Today at Song Lyric Sunday, Jim has asked us to choose a song that begins with the same letter as our first name. For me that would be the letter N. Here is my song.
L-R Nancy Sinatra Jr, Frank Sinatra Sr, Nancy Sinatra Sr, Frank Sinatra Jr; in front Tina Sinatra, 1948
When I say “here is my song” I really mean MY song. From the time I was a baby and able to understand a few words, this song was special to me. As I got older it became even more special … particularly when my dad would sing it. There are a lot of memories attached to this song; I honestly thought it was written for me and that Frank Sinatra was singing it directly to me. You may recall from another of my posts that my dad hated Sinatra; this may be the only song by Frank that Dad liked. My sister Rosemarie really hated my song because she didn’t like any of HER songs; she’d whine that her songs weren’t as pretty and personal as mine and she’d get annoyed every time it was played. But the thing she hated the most was the line “sorry for you, she has no sister”! I guess I can’t blame her for that!
Have you figured out what my song is? Since it was made popular by Frank Sinatra most people wrongly assumed the song was composed specifically for his daughter. Well, that was a pretty big clue so you must know the answer by now! My song choice for today’s Song Lyric Sunday is “Nancy (With the Laughing Face)”.
The music for the song was composed in 1942 by Jimmy Van Heusen with lyrics written by comedian/lyricist Phil Silvers; it was originally called “Bessie (With the Laughing Face)”. Bessie? Who the hell was Bessie? Well, back in 1942 there was a famous lyricist named Johnny Burke who was married to our mysterious Bessie. Jimmy Van Heusen and Phil Silvers wrote the song for their friend Johnny Burke as a surprise for his wife Bessie’s birthday.
All the women at Bessie Burke’s birthday party loved the song so much, they started requesting that it be sung at their parties as well. Apparently Frank Sinatra wasn’t at any of those parties because when his friends Jimmy Van Heusen and Phil Silvers sang the song as “Nancy (With the Laughing Face)” at little Nancy Sinatra’s birthday party, Frank broke down and cried, thinking it had been written especially for his daughter! Johnny Burke, Jimmy Van Heusen and Phil Silvers wisely didn’t correct him.
In 1944, Frank Sinatra recorded the song as “Nancy (With the Laughing Face)” and it became a fan favorite. When I was born several years later, the song became a favorite in our house as well.
This is “Nancy” by Frank Sinatra
Lyrics
If I don’t see her each day, I miss her Gee, what a thrill each time I kiss her Believe me, I’ve got a case On Nancy with the laughin’ face She takes the winter and makes it summer But summer could take some lessons from her Picture a tomboy in lace That’s Nancy with the laughin’ face Did you ever hear mission bells ringin’? Well, she’ll give you the very same glow When she speaks you would think it was singin’ Just hear her say hello I swear to goodness you can’t resist her Sorry for you, she has no sister No angel could replace Nancy with the laughin’ face
Keep Betty Grable, Lamour and Turner She makes my heart a charcoal burner It’s heaven when I embrace My Nancy with the laughin’ face
Today at Song Lyric Sunday the theme is to choose a song beginning with the same letter as my last name, which is R. Here is my feature.
Before you could send a text or call someone in their car, there was no way to communicate with a driver unless you had a certain telepathic love that could convey from a distance your desire to be with that person, something you might call – oh, I don’t know – maybe something like radar love.
In the song “Radar Love”, the MC has been driving all night but keeps pushing the pedal because he just knows that his baby wants him home. In his rush to be with her, he drives recklessly and dies in a car accident. Tragic, isn’t it? But perhaps all is not lost, as the song suggests …. the MC and his lover continue to have a radar love connection in the afterlife.
“Radar Love” was written in 1973 by the Dutch group, Golden Earring. Members at the time were lead vocalist Barry Hay, bass and keyboardist Rinus Gerritsen, Cesar Zuiderwijk on drums & percussion and George Kooymans, vocals and lead guitar. The single version reached #9 on the Record World chart, #10 on Cash Box and #13 on Billboard in the US. It hit the Top 10 in many countries, including the UK, Canada, Australia, Canada, Germany, and Spain.
Like other famous songs of the era such as “Bohemian Rhapsody” and “Stairway To Heaven”, “Radar Love” was composed as a suite with several distinctive and quite different sections. According to radar-love.net, the song has been covered more than 500 times.
This is “Radar Love” by Golden Earring
LYRICS
I’ve been drivin’ all night, my hand’s wet on the wheel
Today’s theme at Song Lyric Sunday is all about songs that feature great drums. Here are my drumtastic songs.
Much like last week’s group which needed no introduction, the same is true for today’s. If you are a fan who tends to remember little things about your favorite groups, then you’ll have no trouble making the connection between the title of my post and the group I’m featuring today …. The Rolling Stones. Oh, sorry! What I should have said is ‘the drummer I’m featuring today …. Charlie Watts’.
“Charlie’s good tonight, ain’t he?” Mick Jagger famously said those words on the classic Stones’ live album Get Yer Ya Ya’s Outrecorded November 27 & 28, 1969 atMadison Square Garden. But some may argue that the late, great Charlie Wattswas good every night …. and I’d agree!
Everyone loved Charlie. He was, of course, a highly regarded drummer but he was much more. A true gentleman, he was reserved and diplomatic, soft spoken, a teetotaler and a sharp dressed man. He was a loyal bandmate, husband and father who hated touring and being away from home. He didn’t have a drum kit at home because the noise was too much for his wife so the only times he played were at the studio or while performing.
Charlie Watts was the Rolling Stones’ drummer for 60 years when he passed away in August 2021 at the age of 80. A blues enthusiast enlisted by the band’s founder, Brian Jones, Charlie was a solid presence in that most turbulent of bands. A man blessed with infinite patience, he claimed on the occasion of the Stones’ 25th anniversary that his career had been “5 years of work and 20 years of hanging around”. Nice job if you can get it! And when it came to work, Charlie always delivered.
I’ve chosen two songs for you today which I believe showcase Charlie’s talents very well. The first one is from 1969 and is a biography loosely based on American Albert DeSalvo who confessed to being the Boston Strangler. We all know the song as “Midnight Rambler”. Keith Richards has referred to this number as “a blues opera” adding that nobody else but he and Mick Jagger could have written it.
One notable 1969 performance (running just over nine minutes) is the video I’ve selected to play today. It was captured for the 1970 album Get Yer Ya-Ya’s Out! and was re-released on the 1971 compilation album Hot Rocks 1964-1971. This rendition features Mick Taylor on lead guitar, in addition to Jagger, Richards, Wyman and Watts. Seeing this song performed live at MSG was like a blues marathon and featured one of the finest moments between Mick at the front of the stage and Charlie at the rear …. an unforgettable show.
Live audio from MSG, this is “Midnight Rambler” by the Rolling Stones.
Lyrics
I’m a-talkin’ ’bout the midnight rambler Everybody got to go Well I’m a-talkin’ ’bout the midnight gambler The one you never seen before I’m sighin’ down the wind so sadly A-listen and you’ll hear me moan Well I’m a talkin’ ’bout the midnight gambler And everybody got to go (Yeah c’mon)
Talkin’ ’bout the midnight gambler The one you never seen before I’m talkin’ ’bout the midnight rambler Did you see me jump the garden wall I don’t give you a hoot of warning A-dressed up in my black cat cloak I don’t see the light of the morning I’ll split the time the cock’rel crows
I’m tellin’ ’bout the midnight rambler Well, honey, it’s no rock ‘n’ roll show Well, I’m a-talkin’ ’bout the midnight gambler And everybody got to go
Oh, don’t do that
Well, you heard about the Boston Honey, it’s not one of those Talkin’ ’bout the midnight, shit! Did you see me jump bedroom door I’m called the hit and run raper, in anger Or just a knife sharpened, tippy toe Or just a shoot ’em dead, brainbell jongleur Everybody got to go If you ever meet the midnight rambler And he’s prowlin’ down your marble hall And he’s pouncin’ like a proud black panther You should say, I told you so If you listen for the midnight rambler Play it easy, easy, as you go I’ll go smash down all your plate glass windows Put my fist through your stairway doors Well I’m a-talkin’ bout the midnight rambler The one you never seen before Well I’m a-talkin’ bout the midnight rambler And did you see me jump your garden wall And if you ever catch the Midnight Rambler Steal your mistress from under your nose Go easy with your cold fanged anger I’ll stick my knife right down your throat baby, and it hurts
My second song today is an all-time favorite. There’s no denying that the Stones have recorded a lot of great tunes, many of which have gone on to be hits. Some fall into the category of classic mega-hits; this is one of those tunes. Brian Jones is on this recording, bringing the exotic sitar, but it’s Charlie Watts that’s the jittery heartbeat of this enduring piece of rock history.
The song is “Paint It Black“, a major chart success for the Stones, remaining 11 weeks (including two at #1) on the US Billboard Hot 100, and 10 weeks (including one atop the chart) on the Record Retailer chart in the UK. It was the band’s third #1 single in the US and sixth in the UK. The song also topped charts in Canada and the Netherlands.
“Paint It Black” was inducted into the Grammy Hall of Fame in 2018 and Rolling Stone magazine ranked the song #213 on their list of the 500 Greatest Songs of All Time. In 2011, the song was added to the Rock and Roll Hall of Fame’s list of “The Songs that Shaped Rock & Roll.
This is the legendary “Paint It Black” by the Rolling Stones. Lyrics are provided on screen.
Today’s theme at Song Lyric Sunday is all about songs that feature keyboards.
Well, kids, it’s been a while since I featured anything by The Beatles so it’s time to rectify that oversight right now. One of the things that’s so great about headlining The Beatles is everyone knows them so we can skip the foreplay and go right for the action. No introductions required.
There are a lot of great Beatles’ songs that feature keyboards; I’ve chosen two of my favorites with prominent piano throughout …. and it’s some mighty fine playing, too.
My first song up today is “Lady Madonna”. This bluesy number, written in 1967 by Paul McCartney, was recorded just prior to the group’s trip to India to study meditation with Maharishi Mahesh Yogi. It was also their final release on Parlophone/Capitol; from “Hey Jude” onward (another great keyboard piece), The Beatles released all their subsequent singles and albums on their own Apple Records label.
The original concept for “Lady Madonna” was obviously the Virgin Mary but the song quickly became symbolic of every woman, a tribute to the mother figure and women in general. Paul said “I think women are very strong, they put up with a lot of shit, they put up with the pain of having a child, of raising it, cooking for it … they are basically skivvies* a lot of their lives so I always want to pay tribute to them”. *A female servant who does all the dirty work in the house.
“Lady Madonna” was released in the UK on March 15, 1968, with George Harrison’s “The Inner Light” as the B side. It entered the charts at #5 and a week later climbed to the top. It remained there for a second week and spent 8 weeks altogether on the chart. In the US it was released on March 18, 1968, and peaked at #4.
This is “Lady Madonna” by The Beatles
Lyrics
Lady Madonna, children at your feet Wonder how you manage to make ends meet Who finds the money when you pay the rent? Did you think that money was heaven sent?
Friday night arrives without a suitcase Sunday morning creeping like a nun Monday’s child has learned to tie his bootlace See how they run
Lady Madonna, baby at your breast Wonders how you manage to feed the rest
See how they run
Lady Madonna lying on the bed Listen to the music playing in your head (head)
Tuesday afternoon is never ending Wednesday morning papers didn’t come Thursday night, your stockings needed mending See how they run
Lady Madonna, children at your feet Wonder how you manage to make ends meet
Personnel Paul McCartney: vocals, piano, bass, handclaps John Lennon: backing vocals, lead guitar, handclaps George Harrison: backing vocals, lead guitar, handclaps Ringo Starr: drums, handclaps Ronnie Scott, Bill Povey: tenor saxophones Harry Klein, Bill Jackman: baritone saxophones
🎹🎹🎹🎹🎹🎹🎹🎹
The second song I’ve chosen is “For No One”. Also written by Paul McCartney, it is best described as his meditation on the end of a love affair. This song was a critically acclaimed masterpiece and one of the highlights of the Revolver album. It’s a song about rejection and emptiness. The breakup of a relationship has always been a rich area to explore in a song, an emotion most people have experienced.
Originally titled “Why Did It Die?”, “For No One” was written in March 1966 while Paul was on a ski vacation in Switzerland with his then girlfriend, Jane Asher. Something tells me Paul had a premonition about the trajectory of his relationship with Jane when he wrote this one. Just saying.
Upon his return from Switzerland, Paul sang the melody for George Martin, who wrote it down. At the recording session was Paul, George Martin and a French horn player named Alan Civil, the principal horn player in the Philharmonia Orchestra. Neither Paul nor George Martin played the French horn nor were they experienced in transcribing music for it. Civil took one look at what Paul had created and George Martin had written down and thought it was rudimentary, at best. There were a few notes that were higher than usual for the French horn and he was unsure what it would sound like. Fortunately, there was no need for concern as the result was incredibly memorable. When Revolver was released, Alan Civil was given credit on the sleeve of the record …. one of a scant few session musicians to receive such a distinction on a Beatles’ record. The stunning French horn solos in “For No One” are arguably the most striking feature of the song.
This may be the only Beatles’ song which does not include John Lennon and George Harrison. I’m really not sure why; I searched for info on that and came up empty. If any reader knows for certain why John and George were not included on the recording, please fill us in. This song was 100% Paul’s baby. I’m guessing John and George not being present had nothing to do with differing opinions and everything to do with Paul wanting only the absolute essential personnel involved. Even Ringo was little more than window dressing.
Recording sessions were held on three separate days in May, 1966; “For No One” was released in the UK on August 5, 1966 and on August 8, 1966 in the US. Since The Beatles never performed any songs from the Revolver album live, “For No One” never saw a concert stage until Paul began his solo touring days.
This is “For No One” by The Beatles. Poetry at work as we hear the abrupt and unexpected ending of “For No One”; there really could be no other way.
Lyrics
Your day breaks, your mind aches You find that all her words of kindness linger on When she no longer needs you She wakes up, she makes up She takes her time and doesn’t feel she has to hurry She no longer needs you
And in her eyes, you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years
You want her, you need her And yet you don’t believe her When she says her love is dead You think she needs you
And in her eyes, you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years
You stay home, she goes out She says that long ago she knew someone But now he’s gone, she doesn’t need him Your day breaks, your mind aches There will be times when all the things she said will fill your head You won’t forget her
And in her eyes, you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years
Today’s theme at Song Lyric Sunday is all about songs that feature the saxophone
Hall & Oates saxophone player, Charles DeChant
There’s only one musical duo who can say they are the number one selling duoin music history. That twosome is Daryl Hall and John Oates.
Beginning as two devoted disciples of earlier soul greats, Hall & Oates are today soul survivors in their own right. They have become such a musical influence on future generations of popular artists that they are the most sampled performers today and their impact can be heard everywhere from boy band harmonies to rap-rock fusion.
Signed to Atlantic in the early 1970s, Hall & Oates had a noteworthy start to their career. Their 1973 album, Abandoned Luncheonette yielded the Top 10 single, “She’s Gone,” which also went to #1 on the R&B charts. The duo recorded one more album with Atlantic, War Babies (produced by Todd Rundgren) before they signed to RCA. Their tenure at RCA would catapult Daryl and John to international superstardom.
From the mid-’70s to the mid-’80s, they would score six #1 singles from six multi-platinum albums. The era would also produce an additional 8 Top 10 singles. By 1984, the Recording Industry Association of America (R.I.A.A.) recognized Daryl Hall and John Oates as the number one selling duo of all time, a record they still hold today.
In 1985 singer Paul Young covered the Daryl-written Voices album track “Every Time You Go Away,” scoring a #1 hit and helping to establish the song as a modern standard. That same year, Daryl and John participated in the historic “We Are the World” session, reopened the legendary Apollo Theatre in the company of their heroes David Ruffin & Eddie Kendricks of the Temptations, and closed the globally broadcast Live Aid show in Philadelphia.
Across the succeeding decades, Daryl and John have continued to record and tour both individually and together, while their self-composed songs have evolved from current hits to timeless classics. In 2003, Daryl Hall and John Oates were inducted into the Songwriters Hall of Fame, followed by their 2014 induction into the Rock and Roll Hall of Fame.
Demonstrating the duo’s massive popularity across decades, generations and listening formats, in 2020 Daryl and John celebrated a milestone 1 billion streams of “You Make My Dreams (Come True).” Ubiquitous in films, commercials and playlists, the song encapsulates the essential and enduring appeal of Daryl Hall & John Oates.
Unfortunately, Hall and Oates are in the middle of a legal battle. Daryl Hall has filed a lawsuit stemming from Oates’ attempt to sell off his share of their joint venture, Whole Oats Enterprises LLP, which would violate the terms of a business agreement the duo had forged. The move quickly prompted a judge to temporarily block the sale while legal proceedings and a previously initiated arbitration continue.
One thing cannot be denied, despite their legal troubles: their music makes people feel good …. always has, always will.
The song I have chosen today which features a saxophone prominently throughout is their 1982 mega-hit, “Maneater”, a song about a very seductive woman who uses men to satisfy her expensive tastes. Much like the line “Her mind is Tiffany twisted” in the Eagles song “Hotel California”, the lyrics to “Maneater” use a luxury brand to develop the character as she is described as “a she-cat tamed by the purr of a Jaguar”, referring to the car.
The song was a showcase for Hall & Oates’ sax player Charles “Mr. Casual” DeChant who appears in the video during his solo. The song spent four weeks at #1 in the US, making it the biggest US hit of the 80s to feature a sax solo.
This is one of several Hall & Oates songs that Daryl Hall’s long-time girlfriend Sara Allen had a hand in writing. According to Hall, his original lyric had some additional words in the chorus after “she’s a maneater”. Allen convinced him to end the line there, which Hall says made the song come together.
“Maneater” was used on the soundtrack to the Julia Roberts/Richard Gere movie “Runaway Bride”, the story of a woman with the reputation for jilting her fiancés at the altar.
“Maneater” is featured on Hall & Oates’ 11th studio album “H2O”. It reached #1 on the Billboard Hot 100 chart on December 18, 1982. It remained in the top spot for four weeks, longer than any of the duo’s five other number-one hits.
This is “Maneater” by Daryl Hall and John Oates, featuring Charles DeChant on saxophone.
Lyrics
She’ll only come out at night The lean and hungry type Nothing is new I’ve seen her here before Watching and waiting Ooh, she’s sitting with you But her eyes are on the door
So many have paid to see What you think you’re getting for free The woman is wild A she-cat tamed by the purr of a Jaguar Money’s the matter If you’re in it for love You ain’t gonna get too far
Oh-oh, here she comes Watch out, boy, she’ll chew you up Oh-oh, here she comes She’s a man-eater Oh-oh, here she comes Watch out, boy, she’ll chew you up Oh-oh, here she comes She’s a man-eater, oh-oh
I wouldn’t if I were you I know what she can do She’s deadly, man And she could really rip your world apart Mind over matter Ooh, the beauty is there But a beast is in the heart
Oh-oh, here she comes Watch out, boy, she’ll chew you up Oh-oh, here she comes She’s a man-eater Oh-oh, here she comes Watch out, boy, she’ll chew you up Oh-oh, here she comes She’s a man-eater, oh-oh
Hey!
Ooh!
Oh-oh, here she comes (here she comes) Watch out, boy, she’ll chew you up Oh-oh, here she comes (watch out) She’s a man-eater Oh-oh, here she comes (she’s a man-eater) Ooh, she’ll chew you up Oh-oh, here she comes (here she comes) She’s a man-eater
Oh-oh, here she comes (watch out) She’ll only come out at night, ooh Oh-oh, here she comes (here she comes) She’s a man-eater, oh-oh Oh-oh, here she comes (she’s a man-eater) The woman is wild, ooh Oh-oh, here she comes (here she comes) Watch out, boy, watch out, boy
Oh-oh, here she comes Oh, watch out, watch out, watch out, watch out Oh-oh, here she comes (watch out) Yeah-yeah, she’s a man-eater Oh-oh, here she comes (she’s a man-eater) She’s watching and waiting, ooh Oh-oh, here she comes Oh, she’s a man-eater
Today’s theme at Song Lyric Sunday is all about songsthat were played on the UK shows Top of the Pops or Ready, Steady, Go! Our theme was suggested by Willow of WILLOWDOT21.
Ah, I see the tables have been turned. Isn’t that interesting? Well, as a Yank I know absolutely nothing about either of these English shows in today’s theme but I am taking the high road and not grousing as some of my UK friends did when faced with my theme suggestion of “songs by American Idol contestants”. Just saying. 😎 😉
Before breaking out on her own, Dusty Springfield was a member of The Springfields with her brother Tom. The group had five Top 10 hits in the UK and one in the US (“Silver Threads and Golden Needles”). Dusty’s first single as a solo artist, “I Only Want To Be With You”, written by Mike Hawker and Ivor Raymonde, launched her Hall of Fame career and became the first hit by a British artist since the Beatles started their run.
Released in November 1963, three weeks after the Springfields’ final concert, “I Only Want to Be With You” was a global success, reaching #4 in the UK, #12 in the US, #6 Australia and #21 Canada. In the US, Dusty Springfield was the second artist of the British Invasion, after the Beatles, to have a hit, entering the Billboard chart at #77 in the last week of January 1964 (the Beatles having “She Loves You” at #69 and “I Want To Hold Your Hand” at #3).
Today’s song is about a girl who has finally found the guy of her dreams – or at least she thinks so. It’s very much a teenage crush song in the same vein as many of the girl group songs Springfield loved. When she came to the US and began her solo career, Dusty took more of a pop/R&B direction inspired by groups like the Shirelles and the Crystals.
Dusty Springfield performed this song on the first ever episode of the British TV show Top Of The Pops on January 1, 1964. The Rolling Stones, the Dave Clark Five and the Hollies were on that show as well. Springfield also performed this song twice in 1963 on the first season of the British TV series Ready, Steady, Go! She handled hosting duties on some early episodes of the show and interviewed the Beatles on the program.
Dusty Springfield is also my favorite female pop singer of all time.
Now, let’s watch the video of Dusty Springfield performing on Top Of The Pops. This is “I Only Want To Be With You”.
LYRICS
I don’t know what it is that makes me love you so I only know I never want to let you go ‘Cause you started something, oh, can’t you see? That ever since we met you’ve had a hold on me It happens to be true, I only want to be with you
It doesn’t matter where you go or what you do I want to spend each moment of the day with you Well, look what has happened with just one kiss I never knew that I could be in love like this It’s crazy but it’s true, I only want to be with you
You stopped and smiled at me Asked if I’d care to dance I fell into your open arms And I didn’t stand a chance
Now, listen, honey, I just want to be beside you everywhere As long as we’re together, honey, I don’t care ‘Cause you started something, oh, can’t you see? That ever since we met you’ve had a hold on me No matter what you do, I only want to be with you
Oh, you stopped and you smiled at me Asked if I’d care to dance I fell into your open arms I didn’t stand a chance
Now hear me darling, I just want to be beside you everywhere As long as we’re together, honey, I don’t care ‘Cause you started something, oh, can’t you see? That ever since we met you’ve had a hold on me No matter what you do, I only want to be with you
I said, no matter, no matter what you do I only want to be with you
The National Recording Registry is a list of audio recordings selected for preservation by the head of the U.S. Library of Congress in consultation with the National Recording Preservation Board. Every year, 25 recordings that are deemed to be, in the words of the National Recording Preservation Act of 2000, “culturally, historically, or aesthetically significant” are added to the registry. The selections include music, speeches, radio broadcasts, interviews, audiobooks, podcast episodes, and other recorded sounds. To be eligible for inclusion on the registry, a recording must be at least 10 years old.
The instant I saw my featured song listed in the National Recording Registry, I stopped looking. Being one of my top five favorite songs, it was pointless to go any further.
My song choice for today’s theme is “Mack the Knife” by Bobby Darin. The song tells the story of a knife-wielding criminal of the London underworld along with a few prostitutes, some other colorful characters, missing money and cement bags (for the weight, naturally).
Released in 1959 by Bobby Darin, “Mack the Knife” was originally written in 1928 for Die Dreigroschenoper (Threepenny Opera), the German “play with music” composed by Kurt Weill with lyrics by Bertolt Brecht. But the history of “Mack the Knife” begins long before Brecht and Weill wrote the song. Their inspiration goes all the way back to 1728, to a British play called “The Beggar’s Opera” written by John Gay to mock the ruling classes. And Gay had some good precedents for the idea of writing an opera with a violent thief as the protagonist. After all, the Brits had already seen satirical anti-heroes ranging from Shakespeare’s Richard III to John Milton’s fabulously dangerous Satan in “Paradise Lost”.
When Brecht and Weill had great success with their German opera in the 1930s, people said it was an amazing play for the period – the pair of socialists successfully satirized serious enemies (like the Nazis, who banned the play in 1933) and made some sharp political points for their time. But a full 30 years later, Bobby Darin’s version of “Mack the Knife” became the most popular song in the U.S. – a jazzy little serial-killer socialist-opera ditty at the top of the charts.
Bobby Darin’s version of “Mack The Knife” is undoubtedly the most famous hit …. a cool, finger-snapping song about the notorious killer, thief and arsonist, MacHeath (AKA Mack the Knife). Bobby’s recording became a #1 hit in the US and UK and earned him two Grammy Awards – one for Record of the Year and another for Best New Artist. Bobby Darin was inducted into the Rock & Roll Hall of fame in 1990 and also won the Grammy Lifetime Achievement Award in 2010.
“Mack the Knife” is the 14th most popular song in Billboard Hot 100 history and was ranked #255 on Rolling Stone‘s list of the 500 Greatest Songs of All Time. It was inducted into the National Recording Registry in 2015. And it appears prominently on my playlist.
Here is the one and only Bobby Darin with the iconic “Mack The Knife”.
Lyrics
Oh, the shark, babe, has such teeth, dear And it shows them pearly white Just a jackknife has old MacHeath, babe And he keeps it, ah, out of sight You know when that shark bites with his teeth, babe Scarlet billows start to spread Fancy gloves, oh, wears old MacHeath, babe So there’s never, never a trace of red
Now on the sidewalk, huh, huh, whoo sunny morning, un huh Lies a body just oozin’ life, eek And someone’s sneakin’ ’round the corner Could that someone be Mack the Knife?
There’s a tugboat, huh, huh, down by the river don’tcha know Where a cement bag’s just a-drooppin’ on down Oh, that cement is just, it’s there for the weight, dear Five’ll get ya ten, old Macky’s back in town Now did ya hear ’bout Louie Miller? He disappeared, babe After drawin’ out all his hard-earned cash And now MacHeath spends just like a sailor Could it be our boy’s done somethin’ rash?
Now Jenny Diver, ho, ho, yeah, Sukey Tawdry Ooh, Miss Lotte Lenya and old Lucy Brown Oh, the line forms on the right, babe Now that Macky’s back in town
I said Jenny Diver, whoa, Sukey Tawdry Look out to Miss Lotte Lenya and old Lucy Brown Yes, that line forms on the right, babe Now that Macky’s back in town Look out, old Macky’s back
NB: Our friend Macky was a multi-tasking criminal … thief, arsonist, murderer, pimp; Jenny Diver, Lucy Brown and Suky Tawdry were all prostitutes. Lotte Lenya was in reality the wife of the composer, Kurt Weill and her name was attached to a character in an off-Broadway production. Louie Miller represents a would-be client of one of the prostitutes, who is murdered by MacHeath after drawing out money.
This is a clip from the “Threepenny Opera” movie featuring “Mack The Knife” in its original German .… quite a startling contrast to Bobby Darin’s version.
And just for fun, there’s this. I love these guys:
Big thanks to Jim for hosting another great Song Lyric Sunday and offering up a terrific theme this week; it gave me the opportunity to feature one of my greatest musical idols who I have admired and respected for more than 60 years.
Thanks for stopping by. See you on the flip side. 😎
Today’s theme at Song Lyric Sunday is all about songs with the lyrics “eerie, ghost, haunting, paranormal or spooky” as suggested by Di of pensitivity101.
There are any number of songs along these lines .… the pop hit “Spooky” by the Classic IV, the golden standard “Ghost Of A Chance” by Ella Fitzgerald or the classic cowboy legend “Ghost Riders In The Sky” by Johnny Cash, just to name three. However, I remembered a song from just four years ago and had it simmering on the back burner.
Today seemed like the right day to serve it up.
Since 2017, the Rolling Stones had been on the No Filter Tour but had to stop touring in 2020 due to the COVID 19 pandemic. They remotely performed at Global Citizen’s Together At Home concert on April 18, 2020, helping raise money for healthcare workers and the World Health Organization during the crisis.
The Stones had been working on new music in the recording studio before lockdown and one particular track really resonated with what we were all living through. On April 23, 2020, the band released “Living In A Ghost Town” online as a single for digital download and streaming. It was based on 2019 recording sessions and finished remotely, making this their first original material since 2012 and their first release since the 2016 cover album Blue & Lonesome. The band fast-tracked releasing the song due to its relevance to social distancing. While the original storyline of the song was about being a ghost after a plague, Jagger changed some of the lyrics to refer to the pandemic.
On July 3, 2020, “Living In A Ghost Town” topped the German singles chart; this made the Rolling Stones the oldest artists ever to reach #1 on the chart! It also signified the longest gap between two #1 singles in Germany since “Jumpin’ Jack Flash” made it to the top slot in 1968. The song only reached #61 on the UKsingleschart but fared much better in the US, peaking at #6 on Billboard’s Bubbling Under Hot 100 singles and #3 on Billboard’s Hot Rock & Alternative songs.
Recorded in Los Angeles, London and in isolation, my feature song today is “Living In A Ghost Town” by the Rolling Stones.
Lyrics
Whoa, oh Whoa, oh
I’m the ghost Living in a ghost town I’m a ghost Living in a ghost town
You can look for me But I can’t be found You can search for me I had to go underground
Life was so beautiful Then we all got locked down Feel a like ghost Living in a ghost town, yeah
Once this place was humming And the air was full of drumming The sound of cymbals crashing Glasses were all smashing Trumpets were all screaming Saxophones were blaring Nobody was caring if it’s day or night (Whoa, oh) Whoa, oh
I’m a ghost Living in a ghost town I’m going nowhere Shut up all alone So much time to lose Just staring at my phone
Every night I am dreaming That you’ll come and creep in my bed Please let this be over Not stuck in a world without end
Whoa, oh Whoa, oh Whoa, oh Whoa, oh
Preachers were all preaching Charities beseeching Politicians dealing Thieves were happy stealing Widows were all weeping No beds for us to sleep in Always had the feeling It will all come tumbling down
I’m a ghost Living in a ghost town You can look for me But I can’t be found
Whoa, oh We’re all living in a ghost town (Whoa, oh) Oh, living in a ghost town (Whoa, oh) We were so beautiful (Whoa, oh) I was your man about town (Whoa, oh)
Living in this ghost town (Whoa, oh) Ain’t having any fun (Whoa, oh) If I want a party (Whoa, oh) It’s a party of one Whoa, oh Whoa, oh
Source: Musixmatch Songwriters: Michael Phillip Jagger/Keith Richards
Written for Jim’s Song Lyric Sunday where the theme this week is all about songs that incorporate whistling
“I didn’t mean to hurt you; I’m just a jealous guy.”
For all his jokes, frenetic antics and mugging for the camera, John Lennon was a quiet and insecure man, an ardent peace-lover whose young life was filled with much sadness, great depth and many demons. He was brilliant, an extraordinary talent and, all too often, he demonstrated a sharp-tongued mean spirit and jealous streak.
According to George Harrison, his friend John could be a “saint or a total bastard”.
With a sea-faring, mostly AWOL father and a free-spirited mother whose accidental death traumatized him for years, John was raised by his Aunt Mimi and Uncle George. His mother’s memory would later serve as a major creative inspiration.
John Lennon met Cynthia Powell in 1957, when they were students at the Liverpool College of Art. Although Powell was intimidated by Lennon’s attitude and appearance, she heard that he was obsessed with the French actress Brigitte Bardot, so she dyed her hair blonde. Lennon asked her out, but when she said that she was engaged, he shouted, “I didn’t ask you to fuckin’ marry me, did I?” She often accompanied him to Quarrymen gigs and travelled to Hamburg with Paul McCartney’s girlfriend to visit him. Recalling his reaction when he learned that Cynthia was pregnant, Lennon said, “There’s only one thing for it Cyn. We’ll have to get married.” And they did; their son Julian was born a few months later.
Cynthia attributed the start of the marriage breakdown to John’s use of LSD and she felt that he slowly lost interest in her. When the group travelled by train to Wales in 1967, a policeman did not recognize Cynthia and stopped her from boarding. I guess no one .… including John …. bothered to ID her! She later recalled how the incident seemed to symbolize the end of their marriage. After spending a holiday in Greece, Cynthia arrived home to find John sitting on the floor with Yoko Ono in bathrobes; she left the house to stay with friends, feeling shocked and humiliated. A few weeks later, she received notice that Lennon was seeking a divorce on the grounds of adultery while she was away in Greece and he wanted custody of Julian. After negotiations, Lennon capitulated and agreed to let Cynthia divorce him.
John and Yoko were married and they became even more inseparable; to the surprise and consternation of everyone within the Beatles’ organization, Yoko accompanied John to the recording studio …. an undeniable first. She was a quiet but constant presence and John only had eyes for her.
After a couple of years, May Pang entered their lives as their personal assistant. About three years later, Ono confided in Pang that her marriage to Lennon had become strained and she suggested Pang reach out to John as a “sexual distraction” for him. Pang agreed; she and John soon left for Los Angeles, beginning an 18-month period John later called his “lost weekend”. ” Pang encouraged Lennon to develop regular contact with Julian, whom he had not seen for two years, as well as his former bandmates and friends.
Much to Yoko Ono’s chagrin, the “diversion” turned into a relationship. John and May Pang considered buying a house together and he refused to accept Yoko’s telephone calls. He finally agreed to meet Yoko, who claimed she had found a cure for smoking. After the meeting with Yoko, John failed to return home or call Pang. When Pang telephoned the next day, Ono told her that Lennon was unavailable because he was exhausted after a hypnotherapy session. Two days later, Lennon told Pang that his separation from Ono was now over, causing Pang to speculate that Lennon had been brainwashed (!) as a result of his hypnotherapy.
What a convoluted mess among such allegedly forward-thinking people! John and Yoko remained married until his death in 1980; they are the parents of musician Sean Lennon. Yoko Ono never remarried.
“I didn’t want to hurt you, I’m just a jealous guy.”
Those haunting lyrics from John Lennon’s timeless song, “Jealous Guy”, uncover the darker side of his iconic relationship with Yoko Ono. They are words that have rung true to anybody with insecurities and obsessions …. likely why it’s one of Lennon’s most enduring tracks. It’s also my favorite Lennon solo piece.
John Lennon began writing the song in 1968 as “Child of Nature” while with the Beatles during their spiritual retreat in India. The demo of “Child of Nature” featured Lennon’s double-tracked vocal and an acoustic guitar. Early the following year, he revisited the song as “On the Road to Rishikesh” during the Get Backsessions. Eventually, the lyrics were scrapped and replaced by the now well-known “Jealous Guy” lyrics for Imagine.
In “Jealous Guy”, John sings of his envious streak that would often result in tumult between him and Yoko; he admitted that jealousy would regularly dictate how irrational he’d behave either around her or without her. The song was never released as a single during John’s lifetime. It became an international hit in a version by Roxy Music in early 1981, the year after John’s death.
“Jealous Guy” is one of the most commonly recorded Lennon songs, with at least 92 cover versions. In November 1988, the single peaked in the United States at #22 on the Hot Adult Christian chart and reached #80 on the Billboard Hot 100 in conjunction with the release of the documentary film “Imagine: John Lennon”.
This is “Jealous Guy” by John Lennon
Lyrics
… I was dreaming of the past And my heart was beating fast I began to lose control I began to lose control
… I didn’t mean to hurt you I’m sorry that I made you cry Oh no, I didn’t want to hurt you I’m just a jealous guy
… I was feeling insecure
… You might not love me anymore
… I was shivering inside I was shivering inside
… I didn’t mean to hurt you I’m sorry that I made you cry Oh no, I didn’t want to hurt you I’m just a jealous guy
… I didn’t mean to hurt you I’m sorry that I made you cry Oh no, I didn’t want to hurt you I’m just a jealous guy
… I was trying to catch your eyes Thought that you was trying to hide
… I was swallowing my pain I was swallowing my pain
… I didn’t mean to hurt you I’m sorry that I made you cry Oh no, I didn’t want to hurt you I’m just a jealous guy I’m just a jealous guy I’m just a jealous guy
Bonus track. This is “Child of Nature” (Esher Demo) by The Beatles. (Esher is the town in England where George Harrison’s home Kinfauns was located and where the demos were recorded.)
Released November 22, 1968 Composer/Lyricist: John Lennon Producer(s): George Harrison, John Lennon, Paul McCartney, Ringo Starr Studio Personnel: Giles Martin, Mixer
“Come, I want to show you my playroom” He stands, holding out his hand. I let him lead me back out to the corridor. On the right of the double doors, where we came in, another door leads to a staircase. We go up to the second floor and turn right. Producing a key from his pocket, he unlocks yet another door and takes a deep breath. “You can leave anytime. It’s fine, whatever you decide.” I tell him to just open the damn door. He opens the door and stands back to let me in. I gaze at him once more. I so want to know what’s in there. Taking a deep breath, I walk in. The first thing I notice is the smell of leather. Suspended from the ceiling is an iron grid, eight foot square at least, and from it hang all manner of ropes, chains, shackles. There’s a startling assortment of paddles, whips, riding crops and funny-looking feathery implements. And it feels like I’ve time-traveled back to the sixteenth century and the Spanish Inquisition.” ~ Excerpts from Chapters 6 & 7, Fifty Shades of Grey, Book 1
The book gets even more interesting …. so I’m told.
There are toys and then there are toys.
There’s a classic soul ballad that speaks to the powerlessness of love. The lyrics describe a person who is willing to do whatever their partner wants them to and be completely under their control. It’s a sensual, titillating, smooth song about the all-encompassing nature of love. But is it “love” or something else, something more? The singer expresses that he would do anything to make his partner happy and would go to any lengths to remain in the relationship. He is a toy, a puppet in her hands.
I wonder if there’s a “safe word” mentioned in the lyrics of this song. “Red” is a common safe word, while “pickle” and “radish” are also popular …. so I’m told. In this song the safe word would probably be “string”, but I’m just speculating.
My featured song for today is “I’m Your Puppet“, a song written by Dan Penn and Spooner Oldham. The best known version is the one recorded by James & Bobby Purify which reached #5 on the US R&B chart and #6 on the Billboard Hot 100 in 1966. The single was nominated for a Grammy Award for Best R&B Performance by a Duo or Group with Vocals in 1967. The song was featured on their 1967 album, James & Bobby Purify.
The duo released a re-recorded version as a single in 1976 which reached #12 on the UK Singles Chart. The single ranked #46 on the Billboard Year-End Hot 100 singles of 1976.
It’s been a long time since I heard this song but when the theme of “toys” was suggested, it was the first song I thought of – not “Red Rubber Ball” or “Pinball Wizard” or even “Puff The Magic Dragon”. And after listening …. really listening and reading the lyrics …. my eyebrows raised a few times. What’s going on here? Is it the sweet and charming song I thought it was almost 60 years ago? You be the judge.
From the album James & Bobby Purify, this is “I’m Your Puppet”.
Lyrics
Pull the string and I’ll wink at you, I’m your puppet I’ll do funny things if you want me to, I’m your puppet
I’m yours to have and to hold Darling you’ve got full control of your puppet
Pull another string and I’ll kiss your lips, I’m your puppet Snap your finger and I’ll turn you some flips, I’m your puppet
Listen, your every wish is my command All you gotta do is wiggle your little hand I’m your puppet, I’m your puppet
I’m just a toy, just a funny boy That makes you laugh when you’re blue I’ll be wonderful, do just what I’m told I’ll do anything for you I’m your puppet, I’m your puppet
Pull them little strings and I’ll sing you a song, I’m your puppet Make me do right or make me do wrong, I’m your puppet
Treat me good and I’ll do anything I’m just a puppet and you hold my string, I’m your puppet
Darling, darling, pull the strings, let me sing you a song any day I’m your puppet baby, you can sing for me all night long
Today’s theme at Song Lyric Sunday is all about songs that reached #2 on the charts but never got to #1. Be sure to stop by and read Jim’s post, “Fell Short“.
On November 21, 1968, I had the pleasure of seeing the debut performance of Creedence Clearwater Revival at the Fillmore East in NYC; I was actually there for the headliners, Deep Purple, but that’s another story. This post is all about CCR.
Here’s one indisputable fact: Creedence Clearwater Revival was one of the biggest commercial successes of the late 1960s and early ’70s. During a time when psychedelic rock, R&B, Motown soul, funk and metal were all on the rise, CCR’s unique blend of driving ’50s-style R&R and classic Americana imagery made them one of the biggest standouts of the era. With John Fogerty’s singular voice and songwriting skill, CCR was in a league all its own, and audiences on both sides of the Atlantic responded by making them a huge draw for albums, singles, and live performances.
Here’s another indisputable fact: Creedence Clearwater Revival has had the most #2 singles on the Billboard Hot 100 without ever having a #1 hit. Somehow, the band that defined their generation wasn’t able to ever sit atop the singles mountain. If nothing else, CCR’s lack of #1 singles is a testament to how fickle the Hot 100 chart can be and how lucky an artist has to be in order to score a #1 hit. Month after month for years on end, CCR would throw classic song after classic song out into the world, scoring nine top ten hits and five #2 singles without ever cracking the top of the chart.
The lack of a #1 hit never seemed to affect the band’s popularity, however, as they landed two #1 albums with Green River and Cosmo’s Factory. The band continued to sell out large venues as a live act, and its last top 10 hit ‘Sweet Hitch-Hiker’ came even as the band was falling apart. No one could say that CCR wasn’t popular enough to get a #1 song, but for whatever reason, they could never quite scale the mountain.
After Proud Mary and Bad Moon Rising stalled out at #2, John Fogerty believed he had the perfect answer: the title track to the band’s upcoming album Green River. But while the album went all the way to #1, the song “Green River” once again got stuck at #2.
To add insult to injury, CCR was beaten out at #1 by a group that wasn’t even a real band! The Archies were based on the characters from the Archie Comics series, which had its own cartoon series on CBS at the time. Manager Don Kirshner originally created The Monkees but was frustrated that the members began taking control of the project. Cartoons couldn’t talk back so Kirshner got session musicians and songwriters to fill in the rest. Just in case you’re wondering, The Monkees have three #1 hits with ‘I’m A Believer’, ‘Last Train To Clarksville’, and ‘Daydream Believer’.
FYI – the remaining two CCR songs that stalled at #2 were both double-A sides: “Travelin’ Band/Who’ll Stop The Rain” and “Lookin’ Out My Back Door/Long As I Can See The Light”. They were beat out by Simon & Garfunkel’s “Bridge Over Troubled Waters” and Marvin Gaye/Tammi Terrell’s “Ain’t No MountainHigh Enough”, respectively.
From July 1969 this is Credence Clearwater Revival with “Green River’ from the album of the same name.
LYRICS
Well, take me back down where cool water flows, y’all
Although the band members were only together for four years, they managed to accomplish more than many artists do in their entire career – releasing seven studio albums (five of which were on the Billboard Top Ten), and a seemingly endless string of memorable singles (including nine Top Ten hits). The group also performed a historic headlining set at Woodstock and toured the world before disbanding in 1972. In 1993 they were inducted into the R&R Hall of Fame. CCR’s music endures today, on the radio and regularly in films and TV shows. Having sold over 30 million albums in the US alone, Creedence received a rare Diamond certification from the RIAA in 2016, marking 10 million units in sales for their 1976 compilation album, Chronicle: The 20 Greatest Hits.
Big thanks to Jim for hosting another great Song Lyric Sunday.
Today’s theme at Song Lyric Sunday is about songs by performers on American Idol.
In case you’re wondering about the title of today’s post, The Original Amateur Hour began on radio in 1934 as “Major Bowes’ Amateur Hour” and ran until the 1946 death of its creator, Major Bowes. Ted Mack, a talent scout who had directed the show under Bowes, revived it in 1948 for ABC Radio and the DuMont Television Network. The show lasted on radio until 1952 and until 1970 on television, where it ran on all four major networks, ending as a Sunday afternoon CBS staple. A success in the early days of television, the program set the stage for numerous programs seeking talented stars, from The Gong Show to Star Search to American Idol to America’s Got Talent.
On June 11, 2002 a new type of TV show aired. Some called it reality TV while others dubbed it a talent show; critics and TV executives alike said it was “unparalleled in broadcasting history …. the most impactful show in the history of television”. As a lover of music and talent and competition, which is what this show was all about, I called it fabulous! For 15 years my husband and I watched together each week as contestants auditioned, performed and were either sent on to the next round or sent packing.
The show, of course is American Idol and the only reason we stopped watching regularly after 15 years was our overall dislike of the new panel of judges. After 22 years, the show is still alive and well and making Simon Cowell and Ryan Seacrest a ton of money! Here’s something you may not know!
Idol has spawned 345 Billboard chart-toppers and a platoon of pop idols while remaining a TV ratings institution. For an unprecedented eight consecutive years, from the 2003-04 television season through the 2010-11 season, either its performance show or results show was ranked #1 in US television ratings – not bad at all for a little talent show.
While there are many American Idol winners who have gone on to become major music stars, I have often felt not winning (while spirit-crushing at the time) was just the impetus a young singer needed to become a household name; Adam Lambert, Jennifer Hudson, Katharine McPhee, Chris Daughtry, Clay Aiken and Kelly Pickler are perfect examples of artists whose loss on Idol was exactly what they needed to jumpstart their careers. Such is the case for my featured performer today, one of my personal favorite also-rans from American Idol.
Haley Reinhart first rose to prominence after placing third in the 10th season of American Idol. In July 2011, Reinhart signed a recording deal with Interscope Records. Her debut album, Listen Up!, was released on May 22, 2012, to critical acclaim and she subsequently became the first AI alumna to perform at Lollapalooza. She is the only Season 10 contestant who has over one million views on six of her YouTube performance videos: her renditions of Adele’s “Rolling In the Deep”, Elton John’s “Bennie and the Jets”, Ben E. King’s “I (Who Have Nothing)” and her version of “House of the Rising Sun”. In addition, her performance of Billie Holiday’s “God Bless The Child” hit one million views in March 2014 and the video of her American Idol audition performance of the Beatles’ “Oh! Darling” also reached one million views in March 2016. Reinhart was the only contestant in Season 10 who received three standing ovations from the judges in consecutive weeks for “House of the Rising Sun”,“I (Who Have Nothing)” and Led Zeppelin’s “What Is and What Should Never Be”.
Haley Reinhart garnered widespread recognition in 2015 for performing and touring with Scott Bradlee’s Postmodern Jukebox, my favorite part of her career so far. Her most notable collaboration with the band on a jazz cover of Radiohead’s “Creep” spent 58 consecutive weeks on Billboard’s Jazz Digital Songs chart and received high praise from critics. In the same year, she gained additional notice when her cover of Elvis Presley’s “Can’t Help Falling In Love” which was used in a television commercial, became a viral sensation, peaked at #16 on the US Adult Contemporary chart and was later certified Platinum by the Recording Industry Association of America on July 31, 2023. Reinhart won a Cannes Lion for Entertainment and a Clio Award for the song in 2016. Additionally, she made her voice acting debut as Bill Murphy in the Netflix animated comedy, “F Is For Family” on December 18, 2015. She reprised the role as a main cast member in the series’ second, third, fourth, and fifth seasons.
Let’s get back to “Bennie and Jets”. E! Online ranked Reinhart’s cover of as the series’ 14th best performance. TVLine ranked the performance as the 6th best in Idol history and BuzzFeed ranked it 1st on their list of the “17 Most IconicAmerican IdolPerformances of All Time.”
I’ve never really cared for “Bennie and the Jets” but what do I know?! Since Haley Reinhart’s performance garnered so much praise and coverage, I’m featuring it today. You’ll see the judges thought it was ”A-M-A-Z-I-N-G!”
Live from American Idol’s results night, this is Haley Reinhart with “Bennie and the Jets”.
LYRICS
Hey kids, shake it loose together The spotlight’s hitting something That’s been known to change the weather We’ll kill the fatted calf tonight So stick around You’re gonna hear electric music Solid walls of sound
Say, Candy and Ronnie, have you seen them yet Ohh, but they’re so spaced out, B-b-b-b Bennie and the Jets Oh but they’re weird and they’re wonderful Oh Bennie she’s really keen She’s got electric boots a mohair suit You know I read it in a magazine Oh oh, B-b-b-b Bennie and the Jets Bennie, Bennie and the Jets
Hey kids, plug into the faithless Maybe they’re blinded But Bennie makes them ageless We shall survive, let us take ourselves along Where we fight our parents out in the streets To find who’s right and who’s wrong
Say, Candy and Ronnie, have you seen them yet Ohh, but they’re so spaced out, B-b-b-b Bennie and the Jets Oh but they’re weird and they’re wonderful Oh Bennie she’s really keen She’s got electric boots a mohair suit You know I read it in a magazine Oh oh, B-b-b-b Bennie and the Jets Bennie, Bennie and the Jets
Hey kids, plug into the faithless Maybe they’re blinded But Bennie makes them ageless We shall survive, let us take ourselves along Where we fight our parents out in the streets To find who’s right and who’s wrong
Say, Candy and Ronnie, have you seen them yet Ohh, but they’re so spaced out, B-b-b-b Bennie and the Jets Oh but they’re weird and they’re wonderful Oh Bennie she’s really keen She’s got electric boots a mohair suit You know I read it in a magazine Oh oh, B-b-b-b Bennie and the Jets Bennie, Bennie, Bennie, Bennie and the Jets Bennie and the Jets
Big thanks to Jim for hosting another great Song Lyric Sunday and for allowing be to take up residence here for the last 10 weeks. I had a great time coming up with the themes but even I got tired of seeing my name week after week on Jim’s SLS posts, I can just imagine how you feel!
Thanks for stopping by. See you on the flip side. 😎
Today’s theme at Song Lyric Sunday is all about songs performed with orchestras and/or choirs.
Formed in London in 1968, Led Zeppelin developed their style by drawing from a variety of influences, including blues and folk music. The band was comprised of vocalist Robert Plant, guitarist Jimmy Page, bassist and keyboardist John Paul Jones and drummer John Bonham. With a heavy guitar-driven sound, they are cited as one of the forerunners of hard rock and heavy metal music. Zeppelin has been credited as significantly impacting the nature of the music industry, particularly in the development of album-oriented rock and stadium rock.
Led Zeppelin is one of the best-selling musical groups of all time, with total sales estimated at over 300 million records sold worldwide. The group achieved eight consecutive UK #1 albums and six #1 albums on the US Billboard 200, with five albums certified diamond in the United States. Rolling Stone magazine once describedZeppelin as “the heaviest band of all time”, “the biggest band of the 70s”, and “unquestionably one of the most enduring bands in rock history”. Led Zeppelin was inducted into the Rock & Roll Hall of Fame in 1995; the museum’s biography of the band states that they were “as influential during the 1970s as the Beatles were during the 1960s”. That’s quite a statement.
There are so many great songs that fit into this category and I changed my mind several times before finally making my decision. For me this is the quintessential presentation of a legendary song which has withstood the test of time over and over again.
The performance I have chosen to feature today is what I consider to be an indelible moment in time. On December 2, 2012, Led Zeppelin received the Kennedy Center Honors; it’s an award bestowed upon those considered to have contributed greatly to American culture. In a world where awards are handed out like lollipops, The Kennedy Center Honors are a big deal.
Every December, the awards climax with a gala event at the Kennedy Center Opera House in Washington, D.C., and in 2012 the show included an emotional performance by Heart’s Ann & Nancy Wilson, with Jason Bonham on drums.
Did I say “emotional”? It’s almost startlingly so. It’s the looks the members of Led Zeppelin give each other during the performance. It’s Robert Plant’s eyes watering as he watches Ann Wilson singing a song he famously has a difficult relationship with. It’s the gospel choir paying tribute to Led Zeppelin’s original drummer John Bonham in the most unexpected way. It’s Jason Bonham lifting his eyes towards the heavens as the song climaxes. It’s extraordinary.
This is no hype; you’ll know what I mean when you see the reaction from Robert Plant, Jimmy Page and John Paul Jones watching from the best seats in the house. The song is one you all know; it has been called “the single-most important and celebrated song Led Zeppelin ever recorded”.
From the Kennedy Center in Washington DC, this is Ann & Nancy Wilson with orchestra and choirs performing the epic “Stairway To Heaven”.
LYRICS
There’s a lady who’s sure all that glitters is gold And she’s buying a stairway to Heaven
When she gets there she knows, if the stores are all closed With a word she can get what she came for
Ooh, ooh, and she’s buying a stairway to Heaven
There’s a sign on the wall, but she wants to be sure ‘Cause you know sometimes words have two meanings
In a tree by the brook, there’s a songbird who sings Sometimes all of our thoughts are misgiven
Ooh, it makes me wonder Ooh, makes me wonder
There’s a feeling I get when I look to the West And my spirit is crying for leaving
In my thoughts I have seen rings of smoke through the trees And the voices of those who stand looking
Ooh, it makes me wonder Ooh, really makes me wonder
And it’s whispered that soon if we all call the tune Then the piper will lead us to reason
And a new day will dawn for those who stand long And the forests will echo with laughter
Oh-oh-oh-oh-whoa
If there’s a bustle in your hedgerow, don’t be alarmed now It’s just a spring clean for the May queen Yes, there are two paths you can go by, but in the long run There’s still time to change the road you’re on
And it makes me wonder Ohh, whoa
Your head is humming, and it won’t go, in case you don’t know The piper’s calling you to join him
Dear lady, can you hear the wind blow? And did you know Your stairway lies on the whispering wind?
And as we wind on down the road Our shadows taller than our soul There walks a lady we all know Who shines white light and wants to show How everything still turns to gold And if you listen very hard The tune will come to you at last When all are one, and one is all To be a rock and not to roll
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 …. quite possibly the Sexiest Man Ever …. and Helene Fischer …. Die Königin der deutschen Popmusik (The Queen of German Pop Music) …. got together on Helene’s 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 Jones’ 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 “Farbenspiel” (“Play of Colors”) 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 “Helene Fischer”.
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, ”Reload”. 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, “Sex Bomb”.
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
The theme today at Jim Adams’ Song Lyric Sunday is to write about songs with the words “hot, burning, fire or blazing”.
If reports in recent years are to be believed, former Journey singer Steve Perry and keyboardist Jonathan Cain don’t 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 wasn’t long before he and Perry began writing together.
One of the first things they did was a song called “Who’s Crying Now.” 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, “Jonathan 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!”
“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. 😎
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
The topic today at Song Lyric Sunday is to write about songs written for movies. According to estimates by industry analysts, people from 95 different countries and 82% of all Americans will be celebrating Easter this year. Armed with that information, reading the name of my post and looking at the image below, my selection for today should be an obvious one. Roll away the stone; it’s time for Jesus Christ Superstar!
The classic rock opera Jesus Christ Superstar has had many different reincarnations since it premiered on Broadway in 1971 and has been made into four movies. Last year marked the 50th anniversary of the 1973 film adaptation of the original Andrew Lloyd Webber and Tim Rice live musical of the same name.
*Point of interest which I will get into later. Ian Gillan from the rock group Deep Purple was slated to play Jesus in both the 1971 Broadway show and the movie in 1973; however due to his heavy recording and concert obligations with Deep Purple, he was unavailable.
The film Jesus Christ Superstar starred Ted Neely, Carl Anderson and Yvonne Elliman and, just like the Broadway musical, depicted the conflict between Judas and Jesus during the week leading up to Jesus’ crucifixion. The movie was released to theaters in the US on August 15, 1973. Neeley, Anderson, and Elliman were nominated for Golden Globe Awards in 1974 for their portrayals of Jesus, Judas, and Mary Magdalene, respectively. None of them won; out of 16 various nominations, including the Academy Awards, Jesus Christ Superstar won only 3 …. “Best Soundtrack” for the British Academy Film Award; “Best Foreign Film” for the David di Donatello Award; “Best Cinematography in a Theatrical Feature Film” for the British Society of Cinematographers Award.
The movie received very mixed reviews from critics but movie-goers loved it; it was the highest-grossing musical in the US and Canada for 1973.
In the 1980 book “The Golden Turkey Awards” by Michael and Harry Medved, Ted Neeley was given “an award” for “The Worst Performance by an Actor as Jesus Christ“. Neeley went on to recreate the role of Jesus in numerous national stage tours of the rock musical. I watched the move again last night and I didn’t think he was that bad.
The obvious saving grace for the movie was the music …. the same phenomenal Andrew Lloyd Webber and Tim Rice songs used in the live musical. I bought the album soundtrack of the Broadway show after seeing the performance and played the hell out of it …. not just during Easter but all the time and not Mary Magdalene’s famous “I Don’t Know How To Love Him”, even though that is a fabulous song. My favorite song was the soliloquy “Gethsemane (I Only Want To Say)”.
If you ever attended church services or Sunday School, went to a parochial school, read the Bible, saw the famous painting by Heinrich Hofmann or watched almost any epic Bible movie on TV, you’ll remember that just before Jesus was betrayed by Judas, He and his disciples went to the Garden of Gethsemane to pray. The disciples all fell asleep, leaving Jesus to pray alone. He knew what was about to happen and He was frightened, as any man in that unspeakable situation would be.
In “Gethsemane (I Only Want To Say)”, Jesus asks why he has to die and even prays for a way out (“Take this cup away from me for I don’t want to taste its poison”). This “Superstar” turning point finds Jesus questioning his fate for the first and only time. At no point in this beautifully subtle song is God’s existence assessed. Jesus appears in all his human frailty …. doubtful, frightened and impressively lonely. I remember hearing over and over again in Mass how Jesus died willingly for our sins; I never believed that could possibly be true and this number from “Superstar” clearly brings that message home. Think for a moment what is being asked of him.
From the 1973 movie Jesus Christ Superstar, this is Ted Neeley with “Gethsemane (I Only Want To Say).
On April 1, 2018, Jesus Christ Superstar Live in Concert starring John Legend in the role of Jesus premiered on American television, broadcast live on NBC on Easter Sunday evening. As a staged concert performance, it was more of an opera with minimal dialogue. Like the movie 45 years earlier, the concert was based on the Broadway musical by Andrew Lloyd Webber and Tim Rice, using the same music. I didn’t hold out much hope for this production and was prepared to hate it; it was too modern and edgy-looking, like a Dino De Laurentiis production of Pagliacci set in Las Vegas. And to top it all off, the highly unlikely Alice Cooper was cast as King Herod! Much to my complete delight, it was amazing and I was blown away by the production, the cast and John Legend in particular. It is well worth watching and you can find it streaming anywhere right now. This excellent concert is on my TV viewing line-up for tonight. BTW, Alice Cooper was perfect in the role.
From 2018’s Jesus Christ Superstar Live in Concert, here is John Legend with “Gethsemane (I Only Want To Say)”.
So far we’ve listened to Ted Neeley’s version from the 1973 movie and John Legend’s rendition from the 2018 concert …. two vastly different performances. But there’s still one more. *This one is and always will be my favorite …. the original soundtrack recording of this all-time Broadway musical classic. Deep Purple’s Ian Gillan sang the role of Jesus and his interpretation set the bar for all upcoming performers. When “Superstar” was on Broadway in 1971, Deep Purple was on the top of the music world; because of Deep Purple’s commitments and schedule, Ian Gillan was not able to join the cast of the play nor appear in the 1973 film. The late Jeff Fenholt replaced Ian Gillan in the role of Jesus on Broadway and Ted Neeley replaced him in the movie and became known as the face of Jesus. (There’s some weird backstory about Fenholt being a member of Black Sabbath at one time; I say it’s bogus. He claimed he was, Sabbath said he only tried out. Google if you care to). As I told my friend Clive yesterday, “Ian Gillan will always be Jesus to me”.
From the original Broadway soundtrack, this is the unmistakable and incredible voice of rock icon Ian Gillan singing the role of Jesus. Here is “Gethsemane (I Only Want To Say)”.
Lyrics
I only want to say if there is a way Take this cup away from me For I don’t want to taste it’s poison Feel it burn me, I have changed I’m not as sure as when we started
Then I was inspired now I’m sad and tired Listen, surely I’ve exceeded expectations Tried for three years, seems like thirty Could you ask as much from any other man?
But if I die see the saga through and do the Things you ask of me Let them hate me, hit me, hurt me Nail me to their tree I’d wanna know, I’d wanna know, my God I’d wanna know, I’d wanna know, my God I’d wanna see, I’d wanna see, my God I’d wanna see, I’d wanna see, my God
Why I should die Would I be more noticed than I ever was before? Would the things I’ve said And done matter anymore? I’d have to know, I’d have to know, my Lord I’d have to know, I’d have to know, my Lord I’d have to see, I’d have to see, my Lord I’d have to see, I’d have to see, my Lord If I die, what would be my reward? If I die, what would be my reward? I’d have to know, I’d have to know, my Lord I’d have to know, I’d have to know, my Lord
Why should I die? Oh, why should I die? Can you show me now that I Would not be killed in vain? Show me just a little Of your omnipresent brain Show me there’s a reason for You wanting me to die You’re far too keen on “where” and “how” But not so hot on “why”
Alright, I’ll die Just watch me die see how I die See how I die oh, watch me die Oh, watch me die
Then I was inspired now I’m sad and tired After all I tried for three years Seems like ninety why then am I scared to Finish what I started? What you started I didn’t start it
God, thy will be done destroy your only son I will drink your cup of poison Nail me to your cross and break me Bleed me, beat me, kill me, take me Now, before I change my mind Now, before I change my mind
Thank you for joining me today. I hope all of you who are celebrating Easter today realize the fulfillment of hope, peace, joy and love from your faith.
Big thanks to Jim for hosting another week of Song Lyric Sunday.
The topic today at Song Lyric Sundayis to write about a song(s) dealing with children and/or families, two themes that clearly go hand-in-hand.
We have a serious tune today, a classic song that’s a lesson and a warning to parents everywhere. The song sends a powerful message which needs to be heeded before everything slips away and is lost forever. Sounds ominous, doesn’t it?
My featured performer today is Harry Chapin, born in NYC in 1942 and cousin of Mary Chapin Carpenter. Music was always in Harry’s life and his three siblings also became musicians. His wife, Sandy, was a writer and today’s song is based on a poem which she wrote. At first, Harry wasn’t crazy about the poem but after the birth of his son, he decided to give it another look.
The result was a song of regret, the sad tale of a man who only had time for his work and put everything before the needs of his young son who emulated his dad and eventually grew up to be “just like him”. That song is “Cat’s In The Cradle” which was a huge hit for Harry Chapin in 1974, being his only #1 song. It was nominated for a Grammy in 1975 and was inducted into the Grammy Hall Of Fame in 2011.
Music magazine Cash Box called “Cat’s In The Cradle” a “lyrical delight, atender story of a father and his son and a perfect representation of how roles change in the relationship over the years”. Record World said that the song “deals with the preoccupations plaguing parenthood” and that it “bridges the generation gap by pointing up mutual faults”.
The chorus of the song repeats the phrase “Cat’s in the cradle,” which is a reference to a child’s nursery rhyme about a cat sleeping in a cradle. The phrase serves as a metaphor for the passing of time and the changing relationship between father and son.
Sadly, on July 16, 1981, Harry Chapin died at the age of 38. He was killed in an accident on the Long Island Expressway when his Volkswagen Rabbit was rear-ended by a tractor trailer truck. He was on his way to perform at a benefit concert when the accident occurred. In addition to being a singer, songwriter and multi-instrumentalist, Harry Chapin was a philanthropist and hunger activist. As a dedicated humanitarian who fought to end world hunger, he was a key participant in the creation of the Presidential Commission on World Hunger in 1977. In 1987 he was posthumously awarded the Congressional Gold Medal for his humanitarian work.
There are many different videos for “Cat’s In The Cradle” but this is my favorite. Let’s have a listen to Harry Chapin.
In keeping with the theme today of children and/or dfamilies, here is Harry Chapin’s daughter, Jen, performing his song.
Heavy metal band Ugly Kid Joe also released their own cover; while staying faithful to the original, they chose to remove the apostrophe from the title. Interpreted literally, there is more than one cat in their cradle. This is Ugly Kid Joe with “Cats In The Cradle”.
Lyrics
My child arrived just the other day He came to the world in the usual way But there were planes to catch, and bills to pay He learned to walk while I was away And he was talking ‘fore I knew it, and as he grew He’d say “I’m gonna be like you, dad” “You know I’m gonna be like you”
And the cat’s in the cradle and the silver spoon Little boy blue and the man in the moon “When you coming home, dad?” “I don’t know when” But we’ll get together then You know we’ll have a good time then
My son turned ten just the other day He said, thanks for the ball, dad, come on let’s play Can you teach me to throw, I said-a, not today I got a lot to do, he said, that’s okay And he, he walked away, but his smile never dimmed It said, I’m gonna be like him, yeah You know I’m gonna be like him
And the cat’s in the cradle and the silver spoon Little boy blue and the man in the moon “When you coming home, dad?” “I don’t know when” But we’ll get together then You know we’ll have a good time then
Well, he came from college just the other day So much like a man I just had to say Son, I’m proud of you, can you sit for a while? He shook his head, and they said with a smile What I’d really like, dad, is to borrow the car keys See you later, can I have them please?
And the cat’s in the cradle and the silver spoon Little boy blue and the man in the moon “When you coming home, son?” “I don’t know when” But we’ll get together then, dad You know we’ll have a good time then
I’ve long since retired, my son’s moved away I called him up just the other day I said, I’d like to see you if you don’t mind He said, I’d love to, dad, if I can find the time You see, my new job’s a hassle, and the kids have the flu But it’s sure nice talking to you, dad It’s been sure nice talking to you And as I hung up the phone, it occurred to me He’d grown up just like me My boy was just like me
And the cat’s in the cradle and the silver spoon Little boy blue and the man in the moon “When you coming home, son?” “I don’t know when” But we’ll get together then, dad We’re gonna have a good time then
The topic today at Jim Adams’ Song Lyric Sundayis to write about songs dealing with war and/or peace .… subjects that have been plaguing the world since the beginning of time.
Bill and I are pretty patriotic people; still, we were very relieved when he failed the draft physical. He and his identical twin brother were numbers 8 & 9 when they were called up; if not for them both having a pilonidal cyst, they surely would have been drafted and shipped off to Vietnam. It was the first and last “F” Bill ever got in his life. Let me just add …. Bill and I have total respect for all veterans – those who served and came home, those who died. Bill’s older brother served in the Navy, his sister’s husband was a marine and our fathers were in the US Army; Bill’s dad never left The States whereas my dad fought in the Battle of the Bulge. It was literally the luck of the draw.
Here are four songs about war and peace which were the soundtrack of our lives from the late 60s and early 70s.
From his 1969 video, this is Edwin Starr singing “War”. Originally written under the Motown label and first performed by The Temptations, “War” was later re-released as a single with Edwin Starr on vocals. This version has become the most popular protest song ever.
LYRICS
War, huh, yeah What is it good for? Absolutely nothing, uhh War, huh, yeah What is it good for? Absolutely nothing Say it again, y’all War, huh (good God) What is it good for? Absolutely nothing, listen to me, oh War, I despise ‘Cause it means destruction of innocent lives War means tears to thousands of mother’s eyes When their sons go off to fight And lose their lives
I said, war, huh (good God, y’all) What is it good for? Absolutely nothing, just say it again War (whoa), huh (oh Lord) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heartbreaker (War) Friend only to The Undertaker Oh, war it’s an enemy to all mankind The thought of war blows my mind War has caused unrest Within the younger generation Induction then destruction Who wants to die? Oh
War, huh (good God y’all) What is it good for? Absolutely nothing Say it, say it, say it War (uh-huh), huh (yeah, huh) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heartbreaker (War) It’s got one friend that’s The Undertaker Oh, war, has shattered many a young man’s dreams Made him disabled, bitter and mean Life is much too short and precious To spend fighting wars each day War can’t give life It can only take it away, oh
War, huh (good God y’all) What is it good for? Absolutely nothing, say it again War (whoa), huh (oh Lord) What is it good for? Absolutely nothing, listen to me
It ain’t nothing but a heart breaker (War) Friend only to The Undertaker, woo Peace, love and understanding, tell me Is there no place for them today? They say we must fight to keep our freedom But Lord knows there’s got to be a better way, oh
War, huh (God y’all) What is it good for? You tell me (nothing) Say it, say it, say it, say it War (good God), huh (now, huh) What is it good for? Stand up and shout it (nothing)
Here are the Animals with “We Gotta Get Out Of This Place”. Though the song never mentions war, it was quickly adopted by U.S. soldiers during the Vietnam War and was the most requested on Armed Forces Radio, according to the late radio personality Adrian Cronauer, whose life inspired the 1987 film “Good Morning, Vietnam”.
LYRICS
In this dirty old part of the city Where the sun refused to shine People tell me there ain’t no use in tryin’ Now my girl you’re so young and pretty And one thing I know is true You’ll be dead before your time is due, I know Watch my daddy in bed a-dyin’ Watched his hair been turnin’ grey He’s been workin’ and slavin’ his life away Oh yes I know it
(Yeah!) He’s been workin’ so hard (Yeah!) I’ve been workin’ too, baby (Yeah!) Every night and day (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place ’cause girl, there’s a better life for me and you
Now my girl you’re so young and pretty And one thing I know is true, yeah You’ll be dead before your time is due, I know it Watch my daddy in bed a-dyin’ Watched his hair been turnin’ grey, yeah He’s been workin’ and slavin’ his life away I know he’s been workin’ so hard
(Yeah!) I’ve been workin’ too, baby (Yeah!) Every day baby (Yeah!) Whoa! (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place Girl, there’s a better life for me and you Somewhere baby, somehow I know it We gotta get out of this place If it’s the last thing we ever do We gotta get out of this place Girl, there’s a better life for me and you Believe me baby I know it baby You know it too
This is “Peace Train”by Cat Stevens. His Majikat – Earth Tour was recorded during his last legendary North American tour in 1976. This was the ultimate tour for Cat Stevens before he quit the music business and changed his name to Yusuf Islam. He didn’t perform on stage again for nearly thirty years.
LYRICS
Now I’ve been happy lately Thinking about the good things to come And I believe it could be Something good has begun Oh, I’ve been smiling lately Dreaming about the world as one And I believe it could be Someday it’s going to come
‘Cause out on the edge of darkness There rides the peace train Oh, peace train take this country Come take me home again
Now I’ve been smiling lately Thinkin’ about the good things to come And I believe it could be Something good has begun
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train Yes, peace train holy roller Everyone jump upon the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train
Get your bags together Go bring your good friends too Because it’s getting nearer It soon will be with you Now come and join the living It’s not so far from you And it’s getting nearer Soon it will all be true
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now peace train Peace train
Now I’ve been crying lately Thinkin’ about the world as it is Why must we go on hating? Why can’t we live in bliss?
‘Cause out on the edge of darkness There rides a peace train Oh, peace train take this country Come take me home again
Oh, peace train sounding louder Glide on the peace train Ooh-ah, ee-ah, ooh-ah Come on now, peace train Yes, peace train holy roller Everyone jump upon the peace train Ooh-ah, ee-ah, ooh-ah Come on, come on, come on Yes, come on, peace train Yes, it’s the peace train
Ooh-ah, ee-ah, ooh-ah Come on now, peace train Oh, peace train Ooh-ah, ee-ah, ooh-ah
Here’s the Plastic Ono Band with what has become the anthem for peace activists …. “Give Peace A Chance”. The song was written by John Lennon and Yoko Ono during their 1969 weeklong ‘BED-IN’ peace advertising campaign in Montreal, Canada. The film features the original recording of “Give Peace A Chance” and includes John and Yoko appearing at the National Peace Rally in Bryant Park, New York on April 22, 1972. It concludes with impromptu gatherings of fans in Liverpool, London, New York, etc. after John’s shooting on December 8, 1980. Since the lyrics are part of the video, I did not print them.
Jim at Song Lyric Sunday has informed us the suggestion for today is to write about a song(s) dealing with God or the afterlife. There are a lot of songs in this category and I considered a few but in the end I chose to write about something personal to me. And I’ve got an Elephant’s Trunk full of stories!
Fifty years ago I met and had a brief but memorable conversation with Cat Stevens. It was the summer of 1974 in the Hamptons at one of those parties where everyone was a friend of a friend of a friend. My husband was off getting us drinks and I suddenly found myself in the same place at the same time as Cat Stevens. We talked for a little while, mostly about Southampton, NY and Southampton, UK and the vast Atlantic Ocean – how, after crossing it fairly often, it no longer felt quite as vast to him as it originally did. Well, that’s what he talked about; I was swept away by his delightful accent, lost in his deep eyes and the dark curls that framed his face. After our little tête-à-tête, he went one way, I went the other and that was that. Of course I remember that day like it happened last week; I’m absolutely certain Cat Stevens has no recollection of me whatsoever. Damn! What I wouldn’t give for a selfie from back then!
Over the last five decades, Cat Stevens has led a wholly unique music career. After finding himself a crucial part of the early 70s singer-songwriting boom, he found faith in Islam following a near-death experience in 1976. He almost drowned off the coast of Malibu, California, and said he shouted, “Oh, God! If you save me I will work for you.” He stated that immediately afterwards, a wave appeared and carried him back to shore. This brush with death intensified his long-held quest for spiritual truth. Changing his name to Yusuf Islam, Cat discarded his guitar in favor of the Qur’an, much to the disappointment of his devoted fans.
However, it seems Cat Stevens was exploring his spirituality long before 1976 when he wrote “Lilywhite” in the late 60s. The lyrics “the dial” and “wheel of change” refer to the Buddhist concept of reincarnation, the cycle of life and death. This is also hinted at in the first line, “Back up on the mended road”.
In an interview with Mojo in 2009, Stevens remembered the “amazingly bad trip” that inspired him to write “Lilywhite”: “I was at Noel Redding’s house (Jimi Hendrix Experience), and he introduced me to this substance. That was the worst night of my life! We were in his flat. By the time it got to dawn and I was able to get to the door, it had snowed and it was like looking at an angelic gift from heaven! It was beautiful. The song represents a recapturing of that moment where after darkness comes light.”
Unfortunately “Lilywhite” has been eclipsed by some of Stevens’ hits but remains an essential part of his repertoire among devoted fans.
From his album Mona Bone Jakon, this is “Lilywhite” by Cat Stevens.
Lyrics
Back up on the mended road I pause Taking time to check the dial
And the Lilywhite I never knew her name But she’ll be passing my way sometime again.
I raise my hand and touch the wheel Of change Taking time to check the dial
Thank the Lilywhite I never knew her name But she’ll be passing my way sometime again. But she’ll be passing my way sometime again.
Thanks for sharing some time with me. FYI – Cat Stevens was as soft-spoken, humble and charming as you imagine him being. A lovely man, inside and out.
Today at Song Lyric Sunday, Jim is asking us to write about a song based on true events. My husband Bill and I have lived near the water all our lives; he grew up on City Island in New York and spent all his teen years working in marinas repairing boats. Years ago we bought a boat which was supposed to be a fun family get-away adventure until we realized I get heinously seasick; Bill uses it for fishing. Before Covid, we spent 35 summers in Montauk, NY with the Atlantic Ocean as our view. It’s only natural that I would be drawn to a song about a nautical event.
The SS Edmund Fitzgerald sank in Lake Superior 49 years ago. Gordon Lightfoot’s song “The Wreck of the Edmund Fitzgerald” (1976, Moose Music, Ltd.) is a tribute to this shipwreck and the men who lost their lives.
On November 9, 1975, the Edmund Fitzgerald departed from Superior, Wisconsin with approximately 26,000 tons of ore bound for Detroit, Michigan. Just think about that for a second …. 26,000 tons; the cargo weighed more than the ship itself. Around 7 p.m. the National Weather Service issued a gale warning for Lake Superior. Overnight the winds increased tremendously and waves grew to incredible heights; no longer protected by land, the Fitzgerald was in terrible danger. At some point, another ship – the Anderson – made radio contact with the Fitzgerald and had her on their radar. When asked how the Fitzgerald was making out, they replied “We’re holding our own”. Shortly afterwards, the Fitzgerald disappeared from the Anderson’s radar screen.
There are phrases in the song that have been embellished, romanticized, making it sound as if the crew knew they were doomed. In reality, the sinking of the Fitzgerald was very rapid and it’s likely they didn’t know the seriousness of their condition. Thank the gods for that! In fact, after the wreck, a severely damaged lifeboat was found and only part of the second, suggesting that no attempts were made to leave the ship. No distress signals were ever issued. They didn’t know what hit them.
On November 10, 1975 the SS Edmund Fitzgerald sank in Lake Superior; all 29 crew members died. At the time, it was the worst shipping disaster on the Great Lakes in more than 10 years. No bodies were ever recovered from the wreckage. When the wreck was found, the ship had broken in half by the storm. It still sits on the bottom of Lake Superior at 530 feet deep.
“The Wreck of theEdmund Fitzgerald” was written, composed and performed by Canadian singer-songwriter Gordon Lightfoot. The song was recorded in December 1975 at Eastern Sound, a recording studio in a then-hippie district of downtown Toronto. The famous studio was later torn down and replaced by a parking lot …. cue Joni Mitchell! Lightfoot cleared the studio and killed all the lights except for the one illuminating the paper with his scribbled words when he recorded his vocals; he considered this song to be his finest work.
The single version hit #1 in Lightfoot’s native Canada on November 20, 1976, barely a year after the disaster. In the US it reached #1 in Cashbox and #2 for two weeks in the Billboard Hot 100. Overseas it was at best a minor hit, peaking at #40 in the UK Singles Chart.
This is “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot
Lyrics
The legend lives on from the Chippewa on down Of the big lake they call Gitchegumee The lake, it is said, never gives up her dead When the skies of November turn gloomy With a load of iron ore twenty-six thousand tons more Than the Edmund Fitzgerald weighed empty That good ship and true was a bone to be chewed When the gales of November came early
The ship was the pride of the American side Coming back from some mill in Wisconsin As the big freighters go, it was bigger than most With a crew and good captain well-seasoned Concluding some terms with a couple of steel firms When they left fully loaded for Cleveland And later that night when the ship’s bell rang Could it be the north wind they’d been feelin’?
The wind in the wires made a tattle-tale sound And a wave broke over the railing And every man knew, as the captain did too T’was the witch of November come stealin’ The dawn came late and the breakfast had to wait When the gales of November came slashin’ When afternoon came it was freezin’ rain In the face of a hurricane west wind
When suppertime came, the old cook came on deck sayin’ “Fellas, it’s too rough to feed ya” At 7 PM, a main hatchway caved in, he said “Fellas, it’s been good to know ya” The captain wired in he had water comin’ in And the good ship and crew was in peril And later that night when his lights went outta sight Came the wreck of the Edmund Fitzgerald
Does anyone know where the love of God goes When the waves turn the minutes to hours? The searchers all say they’d have made Whitefish Bay If they’d put fifteen more miles behind her They might have split up or they might have capsized They may have broke deep and took water And all that remains is the faces and the names Of the wives and the sons and the daughters
Lake Huron rolls, Superior sings In the rooms of her ice-water mansion Old Michigan steams like a young man’s dreams The islands and bays are for sportsmen And farther below Lake Ontario Takes in what Lake Erie can send her And the iron boats go as the mariners all know With the gales of November remembered
In a musty old hall in Detroit they prayed In the maritime sailors’ cathedral The church bell chimed ’til it rang twenty-nine times For each man on the Edmund Fitzgerald The legend lives on from the Chippewa on down Of the big lake they call Gitchegumee Superior, they said, never gives up her dead When the gales of November come early
Today, Jim at Song Lyric Sunday is asking us to write about a song that was not originally released as an album single or never became a single.
The songs I’ve chosen were written and recorded by one of the biggest bands to come out of the UK in the 60s. No, not the Beatles! This time I’m talking about the Rolling Stones. Contrary to what some people believe, a person can be into both the Beatles and the Stones. Shocking, isn’t it!
Here’s a quick bio: The Rolling Stones were formed in London by founding members, vocalist Mick Jagger, guitarist Keith Richards, multi-instrumentalist Brian Jones, bassist Bill Wyman and drummer Charlie Watts. During their early years, Jones was the primary leader of the band.
Just like all bands starting out at that time, the Stones’ catalog consisted of cover songs. When they began writing their own songs, the Jagger-Richards partnership became the band’s primary songwriting and creative force; this alienated Brian Jones, who developed a drug addiction that by 1968 interfered with his ability to contribute meaningfully. Jones left the band shortly before his death in 1969, having been replaced by guitarist Mick Taylor. In 1971 the Stones released the album Sticky Fingers, the first of eight consecutive #1 studio albums in the US. Taylor left the band at the end of 1974 and was replaced by Ronnie Wood. Following Wyman’s departure in 1993, the band continued as a foursome.
Two of the Rolling Stones’ songs that were never released as singles are both mega hits – “Gimme Shelter” off their 1969 album Let It Bleed and “Can’t You Hear Me Knocking” from their first #1 album, Sticky Fingers.
“Gimme Shelter”is about the political and social unrest at the time. There was the war in Vietnam, race riots, the murders by the Manson Family and politicians being assassinated. Mick Jagger sings of needing shelter from this “storm”. Merry Clayton is the female vocalist featured singing the line “Rape, murder, it’s just a shot away”. She delivered a chilling vocal with her voice cracking on the word “murder” at the 3:01 mark and you can hear Jagger in the background saying “Whoo!” The Stones didn’t release the song as a single but Merry Clayton did …. in 1970 which made it to #73 in the US.
This is “Gimme Shelter” by the Rolling Stones; be sure to listen for Merry in the background.
“Can’t You Hear Me Knocking” is the fourth track on the Rolling Stones’ 1971 album Sticky Fingers. The first two and a half minutes of the song are down and dirty, riff-tastic Rolling Stones. The last four and a half minutes are an improvised, instrumental jam session. The length of this song made for a tough sell; in order to improve the chances of radio play, singles were held to around three minutes. The entire track was captured in one take, with the jam being a happy accident. The band had assumed the tape machine had been stopped and were surprised to find the entire session had been captured. Originally they were going to end the song before the jam started, but were so pleased with the results, they decided to keep it in.
The four singles from Sticky Fingers were “Brown Sugar,” “Bitch,” “Wild Horses,” and “Sway.” However, popular consensus is “Can’t You Hear MeKnocking” stands miles higher than “Sway”. Not only does it bear one of the Rolling Stones’ most instantly recognizable guitar riffs, but it’s been included in the soundtracks for a number of movies including Casino and The Fighter.
But what’s the song all about? What are the Stones trying to tell us? It’s probably best not to read too much into the lyrics of this one since even Mick Jagger isn’t exactly sure what he wrote! Appearing on the track is Bobby Keys, who had debuted his saxophone for the Stones on “Live With Me” back on Let It Bleed. Mick Taylor’s got that impressive guitar track starting at the 4:32 mark.
So, since I don’t have any spectacular words of wisdom to add to that, let’s just enjoy the Stones and “Can’t You Hear Me Knocking”.
The Rolling Stones’ estimated record sales of 200 million makes them one of the best-selling music artists of all time. They have won three Grammy Awards and a Grammy Lifetime AchievementAward. They were inducted into the Rock and Roll Hall ofFame in 1989 and the UK Music Hallof Fame in 2004. Billboard and Rolling Stone magazine have ranked them as one of the greatest musical groups of all time. I definitely concur.
Thanks so much to Jim for all the work he does week after week on Song Lyric Sunday.
Today in Song Lyric Sunday, Jim as asking us to write about a song(s) composed by a duo. I’ve chosen a duo not only from the US but from my hometown of New York. As a kid, I’d sing these songs in my bedroom pretending I was a major recording artist. Didn’t we all? I found myself happily swimming in a sea of wonderful memories as I wrote this post.
This former husband and wife duo wrote many of the 60s biggest hits and those songs were recorded by everyone from Aretha Franklin to James Taylor to the Beatles. He wrote the lyrics and she wrote the music to songs such as “Will You Still Love Me Tomorrow”, “Take Good Care Of My Baby” and “The Loco-Motion”, and chances are you’ve danced to a hit single by this dynamic songwriting duo.
I’m talking about Carole King and Gerry Goffin.
During the spring semester of her freshman year at Queens College in NY, Carole King was introduced to Gerry Goffin while at the student lounge. Goffin, three years older than King, was looking for someone to write lyrics for a musical he was writing. King took a look, said she wasn’t interested and added “You know, I write rock ‘n’ roll songs” but allowed Goffin to drive her home. Soon she was writing songs for his musical, he writing lyrics for her songs.
King and Goffin were married in 1959 when she was only 17 and pregnant with their first child. They quit college and took day jobs, Goffin working as an assistant chemist and King as a secretary. And in the evenings, they wrote songs together. High school friend Neil Sedaka got them an audition with music producer Don Kirshner; he offered a guaranteed advance against royalties of $1000 a year, to be doubled if the deal was renewed for a second year and tripled if for a third. The rest is history.
Their songs were always impeccably structured. Their music was for teens and dealt with themes of love, rejection and jealousy and teenagers dealing with them on their own terms. Carole’s heart-tugging melodies and Gerry’s superb lyrics captured the tone and the everyday language of their audience’s inner experiences with uncanny accuracy.
Carole had a gift for arrangement, knowing how to build a song. To help sell her songs, she began making low cost tapes to demonstrate her ideas to the producers. Those demos were so good that often the producer only had to copy them with the proper instrumentation to have a hit record.
One night in the fall of 1960 Carole and Gerry returned from an evening out and found a note from Don Kirshner saying he needed a lyric by the next day for the Shirelles. Goffin immediately began writing and King composing; the result was “Will You Still Love Me Tomorrow.” In January 1961, the song became the first song by a female group to reach #1 on the pop charts since the McGuirre Sisters in 1958, and first ever for a black female group.
Kirshner decided that Goffin & King were capable of running a record label and put them in charge of Dimension Records. For over a year they had a more consistent track record than any of their competition, including Phil Spector’s Philles Records. By 1964 they had come up with another 23 hits, but their best work was behind them and the British Invasion had begun.
However Goffin & King were heroes to these English groups. The Beatles recorded “Chains” and Paul McCartney was quoted as saying he wished he could write as well. On their first U.S. tour, meeting them was a priority. The Beatles were not the only British band that felt that way but by 1965, Carole and Gerry’s talents were becoming less important as groups such as the Byrds, the Young Rascals and the Beach Boys set the tone for other upcoming artists who wrote their own material.
By 1967 Goffin & King’s marriage was crumbling due to creative disenchantment, internal pressures and the times. They were divorced with King moving to California where she started a group called “The City” and came into her own as a performer. When Carole King found her solo niche, the team of Goffin & King ended.
I’d like you to think for a minute about those exhilarating days of young love as teenagers. Our parents called it “puppy love” and didn’t take us seriously, saying it would never last and we’d get over it. Some parents were dead set against their daughters or sons getting romantically involved at such a young age; really, who could blame them but who could blame us teenagers for falling in love? We can’t control what the heart feels and it was especially difficult for teenage girls. As much as we like to think people have evolved, they really haven’t changed all that much. Teen girls who have sex are thought of as promiscuous while guys are macho and sewing their wild oats. It’s an age old dilemma, the most personal situation young people can find themselves in.
Nothing obvious or indelicate was ever revealed in our featured song but if you read between the lines of Gerry Goffin’s gorgeous lyrics, there’s little doubt what this song is about. Using a variation on the theme “will you respect me in the morning?”, here are the Shirelles asking in a sublimely delicate and romantic way, “Will You Still Love Me Tomorrow?”
Lyrics
Tonight, you’re mine completely You give your love so sweetly Tonight, the light of love is in your eyes But will you love me tomorrow?
Is this a lasting treasure Or just a moment’s pleasure? Can I believe the magic of your sighs? Will you still love me tomorrow?
Tonight with words unspoken You say that I’m the only one But will my heart be broken When the night (when the night) Meets the mor- (meets the morning sun)
I’d like to know that your love Is love I can be sure of So tell me now, and I won’t ask again Will you still love me tomorrow?
So tell me now, and I won’t ask again Will you still love me tomorrow? Will you still love me tomorrow? Will you still love me-
In 1960, the Shirelles released the first version of “Will You Still Love Me Tomorrow” with “Boys” on the B-side. The single’s first pressing was labeled simply “Tomorrow“, then lengthened later. When first presented with the song, lead singer Shirley Owens did not want to record it because she thought it was “too country“; she relented after a string arrangement was added. However, Owens recalled on Jim Parsons’s syndicated classic radio program, “Shake Rattle Showtime“, that some radio stations had banned the record because they had felt the lyrics were too sexually charged.
In addition to reaching No. 1 in the US, the song reached No. 2 on the R&B chart, No. 4 in the UK and No. 3 in New Zealand. This version, with session musicians Paul Griffin on piano and Gary Chester on drums, was ranked at No. 126 among Rolling Stone’s list of The 500 Greatest Songs of All Time. Billboard named the song No. 3 on its list of 100 Greatest Girl Group Songs of All Time.
From 1971, the incredibly talented Carole King with “Will You Still Love Me Tomorrow”
Jim over at Song Lyric Sundayhas challenged us to write about a band that wore uniforms or dressed alike. I’ve chosen a group from here in the U.S.
In Boise, Idaho in 1958 a little instrumental combo called the Downbeats was born; the group saw considerable U.S. mainstream success in the second half of the 1960s and early 1970s. Founded by organist Paul Revere Dick and singer Mark Lindsey, the band was known for including Revolutionary War-style clothes during their performances. The group’s name was soon changed to the catchy and more appropriate Paul Revere and the Raiders.
After charting in 1961 with a minor hit and then just missing Billboard’s Hot 100 in late 1963 with a cover of “Louie, Louie”, the band was signed to Columbia Records. In January 1966, thanks to Dick Clark’s show “Where The Action Is”, the single “Just Like Me” reached #11 on the Hot 100. The consecutive Top Tens hits “Kicks” and “Hungry” soon followed, establishing the band as national stars. Between 1966 and 1969 they reached the top 30 with 12 hits. Their three 1966 albums all were gold-certified by the RIAA (Recording Industry Association of America).
Songwriters Barry Mann and Cynthia Weil composed “Kicks” in 1966 and offered it to the Animals but lead singer Eric Burdon turned it down. Instead, Paul Revere & the Raiders recorded and released it as a single which became a #1 hit in Canada and reached #4 in the United States. “Kicks” was included on the band’s fifth album, “Midnight Ride”, released in May 1966. A live version of the song was recorded on the band’s 1996 “Greatest Hits Live” compilation album.
Considered one of the earliest anti-drug songs, “Kicks” was composed and released during the time when pro-hippie, pro-experimentation, and other counterculture themes were gaining popularity on U.S. FM radio stations. As a result, the song’s message was perceived as outdated by the emerging youth counterculture, as popular artists ranging from the Beatles to Jefferson Airplane had written songs whose themes sharply contrasted that of “Kicks”. However, the song has received generally positive reviews by music critics in the decades since its release. In 2004, “Kicks” was ranked number 400 on Rolling Stone’s list of The 500 Greatest Songs of All Time.
This is “Kicks” by Paul Revere and the Raiders
Lyrics
Girl, you thought you found the answer On that magic carpet ride last night But when you wake up in the mornin’ The world still gets you uptight Well, there’s nothin’ that you ain’t tried To fill the emptiness inside When you come back down, girl Still ain’t feelin’ right
And don’t it seem like Kicks just keep gettin’ harder to find And all your kicks ain’t bringin’ you peace of mind Before you find out it’s too late, girl You better get straight No, but not with kicks, you just need help, girl
Well you think you’re gonna find yourself A little piece of paradise But it ain’t happened yet, so girl, you better think twice Don’t you see no matter what you do You’ll never run away from you And if you keep on runnin’ you’ll have to pay the price
And don’t it seem like Kicks just keep gettin’ harder to find And all your kicks ain’t bringin’ you peace of mind Before you find out it’s too late, girl You better get straight
No, you don’t need kicks To help you face the world each day That road goes nowhere I’m gonna help you find yourself another way
Kicks just keep gettin’ harder to find And all your kicks ain’t bringin’ you peace of mind Before you find out it’s too late, girl You better get straight
Don’t it seem like Kicks just keep gettin’ harder to find And all your kicks ain’t bringin’ you peace of mind Before you find out it’s too late, girl You better get straight
Jim over at Song Lyric Sundayhas challenged us to write about a song that mentions a dance style or craze or a song that has it’s own dance. My choice covers all those options.
The Peppermint Lounge was a popular disco on West 45th Street in New York City from 1958 to 1965. The club had a lengthy mahogany bar running along one side, many mirrors and a dance floor at the back, a capacity of about 180 people, and a large gay clientele. It was a happening scene.
As Chubby Checker’s “Twist” craze hit the scene, celebrities swarmed to the Peppermint Lounge, big names such as Audrey Hepburn, Truman Capote, Marilyn Monroe, Judy Garland, Liberace, Noël Coward, Frank Sinatra, Norman Mailer, Annette Funicello, even the elusive Greta Garbo had a swinging time there. Jackie Kennedy was such an enthusiast that she arranged for a temporary Peppermint Lounge to be mounted in the White House.
The Beatles were filmed visiting the club during their first U.S. visit in 1964. Artists who performed at the Peppermint Lounge include the Beach Boys, the Ronettes (who made their professional debut there in 1961) the Crystals, the Isley Brothers, Chubby Checker, Liza Minelli and the Four Seasons. But the crowds loved to dance to the house band, Joey Dee and the Starliters …. especially after they recorded their biggest hit song “The Peppermint Twist”, written in 1961 by Joey Dee and Henry Glover.
Capitalizing on the “Twist” dance craze started by Chubby Checker and the name of the nightclub where Joey Dee performed, “The Peppermint Twist” hit No.1 on the U.S. Billboard Hot 100 in early 1962. The song was a huge hit, replacing Chubby Checker’s “The Twist” at the No. 1 position.
I was just a kid but that didn’t matter; people of all ages loved dancing to “The Twist” and still do; “The Peppermint Twist” was no different. It was lots of fun, easy to do and had a great sound. Get ready to start cutting the rug. Here are Joey Dee and the Starliters with their biggest hit …. “The Peppermint Twist”.
And it goes like this…..
Lyrics
Well they’ve got a new dance and it goes like this (Bop shoo-op, a bop bop shoo-op) Yeah the name of the dance is Peppermint Twist (Bop shoo-op, a bop bop shoo-op) Well you like it like this, the Peppermint Twist
It goes ’round and ’round, up and down ‘Round and ’round, up and down ‘Round and ’round and a up and down And a one two three kick, one two three jump
Well meet me baby down at 45th street Where the Peppermint Twisters meet And you’ll learn to do this, the Peppermint Twist
It’s alright, all night, it’s alright It’s okay, all day, it’s okay You’ll learn to do this, the Peppermint Twist Yeah, yeah Yeah, yeah Ey yeah Ey yeah Ey yeah Ey yeah Ey yey yeah Ey yey yeah Ey yey yeah
Today on Song Lyric Sunday, Jim is asking us to write about a song that mentions a profession; thanks to Di for the suggestion. Since we’re all here on WordPress writing about something, it seemed only logical that I would choose a song about writers/authors.
My sophomore year of high school was one I’ll never forget. Our teacher, Mr. Erdmann, took his show on the road, so to speak, and brought our class on field trips into Manhattan where we saw movies such as “Guess Who’s Coming to Dinner”, “To Sir With Love”, “Wait Until Dark”, among others. He also played movies for us in the auditorium, classics like “On The Waterfront”, “The Pawnbroker” and “Casablanca”.
It wasn’t a year of just fun and games, though; we had to write reports on the movies and held discussions in the classroom. I loved writing those movie reports almost as much as watching the movies! It was a real thrill when I got one of my papers back with a note from the teacher in big bold letters: “A++ We’ll make a screenwriter out of you yet!”
Well, I never did become a screenwriter but that’s when my love of writing truly took hold and never let go. Thank you, Mr. Erdmann! I’m blogging my heart out on WordPress!
My song choice for today is “Paperback Writer” by the Beatles.
Written in 1966 mostly by Paul McCartney, the song allegedly came about when his Aunt Lil said something like “Can’t you write anything besides love songs?” According to Paul, he was thinking about his aunt’s question while backstage at a concert venue when he spotted Ringo reading a book and something clicked. The beginnings of “Paperback Writer” were already forming in Paul’s head.
The lyrics are in the form of a letter from an aspiring author addressed to a publisher. It starts off “Dear Sir or Madam” …. really quite clever, don’t you think?
The Beatles recorded “Paperback Writer” at EMI Studios in London on April 13-14, 1966. The song was released in May 1966 as the A-side of their 11th single and topped the singles charts in the UK, the US, Ireland, West Germany, Australia, New Zealand and Norway. The song was at #1 on the US Billboard Hot 100 for two non-consecutive weeks, being interrupted by Frank Sinatra’s “Strangers In The Night”.
“Paperback Writer” was the last new song by the Beatles to be featured on their final tour in August 1966 where they performed 16 shows across the US and 2 in Toronto, finishing up at Candlestick Park in San Francisco on August 29.
Here now is “Paperback Writer” by the Beatles.
Lyrics
Paperback writer (paperback writer)
Dear Sir or Madam, will you read my book? It took me years to write, will you take a look? It’s based on a novel by a man named Lear And I need a job So I wanna be a paperback writer Paperback writer
It’s a dirty story of a dirty man And his clinging wife doesn’t understand His son is working for the Daily Mail It’s a steady job But he wants to be a paperback writer Paperback writer
Paperback writer (paperback writer)
It’s a thousand pages, give or take a few I’ll be writing more in a week or two I could make it longer if you like the style I can change it ’round And I wanna be a paperback writer Paperback writer
If you really like it you can have the rights It could make a million for you overnight If you must return it you can send it here But I need a break And I wanna be a paperback writer Paperback writer
It wasn’t just a year of fun and games, though; we had to write reports on the movies and held discussions in the classroom. I loved writing those reports on the movies almost as much as watching the movies! It was a real thrill when I got one of my papers back with a note from the teacher in big red letters: “A++ We’ll make a screenwriter out of you yet!Well, I never did become a screenwriter but that’s when my love of writing truly took hold and never let go. Thank you, M
Today Jim at Song Lyric Sunday is challenging us to choose a song dealing with mental health. This is a double edged sword; it’s wonderful that there are so many songs about this subject to choose from but it’s a shame that there are so many troublesome issues (and troubled souls) to write songs about.
I chose this one because it’s a tremendously uplifting song, I love the group and I feel a personal connection as well. When you’re talking about a song, it’s great to have something that ties you to it. It may not always be something positive but that’s just the way life is. The beautiful thing about music is there’s something for whatever is going on in your life. I hope you enjoy my selection today.
“Mr. Blue Sky” is a song by the Electric Light Orchestra (ELO), featured on the band’s seventh studio album “Out of the Blue” written and produced in 1977 by front man Jeff Lynne. Promotional copies were released on blue vinyl, like the album from which the single was issued. Due to its popularity and frequent use in multiple television shows and movies, it has sometimes been described as ELO’s signature song.
I have loved this song since the first time I heard it. It’s a happy and fun tune about a make-believe superhero, inspired by a silly TV show Jeff Lynne loved as a child. It was recorded with percussion played on a fire extinguisher, for crying out loud, and was so powerful and singable, astronauts would use it as an alarm clock in space! Reaction by critics and the public was a definite thumbs up, calling the tune “truly exhilarating”; the song would go on to be referred to as “the happiest song ever”. Sorry, Pharrell!
In 1977, Jeff Lynne and the other members of ELO rented a place in the Alps to work on music for their new album. Jeff was trying to write songs but the weather was so dark and dreary around him, he went into a funk. So how was it possible for Jeff to have written this fun, happy song?
During a BBC Radio interview, Jeff Lynne gave this account of how it all went down:
“It had been dark, wet and dreary for more than two weeks, and I didn’t come up with a single thing for the new record. I started going to the local pub, getting drunk, and spending more time there than back at the studio with my mates. Here we were in a house in the Alps and I was totally spiritless. I had writer’s block and fell into an ugly depression. Those two weeks felt more like two years! Finally one morning the sun suddenly came out and shone brilliantly. It shook me from my gloom and I felt inspired for the first time in weeks. It was like, ‘Wow, look at those gorgeous mountains, that beautiful sky’! For me that was a sign, a re-awakening, a chance to start over. I was so encouraged and motivated, I wrote “Mr. Blue Sky” and 13 other songs in the next two weeks.”
That’s Jeff’s great story; now here’s my story.
Over a span of 8 years, 2011 to 2019, I had two major surgeries on the same knee. It was not fun but what surgery is?
After operation #1, a total knee revision, I was in a lot of pain and my recuperation did not go well. I fell into a major depression. I lost my appetite, suffered panic attacks and shut myself off from everyone and everything. All I wanted was be left alone and sleep. I was convinced I was going to be confined to a wheelchair for the rest of my life, unable to play with my young grandchildren. I began seeing a psychologist. And I was taking anti-anxiety meds and pain killers.
My husband Bill was my biggest supporter, a shoulder to lean on, my rock. He took me to physical therapy 3 times each week and stayed with me. He drove me to see the psychologist and sat in the waiting room. He took me out for drives just to get me out of the house. He set up FaceTime with our sons. He arranged for someone from the nail salon to come to the house to give me a mani/pedi. He helped me shower and wash my hair. Family and friends brought over prepared meals which Bill warmed up for me, even though I had little interest in eating. He was worried about me, scared for me but never let it show; he was a saint.
One day Bill came into the bedroom and said he had something to show me. He switched on the TV and inserted a DVD; it was the “Concert for George” and it was the first thing in months that held my attention. That’s the day I started listening to music again. Bill and music were the major factors in getting my mental and emotional recovery into motion. I put on my headphones and listened to all my favorite tunes. I started feeling better and eventually got myself to the point where I felt before the urgent need for surgery …. but I still had nagging pain in my knee. X-rays revealed something wrong with my replacement and I needed to have a total revision …. a complete do-over of the first operation. All that suffering between 2011 and 2019 because of something that could and should have been avoided.
The 2nd surgery was in early December 2019, just before Covid. I had great hope this time around but my recovery turned into the perfect storm. A visiting nurse came to see me five times and Bill brought me to have my staples removed. I started physical therapy but that lasted only about two weeks before everything came to a halt. I was left to my own devices as far as physical therapy was concerned and I had a wave of anxiety wash over me thinking “here we go again” …. but this time I sort of knew what to expect. I had an exercise routine from my first round of PT 8 years earlier which I did on my own as best I could. Being your own physical therapist after major surgery is far from ideal. By the grace of God, I did not hurt myself or fall into another depression. Once again music and Bill were my constant companions. I’d also begun to write again.
Long story even longer, when lockdown was lifted, I went back to therapy. That’s how I met the therapist who literally saved my life and I still see him when I have a flare up. Besides being a great therapist, he’s an incredibly good person who loves what he does …. helping people recover and feel better. And he always has music playing during his sessions! If I didn’t have him and Bill, I don’t know where I would be right now. And I’m also no longer taking meds.
Depression is serious business. As hard as it may be, we need to try to let people into our life. We need to talk to someone, anyone who will listen and be a good friend. There’s no shame in being depressed; it’s an illness and needs to be treated as one …. not covered up like a dirty secret.
I’m one of the lucky ones and I have music, my therapist and Bill to thank for helping me on the road to recovery.
Take good care of yourselves, my friends, and try to listen to music every day. Don’t underestimate it’s powers. It’s a balm for your body, mind, heart and soul. It could also mean a new lease on life.
National Depression Hotline – 866-629-4564 for free help, treatment options and support. Call 24/7.
This is “Mr. Blue Sky” by ELO
LYRICS
Sun is shinin’ in the sky There ain’t a cloud in sight It’s stopped rainin’, everybody’s in the play And don’t you know It’s a beautiful new day? Hey
Runnin’ down the avenue See how the sun shines brightly in the city On the streets where once was pity Mr. Blue Sky is living here today, hey
Mr. Blue Sky, please tell us why You had to hide away for so long (so long) Where did we go wrong?
Mr. Blue Sky, please tell us why You had to hide away for so long (so long) Where did we go wrong?
Hey you with the pretty face Welcome to the human race A celebration, Mr. Blue Sky’s up there waitin’ And today is the day we’ve waited for
Oh, Mr. Blue Sky, please tell us why You had to hide away for so long (so long) Where did we go wrong?
Hey there, Mr. Blue We’re so pleased to be with you Look around, see what you do Everybody smiles at you
Hey there, Mr. Blue We’re so pleased to be with you Look around, see what you do Everybody smiles at you
Mr. Blue, you did it right But soon comes Mr. Night creepin’ over Now his hand is on your shoulder Never mind, I’ll remember you this I’ll remember you this way
Mr. Blue Sky, please tell us why You had to hide away for so long (so long) Where did we go wrong?
Hey there Mr. Blue (sky) We’re so pleased to be with you (sky) Look around see what you do (blue) Everybody smiles at you
For today’s challenge, Jim at Song Lyric Sundayhas asked us to write about a Scandinavian song and/or performer. This was a no-brainer for me; I couldn’t write about anyone other than the incredible Yngwie Malmsteen. Honestly, for many years I didn’t think there was any better guitarist than Ritchie Blackmore; then I heard Yngwie.
Born in 1963 in Stockholm, Sweden, Yngwie first became known in the 80s for his neoclassical playing style in heavy metal. In his career of more than 40 years (and still going), Yngwie has released 22 studio albums. In 2009 he was listed in Time magazine as #9 on its list of the 10 best electric guitar players of all time.
Really? There are 8 better guitarists than Yngwie? I wonder who they could be. Well, let’s take a look: in descending order starting with #8 they are – Les Paul, Chuck Berry, Jimmy Page, Eric Clapton, Keith Richards, B.B. King, Slash, and Jimi Hendrix. I’ve got issues with this list. And where are Ritchie Blackmore, Eddie Van Halen, Matteo Mancuso, Henrik Freishlader, Tommy Emmanuel, Joe Bonamassa and Guthrie Govan, FFS?
Anyway ….
As a teenager, Yngwie was heavily influenced by classical music, particularly Paganini and Bach. During this time he also discovered his most important guitar influence, Ritchie Blackmore. Yngwie has sad that Hendrix had no musical impact on him and did not contribute to his style but seeing him on TV smashing and burning his guitar at the Monterey Pop Festival of 1967 was “really cool”.
Yngwie Malmsteen has been a member of Steeler, Alcatrazz, Hear ‘n Aid, G3 and is currently with Generation Axe. Addtionally, he has had side projects and made special appearances with many other groups and performers.
In a 2005 issue of Guitar Player magazine, Yngwie Malmsteen discussed his often-ridiculed behavior, saying that, “I’ve probably made more mistakes than anybody. But I don’t dwell on them. I don’t expect people to understand me, because I’m pretty complex, and I think outside the box with everything I do. I’ve always taken the untraveled path. Obviously, people have their opinions, but I can’t get too wrapped up in that, because I know what I can do, and I know what kind of person I am. And I have no control over what anybody says about me. Back in Sweden, I’m ‘Mr Personality’ in the tabloids, but obviously I can’t take that seriously. I know in my heart that if I do the absolute best I can do, maybe ten years from now people may turn around and say, ‘he wasn’t that bad’.”
Let’s get down to business and listen to some Yngwie tracks.
This is Yngwie Malmsteen playing “Allegro and Adagio” by Paganini with the Japanese Philharmonic Orchestra
While with Alcatrazz, here is “Lost In Hollywood” by Yngwie Malmsteen and Graham Bonnet
This is a real treat: Yngwie Malmsteen and Dio performing Aerosmith’s “Dream On”
The following is an interview with Yngwie Malmsteen and Rick Beato (the human music encyclopedia).
Prompts today from Jim at Song Lyric Sunday and Linda at Daily Prompt – JusJoJan
Today’s challenge from Jim’s Song Lyric Sundayis to write about a song that mentions clothing accessories suggested by Christine of Stine Writingand Miniatures. Now that’s an interesting topic!
I started working on this post a couple of days ago, thinking about “accessories”; at the time I didn’t have Christine’s list of suggestions and some of the items I came up with were shoelaces, hats, ties, scarves, belts, hairpins, assorted jewelry, purses and socks. And that’s where I stopped – at socks. I was curious about that because I thought socks were not considered “accessories” but rather actual articles of clothing. It’s definitely debatable and when I saw them on the list I was thrilled because I had a great song in my head.
And that song is “’I’ve Got a Feeling” by the Beatles. There’s absolutely no need to discuss the group so let’s just get into the song.
“I’ve Got a Feeling” is from the Beatles 1970 album “Let It Be” and was recorded almost 55 years ago on January 30, 1969 during the Beatles’ rooftop concert. It is a combination of two unfinished songs – Paul McCartney’s “I’ve Got a Feeling” and John Lennon’s “Everybody Had a Hard Year”.
McCartney’s unfinished song was written for his girlfriend Linda Eastman and is quite upbeat, telling her that she was the girl he had always wanted. In Lennon’s song, each line begins with the word “everybody” and isn’t as light as Paul’s. John had a bad year: he divorced Cynthia, he and his son Julian became estranged, his girlfriend Yoko Ono had a miscarriage, he was arrested for drug possession, and he was increasingly discontent in the group. Critics called it a “litany” and they were right.
So, “What’s socks got to do with this song?” you ask. Very simple: one line that goes “Everybody pulled their socks up”. Sound familiar? Let’s have a listen:
From that legendary rooftop concert, here are the Beatles with “I’ve Got a Feeling”. I honestly think this is one of the greatest things they ever did. To capture this performance on a roof with no monitors in the freezing cold with the police breathing down their necks is just incredible.
This is “I’ve Got A Feeling” from the Beatles rooftop concert
Lyrics
I’ve got a feeling A feeling deep inside Oh yeah Oh yeah, that’s right I’ve got a feeling A feeling I can’t hide Oh no, no Oh no Oh no
Yeah, yeah I’ve got a feeling, yeah
Oh please believe me I’d hate to miss the train Oh yeah, yeah Oh yeah And if you leave me I won’t be late again Oh no Oh no Oh no
Yeah, yeah I’ve got a feeling, yeah I’ve got a feeling
All these years, I’ve been wanderin’ around Wonderin’ how come nobody told me All that I been lookin’ for was somebody who looked like you
Ooh, I’ve got a feeling That keeps me on my toes Oh yeah Oh yeah I’ve got a feeling I think that everybody knows Oh yeah Oh yeah Oh yeah
Yeah, yeah I’ve got a feeling, yeah Yeah
Everybody had a hard year Everybody had a good time Everybody had a wet dream Everybody saw the sunshine Oh yeah (oh yeah) Oh yeah, oh yeah (yeah) Everybody had a good year Everybody let their hair down Everybody pulled their socks up (yeah) Everybody put their foot down Oh yeah
Yeah Woo
I’ve got a feeling (everybody had a good year) A feeling deep inside (everybody had a hard time) Oh yeah (everybody had a wet dream) Oh yeah (everybody saw the sunshine) I’ve got a feeling (everybody had a good year) A feeling I can’t hide (everybody let their hair down) Oh no (everybody pulled their socks up) Oh no, no (everybody put their foot down, oh yeah) Yeah, yeah
I’ve got a feeling (oh yeah) I’ve got a feeling (oh yeah) I’ve got a feeling Yeah, yeah, yeah, yeah (Oh my soul, so hard)
Today in Song Lyric Sunday, Jim has challenged us to write about a song by an artist or songwriter who passed away in 2023. This is my response.
Tony Bennett, 1926-2023
There aren’t too many people who haven’t heard of Tony Bennett and if you haven’t, there’s plenty of info you can find on Wiki. But perhaps you didn’t know he was born Anthony Dominick Benedetto in the Astoria district of Queens, New York. He was the son of immigrants …. John, a grocer from southern Italy, and Anna, a seamstress. Tony was the baby of the family, with older siblings, Mary and John Jr. With a father who was ailing and unable to work, the children grew up in poverty.
John Sr. instilled in his son a love of art and literature and compassion for human suffering. His father died when Tony was 10 and Anna worked all hours to support her three children. Watching her struggle, Tony made up his mind to be successful enough for his mother’s trials to end. His Uncle Dick, a tap dancer, provided an early glimpse of show business, and Tony was passionate about both singing and painting by the time he attended the School of Industrial Art (now the High School of Art and Design) in Manhattan.
Tony took bellboy jobs before becoming a singing waiter in a restaurant. He sang with army bands during World War II, but he was demoted and assigned to grave digging for fraternizing on Thanksgiving night with a black soldier who had been a schoolfriend. Twenty years after that episode, Tony was marching in Alabama with Martin Luther King. He was moved to become a pacifist following combat in Europe in 1945, an experience he described as “a front-row seat in hell”.
After demobilization, Tony took vocal classes at the American Theatre Wing School; a teacher there suggested he try imitating the phrasing of jazz instrumentalists and he began singing in nightclubs from 1946 under the stage name of Joe Bari. Comedian Bob Hope hired him in 1949 but, disliking the stage name, told him: “We’ll call you Tony Bennett.”
And so it began, the slow climb from “rags to riches”.
However, there’s something you won’t read about Tony Bennett anywhere but here. Read on.
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“Why don’t you invite Tony Bennett to the wedding?”
That’s something you might expect to hear Nancy Sinatra or Billy Joel say – certainly not me! But I did make that suggestion and here’s how it all came about.
It was probably around 2004 when my son, Bill, first met Tony Bennett. I say “first” because Bill had the pleasure of working with Tony numerous times .… at the tree lighting ceremony at Rockefeller Center, the Grammy Awards, the Macy’s Thanksgiving Day Parade and other gigs.
You see, Bill’s been a camera man/teleprompter for a lot of years; he’s had the great opportunity of working with celebrities ranging from Paul McCartney to Big Bird to Bill Clinton. His jobs are as varied as crayons in a jumbo Crayola box and just as colorful. I’m not going to bore you with names but the list is impressive. That’s how Bill met Tony.
These gigs – many of which are live – don’t happen in just one take. The crew and the performers (or “talent”, as they’re known in the business) can wind up spending a great deal of time on the set – certainly hours, sometimes days. Some performers prefer to remain aloof; others, like Tony Bennett, are the type who pull up a chair in the break room and eat lunch with the crew.
Now I hope it doesn’t sound like I’m bragging but I raised a good son. Bill is a hard worker, agreeable, unassuming, pleasant, good-looking and funny. Tony and Bill enjoyed working with each other very much – so much so that when Tony was asked to perform at the Rockefeller Center tree lighting again in 2005, he requested my son by name.
During down time at a rehearsal two years later (2007), Bill mentioned his upcoming wedding and Tony happened to be within earshot. He came over to congratulate Bill and they talked about “things” for a while. Tony wished Bill “a happy wedding day”, shook his hand and that was that – until I found out about it and I said what any mom would say:
“Why don’t you invite Tony Bennett to the wedding? He just might say ‘yes’.”
I gave Bill an invitation for him to give Tony the next day. He took it and placed it in his backpack …. where it stayed. Let’s just say my son is a bit more circumspect than me; he opted not to impose on Tony and did not extend the invitation. I was a bit bummed out but it was Bill’s decision to make, not mine, and in hindsight it was probably the right decision.
Still …. can you just imagine what a gas it would have been if Tony Bennett had shown up at my son’s wedding?
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Frank Sinatra was a good friend of Tony Bennett and he had a couple of great things to say about him, things like he was “the best singer in the business” and – my personal favorite – “that kid’s got four sets of balls”!
I saw Tony Bennett perform several times. I’ll never forget a concert we went to at Carnegie Hall about 25 years ago. A highlight of the show was when Tony sang “Rags To Riches”, one of his very early hits, without accompaniment or a mic, and we could hear him clear as a bell all the way up in the “nosebleed’ seats! What an amazing set of pipes! I was blown away by that performance.
To celebrate Tony Bennett’s life, his incredible talents and gifts to the world, I have chosen that memorable 70-year-old song. “Rags To Riches” is based on a famous Russian tune called “Volga Melody” (aka “Samara My Lovely”) by Yuri Shchetkov. Tony Bennett did the best-known version in 1953 with Percy Faith and his orchestra. It was #1 for eight weeks on the Billboard chart and became a gold record. It was also featured in the opening sequence of the 1990 film “Goodfellas”.
From 1953, this is “Rags To Riches” by the incomparable Tony Bennett.
Lyrics
I know I’d go from rages to riches If you would only say you care And though, my pocket may be empty I’d be a millionaire
My clothes may still be torn and tattered But in my heart I’d be a king Your love is all that ever mattered It’s everything
So, open your arms and you’ll open the door To every treasure that I’m hoping for Hold me and kiss me, and tell me you’re mine evermore
Must I forever be a beggar Whose golden dreams will not come true? Or will I go from rags to riches? My fate is up to you
Must I forever be a beggar Whose golden dreams will not come true? Or will I go from rags to riches? My fate is up to you
(1953)”Someone Turned The Moon Upside Down” (1953)”Rags To Riches“ (1953)”Stranger In Paradise”
Tony Bennett died at his home in New York City on July 21, 2023, – just two weeks shy of his 97th birthday – following a seven-year battle with Alzheimer’s disease. His family said he kept singing right up to the end. Tony will never be forgotten and has been hailed as the “champion” and “legendary interpreter” of the Great American Songbook.
Thank you for sharing in my tribute to Tony Bennett and “Rags To Riches”. Rest easy, Tony. As Bob Hope used to say, “Thanks for the memories”.
Today at The Rhythm Section I have posted my final edition of Name That Tune. Why not stop by for one last spin of the disc? https://rhythmsection.blog//
It’s Christmastime today at Song Lyric Sunday, my favorite time of the year!
One of the greatest personal moments in music is when I hear an instrumental and the combined qualities of that piece get my imagination going to the point where I see an entire story unfolding. Surely it happens quite often with classical pieces since most are instrumental.
So where am I going with this? Well, in his post today, Jim asked what our favorite Christmas song is and mine happens to be an instrumental. From the first notes to the last, as the excitement builds, this song is, for me, the epitome of Christmas. Yes, there is a version with lyrics and they’re pretty good ones, but I prefer the original instrumental. Can you guess which song I’m talking about? Hang on a bit longer, please, and I’ll play it at the end of this post. First, I want to talk about something else.
Today in Song Lyric Sunday, the suggestion for “Anything Christmas” comes from our friend Clive at Take It Easy.
Since I’m The Sicilian Storyteller it should be obvious that I am extremely proud of my heritage. I want to say “Mille grazie, Jim & Clive” for the opportunity to play some Italian Christmas songs and to wish our readers “Buon Natale e felice anno nuovo a tutti!”
My first song for today’s “Anything Christmas” prompt is a fun Italian/American favorite Christmas song.
“Dominick the Donkey” is a novelty Christmas song recorded by Lou Monte in 1960 (written by Ray Allen, Sam Saltzberg and Wandra Merrell). This beloved Italian Christmas song describes a donkey who helps Santa Claus bring presents (made in Brooklyn, of all places!) to children in Italy “because the reindeer cannot climb” Italy’s hills. The song was listed at No. 14 in Billboard’s “Bubbling Under the Hot 100” list in December 1960.
Lou Monte was an Italian-American singer best known for a number of best-selling, Italian themed novelty records which he recorded for both RCA Records and Reprise Records in the late 1950s and early 1960s. He also recorded on Roulette Records, Jubilee Records, Regalia Records, Musicor Records, Laurie Records, and AFE Records.
Let’s have a little fun with Lou Monte and “Dominick The Donkey”.
Then, while surfing the net, I found this. There wasn’t much info, just what the composer/singer offered up. Hope you enjoy this as much as I did, even if you’re not Italian …. AYYY!
“The Other Italian Christmas Song” by Eddie Napilillo
I stayed up all night and wrote this so people could enjoy it this Christmas! It’s kind of an Adam Sandler Hanukkah Chanukah Song parody. It was fun making it and clearly expresses that everyone, all religions ethnicities and beliefs, is welcome in an Italian family home at Christmas! Merry Christmas everybody! Peace and love to you and your families! Please forgive my lyric reading and sloppy playing!!! I mispronounced some names too… lol.. No Mic, no reverb or affects, just iMovie, an iSight camera, and a $20 acoustic guitar. – Eddie Napolillo
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From the ridiculous to the sublime …. my next song for you today is a traditional Italian Christmas carol called “Tu Scendi Dalle Stelle” (“From Starry Skies Thou Comest”) or, more colloquially, “You come down from the stars”, written in 1732.
The melody and original lyrics for the hymn were written by Alphonsus Liguori, a prominent Neapolitan priest and scholastic philosopher (later canonized) who founded the Redemptorist missionary order. While staying at Convent of the Consolation, one of his order’s houses in the province of Foggia in southeastern Italy, he wrote the beautiful Christmas song, “Tu Scendi Dalle Stelle”. Over the years, this song became the most popular Christmas carol in Italy.
Many artists have recorded this carol and they are all lovely. In my opinion no one sings it more sweetly than the great Andrea Bocelli; it is his version I have chosen for you today. If you would like to follow along, I have provided the lyrics in both Italian and English.
Here is Andrea Bocelli with “Tu Scendi Dalle Stelle”
LYRICS
You come down from the stars, O King of heaven Tu scendi dalle stelle, o Re del cielo
And come to a cave in the cold and frost E vieni in una grotta al freddo e al gelo
And come to a cave in the cold and frost E vieni in una grotta al freddo e al gelo
O my divine Child, I see you here trembling O Bambino mio divino, io ti vedo qui a tremar
O blessed God O Dio beato
Ah, how much it cost you to have loved us Ah, quanto ti costò l’averci amato
Ah, how much it cost you to have loved us Ah, quanto ti costò l’averci amato
To you, who are the Creator of the world A te, che sei del mondo il Creatore
Clothes and fire are missing, oh my Lord Mancano panni e fuoco, o mio Signore
Clothes and fire are missing, oh my Lord Mancano panni e fuoco, o mio Signore
Dear chosen little child, how much this poverty Caro eletto pargoletto quanto questa povertà
The more I fall in love Più m’innamora
Since he made you poor love again Giacché ti fece amor povero ancora
Since he made you poor love again Giacché ti fece amor povero ancora
Oh, did you think I forgot about my favorite Christmas song? Never! Did you guess what that song is? Well, let’s play it now and we’ll see if you were right. Here is the incredible Boston Pops Orchestra with its awesome rendition of “Sleigh Ride”.
Seventy-five years after Leroy Anderson created “Sleigh Ride” (1948), the song is still ranked as one of the 10 most popular pieces of Christmas music worldwide!
Thanks to Jim at Song Lyrics Sunday for always coming up with great prompts and to Clive for his suggestion today of “Anything Christmas”. Merry Christmas to all; may your day be joyous and wonderful and filled with terrific music!
The Elephant's Trunk 