Now I have to admit that the first time I heard this song it was a cover by The Lumineers. And even though I had never heard of The Lumineers at that time, I was totally entranced by the song and the band.
This is a Tom Petty song. Tom has long been one of my favorite musicians. Either solo, with The Heartbreakers, The Traveling Wilburys as “Charlie T. WIlbury Jr.”, and later (ironically since it was his first band) Mudcrutch. When Wifey got her new car and a subscription to SiriusXM Radio, she came home saying she had been listening to the Tom Petty channel, and was wondering about this band Mudcrutch and why they were being played on that channel. Once again my “music-savant” superpower came through!
This is part of the soundtrack from the movie, “She’s The One”. Needless to say, I’ve never seen the movie. Can’t even recall an advertisment for it. Judging by the listings on YouTube, it’s been covered many times. The cover by The Lumineers was on the first anniversary of Tom’s untimely death. The soundtrack actually has two versions of the song. I’m using (No. 3) version for the video. It’s a bit more mellow than the first release, although Jennifer Aniston isn’t in the video for (No. 3), but is in the video for (Circus). And no, I haven’t seen that either. I really don’t watch much TV or movies. Yeah, I’m boring.
Well enough of that, here’s “Walls (No. 3)”. And yeah, this video sucks, but the song is excellent!
The other evening, Wifey and I were relaxing having just got home from work and deciding what to make for dinner. As usual, I had music playing while we were talking. I have music playing all the time. If not out loud, it’s playing in my head. Hence this series of posts.
Instead of the usual streaming music, SiriusXM, Spotify or Pandora, I had a YouTube playlist going. Some song would come on, and I would interrupt, or just pop out with some obscure fact about the song, band, or event that was playing. Wifey usually just smiles and goes back to whatever she was doing. She tolerates me well.
But then this song came on. And she stopped what she was doing, picked up her wine glass and came over to the computer desk where I was sitting to see the video. My playlists tend to feature guitar playing. This particular list is heavy with Eric Clapton. But this isn’t a Clapton song, even though he’s featured in the video.
Tracy Chapman has been a favorite of ours since we first heard “Fast Car“. Her music is so deeply personal it almost hurts. And she is so expressive. Her smile can light up a room, and that smile is so present in this video. As wifey said, she must be thinking “Eric Clapton is playing my song!!!!!”. Who wouldn’t simile when that happens.
So here’s Tracy Chapman and Eric Clapton playing “Give Me One Reason” from 1999. Enjoy!
Let’s go back to the summer of 1969. I was a strapping lad all of 10. Of course, I had not heard of this band then, much less this particular song. The name “Fleetwood Mac” didn’t hit my radar until much, much later with their “Rumours” album in 1977. And, like the majority of my male friends, I was trying to get with Stevie Nicks.
But, as usual, that’s not what I came here to talk about. Fleetwood Mac started out, not as a rock or pop band, but as a blues band. We all know, or if you didn’t know, you do now, that rock is very heavily influenced if not down right a derivative of, the blues. And I am very much into the blues.
“Oh Well” was recorded by the first version of Fleetwood Mac, and this a band that has had many changes.
The single’s peak position in the UK Charts was No. 2 for two weeks in November 1969, spending a total of 16 weeks on the chart. In the Dutch Top 40, it peaked at No. 1, staying in the chart for 11 weeks. It also reached the top 5 in Ireland, Norway, New Zealand and France, and the top 10 in Germany and Switzerland. “Oh Well” was a minor hit in the USA, where it reached #55, thus becoming Fleetwood Mac’s first single to reach the Hot 100, as well as their only pre-Buckingham/Nicks song to earn this distinction. The song still received some airplay on many FM rock stations and its reputation has grown in the years since its release. It has been also re-released in many countries as a ‘Golden Oldies’ single.
I am taken by the little guitar riff then the vocals alone. I always thought the juxtaposition of the fast guitars, then a single voice was cool. There are two parts to the song, but both parts were never played live. Each part was released as the A and B side of a single. Peter Green says to have written part two first, and wanted it released as the A side with the now more popular part one as the B side. But that’s not what happened, and as the saying goes… “the rest is history”.
Here is “Oh Well, Part 1”, live from a 1969 BBC TV show. Enjoy!
And since this is St. Patrick’s Day, I give you this:
I am not a movie fan. I would much rather watch a live performance, or read a book. Or baseball (Spring training is underway!)
So I did read that the Queen movie Bohemian Rhapsody is up for five Oscars. Great for them, I’m still not going to watch it. Queen never was high on my list, and the song the movie derives its name from is on my “Not the song I want to hear” list. (You can search for those posts) It’s way overplayed. Queen has some great songs that you never hear.
Last night, my baby girls and I were playing around on YouTube and ended up on a Muppets tangent. This link will take you to my favorite Muppet musical clip. But this video is the reason for the entire (short) post.
Yes, I know, I’ve been very quiet lately. The silence was due to two main reasons, I was sick and work has been crazy busy. Plus I’ve been doing lots on my genealogy.
But enough about that.
Last weekend Wifey and I didn’t have the grandkids for a change. So we did “adult” things. Things like, clean the house, wash the cars (and the dog). You, know fun stuff. But instead of having SiriusXM playing all day, I switched it up and played YouTube playlists. If you’re a regular reader of this blog or follow me on Twitter (social media links are below), you know that I use YouTube for most of my video links. Today will be no different.
This particular track has always been a favorite from the first time I laid eyes on the album cover, I was hooked.
The most common video of the song is taken from some TV show, I’m not sure which one. Chances are my brother will text me the answer when he reads this. He’s good that way.
The power of Grace’s voice is just so amazing. P!nk did a wonderful cover, but it’s just not quite the same.
I had so much more to say, but work is calling (again)… “Anyway, my coffee’s cold and I’m getting told that I gotta get back to work”, but then that’s an entirely different song.
I apologize up front for the lack of posts lately. I have been working on my genealogy quite heavy. There will be a post about that coming up, but I will say I’m about 75% sure I’ve finally found that elusive “immigrant ancestor”.
But, of course, “That’s not what I came here to talk about”.. (Thank you, Arlo).
Yesterday, Wifey and I were standing in line at our local pharmacy (at my age we spend a lot of time there), and this song was playing as background music. I remember back in the day when all the stores and office buildings had the same “elevator music” playing. Now they have streaming music to play. No more big digital tapes with 6 hours of crapola playing. Our dentist even has SiriusXM playing in his office! And this has been stuck in my head ever since.
It goes along, though only slightly, with my post of 8 January. Why? Simply because we again get to feature the autoharp. John Sebastian was the first person I ever saw playing this very odd instrument. Then my music teacher at school came in playing one. I was blown away!
The song peaked at #9 on the Billboard Hot 100. The song has been covered by many other artists including John Mellencamp in 1976, and Shaun Cassidy in 1978 when it reached #31 on the Billboard Hot 100. (Source) Wifey knew that Shaun Cassidy cover, I had no idea. It has also been used in quite a few TV shows and movies.
I was always intrigued by the “Lovin’ Spoonful” band name. As a kid, I had no idea any of the other meanings the name could imply.
The band’s name was inspired by some lines in a song of Mississippi John Hurt called the “Coffee Blues”. John Sebastian and others in the jug-folk scene of the time such as Geoff Muldaur credit Fritz Richmond for suggesting the name. The song “Coffee Blues” is a tribute to Maxwell House Coffee, which Hurt describes, “rapping” in the beginning of the song, as being two or three times any other brand, ergo, he only needs one spoonful to make him feel all right, what he describes as “my lovin’ spoonful” in the song. The song is part of a group of songs with a long history in recorded blues that generally use the term “a spoonful” to suggest sex, and in some cases use of a drug such as cocaine. The term “lovin’ spoonful” has been conjectured as referring to the amount of ejaculate released by a human male during a typical orgasm.
The last line of that quote could also be applied to English “Art” band, 10CC. Sorry, the (retired) paramedic in me has to get out now and then…
John Sebastian also went on to write the Welcome Back, the theme song for Welcome Back Kotter.The Spoonful were inducted into the Rock and Roll Hall of Fame in 2000 and John was inducted into the Songwriters Hall of Fame in 2008.
So, kids I have but one question for you; “Do You Believe In Magic?”
It was right around noon on Saturday, 16 January 1982, that we said: “I do”. Or would that be “We do”? But in any case, as I’ve mentioned before, everybody said we wouldn’t make it six months. So we celebrate every six months to rub it in their faces! If you do the math (yeah, math’s hard!) 74 half years equals 37 years.
As one would expect, 37 years together can bring changes. And this is true of us as well. Not everything has been all peaches and cream all the time. But we both know that there is a reason we’re still together and still friends after all this time. The fact is nobody else could put up with us! We are now a pair. We may have started off as two individuals, but as the Stephen Stills song Helplessly Hoping goes;
I won’t bore you with any stories of our life together. There are plenty of blogs that have everything from tearjerker stories, to horrifying stories of relationships. Feel free to search them out if that’s your thing. And I won’t even start into any relationship strategy. I really wouldn’t recommend our path to most anyone. We are a couple of odd birds.
When I first started planning this post I had one video in mind to include. Over time I think I was up to about 10 different videos and couldn’t decide on which one to post. I won’t post 10 videos, but I do have three that I narrowed it down to. I really, really hope you don’t have “autoplay” turned on.
And note, they’re all American bands!
P.S. I’m sure you would have picked different music, let me know what you think is a better choice in a comment (please here on the blog – I don’t look at FaceBook all that often).
If you’ve been keeping up with this blog, and this series, in particular, I’m sure you’ve noticed a penchant for British music. With an emphasis on the first “British Invasion” as the lead. Well, that’s not surprising, as that was the time frame I was forming my musical tastes. Not that I didn’t listen to American Rock N’ Roll. I listened to The Monkees, Paul Revere and the Raiders, The Everly Brothers, The Righteous Brothers, even Sonny & Cher as a kid. Later such bands as Creedence Clearwater Revival, Jefferson Airplane (but not Starship so much), The Mamas & The Papas, The Doors, Jimi Hendrix, and Crosby, Stills, Nash (with or without Young). Although CSN&Y may not be truly “American” as Graham Nash is British and Neil Young is Canadian.
Lately, I’ve been listening to the Tom Petty channel on SiriusXM. Not for any special reason, just as a break from the usual music I listen to. Plus, he’s a Floriduh native as I am. There was a guest celebrity DJ on the TP channel the other day (I think it was Dave Schools, the bassist for Widespread Panic) that mentioned that Petty’s American Girl may be the song that introduced most people to his music since it has been on quite a few movie soundtracks. See this wiki page for more information. And that may be true, but I found his music in other ways.
The song was the final song performed by the band live, on September 25, 2017, at the Hollywood Bowl in Los Angeles, California. Petty died of complications from cardiac arrest after an accidental prescription medication overdose on October 2, just more than a week later, signaling the end of the Heartbreakers’ 40-year career.
But, that’s not the song I want to talk about. When Wifey and I heard that comment, I said that I was unsure of which song was the what turned me on to Tom’s music. It was between two. One of which is the subject of this post, the other will surface in another post coming up (for a different reason altogether).
That was a hard record to make. It was a 4-track that I made at my house. He (Tom Petty) wrote over the music as it was, no changes, but it took us forever to actually cut the track. We just had a hard time getting the feel right. We must have recorded that 100 times. I remember being so frustrated with it one day that – I think this is the only time I ever did this – I just left the studio and went out of town for two days. I just couldn’t take the pressure anymore, but then I came back and when we regrouped we were actually able to get it down on tape.
Now, this takes me back to high school (shudder – I hated those days). Back in those days, I was a band geek. I stall am a geek, just no longer a member of a band. But in theory, it’s all the same. The reason this song is stuck today is probably because I have a little mini-reunion with some of my high school band members tonight. </sigh>
As a trumpet player the band Chicago (A.K.A. Chicago Transit Authority) was my go to band in my late teens. The way they blended rock, horns and political statements was mesmerizing to me. They used a rather unique lettering or font on the album covers. I even started making any papers I had to turn in at school in this font, at least for any titles and drop cap type of format. Mainly hoping it help hide the usual lame prose I was turning in! Doubt it helped any.
This track is from the first album Chicago Transit Authority released way back in 1969. It was 1970 that I picked up the trumpet, and this song jumped out at me immediately.
According to Cetera, the band was booked to perform at Woodstock in 1969, but promoter Bill Graham, with whom they had a contract, exercised his right to reschedule them to play at the Fillmore West on a date of his choosing, and he scheduled them for the Woodstock dates. Santana, which Graham also managed, took Chicago’s place at Woodstock, and that performance is considered to be Santana’s “breakthrough” gig. A year later, in 1970, when he needed to replace headliner Joe Cocker, and then Cocker’s intended replacement, Jimi Hendrix, Graham booked Chicago to perform at Tanglewood which is considered by some to be a “pinnacle” performance.
The track I’m linking to below is the original album version, not the radio edit. So it has the original piano intro that is cut for radio. But, more important to me, is Lee Loughnane’s trumpet solo, which is where the radio version usually starts. This solo, along with Chuck Mangione and Maynard Ferguson, is the reason I picked up the trumpet, to begin with.
The song was not released as a single until two tracks from the band’s second album, “Make Me Smile” and “25 or 6 to 4“, had become hits. It became the band’s third straight Top 10 single, peaking at No. 7 in the U.S. and No. 2 in Canada. Because the song straddled years in its chart run, it is not ranked on the major U.S. year-end charts. However, in Canada, where it charted higher, it is ranked as both the 59th biggest hit of 1970 and the 37th biggest hit of 1971. The original uncut album version opens with a brief “free form” piano solo performed by Lamm. A spoken verse by Lamm is mixed into the sung final verse of the album version. The single version does not include the “free form” intro, and was originally mixed and issued in mono. A stereo re-edit (beginning from the point where the “free form” intro leaves off) was issued on the group’s Only the Beginning greatest hits CD set. A 2:54 shorter edit (without opening fanfare or piano break, starting at the trumpet solo) was included on the original vinyl version of Chicago’s Greatest Hits, but was not included on the CD version. This shorter edit was included on the CD version of the compilation album If You Leave Me Now. This version was used as a radio edit version. A shorter version at 2:46 (starting midway through the trumpet solo) was issued as a promotional single, which finally appeared on 2007’s The Best of Chicago: 40th Anniversary Edition. A live version on the Chicago at Carnegie Hall box set presents an expanded version of the “free form” intro, which itself is given its own track. Various versions of the song receive airplay; the promotional single edit is the version played on certain ‘Classic Hits’ stations and 1970s radio shows. For example, radio station KKMJ would play the promo edit version on its ‘Super Songs’ of the 70s weekend. Classic Hits KXBT would also play the promo edit, and by contrast the True Oldies Channel would play the 3:20 single version. An AM radio station in Boston (WJIB 740 which also simulcasts in Maine as WJTO 730) plays the original vinyl Chicago IX edit.
First – this is not what’s stuck in MY head this morning. I have John Lennon’s Happy X-Mas (War Is Over) stuck in my head, as usual around the holiday. Wifey woke up with this stuck in her head, so I’m claiming “artistic license” and using her song.
She got out of the shower singing just one line from the song; “A lousy candle’s all I found”. Not even the entire verse, just one line. But I know that feeling.
So without further ado, here is John Kay and Steppenwolf – “Magic Carpet Ride”