âBy The Time I Get To Phoenixâ Written by: Jimmy Webb Recorded: August 29, 1967 Producer(s): Al De Lory, Nick Venet Arranger/Conductor: Al De Lory
Released: October 23, 1967
Available on: By The Time I Get To Phoenix
Personnel: Glen Campbell â vocals, acoustic guitar James Burton â acoustic guitar, electric guitars Joe Osborne â bass Jim Gordon â drums
The inspiration for “By the Time I Get to Phoenix” originated in Jimmy Webbâs breakup with his partner, Susan Horton. Their relationship, which peaked in mid-1965, was also the primary influence for âMacArthur Parkâ, another Webb composition. Webb called the song a “succinct tale” with anO. Henrytypetwist at the end which consists merely of the guy saying,‘She didn’t really think that I would go,’but he did.” Although the protagonist in the song plans to leave his lover, Webb did not leave Horton; their breakup was a mutual agreement.
Glen Campbellâs version topped RPM magazineâs Canada Country Tracks, reached number two on Billboardâs Hot Country Singles chart and won two awards at the 10th Annual Grammys. BMI named it the third most performed song from 1940 to 1990. The song was ranked #20 on BMI’s Top 100 Songs Of The Century. It was #450 on Rolling Stone magazineâs Top 500 Songs of All Time. And perhaps the greatest accolade …. Frank Sinatra called it “the greatest torch song ever written”.
This is the exquisite âBy The Time I Get To Phoenixâ by Glen Campbell.
May your Saturday be smooth sailing. Thanks for stopping by.
âWhere you been, girl? You got anythin’ goinâ on in that head of yours besides them nonsense rhymes? Your Maâs been cookinâ all day and she sure coulda used your help with them black-eyed peas but you was nowhere to be found. You best not-a been hanginâ âround that good-for-nuthinâ boy again, girl. If I told you once, I told you a thousand times … keep away from him! Thereâs somethinâ not right with that boy! Heâll bring nuthinâ but misery. You start messinâ around with him and youâre gonna live to regret it. Then try and find yourself a decent husband! No man I know wants used goods! Now stop makin’ excuses, girl! Iâm your Pa and I know when youâre lyinâ ⊠just like you was lyinâ about not bein’ out by the river. You know how I know that? âCause somebody done seen ya. I see by the look in your eyes that itâs true. Yeah, you was seen by that new preacher man. And that ainât all, girl. He said you was with that troublemaker and you had your heads together like you was plottin’ somethin’ real private-like. I swear, girl, you ainât got a lick a sense between ya. Stop this dang foolishness âcause itâs gonna lead to no good! Câmon now, girl … dinnerâs waitin‘. Anna, your cookin’ is fit for a king! What you goin’ on about, woman?Jesus! I seen that boy just yesterday. Now, whyâd he go do a fool thing like that!â
NB: Bobbie Gentry remarked that the message in Ode To Billie Joe revolved around the “nonchalant way” the family discussed Billie Joeâs suicide. She also said she included the verse about something being thrown off the bridge because it established a relationship between Billie Joe and the daughter, providing “a possible motivation for his suicide after meeting with her“. Gentry told The New York Times in 1969: “I had my own idea what was thrown off the bridge while I was writing it, but it’s not that important. Actually it was something symbolic. But I’ve never told anyone what it was.â The last time Bobbie Gentry appeared in public was at the Academy of Country Music Awards on April 30, 1982, almost 42 years ago to the day. Since that time, she has not recorded, performed or been interviewed. A 2016 news report stated that Gentry lives a secluded lifestyle in Los Angeles; she has refused to speak to reporters about Ode To Billie Joe or to give interviews. Â
Music is in the bloodline of the Nelson family. Country giant Willie Nelson passed his songwriting prowess on to his sons Lukas and Micah Nelson, both of whom are musicians. Today Iâll be focusing on Lukas, the frontman of Lukas Nelson & Promise of the Real. The band appears as the backing band for Bradley Cooperâs character in the 2018 edition of A Star Is Born, with Lukas also co-writing and co-producing songs for the film. From 2015 to 2019, they toured as the backing band for Neil Young. With Young, the band recorded two studio albums (The Monsanto Years and The Visitor), a soundtrack album (Paradox) and two live albums (Earth and Noise &Flowers). For his work on A Star Is Born, Lukas won the BAFTAFilm AwardForOriginal Music in 2019 and a Grammy Award in 2020 for Best Compilation Soundtrack For Visual Media, sharing both awards with Bradley Cooper and Lady Gaga.
Lady Gaga assists Nelson on âFind Yourself.â Her powerful vocals can be heard in the background of the chorus. Nelson and Gagaâs voices perfectly complement one another and, though this is just one of several collaborations between the pair, itâs undoubtedly the best.
This is âFind Yourselfâ by Lukas Nelson & Promise of the Real.
Thanks for stopping by and spinning some tunes with me.
In the middle of a field there stands a great big tree and at the base of the tree’s very broad trunk is a miniature door with a little knob. Beyond that miniature door is the most dizzying of spiral staircases intricately woven together with twigs and seeds, licked-clean popsicle sticks and discarded toothpicks. Each landing of the staircase leads to a cluster of tiny rooms .⊠storage rooms, dining rooms, play rooms, sun rooms and hibernating rooms. Inside those tiny rooms are the giddiest chipmunks busy storing, dining, playing, sunning and, when the wintry snowflakes bluster about, snugly hibernating. đżïž
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on this day. There wonât be any chit chat from me, no facts and figures â just some great tunes (and an occasional surprise). Check it out right here every Thursday and enjoy the music.
Happy Birthday to Ella Fitzgerald Born April 25, 1917 inNewport News, Virginia
Written for Glynâs Mixed Music Bag #17, where we are asked to write about a song by a group or solo singer beginning with the letter G or H.
Steve Marriott, Peter Frampton, Greg Ridley & Jerry Shirley
Frustrated with a number of things but mostly his image as a teen idol, Steve Marriott finally had enough. It was New Yearâs Eve, 1969, when he threw down his guitar and walked off the stage at Londonâs Alexandra Palace, quitting his band, Small Faces. Marriott was a talented musician and vocalist who wanted to be taken seriously for his music …. not his looks.
After quitting, Steve Marriott called two friends â one was Peter Frampton â another frustrated teen idol who had recently quit his band, Herd â and the other was 17-year-old drummer Jerry Shirley. Marriott asked his friends if he could join the band they were forming and, to sweeten the pot, said heâd bring with him Greg Ridley, a well-respected bass player from the band Spooky Tooth, who was also looking to make a change. Well, of course, Frampton and Shirley couldnât turn down an offer like that and so the newest âsupergroupâ (as the press called them) was created. The guys in the band hated being called a supergroup …. they were worried about expectations being set too high and dooming them to failure. In retaliation they chose a name they were more comfortable with …. Humble Pie.
Their debut album, “As Safe As Yesterday Is”, was released in August 1969, along with the single, “Natural Born Bugie”, which reached #4 in the UK singles charts; the album peaked at #16 in the UK album charts. “As Safe As Yesterday Is” was one of the first albums to be described by the term “heavy metal” in a 1970 review in Rolling Stone magazine.
In 1971 Humble Pie released their most successful record to date, “Rock On“, as well as a live album recorded at the Fillmore East in New York entitled “Performance Rockin’ the Fillmore”. The live album reached #21 on the US Billboard 200 and was certified gold by the Recording Industry Association of America. Culled from four sets recorded on May 28 and 29, 1971 (the original LP was essentially a sampler of songs from several raucous shows), âPerformance Rockinâ the Fillmoreâ was released that November as a double album set. Humble Pie was second on the bill, after Fanny and before headliner Lee Michaels, a fact hardly anyone seems to remember. I will testify to that because I was in the audience at the Fillmore East on May 28, 1971 and the only group I remember seeing was Humble Pie. That was just one month before the legendary Fillmore closed its doors …. the end of an era in the history of rock.
Peter Framptonâs final recording with Humble Pie in 1971 was, by some irony, the bandâs most successful, and is widely acknowledged as one of the most influential live albums of the decade. Humble Pie produced 11 studio albums and 2 live albums.
“I Donât Need No Doctorâ from “Performance Rockin’ the Fillmore” was an R&B song written by Nick Ashford, Valerie Simpson and Jo Armstead, first released by Ashford in August 1966; it went nowhere. The song has been recorded by Ray Charles, John Mayer, rock bands New Riders of the Purple Sage, Great White and Styx, metal band W.A.S.P. and others. Humble Pieâs version became an FM radio standard in the US, peaking at #73 on the Billboard Hot 100 and propelling the album up the charts.
Live from the Fillmore East in my hometown of New York City, this is the single version of âI Donât Need No Doctorâ by Humble Pie.
Personnel
Steve Marriottâ guitar, vocals, harmonica Peter Frampton â guitar, vocals Greg Ridley â bass guitar, vocals Jerry Shirley – drums
Technical team
Live recording by Fedco Audio Labs Engineer: Eddie Kramer Assistant Engineer: David Palmer Re-mixed at Electric Lady Studies, New York Produced by The Pie
In 1991 Steve Marriott died in an accidental house fire at the age of 44; bassist Greg Ridley died in 2003 at the age of 56 from complications from pneumonia. Peter Frampton continues to enjoy success as a solo artist and Jerry Shirley is still behind the kit, touring with the current members of Humble Pie.
The Fillmore East didn’t last all that long, from March 8, 1968 to June 27, 1971, but a ton of great music was played there. It was our personal music Mecca. Pretty much every legendary 1960s band …. except the Beatles, the Rolling Stones, Cream and Dylan …. graced the stage and I was in attendance for a lot of those shows. It was epic.
Big thanks to Glyn for hosting Mixed Music Bag every week.
Melissa at dVerse poets has asked us to write a poem for the prompt “If You Don’t Like Cats, I’m Sorry”, based on one of Louis Wain’s drawings. I have written a Dectina Refrain for âCatâs Nightmareâ. Oh, but thereâs a catch: we canât use the word “cat” in our poems!
A Dectina Refrain is written as follows: 1st line is 1 syllable, 2nd line is 2 syllables, 3rd line is 3 syllables, and so on for 9 lines; the 10th line is comprised of the first four lines as one stand-alone sentence.
“Cat’s Nightmare” by Louis Wain
WHO do you think you are, trying to hide from the likes of us? We have our eyes on you watching every move you make; foolish kitties, thereâs no escape. A tasty whisker pie we will bake! Who do you think you are, trying to hide?
It doesnât happen very often but last Sunday was a rare babysitting day for us; our usual days to watch our 4-year-old granddaughter Colette are Tuesday and Thursday but both our son and daughter-in-law (Colette’s mom & dad) had to work over the weekend. That was a rarity for them as well, but one is a librarian and the other a doctor and with both the library and the hospital open every day of the week, they sometimes pull a weekend shift but seldom do their rotations coincide as they did last Sunday.
My husband Bill has been having good and bad days this month, thinking about and missing his twin brother who died suddenly on April 2, so our son has been extra considerate, asking if watching Colette at this time is too much of an imposition; we answer without hesitation âNot at all âŠ. in fact, just the opposite!â
Colette is always fun to be with but recently she has been a true blessing and a much-needed distraction …. a tonic, a balm for our sad and broken hearts, a healing magical concoction of love, joy, sunshine and humor blended with a combination of innocent wisdom and an intuitive nature that defies her tender age.
We were looking through some old photo albums with Colette âŠ. snapshots of Bill and his brother as babies, as kids growing up on City Island, our wedding photos âŠ. and even though Colette knew Billâs brother and saw them together many times, seeing those photos left an impression on her, especially the ones of Bill and Jim when they were babies; itâs true, you know, that when our kids and grandkids are little and they look at us, they only see us as we are and have no idea we were ever any younger than we are right now.
One particularly sweet photo of Bill and Jim brought tears to my husbandâs eyes and though he tried to hide his tears, they spilled through his fingers causing Colette to ask why he was so sad and we explained that Uncle Jim was gone, that he had left us to be with God in heaven; she thought for a second, put her little hand on Billâs and said âWell, thatâs ok, Grampy; don’t worry because God will take good care of him and itâs all going to be ok.â
In 1964 The Kinks came out with a song with a killer riff, so it only made sense that 14 years later guitar genius Eddie Van Halen would take the tune and make it a showcase for his brand of guitar pyrotechnics. Singer David Lee Roth, meanwhile, perfectly laid bare each and every emotion that may have been buried beneath a previous generationâs decency.
The song, of course, is âYou Really Got Meâ, written by Kinksâ frontman Ray Davies. Lead guitarist Dave Davies performs the songâs famous guitar solo, although it was long rumored that Jimmy Page had performed the solo âŠ. hearsay that Page himself denied.
âYou Really Got Meâ was originally released in the UK on August 4, 1964 as The Kink’s third single and reached #1 on the Record Retailer chart the following month, remaining there for two weeks. Van Halenâs cover of the song was released as their first single and peaked at #36 on the Billboard Hot 100.
This is the fabulous 1964 original version of âYou Really Got Meâ as recorded by The Kinks.
And this is what it sounded like when Van Halen recorded it 14 years later.
Thatâs todayâs Twofer Tuesday! Thanks for stopping by.
The waiter silently glided up to my table carrying a silver tray with an empty glass, a decanter of ice cubes and a bottle of chilled limoncello. I watched as he expertly filled my glass halfway with ice, then with ease poured the moonglow yellow nectar over the cubes. I watched, mesmerized, as the oro liquido trickled down the inside of the glass and gently caressed the ice. A little twist of the wrist and he was done.
Not making eye contact, I thanked the waiter and told him to leave the bottle. He obliged.
I reached into my breast pocket and retrieved my silver cigarette case. Selecting a Muratti, I tapped it three times on the case and placed it between my lips. There was an ashtray and a book of matches on the table, compliments of the hotel; I lit my cigarette and inhaled deeply. I always got a rush from the feel of the slow burn of that first drag. I exhaled slowly watching the smoke rings break away and drift off.
Raising the glass of limoncello, I took a healthy sip and swirled it around in my mouth, savoring the refreshing lemony sweetness as I swallowed. I immediately began to feel a calm wash over me and I took another generous pull; it was unexpectedly heady. Placing the glass on the table, my hand remained suspended in midair as I spied the cursive inscription on my cigarette case:
To Nigel From Camilla Christmas, 2010
Plain, boring and emotionless …. exactly like Camilla was to me …. and I to her, no doubt. I quickly realized I hadn’t thought about her since that afternoon, since the accident. Even if there was anything left, which was doubtful considering the height of the cliffs and the number of times her frail body hit the rocks before disappearing into the choppy Mediterranean, there was no reason to assume it was anything but an accident. And that’s exactly what it was …. difficult to prove, though, if certain facts came to light
I put the cigarette case back into my pocket and thought about my next move. I refilled my glass, lit another Muratti and stared at the lights from the ships on the water. The longer I sat the more comfortable I became with my plan of action. It was imperative that nothing be rushed, not even a whiff of anything unusual lingering in the air.
Tomorrow I will leave Agrigento as planned. After lunch I’ll check out of the hotel; if anyone asks about Camilla, she had personal business to attend to. The concierge will arrange for my rental to be out front. Camilla preferred to travel light; it will be easy to add her bag to mine.
The waiter floated to my table, filled my glass with the last bit of limoncello, nodded politely and left, taking the empty bottle with him. I felt all traces of tension leave my body.
The Motown Sound has something extra-special about it. Berry Gordy, Jr. knew people would be listening on their car stereos and transistor radios and he was going to do what it took to make songs sound good and memorable. Even if you couldnât put your finger on it, when a Motown song came on, baby, you knew it. Still do.
Motownâs first great girl group, TheMarvelettes, consisted of four school friends who were only 14 and 15 years old; some of their early hits were written by the girls themselves. When I was 14, I was busy practicing writing my signature as Mrs. George Harrison! What were you doing at 14?
“Please Mr. Postman”, recorded in 1961, was one of the first #1 singles by an all-female vocal group and is easily Motownâs best single to date â a song with a killer tune and a lyrical hook which listeners around the world instantly latched on to.
Despite their successful start, the group was eclipsed in popularity by the Supremes, with whom they shared an intense rivalry. The Marvelettes made a comeback in 1966 with several hits but struggled and stopped performing together in 1969. The group disbanded for good in 1970.
Kudos to TheMarvelettes for paving the way for future girl groups!
Here now is the fantastic sound of âPlease Mr. Postmanâ by The Marvelettesâ with a young Marvin Gaye playing the drums.
And this is what was on the B Side: âSo Long Babyâ
Thanks for joining me today for a dose of Monday Motown Magic.
Otis sensed it before Sam even heard it â tires crunching through the snow slowly approaching the dinerâs driveway. The black lab growled, knowing instinctively it wasnât Deb and the kids; it was much too early. They werenât due back until around 10:00. Besides, Otis would have recognized the sound of Debâs Jeep.
But there was one definitive reason why Otis knew it wasnât Deb and the kids returning from their ski trip; Deb never drove in the dark with her lights off.
The instant Sam heard the vehicle, a knot started forming in his gut. âItâs ok, boyâ he whispered soothingly to Otis while reaching for the service revolver he kept hidden in the cupboard and slipped it into the pocket of his Washington Wizards sweatshirt. Sam squinted in the darkness at the LED clock on the dinerâs microwave â 5:10AM â too early, even for diehard customers. Tapping at his other pocket, Sam was reassured knowing his cell phone was there.
Careful not to knock over anything that would make noise, Sam quickly strode to the window and with one finger eased back the curtain ever so slightly. In the bleak pre-dawn hours he could barely make out the shape of a hulking SUV parked outside the diner. This was not just a business to Sam and Deb; the spacious second floor was home to them and their kids. If anyone tried to break in or cause harm, Sam took it very personally.
Otis growled again; Sam hushed the skittish dog and together they crept back to the counter and slid behind it. Sam fingered the gun in his pocket; he was ready if it came to that.
Footsteps on the front stairs were followed by a quick rap on the window. Otis was more nervous than ever and Sam spoke softly to him while slipping him a treat to keep him quiet. One more rap on the window, then the front door handle jiggled. Then jiggled again, this time with attitude. Sam decided he needed to go on the offensive.
âWeâre closedâ he called out. âIf you need help, the police stationâs just down the road. I can call them.â
âNo need for that, champâ came a voice from the other side of the door. âI just ended my shift there. Saw a car leaving your parking lot and wanted to make sure everything was ok.â
âThanks, weâre fine.â Sam replied through the door. Something about the way this guy said âchampâ made the hair on his arms stand up.
âHey, itâs my job. Iâd feel better if you let me take a look aroundâ declared the guy outside.
âAnd Iâd feel better if you showed me some I.D. Just slip it under the door.â
âNo problem, champ.â A shiny laminated wallet-size rectangle slid across the floor.
Glancing to make sure the deadbolt on the front door was secure, Sam quickly retrieved the card and checked it out in the glow of his cell. The I.D. confirmed the guy was a trooper and the photo staring back proved what Sam feared â this guy was no stranger.
âSon of a bitch! Dan McGinty!â
The same Dan McGinty from New York. Sam could never forget his brother officer from their days in the NYPD. A dirty cop, that piece of scum almost got Sam and his partner Frank killed in an ambush. Their testimony at Danâs trial helped get a conviction but Frank would never walk again. What was McGinty doing out of jail and out here in the boonies? How the hell did he ever land a job as a state trooper? Sam had a really bad feeling about this.
Otis sprang to his feet, jolting Sam out of his momentary reverie. The black lab stared in the direction of the kitchen and growled loudly. And Sam knew. In the stillness of the early morning he heard that familiar voice behind him.
âHey, champ. Been a real long time.â
It was the last thing Sam heard before the room went black.
The theme today at Jim Adams’ Song Lyric Sunday is to write about a duet(s) featuring two prominent performers.
Three years ago, Sir Tom Jones âŠ. quite possibly the Sexiest Man Ever âŠ. and Helene Fischer âŠ. Die Königin der deutschen Popmusik (The Queen of German Pop Music) âŠ. got together on Heleneâs show where the duo put on an unforgettable performance that has been viewed over 21 million times on YouTube. Backed by a brass band and a dazzling stage show, they treated the audience to a seductive duet, proving that Tom Jonesâ voice is still worthy of the halls of fame. Even in his 80s, Tom is leaving fans in awe with his unbelievably strong and silky smooth voice. Not many performers can stand up to that.
Helene Fischer became one of the most popular musical artists in Germany after making her recording debut in 2006. She consistently racked up hits in Germany, Austria, and Switzerland before her 2013 album âFarbenspielâ (âPlay of Colorsâ) became one of the most successful in German history. She followed it with still more number one records, including a four-week stay at the top of the album chart with 2017’s âHelene Fischerâ.
Today’s song was released in 1999 in several European countries; the following year it was issued across the rest of Europe where the track served as the second single from Jones’ 34th album, âReloadâ. Commercially, it reached number one in France and Switzerland while becoming a top-three hit in Austria, Germany, Iceland, Italy, Spain, the United Kingdom.
Here is the Sexiest Man Ever along with the Queen of German Pop Music with their sizzling duet, âSex Bombâ.
LYRICS
Spy on me, baby, use satellite Infrared to see me move through the night Aim, gonna fire, shoot me right I’m gonna like the way, the way that you fight
Now you found the secret code I use To wash away my lonely blues And I can’t deny or lie ‘Cause you’re the only one who makes me fly
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to be turned on Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn, turn me on (woo)
Hey!
Don’t get me wrong, ain’t gonna do you no harm This bomb’s for lovin’, you can shoot it far I’m your main target, come and help me ignite Lovestruck, holding you tight
Make me explode, although you know The route to go to sex me slow Yes, I must react to claims of those Who say that you are not all that
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me on (yeah)
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me on (oh right)
You can give me more and more, counting up the score You can turn me upside down and inside out You can make me feel the real deal I can give it to you any time because you’re mine
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb And, baby, you can turn me, baby, you can turn me on
Sex bomb, sex bomb, you’re my sex bomb And you can give it to me when I need to come along Sex bomb, sex bomb, you’re my sex bomb Baby, you can turn me on
Baby, you can turn me on And, baby, you can turn me on Baby, you can turn me on And, baby, you can turn me on
âEuropa (Earthâs Cry, Heavenâs Smile)â Written by: Santana/Coster Recorded: 1976 Producer: David Rubinson Engineer(s): David Rubinson, Fred Catero Assistant Engineer: Susie Foote
Released: March 26, 1976
Available on: Amigos
Personnel: Carlos Santana â lead guitar Neal Schon â rhythm guitar David Brown â bass Greg Rolie â keyboards Michael Schrieve â drums Armando Peraza â percussion Jose Chepito Areas â timbales
Upon seeing a friend suffering a bad experience while high on mescaline, Santana composed a piece titled “The Mushroom Lady’s Coming to Town“. This precursor contained the first lick to “Europa“. The piece was put away and not touched for some time. When Santana was touring with Earth, Wind & Fire in Manchester, England, he played the tune, this time with songwriter Tom Coster who helped him with some of the chords, and a new song was born. It was renamed as “Europa (Earth’s Cry Heaven’s Smile)”.
The track was featured in the 2004 film âShall We Dance?â and has become one of Santanaâs most beloved songs with its combination of Latin rhythms, blues and jazz influences.
This is Santana with âEuropaâ
May your Saturday be smooth sailing. Thanks for stopping by.
It was Friday night and my paycheck was burning a hole in my pocket. As it turns out, my on again/off again boyfriend, Jagger, was off again so I was free as the proverbial bird. Just as well; I was getting tired of the slouch anyway. But it was New Yearâs Eve 1946 and I didnât want to be alone.
Anxious to hit the tables and ring in the new year, I got myself all dolled up in an outfit that was quite possibly illegal in 33 states â a lowcut slinky little black number with a high side slit, silk stockings with lacy garters and red satin stilettos. Maybe Iâd run into a high roller ready, willing and monetarily able to treat me to a bourbon, a thick juicy steak and a slice of pie a la mode.
I grabbed a taxi to the casino, the driver giving me the once-over in the rearview. I wasnât interested in any two-bit palooka so I played it cool. Averting my eyes, I glanced out the window, snuggled deeper into my fur coat and lit a Chesterfield. The smoke encircled my head and my bright red lipstick left a perfect kiss around the filter.Â
When we arrived, I tossed a fiver at the cabbie and stepped out onto the sidewalk. The staccato of my heels alerted the man in black .⊠Special Agent Sam Bishop.
âEvening, Candace. Youâre looking angelic, if you donât mind my saying. I donât suppose youâve heard from Jagger.â
Sixty-two years after the Beatles released âLove Me Doâ â the first of many songs written by John Lennon and Paul McCartney â their offspring have come together to bring back their tune-making magic.
Sean Ono Lennon and James McCartney have joined forces on a song cowritten by them and released by McCartney called âPrimrose Hillâ. Named for a public park in London, this is the first-ever collaboration by Lennon & McCartney, Part 2. And if any song could sound just like taking a bittersweet stroll in the park with nothing but longing memories, then this one pretty much captures it.
Thereâs instantly something familiar about it but it never seems to fall into Beatles mimicry. Nor does it ever reach the heights of Beatles transcendence âŠ. I mean, how could it?
Let me know what you think of this rebirth of Beatles music.
This is “Primrose Hill”, co-written by Lennon & McCartney, 2nd Generation.
Thereâs something very comforting about Montauk; itâs steeped in tradition, averse to change.
Case in point: the Montauk Shirt Shop which never changed its inventory âŠ. and that was just fine. People popped in to get their mandatory summer vacation t-shirt …. not the latest fashion craze.
Things just weren’t the same after the familiar shop was renovated featuring a new step-up, almost exclusive section with high-end merchandise and souvenirs no one wanted. We looked around the new area once; it was overpriced and a bit too chi-chi for the sleepy fishing village.
This is the Stones with âMemory Motelâ, located on 27 East in Montauk, NY right across the street from the old diner and the t-shirt store. In my younger days I’d go to the bar at the Memory Motel and may or may not have caught a glimpse of Mick and Keith mingling very comfortably with the locals. It was a simpler time, no big deal, ya know?
Welcome to Birthday Thursdays! Each week I will feature someone from the world of music whose birthday falls on this day. There wonât be any chit chat from me, no facts and figures â just some great tunes (and an occasional surprise). Check it out right here every Thursday and enjoy the music.
Happy Birthday to Paul A. Rothchild (Record Producer) Born April 18, 1935 inBrooklyn, New York
Written for Glynâs Mixed Music Bag #16,where we are asked to write abouta song by a group or solo singer beginning with the letter G or H.
Besides my husband, during my lifetime Iâve been madly in love with three other men: âGeorge Harrison, Daryl Hall and Rick Springfield. They were all so very talented, gorgeous and sexy! I would cut out their pictures from music magazines, make scrapbooks, hang posters in my bedroom and mail them letters. My missives were never answered but Iâm sure thatâs only because they were so busy making music. I would imagine myself as Mrs. Harrison or Hall or Springfield, which got weird because by the time Daryl Hall and Rick Springfield were dominating the billboard charts I had been married for about 10 years! Things could have gotten strained between me and my husband during that time but they didn’t because heâs a very understanding, realistic man and didnât feel threatened at all. It also didnât hurt that I had about as much chance of meeting Daryl or Rick as I did winning the Miss Universe pageant.
Well, dear George has passed away but Daryl and Rick are very much alive and I bet theyâre kicking themselves for not answering my letters seeing as how Iâm now such a bigshot storyteller, poet and music blogger! I saw Rick recently on TV and I must say I was shocked; maybe it was the lighting but he really hasnât aged well and someone should gift him with a jar of Crepe Erase. But Daryl is another story; he still sounds fantastic, looks gorgeous and is one big hunk of burning love. And whatâs more âŠ. Darylâs Garage where he does live shows and podcasts is 90 minutes from where I live and his house in Connecticut is only one hour away. (We stalkers fans have to stay on top of things like that!) I just might get my âI â€ïž Daryl Hall Tank Topâ autographed after all!
Since the letters for Glynâs April MMB are G and H, I immediately wrote about George Harrison last week. Unfortunately, Rick Springfield is out of luck and will have to wait another 6 months before I can write about him. But no worries! You can all breathe a sigh of relief because today is all about Daryl Hall (and some other guy named John Oates).
Did you know that Daryl Hall & John Oates are the number-one selling duo in music history? Theyâre bigger than Simon & Garfunkel, Sonny & Cher, Ike & Tina Turner, Sam & Dave, The Righteous Brothers, Loggins & Messina and The Everly Brothers. (The statistics are impressive and are readily available on Wiki, if youâre interested.) During their time together (starting in 1970), they released 18 studio albums and 63 singles. They also broke up their act and got back together numerous times until October 2022 when they officially called it quits; sadly, they are currently in the middle of an ugly legal battle. But what sweet music they made together!
Some of you may recall that I wrote about this song a while back for Jim Adams’ Song Lyric Sunday; it’s just so nice, I had to feature it twice! You may also remember that the original singer of this song is a guy named Billy Paul who recorded his song in 1972. So why feature a cover of someone else’s song and not an original Hall & Oates song? Because it’s a great song and after all these years, I still âhave a thing going onâ for Daryl Hall.
For all the obvious reasons, here is my pick of the day by Hall & Oates âŠ. from 2003 it’s âMe And Mrs. Jonesâ.
Well, no offense John Oates, but threeâs a crowd and for me thereâs only room for Daryl. Heâs certainly come a long way and still has plenty of mileage left in a career thatâs taken him from the streets of Philly to the halls of R&R in Cleveland. And the best is yet to come âŠ. especially for me. My hubby, who isn’t the least bit threatened by the likes of Daryl Hall, is taking me to see him live, up-close and personal at the Mohegan Sun arena in July! Now, I just need to find that old tank top …. and you better believe I will wear it!
Thanks to Glyn for another great Mixed Music Bag and thank you for stopping by.
See you on the flip side. đ
PS: I almost forgot! For all you purists reading this right now, I simply could not leave without playing one Hall & Oates original; after all, they are the #1 selling duo in music history! This song debuted on the Billboard Top 40 on February 5, 1977 at #38 and by the end of March it had become Hall & Oates’ first of six #1 singles on the Billboard Hot 100. At the end of 1977, Billboard ranked it as the 23rd biggest hit of the year. From the album Bigger Than Both Of Us, here is Hall & Oates’ first #1 hit, “Rich Girl”.
When little Summer was just a few days old, her mother Laura started the tradition of sitting with her in the nursery to read stories before bed; in the corner of the nursery was an old floor lamp that used to belong to Lauraâs grandparents, Momma and Poppy, and it filled the nursery with a soft, soothing glow.
As a little girl, Laura spent a lot of time with Momma and Poppy and the three of them developed a deep and loving bond so when Momma and Poppy passed away, the one thing Laura asked for was the floor lamp which was in the bedroom of their house where little Laura napped; now, each night Laura would tell baby Summer all about her beloved Momma and Poppy.
This one particular night as Laura and Summer were sitting in the nursery, the glow from the floor lamp caught the babyâs attention and she was captivated by it, something Laura thought was a sweet connection, especially since the lamp originally belonged to Momma and Poppy, Summerâs great-grandparents, but then Laura noticed a pattern developing, a pattern that would repeat two or three times most nights at Summer’s bedtime where the baby would gaze calmly and quietly at the lamp, then slowly begin to coo, gurgle and giggle for a few minutes before becoming animated â smiling, eyes glowing, arms waving, laughing and babbling loudly â then back again to quietness but still very much attracted to and aware of the lamp …. even when the floor lamp was off, Summer was attracted to it.
One afternoon when Summer was around 3 years old, Laura heard her talking and laughing, just like she did when playing with her stuffed animals, and when Laura peeked into Summer’s room expecting to find her little girl on the bed, she was surprised to see her in the big over-stuffed chair where Laura read bedtime stories; the floor lamp was lit and Summer appeared to be having a happy and lively conversation â not with her stuffed animals but with the lamp.
When Laura asked Summer who she was so happily talking to, the little girl was quick to reply âMomma and Poppy, of course; canât you see them, Mommy?â
Laura caught her breath for a moment but she was not completely shocked for she knew Momma and Poppyâs lamp was special â the very reason Laura wanted it in her own home, but she didnât realize how special it was; Laura never tried to stop Summer from talking to the lamp for she truly believed the spirits of Momma and Poppy were presentand Summer’s conversations with them were real …. and who are we to say they werenât. đȘœ
One of the biggest hits in 1970 for the Canadian group The Guess Who was a song that seemingly warned against getting involved with American women. However, songwriter Burton Cummings said that it was simply his way of saying he preferred Canadian girls. Whatever the meaning, Lenny Kravitz tapped into the songâs magnetism and added some guitar theatrics in his 1999 remake that has since become a cover version that stands alongside the original. The song was, of course, “American Woman”.
The single version by The Guess Who reached #1 and held on for three weeks on both the US Billboard Hot 100 and the Canadian RPM magazine singles chart. Kravitz covered the song for the soundtrack of âAustin Powers: The Spy Who Shagged Me”. When it was released as a single, it reached #49 on the US Billboard Hot 100. The Guess Who joined Kravitz and his band for a live performance of “American Woman” at the 1999 MuchMusic Video Awards in Toronto.
From 1970, here are The Guess Who with âAmerican Womanâ
And this is how it sounded when Lenny Kravitz released his version in 1999.
Thatâs todayâs Twofer Tuesday! Thanks for stopping by.
Written for Quadrille Monday dVerse Poets Pub; De Jackson is asking us to create a 44-word poem using the word âFriday”. My poem is a Dectina Refrain: 1st line is 1 syllable, 2nd line is 2 syllables 3rd line is 3 syllables, and so on for 9 lines; the 10th line is comprised of the first four lines as one stand-alone sentence.
Our Friday night dinner we wait all week to sit on the couch and eat sexy pizza with cheese like hot melted love, gooey and deliciously good, and we drink tall glasses of red wine. Our Friday night dinner we wait all week
The Motown Sound has something extra-special about it. Berry Gordy, Jr. knew people would be listening on their car stereos and transistor radios and he was going to do what it took to make songs sound good and memorable. Even if you couldnât put your finger on it, when a Motown song came on, baby, you knew it. Still do.
Smokey Robinson was the lead singer of a band called The Miracles …. five teenaged friends from Detroit, Michigan. He produced, wrote and sang several of Motown’s most memorable hits including the label’s first smash song, “Shop Around” in 1960. A year later, “Please Mr. Postman”, by The Marvelettes, was the label’s first No. 1 song. It would not be the last.
Letâs begin todayâs musical journey with The Miraclesâ first smash hit â a song about a mother giving advice to her grown son on how to find a woman worthy of being a girlfriend or wife.
From 1960,  written by Smokey Robinson and Berry Gordy, hereâs âShop Aroundâ by The Miracles.
And this is what was on the B side â âWhoâs Lovinâ You”. Thatâs right âŠ. this was not originally done by the Jackson 5!
Thanks for joining me today for Monday Motown Magic.
In the fall of 2017, Kevin Spacey’s life and his astronomical career in acting, writing, directing and production (and more) came crashing down with devastating swiftness and near Shakespearean consequences. The reason: sexual assault allegations from 30 years ago.
On October 29, 2017, actor Anthony Rapp alleged that Spacey, while appearing intoxicated, made a sexual advance toward him at a party in 1986, when Rapp was 14 and Spacey was 26. Spacey stated on Twitter that he did not remember the encounter, but that he owed Rapp “the sincerest apology for what would have been deeply inappropriate drunken behavior” if he had behaved as asserted.
Almost three years later, on September 9, 2020, Rapp sued Spacey for sexual assault, sexual battery and intentional infliction of emotional distress under the Child Victims Act. In the subsequent federal civil court proceeding, a jury found that Spacey did not molest Rapp and was found not liable on all counts, with Rapp subsequently ordered by the court to pay Spacey $39,089 in damages.
Fifteen other accusers emerged from the woodwork and jumped on the bandwagon alleging similar abuse. The Guardian was contacted by “a number of people” who alleged that Spacey “groped and behaved in an inappropriate way with young men” while he was artistic director of The Old Vic theatre.
On the same day as Rapp’s allegations against him, Kevin Spacey came out as gay when apologizing to Rapp. His decision to come out via his statement was criticized by gay celebrities as an attempt to change the subject and shift focus from Rapp’s accusation, for using his own drunkenness as an excuse for making a sexual advance on a minor and for implying a connection between homosexuality and child sexual abuse. Spacey expressed regret over the way he came out and said that it was “never his intention” to deflect from the allegations against him or conflate them with his sexual orientation.
Amid the allegations, filming was suspended on the sixth and final season of House of Cards starring Kevin Spacey. His livelihood, public acceptance, reputation, peace of mind and very existence was hanging by an excruciatingly slender thread.
As Rapp’s trial lawsuit against Spacey commenced in October 2022, it was revealed Rapp had given an inaccurate description of the apartment where he alleged the abuse took place. The judge dismissed the emotional-distress charges as a “duplicate” of the battery charges and a jury found Spacey not liable of all charges.
On May 26, 2022, Spacey was charged by the Crown Prosecution Service (CPS) in the UK with four counts of sexual assault against three complainants which were said to have taken place between 2005 and 2013 in Gloucestershire and London. According to the CPS, it would be possible to formally charge Spacey only if he entered England or Wales either voluntarily or through an extradition request. In a statement to Good Morning America on May 31, 2022, Spacey said he would “voluntarily appear in the UKâ.
In his first British court appearance, on June 16, Spacey denied the allegations against him. On July 14, he pleaded not guilty to the charges in London. During the hearings, the complainant gave conflicting reports, false information regarding deleted text messages on his phone and eventually refused to answer any other questions, invoking the Fifth Amendment. On November 16, the CPS authorized an additional seven charges against Spacey, all related to a single complainant arising from incidents alleged to have occurred between 2001 and 2004. Three charges were dismissed before or during the trial, which began on June 28, 2023, and, on July 26, 2023, a jury found Kevin Spacey not guilty of the remaining nine charges.
Kevin Spacey has received countless accolades, including two Academy Awards, a BAFTA Award, a Golden Globe Award, a Tony Award and two Laurence Olivier Awards. He was named an honorary Commander and Knight Commander of the Order of the British Empire in 2010 and 2015, respectively.
Kevin Spaceyâs brother, Randy Fowler, has stated that their father was sexually, physically and emotionally abusive and that young Kevin shut down emotionally and became “very sly and smart” to avoid beatings. Spacey addressed the matter in October 2022, saying that his father was a white supremacist and a neo-Nazi who beat him regularly and called him derogatory names, including ‘faggot‘. Spacey stated that the abuse at the hands of his father caused him to become extremely private about his personal life which, in turn, resulted in him choosing not to come out as gay earlier in his life.
The following video aired prior to Kevin Spaceyâs hearings in the UK where he was found not guilty of all charges. There are other videos available for viewing on YouTube if you so desire. I went with this one, choosing to avoid the sleazy and salacious nature of âentertainment newsâ.
This next video is a clip from the movie âBeyond The Seaâ with Kevin Spacey portraying Bobby Darin. Spacey did all his own singing which is rather impressive. I could have gone with songs like âMack The Knifeâ or âBeyond The Seaâ but the name of this video tickled my funny bone.
Here is Kevin Spacey as Bobby Darin singing âDream Loverâ.
The theme today at Jim Adams’ Song Lyric Sunday is to write about songs with the words âhot, burning, fire or blazingâ.
If reports in recent years are to be believed, former Journey singer Steve Perry and keyboardist Jonathan Cain donât have much of a personal relationship anymore, but when they first met nearly 43 years ago, the situation was very different.
Journey, originally known as the Golden Gate Rhythm Section, was formed in San Francisco in 1973; the name was officially changed to Journey in 1975, shortly after signing with Columbia Records. The band’s early sound was influenced by jazz and fusion music. They gradually shifted towards a more pop-oriented sound in the late 1970s. Steve Perry joined Journey as their lead vocalist in 1977 and became one of the band’s most recognizable members. Jonathan Cain was hired in January 1981 and it wasnât long before he and Perry began writing together.
One of the first things they did was a song called âWhoâs Crying Now.â Steve Perry said the chorus popped into his head while driving to Los Angeles, which he recorded on his mini cassette player. Once Steve Perry arrived in LA, he went straight to Jonathan Cain’s house to play his work in progress. Perry had come up with most of the melodies and rhythms but was stumped on the lyrics. Perry said, âJonathan just like zeroed in on it. We had the beginning, we had the middle, he helped do the lyrics with me .⊠and it was done!â
“Who’s Crying Now” tells the sad and age-old tale of good love gone bad. The song, the first single from Journey’s album Escape, helped the LP achieve sales of over nine million copies. The song charted at #46 in the UK Singles Chart, the band’s highest charting single in the UK until “Don’t Stop Believin'”. Billboard praised “Who’s Crying Now” as one of Journey’s “strongest and classiest records” and one of the most appealing love songs of 1981. Escape remains their only #1 album.
In 1996, Steve Perry suffered a hip injury while hiking in Hawaii and was unable to perform. The diagnosis was degenerative bone disease and a hip replacement was required but Perry was reluctant to rush into the surgery and touring was postponed indefinitely. While Perry kept putting off the inevitable surgery, the other members of the band waited nearly 17 months after the initial diagnosis before presenting him with an ultimatum: If he did not undergo hip replacement surgery so the tour could proceed upon his recovery, the band would hire a replacement singer. Still hesitant to undergo surgery, and now upset at his bandmates, Perry announced in 1988 that he was permanently leaving Journey. No one loves the idea of surgery but Steve Perry made a big mistake making his band mates wait so long.
The position of lead singer went to Steve Augeri who was then sidelined with a chronic throat infection. The very hard-working singer-musician-songwriter Jeff Scott Soto temporarily stepped into the role of lead singer until Arnel Pineda signed on as frontman in 2007. Pineda, a vocalist for a Filipino cover band, was hired as a result of a video he posted on YouTube and is still Journey’s current lead vocalist. Hey …. sometimes you just gotta give it a shot!
According to the Recording Industry Association of America, Journey has sold 52 million albums in the US, making them the 11th-best selling band. Their worldwide sales have reached over 100 million records globally, making them one of the world’s best-selling bands of all time. A 2005 USA Today opinion poll named Journey the fifth-best US rock band in history. In 2017 Journey was inducted into the Rock and Roll Hall of Fame. They are without a doubt a truly great band and, IMO, Steve Perry’s voice is one of the best in the business.
Thanks for hanging with me at Jim’s place.
See you on the flip side. đ
Now let’s listen to “Who’s Crying Now” and Steve Perry’s phenomenal voice. From 1981salbum Escape, this is Journey.
Lyrics
It’s been a mystery But still they try to see Why something good can hurt so bad Caught on a one-way street The taste of bittersweet Love will survive somehow, somewhere
One love, feeds thefire One heart, burns desire I wonder who’s crying now? Two hearts, born to run Who’ll be the lonely one? I wonder who’s crying now?
So many stormy nights So many wrong or rights Neither could change their headstrong ways And in a lover’s rage They turn another page The fighting is worth the love they save
One love, feeds the fire One heart, burns desire I wonder who’s crying now? Two hearts, born to run Who’ll be the lonely one? I wonder who’s crying now?
Only so many tears you can cry ‘Til the heartache is over And now you can say your love Will never die
Whoa ooh ooh, ooh ooh
One love, feeds the fire One heart, burns desire I wonder who’s crying now? Two hearts, born to run Who’ll be the lonely one? I wonder who’s crying now?
Lead Vocal, Composer, Lyricist: Steve Perry Background Vocal, Keyboards, Composer, Lyricist: Jonathan Cain Background Vocal, Bass: Ross Valory Background Vocal, Guitar: Neal Schon Drums: Steve Smith Producer(s): Mike Stone, Kevin Elson Engineer: Wally Buck
Writing about the death of my husbandâs twin brother has been a huge outlet for me. It has helped me and Bill to grieve in a way I never experienced before. I am forever grateful to you âŠ. my dear friends, my readersâŠ. for your patient understanding and acceptance. I am humbled by the outpouring of love, sympathy and comfort. Now itâs time to move forward. With all my heart, thank you. ~ NancyâĄ
âNorwegian Wood (This Bird Has Flown)â Written by: Lennon-McCartney Recorded: October 1965 Producer: George Martin Engineer: Norman Smith
Released: December 3, 1965 (UK), December 6, 1965 (US)
Available on: Rubber Soul Anthology 2
Personnel: John Lennon â vocals, acoustic rhythm guitar Paul McCartney â harmony vocals, bass George Harrison â sitar, 12-string acoustic guitar Ringo Starr â bass drum, tambourine
The first time George Harrison saw a sitar was on the set of Help; a group of Indian musicians had been recruited to add an authentic ambiance to the restaurant scenes. Back in London after the filming, George found a store called Indian Goods; inside was an inexpensive sitar which he bought and began playing around with. While recording âNorwegian Woodâ, George felt it needed something in addition to the guitars. He picked up his sitar and âjust sort of found the notesâ. When the recording was played back, everyone agreed the sitar brought the whole piece together.
From 1965âs Rubber Soul, here are the Beatles with âNorwegian Woodâ
Thanks for stopping by. May your Saturday be smooth sailing.
Written for The Unicorn Challenge, where we are asked to write something creative in 250 words or less byusing the photo below for inspiration. This is my story.
The moment we stepped out of our car, the temperature felt like it dropped twenty degrees and a cold wind whipped my black-stockinged legs. We cringed at the frigid slap in the face and huddled deeper into our jackets as we climbed the steps to the church.
We found the seats reserved for us âŠ. second pew directly off the center aisle. I clutched my husbandâs hand and felt his body quiver as he raggedly exhaled, desperately trying not to cry. The tears would come, but on his terms.
The pews on both sides of the church were filled with people celebrating a life and mourning a loss. Everything leading to this moment had been a maelstrom of emotions; there are very few things that shake us to our core like a sudden death.
A man appeared at our pew; I recognized him as the manager of the funeral home. He spoke softly to my husband and together they started to walk to the back of the church. I looked up at my husbandâs face and he gave me a sad smile.
There was a heavy silence in the church, mourners sitting side-by-side lost in a fog of grief. Had someone played us the cruelest joke?
As one, the pallbearers heaved the casket onto their shoulders and the organ began to play. That’s when I saw my husband walking behind his brotherâs coffin, our widowed sister-in-law on his arm, and there were tears.
The Elephant's Trunk 