Nick Lowe – PowerPop… An Eclectic Collection of Pop Culture

Little Village – Don’t Bug Me When I’m Working

All I had to do was read off the members, and I knew I would like this band. Who were the members? Ry Cooder, John Hiatt, Nick Lowe, and Jim Keltner. Each one of them is a legend, but when they teamed up in 1992, they made music that felt effortless.. This song plays like an anthem for anyone who has ever tried to get something done while the world keeps knocking at the door.

When Little Village came together in the early 1990s, it wasn’t a typical supergroup situation. Ry Cooder, John Hiatt, Nick Lowe, and Jim Keltner had already worked together in the studio. They worked on Hiatt’s 1987 album Bring the Family, a record cut in just four days. This album would be called Little Village.

Around 1991, discussions began about whether those four players could try something more equal and together as a band. Nick Lowe summed up the vibe when he said, “We only needed a name and a reason.” The name came from a 1930s reference, but the reason was simply that they liked working with each other. This wasn’t a record-company idea, and it wasn’t nostalgia.

While the sessions were friendly, the band admitted that being equals instead of backups slowed things down. Decisions took longer, and sometimes a song would go in five directions before landing on one. Lowe joked that it was like “four people in the passenger seat reaching for the wheel.” Critics generally liked it, although some expected another John Hiatt album and were surprised by its humor and different musical turns. Fans of any one member found something to enjoy. The album even received a Grammy nomination for Best Rock Performance by a Duo or Group.

Nick Lowe did say it wasn’t as good as it could have been. He blamed it on having too much time to record it. The album peaked at #22 in the UK and #66 on the Billboard Album Charts in 1992. Over time, this album has developed a cult following, especially among fans of Hiatt and Cooder.

This next video has a bonus live song, She Runs Hot. Enjoy Ry Cooder’s slide before they break into Don’t Bug Me When I’m Working.

Don’t Bug Me When I’m Working

Don’t bug me when I’m working
I’m working, I’m working
Don’t bug me when I’m working
Got a job to do

Don’t bug me when I’m working
I’m working, I’m working
Don’t bug me when I’m working
I don’t work for you

If you bug me at work I can’t get it done
Too tired, baby to have any fun
You got complaints, better keep ’em hid
Don’t come ’round here mess with the kid

Don’t bug me when I’m sleepin’
I’m sleepin’, I’m sleepin’
Don’t bug me when I’m sleepin’
‘Cause I need my rest
Don’t bug me when I’m

Don’t bug me when I’m got to buzz awhile
I said don’t bug me when I’m working
I’m working, I’m working
Don’t bug me when I’m working
Got a job to do

Now you bug me at home when I’m tired and beat
Can’t even stand on my own two feet
You call on the phone, you make me uptight
And I can’t even work with my baby at night

Don’t bug me when I’m working
I’m working, I’m working
Don’t bug me when I’m working
Got a job to do

Don’t bug me when I’m working
I’m working, I’m working
Don’t bug me when I’m working
I don’t work for you

Don’t bug me
‘Cause I don’t work for you
Don’t bug me
Mister I don’t work for you

Don’t bug me, don’t bug me
‘Cause I don’t work for you
Don’t bug me, don’t bug me
‘Cause I don’t work for you
At the sound of the tone
Better hang up the phone
If you want to be my friend
Don’t bug me when I’m working

…

Paul Carrack – I Need You

You know, some singers’ voices are made for great soul/pop, and Paul has one of those voices. I’ve just rediscovered this song that I have been trying to remember for years. When I heard that bass intro, I knew I hit the right one. This is the one that I have been trying to remember since the 1980s.

Paul Carrack is one of those musicians whose career reveals a series of classic moments in pop and rock history. How Long with Ace. Tempted with Squeeze. The Living Years with Mike + the Mechanics. And in between all that, he made a great power-pop-soul album of the early ’80s: Suburban Voodoo. One reviewer called it “a Nick Lowe album with Carrack singing,” and that is not a bad thing! He and Paul Rodgers get the call when an artist needs a special vocalist.

This song is from that album. Carrack hits the pop-soul sweet spot. It was produced by Nick Lowe; it has that Nick Lowe tight rhythm section, jangly guitars, and Lowe’s knack for making a record sound both edgy and polished. Carrack, for his part, gives a vocal performance that makes you wonder why the song wasn’t all over the charts in the early ’80s. It was written by Paul Carrack, Nick Lowe, and Martin Belmont.

The music was supplied by Nick Lowe and his Cowboy Outfit. It included Lowe on bass, Martin Belmont on guitar, Bobby Irwin on drums, and of course, Paul Carrack on keyboards and lead vocals. The contrast on this album works well. You have Nick Lowe still bringing a little pub rock influence along, backed with Carrack’s smooth voice.

The song peaked at #37 on the Billboard 100 and #20 on the US Rock Mainstream Charts. The album peaked at #78 on the Billboard Album Charts in 1982.

I Need You

Don’t need a RollerOr a LimousineI don’t need my pictureIn a magazineDon’t need approvalFrom a chosen fewI tell you what I do needI need you.

Don’t need no fixturesOr feelings of homeI’m so unfurnishedI’m on my ownDon’t need remindingWhen the rent is dueTell you what I do needI need you

I need youLike a fly needs a planeI need youLike a ball needs a gameI need youLike a pool needs a cueI need you, need you, need youI need you

I don’t need no covered kissesTo comfort meI don’t want no washed up dishesSoft-soaping meDon’t need no CinderellaIn high-heeled shoesI tell you what I do needI need you

Da da da daDa da da daDa da da da da da da daOoh lala la laI need you

I need youLike a fly needs a planeI need youLike a ball needs a gameI need youLike a shot needs to shootI need you, need you, need youI need you

I need you, need you, need youI need you

Said I want youI need youI need you, need you, need youI need youWell I wantI want youI need you

Stiff Records Week – Nick Lowe – Halfway To Paradise

How cool was it that Motörhead and Nick Lowe were labelmates? That shows you the diverse talent in Stiff Records.

I’m going to wrap it up this week with some Nick Lowe. This was his second and last single for Stiff Records. You know what? I don’t think I’ve ever heard a Nick Lowe song I didn’t like. I was going to include The Damned and Lene Lovich this week but they will be coming soon. A blogger named Warren asked about Lene Lovich and I will have a post on her in the coming weeks…thank you Warren for the suggestion. I already had today’s posts written.

Listening to this song and I’m struck by backup vocals going on. He paints a sound picture with layers of backups with a simple musical structure. Yes…I get really excited by power pop (hence the blog’s name) done right and Lowe does it right. When you listen to this song…it fits in so well with Lowes catalog that I would have thought he wrote it. But this is some Brill Building brilliance here made better by Lowe. Simple yet so likable.

Carole King and Gerry Goffin wrote the song. Tony Orlando first recorded it in 1961, peaking at #39 on the U.S. Billboard Hot 100 and Billy Fury recorded it as well. This Lowe version was later included as a bonus track on re-releasing his 1978 album, “Jesus of Cool.”

I hope you enjoyed this week and these posts might have introduced you to a new song. I have a new appreciation for this record label…what they were able to do and the talent they found. In the middle of disco, Led Zeppelin, reggae, Pink Floyd, and other types of music…Stiff Records made a home for these different type of artists to flourish…thank you all for reading.

And remember Stiff Records… If it ain’t stiff it ain’t worth a f***

A short bio on Nick Lowe talking about his career I thought you might like. Have a great weekend!

Halfway To Paradise

I want to be your loverBut your friend is all I’ve stayedI’m only halfway to paradiseSo near, yet so far away

I long for your lips to kiss my lipsBut just when I think they mayYou lead me halfway to paradiseSo near, yet so far away, mmm

Bein’ close to you is almost heaven (heaven)But seein’ you can do just so muchIt hurts me so to know your heart’s a treasure (treasure)And that my heart is forbidden to touch, so

Put your sweet lips close to my lipsAnd tell me that’s where they’re gonna stayDon’t lead me halfway to paradiseMmm, so near, yet so far away

Oh, uh, oh so near, yet so far awayYeah, yeah so near, yet so far away

…

Nick Lowe – So It Goes

I always liked Nick Lowe and his brand of power pop. I first heard of him with Cruel To Be Kind and then Rockpile who I wish would have made more albums as Rockpile. When I started to blog, Brinsley Schwarz came on my radar and I really then realized how talented this guy is.

This was Lowe’s first solo single following the split of the pub rock band, Brinsley Schwarz. It was also the first single released on Stiff Records, a label formed by the music managers, Dave Robinson and Andrew Jakeman. The single bore the catalog number BUY 1, establishing Stiff Records as a pioneering label in the UK punk and new wave scenes.

Although So It Goes failed to chart, it still earned a profit for the young Stiff Records. It was on the American album Pure Pop For Now People. The album in the UK was called Jesus of Cool. It peaked at #127 on the Billboard 100 in 1978.

Lowe got the title from a recurring line (So It Goes) in Kurt Vonnegut’s 1969 novel, The Slaughterhouse-Five. It is used every time a death occurs in the book. Steve Goulding (drums) and Nick Lowe were the only two musicians on this song. Lowe and Jake Riviera produced the album.

Nick Lowe: “It’s not my favorite, it’s a bit too much like Steely Dan. I think I must have got it from something they’d done.”

So It Goes

Remember on night the kid cut off his right arm
In a fit to save a bit of power
He got fifty thousand watts
In a big acoustic tower
Security’s so tight tonight
Oh they’re ready for a tussle
Gotta keep your backstage passes
‘Cause your promoter had the muscle

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

In the tall buildings
Sit the head of our nations
Worthy men from Spain and Siam
All day discussions with the Russians
But they still went ahead
And vetoed the plan
Now up jumped the U.S. representative
He’s the one with the tired eyes
747 for the midnight condition
Flyin’ back from a peace keepin’ mission

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

In the air there’s absolution
In the wake of a snaky Persian
On his arm there’s a skin tight vision
Wonder why she admires she is hissin’

And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows
And so it goes and so it goes
And so it goes and so it goes
But where it’s goin’ no one knows

But where it’s goin’ no one knows
But where it’s goin’ no one knows
But where it’s goin’ no one knows

…

Rockpile – Fool Too Long

Happy April Fools Day!

Fool Too Long is a song from the 1980 album Seconds of Pleasure. The song was written by Nick Lowe, who was one of the key songwriters and vocalists in Rockpile. It’s a catchy rock tune with elements of power pop and new wave with the underlying old rock sound.

Nick Lowe (lead vocals, bass), Dave Edmunds (lead vocals, guitar), Billy Bremner (backing vocals, guitar), and Terry Williams (drums)— had been writing, recording, and playing live together for years before they released just one album at least under the Rockpile name.

One of the reasons they only recorded one album is record label issues. Rockpile was signed to different labels in different regions, with Dave Edmunds signed to Swan Song Records (co-owned by Led Zeppelin) in the United States and Nick Lowe signed to Columbia Records in the UK. These label differences complicated the band’s recording and promotional efforts. They actually recorded more but on other people’s records. They were the backing band for Dave Edmunds’s Tracks On Wax 4, side one of a Mickey Jupp album, and more.

Before the band recorded Seconds of Pleasure, the name “Rockpile” had already been used as the title of an album by Dave Edmunds that he released in 1970. Edmunds subsequently toured as “Dave Edmunds and Rockpile,” with a band that included Williams on drums. However, the group became known as Rockpile didn’t form until Lowe and Edmunds began recording together in the mid-1970s.

The album peaked at #27 on the Billboard 100, #29 in Canada, and #34 in the UK in 1980.

Fool Too Long

I should have realised babe a long time ago
When you told me that you loved me but you didn′t any more
You ran around with anyone all behind my back
You asked me to forgive you I went and took you back

Well I thought you learned your lesson then
But now I see it happen again
And I’ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

I should have seen the signs babe the writing on the wall
When all those other guys started coming round to call
You told me that you changed but that was just a lie
When you said I was your only I was just another guy

Well if I’m the one who pays the rent
I gotta have one hundred percent
Cos I′ve been a fool too long
I had you figured out all wrong
I′ve been a fool too long
And I ain’t gonna be a fool no more

…

John Hiatt – Memphis In The Meantime

Underneath a pork pie hatUntil hell freezes overMaybe you can wait that longBut I don’t think Ronnie Milsap’s gonna everRecord this song

I somehow missed this Hiatt song. I absolutely love the guitar on this track. Come to find out there is a reason I like it. Ry Cooder is on guitar, Nick Lowe on bass, Jim Keltner on drums, and Paul Carrack on keyboards and backing vocals. Later on, B.B. King and Eric Clapton covered this song.

Hiatt had only four days to make an album and this song kicked off his 1987 album Bring The Family. The song has a cool groove and shuffle to it. Hiatt was in Nashville at the time when he took a trip with his family to Memphis which of course inspired this song.

He mentions Ronnie Milsap in this song. At the time Nashville was known to make slick country songs. They would produce the soul out of a song. Milsap was listening though. On his next album, he recorded a John Hiatt song called Old Habits Are Hard To Break and yes… he inserted some Memphis funk in the song. Probably more than Hiatt could have thought at the time. Another thing that was happening at this time was Dwight Yoakam and Steve Earle were shaking Nashville out of its rut.

Hiatt found himself drawn to the city’s renowned musical history and culture. I’m not sure how it was in the 1980s as much but now on Beale Street, there is always something interesting going on.

John Hiatt: “It sounds like a car with four bald tires, it’s like a four-man groove sputtering down the road, and I really like the record for that.”

John Hiatt: “It’s a day trip, only three hours, and it’s a terrific city, I’d been there before and there is truly something in the air, although there’s nothing going on musically speaking, they say. It’s just a great town and one of the only truly integrated cities in America, it seemed to me, where black people and white people actually live together in the neighborhoods and not only that, seem to get along I was real impressed by that.”

John Hiatt and The Goners…featuring Sonny Landreth…I really like this live cut. They add another dimension to the song.

Memphis in the Meantime

I got some’n’ to say little girlYou might not like my styleBut we been hangin’ around this townJust a little too long a whileYou say you’re gonna get your act togetherGonna take it out on the roadBut if I don’t get out o’ here pretty soonMy head’s going to explodeSure I like country musicAnd I like mandolinsBut right now I need a TelecasterThrough a Vibrolux turned up to 10

Let’s go to Memphis in the meantime babyAhw, Memphis in the meantime girlLet’s go to Memphis in the meantime babyMemphis in the meantime girl

I need a little shot of that rhythm babyMixed up with these country bluesI wanna trade in these ol’ cowboy bootsFor some fine Italian shoesForget the mousse and the hairspray sugarWe don’t need none of thatJust a little dab’ll do ya girlUnderneath a pork pie hatUntil hell freezes overMaybe you can wait that longBut I don’t think Ronnie Milsap’s gonna everRecord this song

Lets go to Memphis in the meantime babyLet’s go to Memphis in the meantime girlLets go to Memphis in the meantime babyLet’s go to Memphis in the meantime girl

Maybe there’s nothin’ happenin’ thereBut maybe there’s somethin’ in the airBefore our upper lips get stiffMaybe we need us a big ol’ whiff

If we could just get off-a that beat little girlMaybe we could find the grooveAt least we can get ourselves a decent mealDown at the Rendezvous‘Cause one more heartfelt steel guitar chordGirl, it’s gonna do me inI need to hear some trumpet and saxophoneYou know sound as sweet as sinAnd after we get good and greasyBaby we can come on homePut the cow horns back on the CadillacAnd change the message on the CordaphoneBut

Lets go to Memphis in the meantime babyLet’s go to Memphis in the meantime girlLets go to Memphis in the meantime babyLet’s go to Memphis in the meantime girl

I’m a talking about MemphisI’m talkin’ ’bout MemphisMemphis

…

Dave Edmunds

I’ve always liked rockabilly and roots rock but CB has made me appreciate it even more. We have talked about Dave Edmunds before but now, let’s go deeper into his great catalog. The first time I saw Edmunds was in a movie called Stardust. The next time I saw him really play was in the Concert for Kampuchea when Rockpile did a blistering version of Little Sister with Robert Plant.

Edmunds was born in 1944 in Cardiff, Wales. His first band was with his brother Geoff, they were called fittingly enough…The Edmunds Brothers in 1954. After that, they moved on to a band called The Stompers where Dave played lead and Geoff played rhythm guitar. Keep in mind that in those two bands, Dave was only 10 years old. His brother Geoff was 15. Dave went through several bands such as The Heartbeats, The 99ers, and in 1960 he was in The Hill-Bills and then in the Raiders. In 1965 he was with a band called The Image who briefly had a recording contract and he then joined a band called The Human Beans. The Human Beans later evolved into a band called Love Sculpture and that band is where he really started his career.

Love Sculpture played mostly blues standards with some punch. They did hit the charts with a song called The Sabre Dance. The song was originally in the final act of Aram Khachaturian’s ballet Gayane. Love Sculpture’s version peaked at #5 in the UK charts in 1968. It was helped by being played by the great British DJ John Peel. After two albums the band broke up after a US 1970 tour.

The name Rockpile was used as the title of a Dave Edmunds solo album in 1970 and as the name of his backing band when he toured that year. In 1974, Edmunds began working with Lowe on various studio projects. Then, in 1976, Rockpile came together, but still wouldn’t release material as Rockpile until 1980 even though they had recorded several songs before then as a band. This was due to Edmunds and Lowe being contracted to different labels, but in 1980 they were finally able to sign to the same label and Rockpile released the album Seconds of Pleasure.

in 1981 the band went their separate ways. According to the liner notes of the CD release of Seconds of Pleasure in 2004, Nick Lowe said. “We got together for fun and when the fun had all been had… we packed it in.”

Dave released 14 albums under his name. He is also a major producer. Some of the acts that he has produced are Foghat, Flamin’ Groovies, Fabulous Thunderbirds, Stray Cats, Brinsley Schwarz, and so many more. So let’s take a quick tour through Dave Edmunds’ history.

Dave started off his solo career quite nicely! This song is probably the best-known out of his catalog. It peaked at #1 in the UK charts, #4 on the Billboard 100, #3 in Canada, and #3 in New Zealand in 1970. The song was written by Dave Bartholomew.

In 1978 Edumnds released Tracks on Wax 4 his fourth album. I’m hooked on this album that CB told me about. Not a weak song on the album. If you want…and I suggest checking this album out. Here is the link to the complete album. I’ve lived a week with this album at work and at home. I picked one song from the album to place on this post…it could have been any of them.

For those of you who like Rockpile the band with Nick Lowe, Dave Edmunds, Billy Bremmer, and Terry Williams…this IS a Rockpile album released by Edmunds. Since Edmunds and Lowe were signed to two different record companies…they could not release it under Rockpile at the time. Edmunds overdubs his voice over Lowe’s on some songs.

I cannot stop listening to this song. From Small Things (Big Things One Day Will Come). The song was written by Bruce Springsteen during The River sessions and one that did not get released by Bruce until 2003. Dave Edmunds released it in 1982. It peaked at #28 on the Billboard 100.

Now lets hear a song officially by Rockpile off the album Seconds of Pleasure released in 1980. This song rocks and it’s called If Sugar Was As Sweet As You.

I heard this when I was in high school and bought the single. Slipping Away was released in 1983. The pairing was odd but it worked. Jeff Lynne wrote and produced this song…even with all of the ELO studio enhancements, Edmunds still comes through. It peaked at #7 on the US Mainstream Rock Charts. I also like the Longhorn Danelectro guitar that Edmunds is playing in this video.

BONUS Track Today!

Dave Edmunds and Carlene Carter did Baby Ride Easy in 1980. Carlene at the time was married to Nick Lowe.

…

Nick Lowe – I Love The Sound Of Breaking Glass ….. Power Pop Friday

I love how Lowe mixed the different sounds in this song.

This was the first ever single to be released by Radar Records, a UK label formed by the entrepreneurs, Martin Davis and Andrew Lauder. The single was on Lowe’s debut solo album, Jesus of Cool, which was also the first album to be released by Radar Records.

So to not offend Christians, Jesus of Cool was renamed Pure Pop for Now People in the US.

The song peaked at #7 in the UK in 1978. The album peaked at #127 in the Billboard Album Charts, #22 in the UK.

The song was more of a studio song according to Nick Lowe: “There’s one song of mine called ‘I Love the Sound of Breaking Glass,’ which was a fairly big hit in Europe, and people ask me for that sometimes, and I just don’t do it. It’s a really good record, but there’s not actually any song there. It was a half-baked idea I had when I went to the studio, and the bass player and drummer sort of put a little sauce in it. But if I played it with just an acoustic guitar, the audience would probably give me a little clap in recognition, but by verse two, they’d be looking at their fingernails, waiting for the next one. There really isn’t anything to it.”

His former wife Carlene Carter: “I went to see him at Top of the Pops. He was doing ‘I Love the Sound of Breaking Glass’ in his Riddler suit, covered with question marks. We had chemistry.

From Songfacts

This is a parody of David Bowie’s song, “Breaking Glass.” Lowe had previously poked fun at Bowie in 1977, when he released an EP titled Bowi, in humorous response to Bowie releasing an album titled Low, which lacked the final ‘e’ of Lowe’s surname.

Steve Goulding, Andy Bodnar and Bob Andrews – Lowe’s session musicians – helped to compose this song. Lowe told The A.V. Club: “That was a song which was sort of made up in the studio. I had the vague idea of the tune, and that’s why in the writing credits, I cut the bass player and the drummer in on the song, because they made it, really. The drums and bass are really great on that song. Steve Goulding and Andy Bodnar used to play with Graham Parker And The Rumour, whose records I produced, and they played bass and drums on ‘(I Love the Sound of) Breaking Glass.’ Their contribution was so great, I gave them a third each. In fact, I should have actually given Bob Andrews, who played piano on it, a taste of the record. The piano is so great.”

Lowe told KLRU that he no longer feels comfortable performing this song live: “If I played it with just an acoustic guitar, I think the audience would give it a clap, but after about a minute, they would start looking around and waiting for the next tune.”

This was Lowe’s highest charting hit in the UK, where it peaked at #7.

I Love The Sound Of Breaking Glass

I love the sound of breaking glass
Especially when I’m lonely
I need the noises of destruction
When there’s nothing new

Oh nothing new, sound of breaking glass

I love the sound of breaking glass
Deep into the night
I love the sound of its condition
Flying all around

Oh all around, sound of breaking glass
Nothing new, sound of breaking glass

Oh all around, sound of breaking glass
Nothin’ new, sound of breakin’ glass

Safe at last sound of breaking glass

I love the sound of breaking glass
Deep into the night
I love the work on it can do

Oh change of mind
Oh a change of mind
Sound of breaking glass

All around, sound of breaking glass
Nothing new, sound of breaking glass
Breaking glass, sound of breaking glass

Sound of breaking glass
Sound of breaking glass
Sound of breaking glass
Sound of breaking glass
Sound of breaking glass
Sound of breaking glass

Elvis Costello & The Attractions – (What’s So Funny ‘Bout) Peace, Love, and Understanding —Powerpop Friday

Great song and great performance by Elvis Costello and the Attractions. The song was written by Nick Lowe and first released in 1974 by the band he was in called Brinsley Schwarz named after their guitar player.

The American and Canadian release of Elvis’s album Armed Forces contained this song. The album peaked at #10 on the Billboard 100 in 1979.

Nick Lowe on writing the song: “I wrote the song in 1973, and the hippie thing was going out, and everyone was starting to take harder drugs and rediscover drink. Alcohol was coming back, and everyone sort of slipped out of the hippie dream and into a more cynical and more unpleasant frame of mind. And this song was supposed to be an old hippie, laughed at by the new thinking, saying to these new smarty-pants types, ‘Look, you think you got it all going on. You can laugh at me, but all I’m saying is, ‘What’s so funny about peace, love, and understanding?’ And that was the idea of the song. But I think as I started writing it, something told me it was too good idea to make it into a joke. It was originally supposed to be a joke song, but something told me there was a little grain of wisdom in this thing, and not to mess it up.”

From Songfacts

This was written by Nick Lowe and originally recorded by his band Brinsley Schwarz in 1974. Despite a wealth of talent and great deal of promotional support, Brinsley Schwarz never managed a hit, but were very influential to artists like The Clash and Elvis Costello. Nick Lowe became a very successful producer and scored a hit as a solo artist with “Cruel To Be Kind.”

Costello and Lowe were both signed to Stiff Records, and Costello’s version, credited as “Nick Lowe & His Sound” was first released as the B-side of Lowe’s 1978 single “American Squirm.” Costello’s version was more energetic and had more Pop appeal. It was included on American editions of Costello’s 1979 album Armed Forces. With its simple message of unity and love in a troubled world, the song became an anthem for peace and tolerance, and was recorded by many artists, including A Perfect Circle, Lucy Kaplansky, The Flaming Lips and The Wallflowers.

This lifts from the Judee Sill song, “Jesus Was A Cross Maker,” Lowe told The A.V. Club: “I always would ‘fess up that there is one lick in the tune I did steal from Judee Sill. She had a song called ‘Jesus Was A Cross Maker’ at about that time that I really thought was a super song. I haven’t heard that song for many years, but I always think I took a little lick from Judee’s song.”

In 1992, this was covered by Curtis Stigers for the Whitney Houston film, The Bodyguard. The film’s soundtrack album went on to sell 44 million copies worldwide, landing Lowe a large royalty check that financed his less commercial music. Lowe told The Telegraph: “It was a tremendous piece of good fortune. I made an astonishing amount of money from that.”

This appears in the 2003 movie Lost in Translation, where Bill Murray sings a karaoke version.

This was sung by Stephen Colbert, John Legend, Elvis Costello (in a bear suit), Feist, Toby Keith, and Willie Nelson on the TV special A Colbert Christmas: The Greatest Gift of All! after John Legend told Stephen that he (Stephen) didn’t understand Christmas.

https://www.youtube.com/watch?v=O4ZZtkYTI3o

(What’s So Funny ‘Bout) Peace, Love, and Understanding

As I walk through
This wicked world
Searchin’ for light in the darkness of insanity.
I ask myself

Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside,
There’s one thing I want to know:

What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?
And as I walked on
Through troubled times

My spirit gets so downhearted sometimes
So where are the strong
And who are the trusted?
And where is the harmony?

Sweet harmony.
‘Cause each time I feel it slippin’ away, just makes me want to cry.
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?

So where are the strong?
And who are the trusted?
And where is the harmony?
Sweet harmony.

‘Cause each time I feel it slippin’ away, just makes me want to cry.
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?

Nick Lowe – Cruel To Be Kind

May the 4th be with you…

A great little pop/rock song. The song was on the album Labor of Lust and the album peaked at #31 in the Billboard Album Charts in 1979. Rockpile recorded this album and at the same time recorded Edmunds solo album Repeat When Necessary.

12 was popular with this song…The song peaked at #12 in many charts… Billboard 100, Canada RPM, New Zealand, and the UK… In Ireland, it only reached #19.

Nick Lowe said about the song: “I wrote that when I was with a band, Brinsley Schwarz, that I was with from the early ’70s to about the mid-’70s. … We recorded it on a demo, it never came out, and when I signed to Columbia Records the A&R man [Gregg Geller] there at the time suggested I record it again. And I didn’t think it would do anything, but he kind of bullied me into it.”

The video featured Nick’s wife Carlene Carter who had just got married Nick shortly before and included some real footage of the ceremony in the video. Rockpile guitarist Dave Edmunds plays the chauffeur in the video. Drummer Terry Williams was the photographer. Guitarist Billy Bremner also got a role, playing the guy who serves the cake.

This would be Nick’s only top forty hit in Billboard.

From Songfacts

This song reflects on a lover’s rather antagonistic attitude. Nick Lowe co-wrote the song with his Brinsley Schwarz bandmate, Ian Gomm, for the Brinsley Schwarz album, It’s All Over Now, though said album was never officially released. In 1979, Lowe re-recorded the song for his second solo album, Labour of Lust.

Lowe and Gomm were hoping the song would be a pop hit for Brinsley Schwarz, and crafted it for mass consumption. Lowe only grudgingly recorded it, and he considered it an aberration – a pop sell-out song. When he performed the song on The David Letterman Show, he called it “wimpy” and had little interest in discussing it.

Lowe cribbed the phrase “cruel to be kind” from Shakespeare, who used it in Hamlet:

I must be cruel only to be kind
Thus bad begins and worse remains behind

Lowe revealed the musical influence behind this song to The A.V. Club: “I wrote with ‘The Love I Lost’ by Harold Melvin & the Blue Notes in mind.”

This was Lowe’s highest charting hit in the US, where it peaked at #12 (coincidentally, it also peaked at #12 in the UK, Canada and New Zealand). Lowe spoke to The A.V. Club about his chart success: “I remember coming to Los Angeles when it was a hit, and did that thing where you change the radio station, and it was on about two or three at the same time. You could hear it starting on one station and finishing on another. Amazing.”

The official video is a comedic reenactment of Lowe’s marriage to Carlene Carter, who plays herself in the clip.

The couple was married on August 18, 1979 after Lowe had just finished a tour with his band Rockpile. Figuring he could kill two birds with one stone, Lowe made the wedding the theme of the video, and used some actual footage of the event, turning his wedding day into a video shoot (although aren’t they all, sort of?). The day before, director Chuck Statler shot staged footage of Lowe preparing for the nuptials and Rockpile performing the song outside of the Tropicana Hotel in Los Angeles, where the reception was held.

The wedding took place at Carlene’s house in Hollywood. Guests at the wedding show up in the clip – you can spot Carter’s stepsister Rosanne Cash sitting on the couch.

Carter and Lowe toured together in 1982, opening for The Cars, with both singers sharing the same band. The couple divorced in 1990.

“We were having great fun,” Edmunds said in his Songfacts interview. “In that band, the four years we were together, we never had any falling out – it was a little club of our own.”

The drum kit in the video says “The Textones.” That’s because Rockpile didn’t have a drum kit handy, so they borrowed one from a local band. Kathy Valentine, who would later join The Go-Go’s, was a member of this band.

In 1982, Enjoh Santyuutei released a Japanese cover version of this song and in 2010, Stavros Michalakakos recorded it in Greek.

The video was one of 206 that aired on MTV’s first day of broadcasting: August 1, 1981.

Cruel To Be Kind

Oh I can’t take another heartache
Though you say you’re my friend, I’m at my wit’s end
You say your love is bonafide, but that don’t coincide
With the things that you do
And when I ask you to be nice, you say

You’ve gotta be cruel to be kind, in the right measure
Cruel to be kind, it’s a very good sign
Cruel to be kind, means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

Well I do my best to understand dear
But you still mystify and I want to know why
I pick myself up off the ground
To have you knock me back down, again and again
And when I ask you to explain, you say

You’ve gotta be cruel to be kind, in the right measure
Cruel to be kind, it’s a very good sign
Cruel to be kind, means that I love you baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), it’s a very very very good sign
(Cruel to be kind), it means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), yes it’s a very very very good sign
(Cruel to be kind), it means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), yes it’s a very very very good sign
(Cruel to be kind), it means that I love you