered by people. In music, you can produce the greatest album or song, but if the record company doesn’t promote you…it doesn’t matter because people won’t hear you. You are judged by the charts, and as we have all seen, sometimes the charts are not always the best. Want proof of that? Look up Chuck Berry’s only number 1 song

If I had a time machine…I would go back to 1922 and watch Babe Ruth play, and 1961 to see The Beatles play. I would have loved to have sat in the smoky Hamburg club and to go to the Polo Grounds to grab a beer and a dog and watch the Babe. 

Who – Who Are You

This song is for Song Lyric Sunday for Jim Adams’s blog. This week, the theme is to find a song that is based on reality. A prompt inspired by Badfinger (Max) of PowerPop. Whoever that crazy guy is. 

Great song by The Who and one of the first Who songs I knew. Keith Moon was not in the best shape by this time, but his drumming on this is still fantastic. The song helped define classic radio along with its siblings Baba O’Riley and Won’t Get Fooled Again. Unlike some 80s synth sounds, these synths of those three songs still sound fresh today.

Pete Townshend wrote it in the aftermath of a meeting with some industry suits, wandered into a Soho pub, ran into some of the Sex Pistols, and came out very drunk with a bruised ego and the chorus to one of The Who’s most iconic late-period tracks. Rock bottom, meet the charts. This song, released in August 1978, was the title track to what would turn out to be Keith Moon’s final album. He died three weeks after its release, and that ghost haunts the band to this day. 

This isn’t the mod, youthful energy of My Generation anymore, it’s the sound of grown men staring into the abyss of their own legend. The Who had spent a decade writing operas, smashing instruments, and becoming arena rock icons. And suddenly they were competing with punk bands they helped inspire.

Townshend once said, Who Are You was a cry of frustration, about the music industry, about the punk movement, about himself. Many of Townsend’s songs are about real-life events.  The song peaked at #14 in the Billboard 100 and #18 in the UK in 1978. The album Who Are You peaked at #2 on the Billboard Album Charts, #2 in Canada, and #6 in the UK. 

Pete Townshend: “I’d like to think that where the song came from wasn’t the feet that I was drunk when I did the demo, but the fact that I was f–king angry with  Allen Klein, and that the song was an outlet for that anger.”

Roger Daltrey: “We were getting incredible accolades from some of the new Punk bands. They were saying how much they loved The Who, that we were the only band they’d leave alive after they’d taken out the rest of the establishment! But I felt very threatened by the Punk thing at first. To me it was like, ‘Well, they think they’re f—ing tough, but we’re f—ing tougher.’ It unsettled me in my vocals. When I listen back to ‘Who Are You?’ I can hear that it made me incredibly aggressive. But that’s what that song was about. Being pissed and aggressive and a c—!”

Who Are You

Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?

I woke up in a Soho doorway
A policeman knew my name
He said “You can go sleep at home tonight
If you can get up and walk away”

I staggered back to the underground
And the breeze blew back my hair
I remember throwin’ punches around
And preachin’ from my chair

Well, who are you? (Who are you? Who, who, who, who?)
I really want to know (Who are you? Who, who, who, who?)
Tell me, who are you? (Who are you? Who, who, who, who?)
‘Cause I really want to know (Who are you? Who, who, who, who?)

I took the tube back out of town
Back to the Rollin’ Pin
I felt a little like a dying clown
With a streak of Rin Tin Tin

I stretched back and I hiccupped
And looked back on my busy day
Eleven hours in the Tin Pan
God, there’s got to be another way

Who are you?
Ooh wa ooh wa ooh wa ooh wa

Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?
Who are you?
Who, who, who, who?

Well, who are you? (Who are you? Who, who, who, who?)
I really want to know (Who are you? Who, who, who, who?)
Tell me, who are you? (Who are you? Who, who, who, who?)
‘Cause I really want to know (Who are you? Who, who, who, who?)

I know there’s a place you walked
Where love falls from the trees
My heart is like a broken cup
I only feel right on my knees

I spit out like a sewer hole
Yet still receive your kiss
How can I measure up to anyone now
After such a love as this?

Well, who are you? (Who are you? Who, who, who, who?)
I really want to know (Who are you? Who, who, who, who?)
Tell me, who are you? (Who are you? Who, who, who, who?)
‘Cause I really want to know (Who are you? Who, who, who, who?)

Rufus featuring Chaka Khan – Tell Me Something Good

Great song, great music, great voice. You want funk? You want soul? You want a dirty-sounding clavinet? Step right up, Rufus has got you covered. There’s something raw and unpolished here that gives the song its character. It’s not trying to be slick. It’s lean and mean, clocking in under four minutes, and still manages to say everything it needs to say. It’s still one of my favorite AM singles of the 1970s. It would fit in today as well. 

Chaka… She’s the axis this record spins on. Her voice doesn’t so much sing the lyrics; she dominates them. Stevie Wonder brought a few songs to the studio, and she stunned her bandmates by saying she didn’t like them. She was 19 and pregnant and not in the best of moods. Stevie asked her for her astrological sign, and she said Aries. He then delivered this song, which she loved. 

Tony Maiden’s talkbox guitar gives it that extra wobble, while Kevin Murphy’s clavinet lays down a foundation so nasty you could mop the floor with it. This song came off the 1974 album Rags to Rufus.  Stevie Wonder recorded it himself in 1973 but never released it. The song peaked at #3 on the Billboard 100 and #21 in Canada in 1974. 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.

Tell Me Something Good

You ain’t got no kind of feeling inside
I got something that will sure ‘nough set your stuff on fire
You refuse to put anything before your pride
What I got something will knock all your pride aside

Tell me something good 
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

Got no time is what you’re known to say
I’ll make you wish there was forty eight hours to each day
The problem is you ain’t been loved like you should
What I got to give will sure ‘nough do you good

Tell me something good 
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

You ain’t got no kind of feeling inside
I got something that will sure ‘nough set your stuff on fire
You refuse to put anything before your pride
What I got something will knock all your pride aside

Tell me something good (oh, yeah, yeah)
Tell me that you love me, yeah
Tell me something good 
Tell me that you like it, yeah

Tell me something good (tell me baby baby, tell me)
Tell me that you love me, yeah, yeah, yeah yeah
Tell me something good (oh, tell me, tell me, tell me)
Tell me that you like it, yeah, yeah, don’t you like it, baby?

Kinks – 20th Century Man

This is the twentieth centuryBut too much aggravationThis is the edge of insanityI’m a twentieth century man but I don’t want to be here

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is (drum roll please…) a song from a concept album. 

This song came from the album Muswell Hillbillies. A blogger friend of mine halffastcyclingclub, wrote up a post about it when I had the Kinks Weeks last year, it’s right here. Muswell Hillbillies is one of the many concept albums The Kinks did in the late sixties and early seventies. 20th Century Man kicks off the album. 

The song is an anthem of the over-civilized, over-documented, over-saturated age. Davies isn’t just annoyed by technology or bureaucracy; he’s exhausted by the entire machinery of progress. X-rays, radiation, political ideology, Big Brother watching from the corner of the room, Ray sees it all and wants out. Half a century later, 20th Century Man sounds eerily current. All those worries about surveillance, conformity, soulless routine? They didn’t go away, they just put on a fresh coat of Wi-Fi and Bluetooth.

Musically, it’s a leaner Kinks, with no horn section, no vaudeville flourishes, and no trimmings. Just guitars, grit, and a message that cuts you like a cold wind. Even the production feels lived-in, like it’s already been through the wringer. At the end of the song, it comes to life with a frustrated Ray Davies singing that he cannot keep up and doesn’t want to be there. 

I can really relate to what he is going through in this song. This was before the 24/7 news cycle and advertising chasing us everywhere we turn. It peaked at #106 on the Billboard 100. The album peaked at #100 on the Billboard Album Charts in 1971. Lola just came out the year before, but it would be in the mid to late seventies when they returned to more commercial success. These albums, though, were great. 

20th Century Man

This is the age of machineryA mechanical nightmareThe wonderful world of technologyNapalm hydrogen bombs biological warfare

This is the twentieth centuryBut too much aggravationIt’s the age of insanityWhat has become of the green pleasant fields of Jerusalem

Ain’t got no ambitionI’m just disillusionedI’m a twentieth century man but I don’t want, I don’t want to be here

My mama said she can’t understand meShe can’t see my motivationJust give me some securityI’m a paranoid schizoid product of the twentieth century

You keep all your smart modern writersGive me William ShakespeareYou keep all your smart modern paintersI’ll take Rembrandt, Titian, Da Vinci and Gainsborough

Girl we gotta get out of hereWe gotta find a solutionI’m a twentieth century man but I don’t want, I don’t want to die here

Girl, we gotta get out of hereWe gotta find a solutionI’m a twentieth century man but I don’t want, I don’t want to be here

I was born in a welfare stateRuled by bureaucracyControlled by civil servantsAnd people dressed in greyGot no privacy, got no liberty‘Cause the twentieth century peopleTook it all away from me

Don’t want to get myself shot downBy some trigger happy policemanGotta keep a hold on my sanityI’m a twentieth century man but I don’t want to die here

My mama says she can’t understand meShe can’t see my motivationAin’t got no securityI’m a twentieth century man but I don’t want to die here

I don’t want twentieth century, manI don’t want twentieth century, manI don’t want twentieth century, manI don’t want twentieth century, man

This is the twentieth centuryBut too much aggravationThis is the edge of insanityI’m a twentieth century man but I don’t want to be here

John Hiatt – Slow Turning

Now I’m in my car, I got the radio on, I’m yellin’ at the kids in the back seat
‘Cause they’re bangin’ like Charlie Watts

I love the way this song kicks off with that jangly, ragged guitar riff. John’s voice fits this song perfectly as well. It’s rootsy, raucous, and real, a reminder that the best rock & roll doesn’t have to be flashy or fast to hit you in the gut.

A brilliant performer…he is a songwriter’s songwriter.  The first time I heard this song, I loved it. When you mention Charlie Watts, you have my attention. John Hiatt always releases songs of quality, and they are all solid. Saying that, he is most remembered for his songs that other people cover. I don’t understand that because he has a fine, distinctive voice with a great band behind him. The keyword here is distinctive, I guess, which I look for.

He has a tremendous catalog with 24 studio albums. He released his first album in 1974! By the time John Hiatt released the album Slow Turning in 1988, he wasn’t some wide-eyed newcomer chasing charts; he was a survivor. Some of the songs he wrote and were covered were Angel Eyes, Sure As I’m Sitting Here,  and Thing Called Love, just to name a few. Slow Turning is one of his best-known songs, with him singing.

I’ve seen a lot of Hiatt recently on live clips. He and his band are always great. It’s loose in the best way, the kind of groove that feels like it could fall apart at any second but never does. The rhythm section (Kenneth Blevins on drums and Dave Ranson on bass) just locks in with the kind of warmth that doesn’t come from studio perfection but from chemistry built from sweat on the road.

Slow Turning peaked at #22 on the Billboard Alternative Charts. The album peaked at #98 on the Billboard Album Charts. I thought it would have been higher in the charts. In my region, it got a lot of airplay. 

Slow Turning

When I was a boyI thought it just came to youBut I never could tell what’s mineSo it didn’t matter anyway

My only pride and joyWas this racket down hereBangin’ on an old guitarAnd singin’ what I had to say

I always thought our house was haunted‘Cause nobody said “boo” to meI never did get what I wantedBut now I get what I need

It’s been a slow turnin’From the inside outA slow turnin’, babyBut you come about

A slow learnin’But you learn to swayA slow turnin’, babyNot fade away, not fade away, not fade away

Now I’m in my carOoh, I got the radio downNow I’m yellin’ at the kids in the back‘Cause they’re bangin’ like Charlie Watts

You think you’ve come so farIn this one horse townThen she’s laughin’ that crazy laugh‘Cause you haven’t left the parking lot

Time is short and here’s the damn thing about itYou’re gonna die, gonna die for sureAnd you can learn to live with love or without itBut there ain’t no cure

It’s just a slow turnin’From the inside outA slow turnin’But you come about, ya

A slow learnin’, babyBut you learn to swayA slow turnin’Not fade away, not fade away, not fade awayNot fade away, not fade away

A slow turnin’A slow turnin’A slow turnin’A slow turnin’

Band – I Shall Be Released

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is a song off a debut album. I picked The Band and their debut album, Music From Big Pink, released in 1968. 

Every once in a while, a song doesn’t just sound like it was written in stone; it feels like it was. I Shall Be Released is one of those songs. That’s the magic of The Band. They could turn a Dylan lyric into a backwoods hymn, all soul and no showbiz.

There is a very solemn song with a religious hymnal feel to it. The song is not commercial, not meant to be a hit, sell a million copies, but just pure music at its best.  There are no pretensions or gimmicks…this is the Band at one of its many peaks.

Richard Manuel, whose voice always sounded like it was teetering on the edge of breaking, whether from emotion, exhaustion, or both, delivers a vocal here that’s just haunting. He makes Dylan’s already powerful lyrics sound like the final words of a man who’s seen too much and still manages to believe that salvation might come… someday.

Bob Dylan wrote this in 1967, but his version was not officially released until 1971 on his Greatest Hits Vol. II album. The Band, which backed up Dylan on his first electric tour, recorded it for Music From Big Pink, their first album. Their version is the most well-known. Bob wrote it after his motorcycle accident in 1966. Some have said the song represents Dylan’s search for personal salvation. 

Everyone under the sun has covered this song, but the Band’s own rendition was released first and is probably the best-known version.

The song was the B side to The Weight released in 1968. Music From The Big Ping peaked at #30 in the Billboard 100 and #18 in Canada. That wasn’t the biggest thing, though…the album helped change the landscape of popular music from the psychedelic harder rock to more earthy roots music.

I Shall Be Released

They say everything can be replaced
They say every distance is not near
So I remember every face
Of every man who put me here

I see my light come shining
From the west down to the east
Any day now, any day now
I shall be released

They say every man needs protection
They say that every man must fall
Yet I swear I see my reflection
Somewhere so high above this wall

I see my light come shining
From the west down to the east
Any day now, any day now
I shall be released

Now, yonder stands a man in this lonely crowd
A man who swears he’s not to blame
All day long I hear him shouting so loud
Just crying out that he was framed

I see my light come shining
From the west down to the east
Any day now, any day now
I shall be released

Jimi Hendrix – Voodoo Child (Slight Return)

This song explosion is like an atom bomb going off. From the first words “Well, I stand up next to a mountain and I chop it down with the edge of my hand” you know Jimi means business. This is no boy band, folk cafe, or pop song. Jimi is shooting to kill. This song is off the great 1968 Electric Ladyland album. From the tone of the guitar and how he spits out the lyrics, the song is a masterpiece. The guitar riff is one of, if not the best. There was another song called Voodoo Chile that was recorded, but it is a different song. 

This song was recorded by The Jimi Hendrix Experience in May 1968, during the sessions for Hendrix’s third and final studio album, Electric Ladyland. The day before this was recorded, Jimi, Steve Winwood, Jack Casady, and some others had a jam in the studio called Voodoo Chile. This song was almost an accident after they built this song with a riff from the previous day. 

A camera crew from ABC-TV came by to film Hendrix for a documentary. Hendrix, always the showman, wanted to give them something great. So, he grabbed his guitar, and the Experience basically created “Voodoo Child (Slight Return)” on the spot. It was a stripped-down, turbo-charged echo of the longer “Voodoo Chile” jam from the previous day.  This time built around that now-iconic riff.

Unfortunately, that footage from this day is said to be stolen. The footage of the previous day’s jam was left alone. Did the thief die and leave the unattended films to rot into dust? Are the reels locked away in some forgotten vault or stashed in an attic? Were the films destroyed in a fire, deliberate or accidental? Is some private collector viewing them at this moment? We may never know.

The readers of Music Radar voted this the very best rock riff ever. That is saying a lot, but I can’t fight that much at all. If you are wondering, Guns N Roses’ Sweet Child O’ Mine came second in the poll and Led Zeppelin’s Whole Lotta Love” third.

Voodoo Child (Slight Return) was released in the UK after his death. It peaked at #1 in 1970. It was his only number 1 hit in the UK. 

Joe Satriani: “It’s just the greatest piece of electric guitar work ever recorded. In fact, the whole song could be considered the holy grail of guitar expression and technique. It is a beacon of humanity.”

Voodoo Child (Slight Return)


Well, I stand up next to a mountain
And I chop it down with the edge of my hand
Well, I stand up next to a mountain
And I chop it down with the edge of my hand
Well, I pick up all the pieces and make an island
Might even raise a little sand
Yeah

‘Cause I’m a voodoo child
Lord knows I’m a voodoo child, baby

I want to say one more last thing

I didn’t mean to take up all your sweet time
I’ll give it right back to you one of these days, hahaha
I said I didn’t mean to take up all your sweet time
I’ll give it right back one of these days
Oh yeah
If I don’t meet you no more in this world, then
I’ll meet you in the next one
And don’t be late
Don’t be late

‘Cause I’m a voodoo child, voodoo child
Lord knows I’m a voodoo child, baby

I’m a voodoo child, baby
I don’t take no for an answer
Question no
Lord knows I’m a voodoo child, baby

Thin Lizzy – Cowboy Song

This song starts off slow, and then it really kicks the door in.  They had bigger hits such as The Boys Are Back in Town and Jailbreak, but this song is really good. It’s always been at the top of my Thin Lizzy song list. It has a cinematic feel to it. I like this one because of a great moment after the bass break, and Phil kicks it in full force. I love dynamics when they are done right, and this is. 

What a groundbreaking band Thin Lizzy was at the time. You had a black Irish singer-bass player, Phil Lynott,  who reminded people of Van Morrison singing and a little of Springsteen in some of his writing…all in a harder rock format. I always liked Thin Lizzy because of two things. The brilliant Phil Lynott and the dual guitar lead that this band made popular. 

The song was written by Phil Lynott and drummer Brian Downey, tells the story of a drifting cowboy longing for love. It was released as a single in 1976 and peaked at #77 on the Billboard 100. The song was on their Jailbreak Album. The album peaked at #18 on the Billboard Album Charts, #5 in Canada, and #10 in the UK. 

The members of Thin Lizzy were bassist and singer Phil Lynott, Drummer Brian Downey, guitarist Brian Robertson, and guitarist Scott Gorham. Gary Moore was a member for a few months and also Them’s keyboardist Erix Wrixon but Moore and Wrixon didn’t stay long.

I first heard the song on the Live and Dangerous album that was released two years later. 

Scott Gorham: “Cowboy Song” originally began as a joke. During a writing session, Lynott half-seriously suggested they try to write a “cowboy song.” But as the ideas started flowing, it took on a life of its own… one of the best songs we ever did.

Phil Lynott biographer Mark Putterford: “a cross between Clint Eastwood and Rudolph Valentino, with a bit of George Best thrown in for good measure. Philip strode into the sunset of his own imagination and always, of course, lived to fight another day.”

Cowboy Song

I am just a cowboy, lonesome in the trail.
Starry night, campfire light, and the coyote calls where the howlin’ winds will.
So I ride out to the ol’ sundown. I am just a cowboy, lonesome on the trail.
Lord I’m just thinking about a certain female.
And the nights we spent together, riding on the range.
Looking back, it doesn’t seem so strange.

Roll me over and turn me around. Let me keep spinning ’til I hit the ground.
Roll me over and let me go, riding in the rodeo.

I was took in Texas, I did not know her name.
But Lord all these southern girls, they seem the same.
But down below the border, in a town in Mexico,
I got my job busting broncs for the rodeo.

Roll me over ans turn me around, let me keep spinnin till I hit the ground.
Roll me over and let me go, running free with the buffalo.

Roll me over, and I’ll turn around.
And I’ll move my fingers up and down.
Up and down.

It’s ok amigo, just let me go.
Riding in the rodeo.

Roll me over and turn me around, let me keep spinning till I hit the ground.
Roll me over and let me go, riding in the rodeo.
Roll me over and set me free, the cowboy’s life is the life for me.

Neil Young – Like a Hurricane

This song is for Song Lyric Sunday for Jim Adams’s blog. This week the theme is to find a song related to a weather condition such as cyclones, floods, hurricanes, rainfall, storms, tornadoes, typhoons, or winds. 

I first heard this song in band practice back in the late 80s. The guitar started to play it and I thought it was an original. I told him I loved his song…he said “if only” it was mine! I learned about a lot of songs that way. I don’t know how I missed this one through the years. It’s now one of my favorite Neil Young songs. 

Neil Young’s playing style is unique and electrifying. He’s not Clapton, Page, Van Halen, or Hendrix—but they’re not him, either. His approach is all about feeling, and he uses volume and feedback like few others can. Watching him play is thrilling, you always think the wheels are about to come off, but somehow they never do. Together with Crazy Horse, Neil captures the raw spirit of rock better than just about anyone.

Like a Hurricane was on the American Stars ‘n Bars album in 1977. A single version was released that was edited down to under 4 minutes but it only charted in the UK at #48. The album version is the one known now.

Neil’s songs are so well written and detailed but they come out sounding so loose like he is improvising on the spot…cause most of the time while recording he is more interested in getting the right feel than anything technical. it works really well. For me, that is the best way to record and I wish more artists would do this. 

Neil Young: “I wrote it on a piece of newspaper in the back of (his friend) Taylor Phelps’s 1950 DeSoto Suburban, a huge car that we all used to go to bars in. As was our habit between bars, we had stopped at Skeggs Point Scenic lookout on Skyline Boulevard up on the mountain to do a few lines of coke; I wrote Hurricane right there in the back of that giant old car. Then when I got home, I played the chords on this old Univox Stringman mounted in an old ornate pump-organ body set up in the living room. I played that damn thing through the night, I finished the melody in five minutes, but I was so jacked I couldn’t stop playing.”

Neil Young: “When ‘Runaway’ goes to ‘I’m a walkin’ in the rain,’ those are the same chords in the bridge of ‘Hurricane’ – ‘You are…’ It opens up. So it’s a minor descending thing that opens up – that’s what they have in common. It’s like ‘Runaway’ with the organ solo going on for 10 minutes.”

Rock Critic Dave Marsh: “an eight-minute tour de force of electric guitar feedback and extended metaphor (Smokey Robinson meets Jimi Hendrix on Bob Dylan’s old block).” 

Like a Hurricane

Once I thought I saw you in a crowded hazy bar
Dancing on the light from star to star
Far across the moonbeam I know that’s who you are
I saw your brown eyes turning once to fire

You are like a hurricane
There’s calm in your eye
And I’m gettin’ blown away
To somewhere safer where the feeling stays
I want to love you but I’m getting blown away

I am just a dreamer, but you are just a dream
You could have been anyone to me
Before that moment you touched my lips
That perfect feeling when time just slips
Away between us on our foggy trip

You are like a hurricane
There’s calm in your eye
And I’m gettin’ blown away
To somewhere safer where the feeling stays
I want to love you but I’m getting blown away, blown away

You are just a dreamer, and I am just a dream
You could have been anyone to me
Before that moment you touched my lips
That perfect feeling when time just slips
Away between us on our foggy trip

You are like a hurricane
There’s calm in your eye
And I’m gettin’ blown away
To somewhere safer where the feeling stays
I want to love you but I’m getting blown away

Cowsills – Cocaine Drain

This is a band I never really thought about posting, although they had some huge hits in the ’60s. This is NOT what I was expecting from the Cowsills.  This song has a Linda Rondstadt/Clapton 1970s feel to it. The album Cocaine Drain Plus 6 was recorded in 1978 but not released until 2008. Paul, John, Barry, Bob, and Susan Cowsill are on this one and worked with Chuck Plotkin. Billy or his mom wasn’t on this album. Susan does most of the singing, and when you hear her grown up…you understand why. 

Susan Cowsill was just a little girl when she joined her brothers in the ’60s. Here she is, just 19 years old, and she belts out this song and others. Like I said, it does have a Ronstadt feel, and she is a very good singer. The band sounds really good. John Hall wrote this song. Critics at the time caught them live playing this song and really liked it. 

Since the band was pigeonholed, they would perform under different names like The Secrets and The Critics in the 1970s. They got together in 1978 after playing in Los Angeles at the time. The album was never completed, and at some point, the master tapes were lost. For almost 30 years, the album existed only as a scratchy acetate. An acetate played like an old 45. They were created for demo or publishing purposes NOT for selling.

In March 2008 a version of the album was finally released, remastered from that acetate under Bob Cowsill’s direction. Several other previously unreleased tracks were included in the 2008 release. After the Cocaine Drain sessions, the Cowsills did some reunion shows in 1979–1980 but returned to their separate careers after that.

Audiophiles here will not be happy, as these are obviously recorded from acetate, and the hisses and pops of any 30-year-old LP are apparent. If they couldn’t get it released when it was recorded, they obviously couldn’t afford high remastering to clean it up, and the value in this release is that we finally get to hear these songs AT ALL. But there are only so many things you can do now, though it probably COULD be cleaned up. I like that the proceeds went straight to the band, as it was released to Apple via their self-owned Robin Records label. It was released as MP3s only. 

They have some good songs on there, and the album is not bad at all. Spotify doesn’t have it, but HERE is a link to the album on YouTube. I added a bonus song called That Particular Way from the same album. 

Cocaine Drain

I remember you,
When you were the talk of town.
You always said,
Hello and goodbye.

You looked me right in the eye.
I could be sure of you,
You’d never lie.
You’re so different now.
Are you going down that Cocaine Drain.

Now you’re up all night (up all night),
Feelin’ like a shining star.
But with the Lord in mind,
Let you forget who you really are (really are).

You’re a fragile thing after all.
Remember that even a heavenly body can fall.
And I’m afraid you’re fallin’, (fallin’)
Falling down that Cocaine Drain.
(I’m afraid, afraid you’re fallin’)
Falling down that Cocaine Drain.
(Cocaine Drain)

Now you’re keeping up,
With some pretty fancy company. (fancy company)
But if things get rough,
You know you can always come to me.
(Come to me)

But please don’t wait too long.
I’ve known a few before you who are already gone.
And I don’t want to see you (I don’t want to see you)
Slipping down that Cocaine Drain.
(Cocaine Drain)

I can’t stand by to see you
Slipping down that Cocaine Drain.
I don’t want to see you
(I don’t want to see you)
Slipping down that –
(I don’t want to see you) Cocaine Drain.
Slipping down that Cocaine Drain.
(I don’t want to see you)
Slipping down that Cocaine Drain.
(I don’t want to see you)
Slipping down that Cocaine Drain.
(I don’t want to see you).

T-Rex – Baby Boomerang

It seems to me to dreamIs something too wildIn Max’s Kansas CityYou a belladonna child

I like joining in Jim’s Song Lyric Sunday when I can. I wanted to this weekend, and when I saw the subject (a Song that mentions your name), the answer should have been easy…Maxwell’s Silver Hammer. One problem: I don’t like it, and I only post songs I like. I searched around and found many songs that have my name, but this one I really liked. 

Now, what was Max’s Kansas City? It was a well-known nightclub, restaurant, and music venue in New York City, located at 213 Park Avenue South. It operated from 1965 to 1981 and became a central meeting hub for artists, musicians, and the counterculture. It was famous for being a meeting place for Andy Warhol’s Factory crowd, the punk rock movement, and early glam rock acts.

This song was on the album The Slider, released in 1972, and was written by Marc Bolan. It was never released as a single, but the album did really well. The album peaked at #4 in the UK, #11 in Canada, and #17 on the Billboard 200. It was their highest charting album in America and Canada. 

T. Rex was huge in the UK starting around 1970 but then declined in 1974. They did have a documentary made about them, produced and directed by Ringo Starr, called Born to Boogie. Some have credited Bolan with starting Glam Rock.

He went on to host a musical TV show called Marc, in which he hosted a mix of new and established bands and performed his own songs. Marc’s final show was recorded on September 7, 1977, with special guest David Bowie, who was a friend of Bolan. 

Baby Boomerang

Slim lined sheik facedAngel of the nightRiding like a cowboyIn the graveyard of the night

New York witch in the dungeonOf the dayI’m trying to write my novelBut all you do is play

Mince pie dog-eyeEagle on the windI’m searching through this garbageLooking for a friend

Your uncle with an alligatorChained to his legDangles you your freedomThen he offers you his bed

It seems to me to dreamIs something too wildIn Max’s Kansas CityYou a belladonna child

Riding on the highwaysOn the gateways to the southYou’re talking with your bootsAnd you’re walking with your mouth

Baby BoomerangBaby BoomerangYou never spike a personBut you always bang the whole gangThank you ma’am

Raspberries – I Wanna Be With You

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is (drum roll please…) a forgotten band. I picked The Raspberries but also talked about Badfinger and Big Star. 

I still remember the first time I heard this song on AM radio. I must have been around 7 or 8, walking into my sister’s wood-paneled room. It was playing on WMAK, a station I’ll never forget. The disc jockey, Coyote McCloud, was a legend in Nashville back in the early seventies—everyone tuned in to hear him. It’s funny how clearly I can recall that moment like it was just yesterday.

I wasn’t lucky enough to be a teenager in the 1970s, but whenever I listen to The Raspberries, it feels like I’m transported back in time. I can picture myself in 1973, driving my first car with their greatest hits blasting, feeling the freedom and excitement of the era. The music has a way of making it real.

I’ve always considered the top three power pop bands to be Big Star, Badfinger, and The Raspberries. Together, they captured everything that makes power pop great… soaring vocals, great melodies, and that perfect balance of guitar crunch and jangle. What an incredible time for the genre, with all three bands active at the same moment in history. They may not have found the level of commercial success they deserved, but their influence on music has been huge. 

These bands didn’t just define power pop… they set the standard for what the genre could be. Badfinger and The Raspberries managed to crack the Top 20 a few times, but Big Star didn’t even get that far…which is nothing short of a crime. Bands like Cheap Trick, Tom Petty, KISS, REM, The Cars, and The Replacements owe them a lot. These three bands do pop up every once in a while. The Raspberries Go All The Way was in the Guardians of the Galaxy movie, Badfinger’s Baby Blue was in the last episode of Breaking Bad, and Big Star’s In The Street was the theme song to That Seventies Show. 

The Raspberries were more than just a band…they were a Cleveland supergroup, formed from the city’s best local acts. The lineup was indeed super… Eric Carmen as the lead singer and rhythm guitarist, Wally Bryson on lead guitar with his signature crunchy riffs, Jim Bonfanti on drums, and Dave Smalley on bass. Their sound was a seamless blend of their influences—The Beatles, The Who, The Kinks, and The Beach Boys—woven together into power pop perfection.

The Raspberries did have 7 singles to chart and 4 top forty hits with I Wanna Be With You being one of them. This song peaked at #16 on the Billboard 100 and #17 in Canada in 1973.  It was the first single from their second LP, Fresh.[It became their second-greatest US hit. They broke up in 1975 after releasing their album Starting Over. Eric Carmen wrote this song. 

Their best-known song was Go All The Way which peaked at #5 in 1972. 

Alex Chilton (Big Star): “I remember when I first heard the Raspberries, Big Star was in a van traveling around doing some dates and we heard Go All the Way on the radio, and we said, ‘Wow, those guys are really doing it!’ I thought that was a great song.”

 

I Wanna Be With You

If we were older we wouldn’t have to be worried tonight
Baby oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Someday’s a long time and we’ve been waiting so long to be here
Baby oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Hold me tight our love could live forever after tonight
If you believe in what you’re doing is right
Close your eyes and be still

Baby, oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Well tonight tonight we always knew it would feel so right
So come oh baby, I just want to be with you

Oh I want to be with you so bad
Oh baby I want to be with you
Oh yeah?
Baby I want to be with you so bad

 

 

 

Paul Kelly – How To Make Gravy

Happy Gravy Day in Australia! It happens every December 21st in Australia because of the first verse of the song.

Here is a Christmas song that is good on any day of the year but one we don’t hear much in America. I looked up “Gravy Day” in Australia and this is what I found: Gravy Day is an unofficial Australian holiday as marked by Kelly in his song, How to Make Gravy. The song is written from the perspective of a recently incarcerated man, Joe, as he writes to his relative, Dan, from prison.

Paul Kelly: “I started thinking… maybe I’ll write it from the point of view of somebody who is missing Christmas, who can’t get to Christmas, why can’t they get there? Maybe they’re overseas and they can’t get home. Then I thought, ‘Oh, he’s in prison’. The song wrote itself from there.”

The song is written in the form of a letter from a prisoner named Joe, addressed to his brother Dan, shortly before Christmas. Joe expresses regret about missing Christmas with his family, gives instructions on how to make gravy (a key part of their holiday meal), and reflects on family members, relationships, and the pain of separation.

I like great storytellers…and Paul Kelly is one of them. His music touches on many styles. Country, rock, folk, reggae, bluegrass,  and touches of many more styles. He has been described as the poet laureate of Australian music. He writes about everyday life that many people can relate to. I’ve seen this stated about him… Paul Kelly’s songs dig deep into Australia’s culture.

As for who will make the gravy in the song, the question has been debated over the years, although most believe it to be Dan as Joe is sharing the recipe with him.

And yes the recipe in the song is real for gravy. 

Gravy Day

Paul Kelly: “It was a song that doesn’t have a chorus, it’s set in prison, so I never thought it would be a hit song or anything.”

How To Make The Gravy

Hello Dan, it’s Joe here
I hope you’re keeping well
It’s the 21st of December
And now they’re ringing the last bells
If I get good behaviour
I’ll be out of here by July
Won’t you kiss my kids on Christmas Day?
Please don’t let ’em cry for me

I guess the brothers are driving down from Queensland
And Stella’s flying in from the coast
They say it’s gonna be a hundred degrees, even more maybe
But that won’t stop the roast
Who’s gonna make the gravy now?
I bet it won’t taste the same
Just add flour, salt, a little red wine
And don’t forget a dollop of tomato sauce
For sweetness and that extra tang

And give my love to Angus, and to Frank and Dolly
Tell ’em all I’m sorry, I screwed up this time
And look after Rita, I’ll be thinking of her
Early Christmas morning when I’m standing in line

I hear Mary’s got a new boyfriend
I hope he can hold his own
Do you remember the last one? What was his name again?
Ahh, just a little too much cologne
And Roger, you know I’m even gonna miss Roger
‘Cause there’s sure as hell no one in here I want to fight

Oh, praise the Baby Jesus, have a Merry Christmas
I’m really gonna miss it, all the treasure and the trash
And later in the evening, I can just imagine
You’ll put on Junior Murvin and push the tables back

And you’ll dance with Rita, I know you really like her
Just don’t hold her too close
Oh, brother, please don’t stab me in the back
I didn’t mean to say that, it’s just my mind it plays up
Multiplies each matter, turns imagination into fact

You know I love her badly, she’s the one to save me
I’m gonna make some gravy, I’m gonna taste the fat
Ahh, tell her that I’m sorry, yeah, I love her badly
Tell ’em all I’m sorry, and kiss the sleepy children for me
You know one of these days, I’ll be making gravy
I’ll be making plenty, I’m gonna pay ’em all back

Yeah, do-do-do-do, do-do
Do-do-do-do, do-do