Tag: Tommy James

Tommy James and The Shondells – Crimson And Clover

I grew up with this single…I’ll never forget the orange Roulette Label going round and round. It’s a mystical and magical song to me. I fell in love with the tremolo effect that is throughout the entire song.

The song peaked at #1 on the Billboard 100, #1 in Canada, and #1 in New Zealand, in 1968. I still am shocked that it either wasn’t released in the UK or it just failed to chart there. Joan Jett’s version peaked at only #60 in the UK. My friend at the UK Number Ones blog and I talked about it. Their song Mony Mony peaked at #1 in the UK earlier…maybe that was enough for them.

On this song…Tommy James is playing all the instruments except drums and they were played by Pete Lucia. James and Lucia wrote the song.

Bo Gentry was writing most of their hits until this point. He didn’t feel like he was getting paid enough from Roulette Records (which was partly run by the mob) so he quit. Tommy James was told that he better get someone to write songs for him or his career would sink since Bo Gentry refused. The record executives told him that he could not write a hit song and to find someone. Tommy James showed them all… he and his drummer wrote this massive hit song.

Around this time James got involved with politician Hubert Humphrey and they were trying to turn from a singles band to an album band. This song helped them. Below is a very long quote by Tommy James about that time. It does say a lot about the business in the late sixties.

Tommy James: “They were just two of my favorite words that came together. Actually, it was one morning as I was getting up out of bed, and it just came to me, those two words. And it sounded so poetic. I had no idea what it meant, or if it meant anything. They were just two of my favorite words. And Mike Vale and I – bass player – actually wrote another song called ‘Crimson and Clover.’ And it just wasn’t quite there. And I ended up writing ‘Crimson and Clover’ with my drummer, Pete Lucia, who has since passed away.”

Tommy James: ‘Crimson and Clover’ was so very important to us because it allowed us to make that move from AM Top 40 to album rock. I don’t think there’s any other song that we’ve ever worked on, any other record that we made, that would have done that for us quite that way. And it came out at such a perfect moment because we had been out with Hubert Humphrey on the presidential campaign for several months in 1968. And we met up with him right after the convention. The convention where all the kids got beat up. And we met up with him the following week in Wheeling, West Virginia, and of course we didn’t know where all the rallies were gonna be, like the convention. What have we gotten ourselves into? We had been asked to join him. And this really was the first time, I think, a rock act and a politician ever teamed up. But it was an incredible experience.

But when we left in August, all the big acts were singles acts. It was the Association, it was Gary Puckett, it was the Buckinghams, the Rascals, us, I’m leaving several people out. But the point was that it was almost all singles. In 90 days, when we got back, it was all albums. It was Led Zeppelin, Crosby, Stills and Nash, Blood, Sweat and Tears, Joe Cocker, Neil Young. And there was this mass extinction of all of these other acts.

It was just incredible. Most people don’t realize that that was sort of the dividing line where so many of these acts never had hit records again. And we realized while we were out on the campaign that if our career was gonna continue, we had to make a move. We had to sell albums, which is something Roulette had never really done. The album, up to that point, had been whatever wasn’t the single. And then it was usually named the single, which I thought was a great idea. Morris (Levy) usually would name the album the same title as the single, so it would get kind of a head start. But the point was we knew we had to sell albums. Also that year the industry went from 4-track to 24-track in about the same period of time. So if we were gonna sell albums, we had to completely reinvent ourselves. And so it was a very dramatic moment. And the record we just happened to be working on at that moment, at the end of the campaign, was ‘Crimson and Clover.'”

Crimson and Clover

Ah, now I don’t hardly know her
But I think I could love her
Crimson and clover

Ah when she comes walking over
Now I’ve been waitin’ to show her
Crimson and clover over and over

Yeah, my, my such a sweet thing
I wanna do everything
What a beautiful feeling
Crimson and clover over and over

Crimson and clover over and over
Crimson and clover over and over
Crimson and clover over and over
Crimson and clover over and over

Tommy James – Draggin’ The Line

Draggin’ The Line was originally released on James’ second solo album, Christian Of The World. Draggin’ The Line wasn’t considered to be released as the single, and was ultimately was the B-side of the Church Street Soul Revival single. After DJs began playing the song, James went back into the studio to remix the record and add the horn charts. The song became James’ biggest solo hit peaking at #4 in the Billboard 100 in 1971.

Christian Of The World peaked at #131 in the Billboard Album Charts. Tommy’s backing band the Shondells were not on this record – the group broke up in 1970 and Tommy James continued to record as a solo artist.

Tommy James: “It’s almost like the bass guitar was speaking. And it just seemed to say ‘draggin’ the line’ to me. It’s weird. But we had the track before we had the song, and it was like the bass was speaking.”

“The line of ‘hugging a tree’ in there became kind of a slang expression for people who are interested in the ecology. ‘Tree Hugger’ came from that song.”

From Songfacts

In our interview with Tommy James, he explained: “‘Draggin’ The Line’ I wrote up at my farm in 1970, and it was with Bob King. My farm was in upstate New York, I had a couple hundred acres. It was a song I probably couldn’t have written in the city. We just kind of toyed with it. We wrote it, and it was a very repetitious track, and a very sort of hypnotic track. We had the track before we had the song. We went into the studio and just laid down, I don’t know, eight or ten bars of track. We looped it and looped it and looped it, and created the hypnotic rhythm. Bob played bass, Russ Leslie from Neon played drums, and I played guitar. And so we just created loops of tape based on this little riff, and when we had three-plus minutes of it put together we stopped, and then we wrote the song around the track. Second time I had ever done that – first one was “Mony” actually. ‘Draggin’ the Line’ just meant working every day. Nothing really very mysterious about it.”

Regarding the lyrics, “My dog Sam eats purple flowers,” James says: “I did have a cat named Sam – not a dog named Sam. He was a white Persian cat. That was just finding words that fit together (laughing) on a very mellow night, if you get my drift.”

Like many famous songs, this was not considered a hit at first. Says James: “The interesting thing about ‘Draggin’ the Line’ is it was originally the B-side, it was the flip-side of a record called ‘Church Street Soul Revival’ that I had out in 1970. And we put the record out, and the B-side got as much airplay as the A-side, and then finally more airplay. And so we could tell that radio wanted to go with ‘Draggin’ The Line.’ So we went into the studio and threw horns on it, and remixed it with more emphasis on the groove, and re-released it then as an A-side in 1971, and it went #1.”

Draggin’ The Line

Makin’ a livin’ the old, hard way.
Takin’ and givin’ by day by day.
I dig snow and rain and the bright sunshine.
Draggin’ the line [draggin’ the line].

My dog, Sam, eats purple flowers.
Ain’t got much, but what we got’s ours.
We dig snow and rain and the bright sunshine.
Draggin’ the line [draggin’ the line].
Draggin’ the line [draggin’ the line].

I feel fine. I’m talkin’ ’bout peace of mind.
I’m gonna take my time. I’m gettin’ the good sign.
Draggin’ the line [draggin’ the line].
Draggin’ the line [draggin’ the line].

Lovin’ the free and feelin’ spirit
Of hugging a tree, when you get near it.
Diggin’ the snow and rain and the bright sunshine.
Draggin’ the line [draggin’ the line].
Draggin’ the line [draggin’ the line].

I feel fine. I’m talkin’ ’bout peace of mind.
I’m gonna take my time. I’m gettin’ the good sign.
Draggin’ the line [draggin’ the line].
Draggin’ the line [draggin’ the line].

Draggin’ the line [draggin’ the line]. La la la la la la la-la-la.
Draggin’ the line [draggin’ the line]. La la la la la la la.