FranklynJones

Spanish Fly Album: Van Halen II (1979) Little Dreamer Album: Van Halen (1978) Mean Street Album: Fair Warning (1981) Sunday Afternoon in the Park Album: Fair Warning (1981) by Van Halen “Spanish Fly” is the seventh track on Van Halen II, released in March of 1979. It is a flamenco-style acoustic guitar piece, as well as Eddie Van Halen’s second studio-produced solo—considered to be a sort of follow-up to 1978’s hugely influential “Eruption” from Van Halen I. According to the official Van Halen News Desk, producer Ted Templeman was hosting a New Year’s Eve party in December 1978 when he witnessed Eddie “fooling around” on an acoustic. Surprised that he was just as skilled with nylon strings, he asked Eddie to record something for their sophomore effort. Later, in Guitar World magazine, Eddie recalled the moment: Ted Templeman walked in and said, ‘You can play acoustic?’ I looked at him, like, ‘What’s the difference? It’s got six strings!’ I ended up coming up with ‘Spanish Fly.’ It was also common for Eddie to incorporate sections of Spanish Fly into his live guitar medleys. The recording Little Dreamer and this debut album with producer Ted Templeman began August 29, 1977. The tracks were recorded quickly during sessions between August 31 and September 8, 1977. Work on the album ended October 4 with the final mixing of "Little Dreamer" and "Eruption" (titled simply "Guitar Solo" on studio documents). Overall, the album cost approximately $54,000 to produce. "We didn't have a ton of material," recalled bassist Michael Anthony, "so we basically just took our live show and all the songs we knew and went for it. The whole album only took a couple of weeks. Ted Templeman wanted to make a big, powerful guitar record, and he had all he needed in what Eddie was doing." The subsequent tour began March 3, 1978 at the Aragon Ballroom in Chicago with the band opening for Journey and Montrose in the United States. They later opened for heavy metal band Black Sabbath in Europe and the United States. Mean Street David Lee Roth grew up in New Castle, Indiana, where the streets were certainly not mean, but he made his way to Los Angeles, which likely inspired his lyric about toughing it out in a desperate part of town. That's where Van Halen made their rise. Another Hollywood transplant from Indiana is Axl Rose, whose "Welcome To The Jungle" lyric for Guns N' Roses was inspired by the seedy areas of that town. "Mean Street" is the first track on Fair Warning, Van Halen's fourth album. It came at a very creative time for the band when they were in a groove, creating an album a year with producer Ted Templeman. The song is quintessential Van Halen, opening with Eddie Van Halen doing some tapping on his fretboard - a sound he innovated. It also has the harmony vocals of Michael Anthony, a monster guitar riff from Eddie, and an interlude where David Lee Roth gets to change gears. It's this section where he evokes the name of the album: Somebody said "Fair warning" Lord, strike that poor boy down "Mean Street" wasn't released as a single but became one of Van Halen's most popular album cuts and one of their live favorites. When they toured in 2012, Wolfgang Van Halen got to do some guitar dueling with his dad. "Sunday Afternoon In The Park" was no picnic for Eddie Van Halen when it came to its inspiration and sound. According to Eddie's ex-wife Valerie Bertinelli, this near two-minute long instrumental from Van Halen's 1981 album Fair Warning was inspired by the stress of their upcoming wedding, which took place on April 11th, 1981. The following is an excerpt from her 2008 book Losing It – and Gaining My Life Back, One Pound at a Time: "We only had a small window in which to schedule the wedding. After One Day [her TV series One Day At A Time], I went straight into the TV movie The Princess And The Cabbie, which was shot in San Francisco; then, starting in May, Ed was to tour for the rest of 1981. The stress of planning the wedding got to both of us. I remember Ed snapping, 'God, can't you just leave me alone?' I don't blame him. Ed told me that I'd inspired the song 'Sunday Afternoon In The Park,' a heavy, grinding instrumental. He said it was us fighting all the time. 'I'm so glad I inspire cheerful songs,' I said." On "Sunday Afternoon In The Park," Eddie used an Electro-Harmonix Micro-Synthesizer to create the demonic sound of the track. According to Paul Reno, the Micro Synthesizer was developed by electronics engineer and designer David Cockerell. The instrument creates different timbres by modifying the input signal into different circuits. It was inspired by the sound of the 1970s analog synthesizers like Moog, Arp, and Oberheim. The first Micro Synth was released in 1979; along with Eddie Van Halen, it was used by John Frusciante (Red Hot Chili Peppers), John Mayer, James Shaffer (Korn), Kim Gordon (Sonic Youth) and Matthew Bellamy (Muse). While Sunday Afternoon in the Park wasn't the first time Eddie used keyboards on a Van Halen song (1980's "Everybody Wants Some!!" being the first), it's one of the few from the band's pre-synthesizer-heavy 1984 album days. Back then the inclusion of keyboards on Van Halen music was not at all welcomed by Eddie's bandmate David Lee Roth and producer Ted Templeman. They preferred he stay focused primarily on playing the guitar since, after all, he was known as a "Guitar God." As a result, Eddie became increasingly frustrated and even considered quitting the band because he couldn't express himself creatively. His angst would ultimately be injected straight into Fair Warning, the band's darkest and most aggressive-sounding album. Eddie did, however, manage to get some synthesizers on the record. He and engineer Donn Landee would wait until the band and producer left the studio to record music. It was around the time "Sunday Afternoon In The Park" was written that Eddie came up with the keyboard riff he eventually used on the band's number one single "Jump." By the time that song was recorded, however, Eddie had built his very own studio he called 5150 Studios. It's with that creative leverage he would go on to complete "Jump" and create the synthesizer riff behind another hit single from the band's forthcoming 1984 album: "I'll Wait." Van Halen brought this Roth-era song back during the Sammy Hagar era during the 1991-1992 For Unlawful Carnal Knowledge Tour, where it was included in Michael Anthony's bass solo.

Southern Rock Opera Act One The Drive By Truckers originally this piece was a direct complaint to Elon because my fake account was nuked for using the ("N WORD") so it was n word heavy at the beginning, and since my satire is basically only funny to me (which explains a lot... also I don't care because this is the internet and not real) this has been re-edited and school friendly, as it's a rocket scientist's life... Now with 119% MORE Elon Memes. Happy African-American Day from the richest nigger there is! Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. A double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd. The record was originally self-released on Soul Dump Records. The album was re-released on July 16, 2002 by Lost Highway Records. The album was financed by issuing promissory notes in exchange for loans from fans, family and friends of the band. The album's artwork was done by Richmond, Virginia artist Wes Freed. The idea for Southern Rock Opera pre-dates the band's formation in 1996. Southern Rock Opera began in a long discussion between Drive-By Truckers' frontman Patterson Hood and former Truckers bassist and producer Earl Hicks, during a road trip. The pair discussed writing a semi-autobiographical screenplay about growing up in the South and about the plane crash that almost ended the career of the rock band Lynyrd Skynyrd, taking singer Ronnie Van Zant, guitarist Steve Gaines, and Gaines' back-up-singer sister Cassie Gaines. Soon after this discussion, Hood formed Drive-By Truckers. The Truckers recorded two studio albums and one live album during the four years between their formation and the actual recording of Southern Rock Opera. During these years, Drive-By's principal songwriters Hood, Mike Cooley, and Rob Malone continued to contribute songs to "The Rock Opera", as they had come to call it. After the release of their live album Alabama Ass Whuppin', Drive-By Truckers began recording what they hoped would be their magnum opus: Southern Rock Opera. According to Patterson Hood, "(the album) was recorded in Birmingham, upstairs in a uniform shop during an early September heat wave, with no air-conditioning. We had to turn the fans off when we were recording, and we worked from 6 p.m. to 6 a.m. So Southern Rock Opera was fun to write, but we had a miserable time making it." After the album was finished, however, the troubles continued for The Truckers when they ran out of funding for the immense project. To resolve the problem, and to avoid "any fine print crap", as Hood put it, the band took a non-traditional approach. The Truckers made a prospectus and solicited investors, with a promise of 15% interest, to pay for the manufacturing and distribution of Southern Rock Opera. The approach worked. Through their fan-based online news group and by sheer word of mouth, The Truckers were able to raise $23,000. This allowed them to print about 5,000 copies of the album, and buy a "new" used van for touring. Notably included in the group, dubbed "The DBT Investors", was Widespread Panic bassist and fellow Athenian Dave Schools. Southern Rock Opera was finally released on September 12, 2001 on Soul Dump Records. One day after September 11 attacks. September 12, 2001. Disc one: Act one: Betamax Guillotine "Days of Graduation" Hood 0:01 "Ronnie and Neil" Hood 2:36 "72 (This Highway's Mean)" Cooley 7:29 "Dead, Drunk, and Naked" Hood 12:53 "Guitar Man Upstairs" Cooley 17:46 "Birmingham" Hood 21:01 "The Southern Thing" Hood 26:05 "The Three Great Alabama Icons" Hood 31:10 "Wallace" Hood 38:04 "Zip City" Cooley 41:27 "Moved" Malone 46:39 Personnel Band Mike Cooley – lyrics, guitar, ambience, vocals Earl Hicks – bass Patterson Hood – lyrics, guitar, ambience, vocals, storytelling Rob Malone – lyrics, guitar, ambience, vocals Brad Morgan – drums Guest performers Kelly Hogan – backing vocals on "Cassie's Brother" and "Angels And Fuselage" (as Cassie Gaines) Anne Richmond Boston – 1st group vocal Jyl Freed – 2nd group vocal Amy Pike – 3rd group vocal

Peaches Album: The Presidents of the United States of America (1995) Lump Album: The Presidents of the United States of America (1995) Dune Buggy Single & Album: The Presidents of the United States of America (1995) by The Presidents Of The United States Of America First theory: It's just a song about how peaches are great. Perhaps a little commentary about how natural peaches are better then canned stuff. Second theory: It's about women's private parts and cunnilingus. The Presidents Of The United States Of America also have a song called "Kitty," which is about a cat (or is it?). They insist these songs - which they're well aware are full of double meanings - are about the literal explanations. In an interview with Presidents lead singer Chris Ballew, he told the story behind Peaches. "The key line, 'Moving to the country, going to eat a lot of peaches,' I overheard a homeless man who was walking by the bus stop where I was waiting for a bus," he said. "He was saying it under his breath over and over again: 'I'm moving to the country, I'm gonna eat a lot of peaches.' And I thought, 'That's interesting. I've never heard a homeless guy talk about his future and peaches and the country like that.' I was on my way to my girlfriend's house and I didn't have a guitar there but the phrase stuck with me. I later got home and put it to a little music. All I had was that, then I was trying to be Nirvana in the verse, gnarly and growly. So I had a verse and a chorus, and the verses were about how I had taken some hallucinogenic drugs and gone to a girl's house that I had a crush on. I was intending to tell her how I felt but she wasn't home, so I sat in her yard under a peach tree, having a psychedelic experience smashing peaches in my fist, literally like I say in the song, and watching the juice dribble and watching the ants run around. She never showed up, so I never got to tell her, but I bottled it and turned it into that song." "Peaches" was written by the three band members: Chris Ballew, Dave Dederer, and Jason Finn. Dederer came up with the part that closes out the song: Millions of peaches Peaches for me Millions of peaches Peaches for free "The song sounds like two different songs," Ballew said. "It's got my verse/chorus/verse/chorus, and then Dave's end part." "I love that that song was so popular because it really was a collaborative thing," he added. "Dave and I depended on each other to make that song work. Growing up as I did in the shadow of Lennon and McCartney, I thought it was cool that we had that collaboration." The Presidents Of The United States Of America were one of the many Seattle bands signed to a major label when grunge hit. Unlike most of these bands, they panned out, selling over 3 million copies of their debut album on Columbia Records. Their first single was "Lump," which got a lot of airplay and some spins on MTV. "Kitty" followed, then "Peaches." The album was released in July 1995, and the band promoted it relentlessly, making the rounds on radio stations in the mornings while they toured. "Peaches" reached its chart peak in April 1996; they put out their next album, II, in November. That album didn't produce any substantial hits but still sold 500,000 copies. By this time, the band was burned out, and in early 1998, they called it quits. They reunited from time to time, and lead singer Chris Ballew found an audience as Caspar Babypants, a maker of music for kids. From 1997–2004, their cover of "Cleveland Rocks" was the theme song to The Drew Carey Show. The band name is ironic, meant to contrast their lo-fi sound with the gravitas of the highest political office in their home country. It ended up being a great marketing tool, especially on Presidents' Day. On that holiday in 1996 (February 19, 1996) MTV aired a 30-minute concert of the band performing from Mount Rushmore. The music video of Peaches was directed by Roman Coppola, son of The Godfather director Francis Ford Coppola. Most of it is just the band performing in an orchard, but it takes a hard turn when a group of ninjas show up and attack them. According to Ballew, Coppola had been watching ninja movies and was keen to shoot a fight sequence. The peach was a symbol of immortality to the ancient Chinese. They placed bowls of peaches in the tombs of close family members to prevent the bodies from decaying. Giving the fruit as a gift was a sign of friendship. (From the book Food for Thought: Extraordinary Little Chronicles of the World by Ed Pearce) Lump follows the story of a woman named (or nicknamed) Lump who lives in a boggy marsh. She's not too bright, but has managed to attract a mate ("Lump slipped on a kiss and tumbled into love"). Presidents frontman Chris Ballew came up with the lyric. "It was just a visual, an image I had in my head," he said. "When I thought of 'she's lump, she's lump,' I wondered, 'What could that be?' and I just wanted to paint a very surreal picture. It's a little bit 'Lucy In The Sky With Diamonds.'" Growing up with Sgt. Pepper's being such a massive part of the landscape of my imagination, I think it was sort of my 'Lucy In The Sky,' you know, 'Lumpy In The River.' I just saw this scene, this weird jungle with this woman in a housecoat, an overweight, 50-something woman with her hair in curlers smoking a cigarette, sitting in the river and dumbfounding the piranhas who normally would eat her, but they can't make heads or tails of her. Everyone would always say, 'What is 'Lump' about?' I'm like, 'Just listen to the lyrics. That's what it's about.' It's literally about this vision, a fancy flight of imagination." "Lump" was the first single from The Presidents Of The United States Of America, which had the good fortune of forming in Seattle in the early '90s when the music scene there was red hot. In 1994, they released an independent album and were building a following. The record labels came calling, and they chose Columbia, which issued their debut album in 1995. In America, "Lump" wasn't sold as a single but was pushed to radio and MTV, a strategy that encouraged album sales. The song is a bit of a novelty, but unlike, say, Green Jelly ("Three Little Pigs"), their quirky hit was not their last. Presidents also landed with "Kitty" and "Peaches." The album ended up selling over 3 million copies. Their next album was less successful but still sold 500,000. By 1998, the band was burned out and called it quits, but viewers of The Drew Carey Show could hear their cover of "Cleveland Rocks" every week as the theme song. The band re-grouped from time to time, and in 2016 announced they were stepping down. Lead singer Chris Ballew emerged as "Caspar Babypants," a maker of music for kids and families. Caspar tracks like "Run Baby Run" and "Stompy The Bear" have streaming counts in the millions. A cello player named Lori Goldston (who played on Nirvana's MTV Unplugged special) had a hand in the development of "Lump." She was Chris Ballew's neighbor, and when Chris hit on the idea for the song, she let him borrow her 4-track recorder so he could work up the demo. Lump music video takes place in a swamp, and we never see Lump. Instead, we see the band in their presidential suits performing the song in the water. It was directed by Roman Coppola, who went on to co-write the screenplay to the movie Moonrise Kingdom. Because it was the band's first video, they wanted to be the focus so fans could get a good look at them and see what they're about: high energy and good vibes. It's easy to understand every word in this song. That's by design. Presidents had a unique sound, with lead singer Chris Ballew playing a 2-string guitar through a bass amp, and guitarist Dave Dederer playing a 3-string guitar through a guitar amp. Sonically, this opened up a big hole for the vocals, which come through loud and clear. Weird Al Yankovic did a parody of this song called "Gump" with the lyric reworked to be about the movie Forrest Gump. In the video, Al portrays lead singer Chris Ballew, but performs in a fountain instead of a swamp. When Lump took off, a popular narrative was that the band's arrival signaled the end of grunge and a homogenization of the Seattle sound. Chris Cornell came to the band's defense, explaining that the city has always had groups representing a wide array of musical genres, but any that weren't grunge got overlooked in the early to mid-'90s. Presidents even opened two shows for Soundgarden at Mercer Arena in Seattle in 1996. "Lump" was ineligible for the Hot 100 chart because it wasn't sold as a single, but it did go to #21 on the Billboard's Airplay chart, and also topped their Modern Rock chart. The song is short and sweet, clocking in at just 2:14. Around this same time, Weezer was on the charts with one of their quirky hits: "Buddy Holly," which runs 2:39. "Lump" comes in hot, with a drum hit immediately followed by vocal. It also has a cold ending, which means disc jockeys couldn't talk over the song at all. "I was trying to imitate a Buzzcocks song," Chris Ballew said of Lump. "Originally the guitar and the bass were in from the very beginning, but I wanted it to sound like a song where the beginning of it could sound like it's already been going on for three minutes, like it just drops and it's on. But Conrad Uno, the guy that helped produce the first record, had the idea of muting the guitar and the bass at the beginning and have it just be drums. So that was a great decision because it's iconic, the way it starts." "Dune Buggy" is a song released as the fourth and final single from their self-titled debut album (1995) on July 8, 1996. The song reached number two in Iceland, number 15 in the United Kingdom, number 16 in Australia, and number 29 in Ireland.

Southern Rock Opera Act Two The Drive By Truckers originally this piece was a direct complaint to Elon because my fake account was nuked for using the ("N WORD") so it was n word heavy at the beginning, and since my satire is basically only funny to me (which explains a lot... also I don't care because this is the internet and not real) this has been re-edited and school friendly, as it's a rocket scientist's life... Now with 119% MORE Elon Memes. Happy African-American Day from the richest nigger there is! Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. A double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd. The record was originally self-released on Soul Dump Records. The album was re-released on July 16, 2002 by Lost Highway Records. The album was financed by issuing promissory notes in exchange for loans from fans, family and friends of the band. The album's artwork was done by Richmond, Virginia artist Wes Freed. The idea for Southern Rock Opera pre-dates the band's formation in 1996. Southern Rock Opera began in a long discussion between Drive-By Truckers' frontman Patterson Hood and former Truckers bassist and producer Earl Hicks, during a road trip. The pair discussed writing a semi-autobiographical screenplay about growing up in the South and about the plane crash that almost ended the career of the rock band Lynyrd Skynyrd, taking singer Ronnie Van Zant, guitarist Steve Gaines, and Gaines' back-up-singer sister Cassie Gaines. Soon after this discussion, Hood formed Drive-By Truckers. The Truckers recorded two studio albums and one live album during the four years between their formation and the actual recording of Southern Rock Opera. During these years, Drive-By's principal songwriters Hood, Mike Cooley, and Rob Malone continued to contribute songs to "The Rock Opera", as they had come to call it. After the release of their live album Alabama Ass Whuppin', Drive-By Truckers began recording what they hoped would be their magnum opus: Southern Rock Opera. According to Patterson Hood, "(the album) was recorded in Birmingham, upstairs in a uniform shop during an early September heat wave, with no air-conditioning. We had to turn the fans off when we were recording, and we worked from 6 p.m. to 6 a.m. So Southern Rock Opera was fun to write, but we had a miserable time making it." After the album was finished, however, the troubles continued for The Truckers when they ran out of funding for the immense project. To resolve the problem, and to avoid "any fine print crap", as Hood put it, the band took a non-traditional approach. The Truckers made a prospectus and solicited investors, with a promise of 15% interest, to pay for the manufacturing and distribution of Southern Rock Opera. The approach worked. Through their fan-based online news group and by sheer word of mouth, The Truckers were able to raise $23,000. This allowed them to print about 5,000 copies of the album, and buy a "new" used van for touring. Notably included in the group, dubbed "The DBT Investors", was Widespread Panic bassist and fellow Athenian Dave Schools. Southern Rock Opera was finally released on September 12, 2001 on Soul Dump Records. One day after September 11 attacks. September 12, 2001. Disc two: Act two "Let There Be Rock" Hood 00:09 "Road Cases" Hood 04:25 "Women Without Whiskey" Cooley 07:07 "Plastic Flowers on the Highway" Hood 11:27 "Cassie's Brother" Malone 16:29 "Life in the Factory" Hood 21:28 "Shut Up and Get on the Plane" Cooley 26:55 "Greenville to Baton Rouge" Hood 30:33 "Angels and Fuselage" Hood 34:44 Personnel Band Mike Cooley – lyrics, guitar, ambience, vocals Earl Hicks – bass Patterson Hood – lyrics, guitar, ambience, vocals, storytelling Rob Malone – lyrics, guitar, ambience, vocals Brad Morgan – drums Guest performers Kelly Hogan – backing vocals on "Cassie's Brother" and "Angels And Fuselage" (as Cassie Gaines) Anne Richmond Boston – 1st group vocal Jyl Freed – 2nd group vocal Amy Pike – 3rd group vocal

Jungle Boogie Album: Wild & Peaceful (1973) Kool and The Gang It took some brains to make this video... like the Mayor and City Council of Westminster South Carolina Praise Jesus Harder! "Jungle Boogie" was first released on the Kool & The Gang album, Wild & Peaceful, in October 1973. A month later, November 24, 1973, the track was released as a single, with the little recognized "North, South, East, West" as the B-side. With the million-selling success of "Jungle Boogie" and the success of other singles, "Funky Stuff" and "Hollywood Swinging," the album was quickly certified gold by the RIAA, the band's first certified gold album. "Jungle Boogie" hit #4 on the Billboard Hot 100 after receiving extensive play in dance clubs and discos, leading to the single being certified gold as well on February 2, 1974. The album, Wild & Peaceful peaked at #6 on the Billboard R&B Album chart and #33 on the Billboard Pop Album chart. The main spoken vocals on "Jungle Boogie" were performed by then-roadie, Donal Boyce, who became better known as "The Boogie Man." Boyce's vocals on the hit were so popular he was invited to sing back-up and perform "vocal effects" on a number of Kool & The Gang singles, including "Spirit of the Boogie," "Open Sesame," and "Slick Superchick." Boyce performed with the band from 1973 to 1977. All the songs on Kool & The Gang's 1973 album Wild & Peaceful, including "Jungle Boogie," were credited to the songwriting team of Kool & The Gang and Gene Redd. At the time, Kool & The Gang was made up of six members: Robert 'Kool' Bell, Claydes Smith, Dennis 'D.T.' Thomas, Ronald 'Khalis Bayyam' Bell, Robert Mickens, and George Brown. The group joined together with music producer and founder of De-Lite records, Gene Redd, in 1968, when Redd signed them to his first record label, Redd Coach Records. Since its release in 1973, "Jungle Boogie" has been sampled and covered repeatedly. Kool & The Gang sampled their own hit, releasing an instrumental version with an overdubbed flute section and additional percussion called "Jungle Jazz" on their album, Spirit of the Boogie. In 1988, Hip hop duo EPMD sampled the track for their debut single, "Strictly Business." The 1989 Beastie Boys hit, "Hey Ladies," used parts of "Jungle Boogie" to help land the first single in US history to chart in the Top 20 on both the Billboard Hot Rap Singles chart and the Billboard Modern Rock Tracks chart. Madonna followed suit with sampling for her 1992 hit "Erotica," a controversial song that got the material girl banned from the Vatican and banned from airplay on the surrounding radio stations. The 1994 Top 10 hit by Janet Jackson, "You Want This," featured samples from both "Jungle Boogie" and "Love Child" by The Supremes. Media moguls love to use a well-recognized song like "Jungle Boogie" for their projects. Director Quentin Tarantino used the track for his 1994 film, Pulp Fiction. A cover version of "Jungle Boogie" by The French was featured in the Disney straight-to-video feature The Lion King 1 ½. Disney used the hit again in 2004 for the soundtrack of the show That's So Raven. Harmonix got in on the act in 2010 when they used "Jungle Boogie" as a dance track for their hit X Box 360 Kinect game, Dance Central. Get down, get down Get down, get down Get down, get down Get down, get down Get down, get down Get down, get down Get down, get down Get down, get down Jungle boogie (Get down with the boogie) Jungle boogie (Get it on) Jungle boogie (Get down with the boogie) Jungle boogie (Get it on) Jungle boogie (Get up with the boogie) Jungle boogie (Get up with the get down) Jungle boogie (Get down with the boogie) Jungle boogie (Shake it around) Jungle boogie (Get up with the get down) Jungle boogie (Boogie, boogie) Jungle boogie (Get the boogie) Jungle boogie Jungle boogie (Get up with the get down) Jungle boogie (Ah, get the boogie) Jungle boogie (Let me jump in) Jungle boogie (Get down with the boogie) Get down, get down Get down, get down (With the boogie) Get down, get down (Jungle boogie) Get down, get down (With the boogie) Get down, get down (It's the boogie) Get down, get down (Jungle boogie) Get down, get down (With the boogie) Get down, get down (With the boogie) Get down, get down (Jungle boogie) Get down, get down (Boogie) Get down, get down (It's the boogie) Get down, get down Uh, get it Feel the funk y'all Let it flow Get down with the boogie I'm a-talkin' 'bout the jungle boogie Get down, huh Get down with the boogie say Uh, huh, get down Say, uh, huh-uh, ah, get down Say, uh, huh, get down Say, uh, huh, till you feel it, y'all Ah, huh, get down, y'all Uh-huh Ah, get down Huh-uh Ah, get up, y'all Ah, huh, with the get down Uh-huh Uh-huh Get down Whoa!

Roll Me Away Album: The Distance (1983) Like A Rock Album: Like a Rock (1986) by Bob Seger And The Silver Bullet Band Bob Seger always seemed more like a regular guy than a Rock Star, and Like A Rock is a moving song about pride and consistency which struck a chord with working class Americans who could relate to him. Seger grew up in Michigan, paid his dues with constant touring, and stayed true to his roots. Seger was 40 years old when Like A Rock was released, and there was a wisdom to his words that appealed to his audience. In a 1986 interview with Creem magazine, he said: "It's a matter of growing up. From the time I was 20 until I was 30, I didn't sell a whole lot of records, but I was doing a lot of rock 'n' roll. That's the way I felt at the time. Maybe during the period when I was 30 to 40, I was getting more mature, writing about older themes. I'm sure 'Like A Rock' doesn't mean much to someone who's 20, but I gotta write what I know about." Talking about writing Like A Rock in a 1994 interview with Music Connection, Seger said, "There have been times where I've written a bunch of verses before I even know what the title is. That's what happened with 'Like A Rock.' I wrote the first three verses of that song before I even knew where I was going. Then, one day, I just fell into the 'like a rock' thing, and I thought it worked." Guitarist/singer Rick Vito played the guitar on Like A Rock. Vito was in Fleetwood Mac from 1987-1991. The album version of Like A Rock is 5:56 long. The single version was cut down to 4:36. Like A Rock was used in an advertising campaign for Chevrolet trucks that ran from 1991 - 2004, making it indelibly associated with the vehicles. The song helped sell a lot of Silverados, and is considered one of the best choices for an ad campaign in the history of music. With a sturdy tempo, a singer who fits the demographic, and lyrics about reliability, this was the perfect song. The title provided a tag line better than anyone in Madison Avenue could have dreamed up, and the song got a new life, becoming much better known than it was on initial release. The Like A Rock video was shot in the Mojave Desert. They went for cinematography over effects, with a blue tint and no lip synching. It was artistic but slow, and failed to make an impact on MTV. Some guys were never meant to be video stars. This song was used in the soundtrack for the film The Weather Man (2005), which starred Nicolas Cage. "Roll Me Away" is a song on the album The Distance. The song was used as Seger's opening song on his Face the Promise tour in 2006–2007, his first tour in a decade. According to Seger the song was inspired by a motorcycle trip he took to Jackson Hole, Wyoming. He stated: "I wanted to do that for a long time. It was fascinating being out. The first night it was 42 degrees in northern Minnesota; the second it was 106 in South Dakota and all I had on was my shorts, and my feet were up on the handlebars to keep them from boiling on the engine. It was just silence and feeling nature." Bob Seger – lead vocals The Silver Bullet Band Chris Campbell – bass Craig Frost – organ Additional musicians Roy Bittan – piano Michael Boddicker – synthesizer Bobbye Hall – percussion Russ Kunkel – drums Waddy Wachtel – guitar

Seven Turns Album: Seven Turns (1990) Soulshine Album: Where It All Begins (1994) The Allman Brothers Band Seven Turns refers to a Navajo belief that there are seven times in life that you must make a decision that determines your life path. Taking the wrong path means you must either backtrack or stay on the road to ruin. Allman Brothers Band guitarist Dickey Betts wrote Seven Turns after producer Tom Dowd asked him to write something similar to "Blue Sky," which he composed for the band's 1972 album Eat A Peach. This was the title track to the Allman Brothers comeback album. They had not recorded together for nine years. This was one of the few Allman Brothers songs where Betts sang lead. Seven Turns features Warren Haynes on slide guitar. His addition to the band on the Seven Turns album allowed them to play with two guitars, like they did before Duane Allman died in 1971. "Soulshine" is a song written by American musician Warren Haynes and originally recorded by Larry McCray on his 1993 album, Delta Hurricane. It is best known as a recording that The Allman Brothers Band released on their 1994 album, Where It All Begins, featuring Gregg Allman on vocals. The song's title originates from Haynes's nickname, given by his father. Although the Allmans' version was never released as a single, it remained one of their best known songs among fans and concert-goers. A live version of the song, which appeared on the Allmans' 2003 DVD, Live at the Beacon Theatre, had Allman and Haynes alternating vocals on the verses and harmonizing on the chorus, and includes a slide solo from Derek Trucks, as Dickey Betts was no longer with the band. This has become the standard for the song in most recent years with dual vocals. When Haynes and bassist Allen Woody formed Gov't Mule, they took Soulshine with them. Gov't Mule performs "Soulshine" live at their concerts and it was included on the band's Live... With a Little Help from Our Friends, The Deep End, Volume 1, and The Deepest End, Live in Concert releases. Beth Hart covered this song on her 2007 album, 37 Days. Soulshine was covered by two contestants from the thirteenth season of American Idol. C.J. Harris used the song during his audition (and also in the Top 8) and Ben Briley performed the song during "Rush Week". The 1997 David Allan Coe album Live: If That Ain't Country... has a cover of Soulshine as the second track, since Haynes, Coe's original guitar player, joined him for that concert.

Crazy Little Thing Called Love Album: The Game (1979) Keep Yourself Alive Album: Queen (1973) Another One Bites The Dust Album: Greatest Hits (1980) by Queen Freddie Mercury wrote Crazy Little Thing Called Love while Queen were recording The Game in Germany. He wrote it while taking a bubble bath in his room at the Munich Hilton. Peter Hince, the head of Queen's road crew, recalled to Mojo magazine September 2009: "The idea for the song came to him while he was in the bath. He emerged, wrapped in a towel, I handed him the guitar and he worked out the chords there and then. Fred had this knack of knowing a great pop song." Freddie acknowledged that perhaps his limited talent on the guitar helped shape the song: "'Crazy Little Thing Called Love' took me five or ten minutes. I did that on the guitar, which I can't play for nuts, and in one way it was quite a good thing because I was restricted, knowing only a few chords. It's a good discipline because I simply had to write within a small framework. I couldn't work through too many chords and because of that restriction I wrote a good song, I think." Crazy Little Thing Called Love sounded a lot more like Elvis Presley than Queen. It was a different sound for the group, but their fans loved it. Crazy Little Thing Called Love was the first song on which Freddie Mercury played rhythm guitar. He was keen to keep the song minimal, despite his limited guitar knowledge, and producer Mack claimed that he rushed into the studio to record it "before Brian could get there!" He also played the guitar solo on the original recording of Crazy Little Thing Called Love, but the tapes were lost so Brian May played the solo instead, using a Fender Telecaster to achieve the period sound. May didn't seem to like playing another guitar, and even when playing live, after performing the solo on the Telecaster he would immediately switch back to his Red Special. At first, this was not released in the US. Since the album was not out yet, radio stations there started playing import copies of the single. This led Queen's record company to release it in America, about 3 months after it came out in England. Mercury's name is in the lyrics. He sings, "Are you ready," and the band sings, "Ready Freddie." This section took on a poignant edge after Mercury's death when the song was performed with guest singers, as the lyric was never altered regardless of the vocalist. Fans would take this opportunity to bellow the 'Ready, Freddie!' lyric back at the band in remembrance of the singer. On stage, Crazy Little Thing Called Love was an important part of the show. Brian May often used three different guitars during the song: the first verse was played by Freddie alone with his guitar, then Brian joined with another Ovation Acoustic; before the third verse he had already switched to a Telecaster on which he performed the solo. During the singalong part (famous for its "ready Freddie" line) Brian again changed instruments to his homemade Red Special. From 1984 onwards Mercury replaced the acoustic with another Telecaster. The single was very successful for the band, hitting #2 in the UK and becoming their first US #1 hit, There's an unconfirmed legend (commented on by Roger Taylor on the radio show In The Studio, and by Brian May on his website) that declares John Lennon was inspired by this song to go back to the music business. Whether it's true or false is still unknown, but it is a fact that Lennon listened to Queen and he did try new influences on his Double Fantasy album. Josh Kelley recorded Crazy Little Thing Called Love for the 2005 Queen tribute album Killer Queen. Keep Yourself Alive is a song about simply staying alive. The message of the song: Staying alive is more important than being rich or famous. It boils down to "being yourself" instead of what everyone else wants you to be. Queen guitarist Brian May wrote the words and music for Keep Yourself Alive, which was Queen's first single. It highlighted what would become a common facet of Queen's studio work: May's perfectionism. He noted in a 1983 interview with BBC Radio 1: "The first recording of it ever was in De Lane Lea when we did it ourselves and I've still got that recording and I think it's very good and has something which the single never had. But THEY pressurized us very strongly to redo all the tracks and we redid 'Keep Yourself Alive' with Roy and it was pretty awful, actually. I thought it was terrible and I was very unhappy about it and I thought the De Lane Lea one was better and I eventually managed to persuade Roy that it was better as well. So, we went back in and did it again in a way that was a bit more true to the original. But there is no way that you can ever really repeat something. I have this great belief that the magic of the moment can never be recaptured and, although we ended up with something that was technically in the playing and perhaps even in the recording a bit better than the De Lane Lea thing. I still think that the De Lane Lea one had that certain sort of magic, so I was never really happy. As it turned out no one else was ever really happy either and we kept remixing it. We thought that it's the mix that's wrong, we kept remixing and there must have been, at least, seven or eight different mixes by different groups of people. Eventually we went in and did a mix with Mike Stone, our engineer, and that's the one that we were in the end happiest with. That's the one we put out. But, to my mind 'Keep Yourself Alive' was never really satisfactory. Never had that magic that it should have had." Keep Yourself Alive also showed a glimpse of May's desire to experiment with guitar recording techniques. Talking to On The Record in 1982, he discussed the techniques behind the opening heavily strummed guitar riff. "That was real tape phasing. This was in the days when you took the tape off the synch head, put it though a couple of other tape delays, and then brought it back with the play head. There is no processing whatsoever on the solo in that tune, as far as I remember. I used John Deacon's small amplifier and the Vox AC-30 to do those little three-part chorus thing behind, as well as the fingerboard pickup on the guitar. There is a bit more tape phasing on the end of that track." Queen's first single, Keep Yourself Alive has many familiar elements: the stacked guitars, the big harmonies. Brian May recalled to Mojo magazine: "Unfortunately, apart from a few places like Japan, it didn't get much airplay. We were told 'it takes too long to happen, boys. It's more than half a minute before you get to the first vocal.' So when we made the second album, we felt right we'll show them." Another One Bites The Dust is one of the hardest Queen songs to understand. The opening line reads, "Steve walks warily down the street, his brim pulled way down low. Ain't no sound but the sound of his feet, machine gun ready to go..." Also, the last phrase spoken in the song is not "Shoot Her" or "Shooter," but "Shoot Out." Though probably not intentional unless someone did an excellent splicing job, the "another one bites the dust" line quite clearly says "decide to smoke marijuana" when played backwards. This is especially clear toward the end of the track when Mercury repeats the line with only the drums playing. Queen bass player John Deacon wrote Another One Bites The Dust. All four members of Queen wrote songs, and each wrote at least one hit. Deacon also wrote "You're My Best Friend." Deacon was influenced by the Chic song Good Times. In an interview with the New Musical Express, Chic bass player Bernard Edwards said: "Well, that Queen record came about because that bass player spent some time hanging out with us at our studio. But that's OK. What isn't OK is that the press started saying that we had ripped them off! Can you believe that? 'Good Times' came out more than a year before, but it was inconceivable to these people that black musicians could possibly be innovative like that. It was just these dumb disco guys ripping off this rock 'n' roll song." Deacon played most of the instruments on the track: lead and rhythm guitars, bass, reversed piano and additional percussion. Brian May did some guitar effects with harmoniser (in the interlude), and Roger Taylor played the drum loop. Surprisingly, there are no synthesizers. The drum track and the hand claps were looped. They repeat throughout the song. While the band and producer Reinhold Mack were mixing the track, Brian May's roadie suggested it to be released as single; the band didn't like the idea but were finally talked into doing it when Michael Jackson, after a concert, suggested the same idea. John Deacon claimed in a 1980 interview that Roger Taylor opposed Another One Bites The Dust's drum beat. This is backed up by the comments of several figures in the Days of our Lives documentary, who noted that Taylor hated having tape put on his drums to deaden the sound. However, the drummer denied this in an interview with Mojo magazine October 2008. He insisted: "I'd already had an ineffectual pop at that kind of music with 'Fun It,' on the Jazz album. I was never against 'Another One Bites The Dust,' but I was against releasing it as a single." In 1998, Another One Bites The Dust was used in a commercial for AIWA sound systems. In the ad, a guy drives around with this blaring from his car stereo. At the end of the commercial, we realize he is driving a hearse. Freddie Mercury loved this track. Brian May recalled to Mojo: "Freddie sung until his throat bled on Another One Bites The Dust. He was so into it. He wanted to make that song something special." During production of the movie Rocky III, this was used in a key scene where Rocky is training for a fight. Producers could not get permission to use the song, so Sylvester Stallone hired Survivor to write an original song instead, which turned out to be "Eye Of The Tiger." Queen were originally reluctant to release this as a single, but backstage after a Queen gig at the Los Angeles forum, a visiting Michael Jackson convinced them it would be a hit. "Michael and all his brothers were all going, 'That's a fantastic track. You must release it,'" recalled Queen drummer Roger Taylor to Q magazine December 2009. This meeting lead to several recordings and collaborations between Freddie Mercury and Jackson, all of which remain unreleased. Weird Al Yankovic got his first chart placing with his parody of this song: "Another One Rides The Bus." It bubbled under on the Hot 100, placing at #104 in 1981. After a few more minor hits, he landed "Eat It" at #12 in 1984. Even then, Al was getting permission from the artists he parodied before releasing his songs. Another One Bites The Dust was the single that really broke the band in America, and it garnered a huge following amongst American disco audiences, with many fans and journalists convinced it was a black man singing lead vocals (these people obviously hadn't heard of Queen before so didn't know what Freddie looked like). The band occasionally were unsure of how to deal with this - Roger Taylor jokes in the Days of our Lives documentary of having fans shouting "you guys are bad!" in the street, and he had to ask "does that mean good or what?" Another One Bites The Dust was used in a 2016 commercial for the Hyundai Genesis that first aired on the Super Bowl. In the spot, Kevin Hart uses the Car Finder app to track down the guy who is using it to take his daughter on a date. After tormenting her suitor, Hart says, "A dad's gotta do what a dad's gotta do." This is used for CPR training because its bassline has close to 110 beats per minute, which matches the recommended chest compression rate.

Hard To Handle Album: Shake Your Money Maker (1990) Remedy Album: The Southern Harmony and Musical Companion (1992) Jealous Again Album: Shake Your Money Maker (1990) by The Black Crowes Hard To Handle was originally recorded by Otis Redding, who wrote it with Allen Jones and Al Bell. It was the only cover song on The Black Crowes debut album, which sold over five million copies. Running a compact 3:08, The Black Crows turned Hard To Handle into a rocker, using guitars instead of horns and extending the song from Redding's 2:18 original. Hard To Handle was The Black Crowes' third single, following "Twice As Hard" and "Jealous Again." It made #45 in the US in December 1990, as the group was rapidly gaining momentum. After "She Talks To Angels" hit #30 in May 1991 - over a year after the album was released - "Hard To Handle" was reissued, this time going to #26 and becoming the highest-charting single for the band on the Hot 100. The group had been together for five years before signing a record deal with Def American, which prepared them well for the onslaught of success. Their live act had already been honed, and many who saw them remained lifetime fans as they became more of a jam band. In an interview with Black Crowes lyricist/frontman Chris Robinson, he explained: "'Remedy' is a song that essentially is about freedom. We were into the whole idea that the 'war on drugs' was just silly - it was this asinine concept to me and millions of other people. So that song to me is about freedom, plain and simple, just put in a Rock & Roll framework." A track from the second Black Crowes album, this was their last song to make the Hot 100 - a surprising development considering they charted three songs from their first album and had a lot of radio support. As the band moved forward, the focused more on their core fanbase (the "connoisseurs" as Chris Robinson calls them), which circumscribed their popular fortunes. The pro-marijuana stance the band espouses in Remedy is something they played up around this time. To help promote the album, they appeared on the cover of High Times magazine, played the Atlanta Pot Festival, and had signage at their concerts with marijuana leaves. "Jealous Again" was the first single from The Black Crowes, released in 1990 after the band had been around in some form for six years. It was written by Rich and Chris Robinson, the brothers who lead the band. Rich is the guitarist and Chris the lead singer, but they collaborate on both music and lyrics. The song reflects their time on the road, pushing forward as they pursue their rock and roll dream ("Singing songs, ain't got no regrets"). They seem to be addressing a girl, letting her know there's a lot they had to sacrifice, and acknowledging that life with an aspiring rock star isn't always easy. "When you're a kid and you're in a rock band, that's your life, and there are a lot of walls put up for you to bust through," Chris Robinson said. "We really weren't an angst-driven band, but on the early Black Crowes records you feel our youthful exuberance." The Black Crowes were often compared to The Rolling Stones, and Jealous Again is a big reason why. The Robinson brothers admit that it's inspired by the 1972 Stones song "Tumbling Dice." "We stepped into a new place on 'Jealous Again,'" Rich told Guitar Player magazine. "We were going for a 'Tumbling Dice' thing. I remember writing the intro, putting the song together with Chris, and bringing it to rehearsal, where everyone got it. The first time we played it live was opening for Drivin' N Cryin' in Nashville." Jealous Again got The Black Crowes off to a flying start. Rock stations were quick to add it to their playlists, excited to have some new blood in a genre that was still dominated by acts that were big in the '70s like Aerosmith, Rush and ZZ Top. And this was Southern rock (the band is from Atlanta), more boogie than grunge, which was making a big push. The band followed "Jealous Again" with "Twice As Hard" and their cover of "Hard To Handle," then with the touching ballad "She Talks To Angels." All of these songs were part of their debut album, Shake Your Money Maker, which went on to sell over 5 million copies in America. The band released a no-frills video for Jealous Again, directed by Pete Angelus, who worked on many of those Van Halen and David Lee Roth videos that were all over MTV in the early years. The Black Crowes had a distinctive look, with flowing shirts on their surprisingly skinny frames. Like their sound, this was also reminiscent of '70s rockers like The Rolling Stones. Another "black" band beat them to the title: Jealous Again is the name of a 1980 EP by Black Flag.

There Goes Another Love Song Album: Outlaws (1975) Dixie Highway by Outlaws A movie about a Tumbleweed... made me think "There Goes Another Love Song" Henry Paul, founding member of The Outlaws, says There Goes Another Love Song is another in their repertoire of songs about being on the road: "'Trying to get back to where I know I belong,' there we are again, sitting in some stupid Days Inn in Tuscaloosa, Alabama, 1974." And even though they were doing something they loved, and on the edge of serious success, it didn't assuage the caged feeling of not being able to see their loved ones. Says Paul, "Even as much as you love your job, there's things about that lifestyle that'll make you do things you don't want to admit that you did. That's why they throw TVs out of window. That's why the rock and roll thing is so violent and self-destructive.It's kind of like being a lab rat stuck in some treadmill hell, that in order to keep your sanity you've got to lash out at what's right immediately there, whether it's your hotel room or shooting a TV or being Keith Moon over and over again. But that's where that song came from, and it had a very commercial appeal, and it was a single for us. And although it didn't chart particularly high, it was obviously and definitely a cornerstone in our musical career." There Goes Another Love Song's chorus was written by Outlaws drummer Monte Yoho, and lead guitarist/singer Hughie Thomasson filled out the rest of the words. Says Henry Paul, "'There goes another love song,' that specific line, 'Someone's singing about me again, now I need more than a friend,' was written by Monte. He was a man of very few words, our drummer. He was a very smart and sharp, witty guy, but he wasn't the most poetic character. I'm not trying to say that he was a dumb guy, just that his sense of poetry was on the target, but it wasn't close to the center. But he wrote that, and then Hughie sort of rounded out the song with the verses." Henry Paul “I hope that Dixie Highway reinforces the notion that the Outlaws still matter, and that southern rock will always matter,” he says. “It’s a message we’re proud to bring into the twenty-first century.” It was Skynyd’s Ronnie Van Zant who brought the Outlaws to the attention of their eventual home of Arista Records, forcing an executive to watch a support spot with Skynyrd in Columbus, Georgia in 1974. With typical bullishness, Van Zant collared label boss Clive Davis and told him: “If you don’t sign the Outlaws, then you’re the dumbest music person I’ve ever met – and I know that you’re not.” Thomasson died of a heart attack two years afterwards, but Henry Paul keeps things moving forwards. He’s completely comfortable with that, having overturned a lawsuit from Hughie’s widow that attempted to prevent him doing so. “I hated being dragged down that road, so let me say one thing about the whole situation,” he responds, choosing his words with caution. “I’m an original member of this band. I’m a part of its musical personality, and I’m a creator. I’ve shown myself to be caring towards the brand. "Why would I allow myself to be controlled by somebody who’s never played a guitar, entertained an audience or made a record? I felt an obligation to fight for what I felt was right for me and my bandmates. Since we won the case, I’ve worked really hard to maintain the integrity of the group.” Sometimes I feel I'm getting kinda low Thoughts I am thinkin' are the reason so I try to remember without talkin' to myself Things that I've said or maybe things that I felt about you Sittin' in a corner of a crowded bar room People all around me and I still feel alone Just when I know I'm gonna break down and cry Someone played a tune that dried the tear from my eye There goes another love song Someone singin' about me again There goes another love song Now I need more than a friend Lonesome and lonely and far from my home Tryin' to get back to where I know I belong Wishin' and a-hopin' I was already there I just heard a voice it whispered in my ear, singin' There goes another love song Someone singin' about me again There goes another love song Now I need it more than a friend Do, do, do, do, do Do, do, do, do, do Do, do, do, do, do Do, do, do, do, do There goes another love song Someone singin' about me again There goes another love song Now I need it more than a friend I said There goes another love song Someone singin' about me again, oh no There goes another love song Now I need more than a friend

Chicken Train Stomp Album: The Ozark Mountain Daredevils (1973) track 4 Standing On The Rock Album: The Ozark Mountain Daredevils (1973) track 6 by Ozark Mountain Daredevils The Ozark Mountain Daredevils are an American band formed in 1972 in Springfield, Missouri. They are most widely known for their singles "If You Wanna Get to Heaven" in 1974 and "Jackie Blue" in 1975. Bassist Michael "Supe" Granda has also written a book about the band, It Shined. The band name was derived from "Cosmic Corn Cob & His Amazing Ozark Mountain Daredevils", a name that John Dillon came up with at a Kansas City "naming party" after the band was told that the name they had previously been using, "Family Tree", was already taken ("Burlap Socks" and "Buffalo Chips" were two other monikers that had been considered). The band shortened the name because none of the band members at the time wanted to be called "Cosmic Corn Cob", and they did not want the name to sound similar to the Amazing Rhythm Aces. In 1971 Randle Chowning formed a band which included himself, Steve Cash, John Dillon, Elizabeth Anderson, Larry Lee, Rick Campanelli, Bill Jones and Michael Granda. The band recorded a demo at Springfield's Top Talent Studios (soon to be renamed as American Artists) and that demo, containing such early songs as "Rhythm of Joy", found its way to New York music executive John Hammond via the hands of band friend Steve Canaday, co–owner of the New Bijou Theater. In July 1972 Hammond sent a producer, Michael Sunday, to the band's Ruedi-Valley Ranch in Aldrich, Missouri, the house rented from Randle Chowning's Southwest Missouri State University teacher Mrs. Ruedi, where the band rehearsed and where Chowning and his brother Rusty lived. Sunday offered the group $500 to make another demo tape at American Artists but ultimately decided to pass on offering them a contract. Many of the songs on this demo appeared thirteen years later as the record The Lost Cabin Sessions. The band later sent a tape to the team who managed fellow Missourians Brewer & Shipley, Kansas City's Paul Peterson and Stan Plesser (who also owned the Vanguard, a popular coffee house, and ran their own Good Karma Productions). The pair gave the band a chance and became their managers as well in October 1972. The band then changed their name to the Ozark Mountain Daredevils (see "Name") and saw the departure of Campanelli and Jones along with the addition of Buddy Brayfield, a friend of Granda's, as the piano player. Anderson, though still romantically involved with Dillon, retired from the stage. Campanelli left on his own to pursue a master's degree in music; Jones rejoined the Daredevils briefly later and would continue to appear as a guest player on some of their shows and recording sessions. The band began playing out in 1972 and 1973. On February 8, 1973 they played at Cowtown Ballroom in Kansas City, Missouri. Later that month, on February 21, they played a concert at Shawnee Mission Northwest High School in Shawnee, Kansas. Two weeks after that, on March 9 and 10, they played at Kiel Opera House in St. Louis and Cowtown Ballroom again, this time with Brewer & Shipley, accompanied by Loudon Wainwright III. Performances from both those March shows later turned up on a CD called Archive Alive in 1997. The group's demo tape eventually caught the attention of A&M Records staff producer David Anderle, who was looking for an Eagles country rock type of band to place on the label. Anderle and the Eagles' first producer, Glyn Johns, flew to Missouri to catch the band's aforementioned performance at Cowtown Ballroom on March 10, 1973. But the band, nervous about Johns and Anderle being in the audience, did not play their best. Later on, Paul Peterson invited the two men back to his place to hear the band give an unplugged performance by candlelight. This time Anderle and Johns were blown away and they were signed to A&M on May 1, 1973, and sent to England to record their first record at Olympic Studios in London with Johns at the helm during that June and July. The first record, The Ozark Mountain Daredevils (also referred to as "The Quilt Album"), was released in December 1973 and spawned the Top 30 hit "If You Wanna Get to Heaven" in the summer of 1974. The album introduced the band's unique mixture of rock, country, bluegrass and pop to the world and is still the favorite of many of the group's fans. Chicken Train Runnin all day Chicken Train Runnin all day Chicken Train Runnin all day Can't get on Can't get off Chicken Train take the chickens away Lazer beam In my dream Lazer beam In my dream Lazer beam In my dream Lazer beam like a sawed off dream I been standin' on the rock, waitin' for the wind to blow I been standin' on the rock, waitin' for the wind to blow I been standin' on the rock, waitin' for my seeds to grow I been walkin' on the ground, waitin' for the guns to quit I been walkin' on the ground, waitin' for the guns to quit I been walkin' on the ground, waitin' for the pieces to fit HARP SOLO (1 Harp) HARP SOLO (2 Harps) HARP SOLO (3 Harps) Better get back to the country, look around and find you ahome Better get back to the country, look around and find you ahome Better get back to the country, that's where we all come from I been standin' on the rock, waitin' for the wind to blow I been standin' on the rock, waitin' for the wind to blow I been standin' on the rock, waitin' for my seeds to grow(whew!) I been standin' on the rock, waitin' for my seeds to grow I been standin' on the rock, waitin' for my seeds to grow

Beautiful Girls Album: Van Halen II (1979) by Van Halen This song is a credo of sorts for Van Halen frontman David Lee Roth: all he needs is a beautiful girl. Or more accurately, beautiful girls, as Roth played himself off as a rock-and-roll Lothario. The song showcases his wordplay ("She was seaside sittin', just a smokin' and a drinkin' on ringside") as well as Eddie Van Halen's deluxe guitar riffs and Michael Anthony's rich backing vocals. "Beautiful Girls" was the second single from the Van Halen II album, following "Dance The Night Away." Their singles did not sell well, but their albums did. Many people bought the first Van Halen album after hearing this one. The group wrote this in David Lee Roth's basement. They had just finished a tour and were under tight deadline pressure to record their second album. They released an album every year until 1984. Roth fractured his foot doing a jump for the album's photo shoot. Since there was no way Roth could stay still on stage, they postponed their tour so he could heal. The album took six days to record. Van Halen was quick in the studio because they laid down most of the tracks live, with very little overdubbing. Brad Tolinski, who spoke with Eddie Van Halen for Guitar World a number of times, had a revelation about this song after a conversation with Steve Vai. "I was listening to 'Beautiful Girls,' and what hit me was that these wild assortment of bends and growls and zany guitar sounds, they functioned almost as commentary on David Lee Roth's outrageously, hypersexual, Bugs Bunny persona," he said. "It was almost like Looney Tunes. Like Carl Stalling, who wrote the music for Looney Tunes. So, what you have, since Ed is such a sensitive musician, he's responding to this outrageous persona of David Lee Roth and just creating sounds that would somehow go along with that. I think that 'Beautiful Girls' is such a perfect example of David Lee Roth being funny and off the wall, and Eddie having to figure out something on the guitar to respond." On their 1979 tour, David Lee Roth gave each of the crew members five backstage passes, which they were supposed to give to beautiful women. If Roth shacked up with one of the babes, he gave the roadie that got her in $100 the next day. Eddie and Alex were born and raised in Holland. Their family moved to Pasadena, California in 1967, when Eddie was 10 and Alex was 12. Eddie took piano lessons throughout his youth. He credits his understanding of classical music for his ability to write songs. Eddie and Alex' father, Jan Van Halen, was a professional clarinet player. Their original name was Mammoth, but they changed it after finding out another band had it first. It was Roth's idea to use the name Van Halen - Eddie and Alex didn't like it. Roth was in a band called Redball Jet when he met Eddie and Alex. Michael Anthony met Alex at Pasadena City College. Eddie had serious stage fright, and the only way he could perform early on was by having some drinks beforehand, which was something his dad suggested. He quickly became a very high-functioning alcoholic, but his drinking had a profound effect on his health, his personal relationships, and the band. He credited his wife Janie Liszewski, whom he met in 2006, with getting him sober, which he finally did around 2009. For most of 2008, Eddie sat around the house watching television and weaning himself off of alcohol. In 1977, Gene Simmons saw them in concert and set up their first recording session. He flew them to New York and bought them new clothes, but the resulting demo still didn't get them a record deal. The record companies were reluctant to sign them because disco was in and rock was out. They had a provision in their contract demanding M&Ms backstage with the brown ones removed. This was a way of seeing if the promoters read the contract. If they saw brown M&Ms, they knew there would be problems with the show. When Van Halen first appeared, there was a rumor that the group were actually members of KISS without their makeup and attire. If you take a close look at early pics of them, David Lee Roth resembled Paul Stanley, Eddie Van Halen resembled Ace Frehley, and Michael Anthony resembled Gene Simmons. This rumor may had been fueled by Gene Simmons' discovery of the group, and the fact that Van Halen had appeared right around the time KISS had taken a break from the recording studio in 1977. The rumor was soon quelled when the individual members of KISS released their "solo" albums in 1978 around the same time Van Halen II was released, and people began to really notice the height differential between Alex Van Halen and Peter Criss. Anthony's real last name is Sobolewski.

The Fish Cheer / I-Feel-Like-I’m-Fixin’-To Die Rag Live Woodstock 1969 Country Joe and the Fish Country Joe McDonald is named after Josef Stalin. McDonald and Melton met as members of the Instant Action Jug Band. The original incarnation of the Fish was a jug band. They were all arrested in Worcester, Massachusetts for inciting a crowd to lewd behavior by leading them in the infamous "FISH" cheer (Gimme an F - Gimme a U - etc.). The band remained together long enough to appear in the 1971 film Zachariah. McDonald has become involved in causes ranging from Vietnam veterans to saving the whales. McDonald has a daughter named Seven. No joke, Seinfeld fans. The Fish briefly reunited in 1977 for a tour and an album, Reunion. In 1992, Melton ran for a city judgeship in Mendocino, California. He lost. Country Joe McDonald performed solo and with The Fish at the 1969 Woodstock Festival. McDonald says he was "scared to death" and had to be pushed onstage for his solo performance. 1965-1970 Country Joe McDonald Vocals, guitar 1965-1970 Barry Melton Guitar 1965-1970 David Cohen Guitar, keyboards 1965-1970 Bruce Barthol Bass 1965-1970 Chicken Hirsch Drums 1965-1970 The Fish Cheer is a satire of US government attitudes toward the Vietnam War. Country Joe McDonald released it at the height of the war after he had been discharged from the US Navy for several years. He wrote it in about 30 minutes after it popped into his head. The song attempts to put blame for the war upon the politicians and leaders of the US military and the industry that makes its money from war, but not upon those who had to fight the war: the soldiers. It expresses the thoughts of a person trapped in the military system and forced to go to war by something called "conscription." Conscription, or the "draft" as it was called, was a system that picked young people and forced them into the military and into the war. The only other choice was jail or an attempt to "dodge the draft" for religious, physical or mental reasons. It was very hard to get out of the draft because so many people were being killed in the war that they would take just about anyone. The Fish Cheer attempts to address the horror of going to war with a dark sarcastic form of humor called "GI humor." GI humor is a way people have of complaining about their situation so it will not get them in trouble and keep them from going insane in an insane environment like war. This was the title song for Country Joe & the Fish's second album. When they performed it at Woodstock, they created one of the more memorable moments of the festival when they led the crowd in the "Fish Cheer": The album version of the Fish Cheer: "Gimme an F... Gimme an I... Gimme an S... Gimme an H..." At Woodstock, the Fish Cheer was uncensored. The first version of this song was an acoustic rendition recorded at Arhoolie Records Studios in El Cerrito, California, in 1965. McDonald released a limited number of copies on his own independent label, Rag Baby, many of which he distributed in October that year at a Berkeley, California, anti-war protest called the Vietnam Day Teach-In. The band started playing an electric version of the song at live shows and earned a following on the West Coast with a psychedelic sound that was coming into vogue. Signed to Vanguard Records, they released an electric version on their second album with the label, I-Feel-Like-I'm-Fixin'-To-Die, in 1967. The "Fish Cheer" came about in August 1968 at a show in New York City's Central Park when McDonald came up with it on the fly. The tune is based on ragtime music, which is why the song is a "rag." The Woodstock performance proved to be the legacy of Country Joe & the Fish, which was a problem. "My most famous song really couldn't get airplay," McDonald told Entertainment Weekly in 2019. "It got me banned from municipal auditoriums for a long time after. So I paid a price. But I'm proud to say that I've carried with me the reality of the Vietnam War. I'm the elephant in the room." One person who did not appreciate this song is Billy Joel, who saw the band perform it at Woodstock when he was 20 years old. Joel told Howard Stern: "This hippie comes on stage and starts going, '1-2-3, what are we fighting for,' and I'm thinking, 'this song sucks. It wasn't even about the lyric, it sucked as a song."

The Ballad Of Curtis Loew Album: Second Helping (1974) Double Trouble Album: Gimme Back My Bullets (1976) Gimme Three Steps Album: Pronounced Leh-nerd Skin-nerd (1973) by Lynyrd Skynyrd The Ballad Of Curtis Loew was written by Lynyrd Skynyrd frontman Ronnie Van Zant and guitarist Allen Collins, who both died young (Van Zant in 1977 at 29, Collins in 1990 at 37). If they spoke about the song, it's been lost to time, but guitarists Gary Rossington and Ed King have both discussed it, and they give conflicting origin stories. According to King, who joined the band in 1972, Curtis Loew is a composite of different people, including Shorty Medlocke, the grandfather of Ricky Medlocke, who played guitar in an early Lynyrd Skynyrd lineup (Ricky later formed the band Blackfoot). Shorty, according to King, could "play anything," and contrary to the song's lyrics, was not black (In a 1997 interview on the Lyve From Steel Town album, the band was quoted as jokingly saying, "We needed to 'color' the song up"). Rossington a founding member of the band who grew up with Collins and Van Zant in Jacksonville, Florida, says there really was a Curtis Loew, although "Loew" wasn't his last name. "It's a true story," he said in a radio interview. "It's about a Black man who grew up in the west side with us. There was a store called Mulberry Market, and there was a Black man who stayed out there. His name was Curtis and he had an old dobro guitar. He kept it in his house right behind the store, but if you gave him some money - 50 cents or even a quarter - he'd play a song for you. He'd rake out his bottle and play the blues. We would collect Coke bottles - which the song says - drive all around the neighborhood getting them, then we'd cash them in, get the money and give it to Curtis Loew. He would go right across the street to the wine store and buy a bottle of wine. We'd give him like a quarter and he'd play for a minute and he'd come out straight and just play a song and say, 'give me the money, boy.' But when we'd all get together, three or four of us would put our money together and we'd give him like a dollar, $1.50. I think a bottle of cheap wine back then was $1.25. Then he'd go across the street and buy a bottle, have two or three nips, then he'd play a little song and half a bottle would be gone. He was into it. He was stomping his foot and he'd take an old Coca-Cola crate, turn it upside down, and that was his beat. He's start playing and he'd drink a little more wine he'd start singing and playing and kicking. That was fun." "The Ballad Of Curtis Loew" wasn't released as a single and the band rarely played it live, but it still found a following among the Skynyrd faithful and is one of the most popular deep cuts in classic rock. It's part of the band's second album, Second Helping, which also includes "Sweet Home Alabama." The band recorded the album at The Record Plant in Los Angeles at the same time the Eagles were making their third album, On The Border, at the same studios. Members of both groups would congregate around the pinball machines in the studios and became friends. A dobro is a resonator guitar with a mechanical amplifier. It was originally released in 1927. Gibson now owns the rights to the dobro guitar. The name "Loew" was probably chosen because it rhymes (sort of) with "dobro." According to Ronnie Van Zant's widow Judy Van Zant Jenness, the unusual spelling was Ed King's idea. When he was writing the liner notes for the Second Helping album, he decided to name the character after Loew's Theater - thus giving an old bluesman a Jewish name. A very sophisticated insult for a bunch of country bumpkins, eh? Ed King played the bottleneck slide guitar on The Ballad Of Curtis Loew. "Double Trouble" is a song written by Ronnie Van Zant and Allen Collins, which was recorded in 1975. It appears on the band's fourth album, Gimme Back My Bullets, and was released as a single in the United States. It peaked at number 80 on the Billboard Hot 100 and at number 86 on the Cash Box Top 100 Singles. According to the book Whiskey Bottles and Brand New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd by Mark Ribowsky, the genesis for the song came from a time when Gary Rossington was in jail with Van Zant and he asked him how many times he'd been arrested, to which Van Zant answered, "11." Rossington replied, "Man, Ronnie, you're just double trouble." Also according to Ribowsky, the band originally recorded under a record label called "Double T Productions" which stood for "Double Trouble." The song also features backup vocals from The Honeycuts. The Single featured artwork where the band was pictured within two cards, perhaps suggesting a game of 21. The two cards are an Ace of Diamonds and an Ace of Spades, being 2 or 22 within the confines of that game. Trouble either way... Gimme Three Steps is based on a true story. As Skynyrd guitarist Gary Rossington tells it, lead singer Ronnie Van Zant, who was about 18 at the time, used a fake ID to get in a bar while his younger bandmates Rossington and Allen Collins waited for him in a truck. Van Zant danced with a girl named Linda, whose boyfriend, who was not too happy about it, came up to Ronnie and reached for something in his boot. Figuring he was going for a gun, Van Zant told him: "If you're going to shoot me it's going to be in the ass or the elbows... just gimme a few steps and I'll be gone." He ran to the truck, and he, Rossington, and Collins wrote this song that night. According to the Freebird Foundation, run by Van Zant's widow Judy Van Zant Jenness, the events of Gimme Three Steps took place at a bar called The Little Brown Jug, located on Edison Avenue in Jacksonville, Florida, where the band is from. This explains the lyrics, "I was cuttin' the rug, down at a place called The Jug," which is where Ronnie ran into an angry local man with a gun. The pace of the chorus is fast, to signify Van Zant running away from the guy he thought was going to shoot him. This made the cut for Skynyrd's first album. Their producer, Al Kooper, had them play all their original songs, and out of the 14 they had, picked nine to record for the album. Gimme Three Steps was one of the few songs Skynyrd released as a single. It was their first major-label release, and it didn't chart. The band's name was a mocking tribute to Leonard Skinner, a physical-education teacher at Robert E. Lee High School, who was notorious for strictly enforcing the school's policy against boys having long hair. Despite their high school acrimony, the band developed a friendlier relationship with Skinner in later years, and invited him to introduce them at a concert in the Jacksonville Memorial Coliseum. Interviewed by the Florida Times Union in January 2009, Skinner said he was just following the rules about hair length. It bothered him that the legend had grown that he was particularly tough on the band members. In fact, he didn't even remember them when they were in high school. He said, "It was against the school rules. I don't particularly like long hair on men, but again, it wasn't my rule." Though he hasn't been shy of the attention he received because of his name, Skinner never really warmed up to the group's music. "No," he said when asked if he liked their tunes. "I don't. I don't like rock 'n' roll music." On September 20, 2010, Skinner died at a nursing home in Jacksonville, at age 77 after suffering from Alzheimer's disease for several years.

Hear My Train A Comin' Album: Blues (1969) Fire Album: Are You Experienced? (1967) Castles Made Of Sand Album: Axis: Bold As Love (1967) by Jimi Hendrix Hear My Train A Comin' is also known as "Getting My Heart Back Together Again," Hendrix often played this song live, but never released the song on an album. Hendrix first played it in studio on December 19, 1967. During a photo shoot session, he was given a guitar and asked to play something for the camera. The original tape was re-discovered in 1993 only and remastered by Eddie Kramer. You can hear it on the Blues compilation, released in 1994. On this album, you can also hear a live version played by Hendrix on May 30, 1970 in Berkeley. The only Jimi Hendrix Experience studio recording of Hear My Train A Comin' crops up on the 2010 Valleys of Neptune album. Hendrix producer/engineer Eddie Kramer commented to Toronto's The Globe and Mail: "It shows a complete at-oneness with his instrument. Jimi had a thought in his mind, and in a nanosecond it gets through his body, through his heart, through his arms, through the fingers, onto the guitar." The Hear My Train A Comin' version on Hendrix's posthumous album, People, Hell & Angels, was drawn from Jimi's first ever recording session with his old army pal, Billy Cox, and drummer Buddy Miles. He would later record the groundbreaking album Band Of Gypsys with the powerhouse rhythm duo. Co-producer John McDermott commented to Digital Spy: "Billy and Buddy understood how to set the tempo. If you listen to this recording, they play it the same way as they did on the Live At The Fillmore East album. They knew intuitively that the song should have a great, menacing groove; it shouldn't be old-school, old-tempo, four-bar stuff. They wanted it to have a totally different feel, and that's what makes it exciting." The main lyrics in Fire ("let me stand next to your fire") came from a time when the band had just finished a gig in the cold around Christmas, 1966. They went to bass player Noel Redding's mother's house in Folkestone, England, and when they got there, Jimi asked Redding's mother Margaret if he could "stand next to her fire" to warm up. The family dog, a German Shepherd, lay by the fire, which inspired the line, "Move over Rover, and let Jimi take over." The lyrical lightning bolt of Fire was a breakthrough for Hendrix, who had just started writing songs at the request of his manager Chas Chandler. Writing riffs was easy for him, and it turned out he had a talent for crafting lyrics as well, as he was able to turn a simple line into a fiery tale of lustful passion. (This story is verified in Mat Snow's Mojo story on Hendrix that ran in the October 2006 issue.) Hendrix is legendary for theatrics like setting his guitar on fire and playing it with his teeth (not at the same time). Fire was the song he was (appropriately) playing when he set it on fire for the first time. It happened at a concert in London in March 1967, two months before the Are You Experienced? album was released. Hendrix was low on the bill (below Engelbert Humperdinck), and looking to garner some media attention. When he ignited his guitar, he created a buzz that grew to a roar as his career took off. Hendrix set fire to his guitar once again at the Monterey Pop Festival in 1967. At that show, he didn't do the bit during "Fire," he did it after playing "Wild Thing." The Red Hot Chili Peppers often covered Fire in their early years. They decided to play it again at Woodstock '99 in Rome, New York, but this was a very different festival than the one where Jimi Hendrix performed the song in 1969. The '99 crowd was violent and unruly; when RHCP launched into this song, they increased their level of mayhem, tearing the place up and setting fires (yes, Rome was burning). Gary Moore covered Fire on his 1999 release A Different Beat. In the movie Wayne's World, Wayne falls in love with the bassist from an all-girl band (Tia Carrere) after seeing them cover Fire at Gasworks. Castles Made Of Sand is one of Hendrix' most autobiographical and personal songs. He hated talking about his past, and avoided it during press conferences and interviews. Hendrix played all of the lead guitar parts backwards, then rewound the recording of the lead guitar parts to the song to get that effect you hear in the beginning and in the middle of Castles Made Of Sand. Hendrix' mother was a Cherokee Indian, and in Castles Made Of Sand he identifies with his heritage as a Native American. Hendrix read the words for Castles Made Of Sand as a poem instead of singing them. The Red Hot Chili Peppers were all big fans of Jimi Hendrix and often perform Castles Made Of Sand live.

Come Together Beatles Album: Abbey Road 1969 Aerosmith B-side of "Kings and Queens" single Released 31 July 1978 Timothy Leary was a psychologist who became famous for experimenting with LSD as a way to promote social interaction and raise consciousness. Leary did many experiments on volunteers and himself and felt the drug had many positive qualities if taken correctly. When the government cracked down on LSD, Leary's experiments were stopped and he was arrested on drug charges. In 1969, Leary decided to run for Governor of California, and asked John Lennon to write a song for him. "Come Together, Join The Party" was Leary's campaign slogan (a reference to the drug culture he supported) and was the original title of the song. Leary never had much of a campaign, but the slogan gave Lennon the idea for this song. After Timothy Leary decided against using this song for his political campaign Lennon added some nonsense lyrics and brought it to the Abbey Road sessions. Paul McCartney recalled in Rolling Stone magazine's 500 Greatest Songs: "I said, 'Let's slow it down with a swampy bass-and-drums vibe.' I came up with a bass line, and it all flowed from there." In a 1980 interview with Playboy magazine, John Lennon said: "The thing was created in the studio. It's gobbledygook. 'Come Together' was an expression that Tim Leary had come up with for (perhaps for the governorship of California against Reagan), and he asked me to write a campaign song. I tried and I tried, but I couldn't come up with one. But I came up with this, 'Come Together,' which would've been no good to him - you couldn't have a campaign song like that, right?" John Lennon was sued for stealing the guitar riff and the line "Here comes old flat-top" from Chuck Berry's "You Can't Catch Me." The lawsuit did not come from Berry, but from Morris Levy, one of the music industry's most infamous characters (see our interview with Tommy James for more on Levy). He owned the song along with thousands of other early rock songs that he obtained from many poor, black, and unrepresented artists. Levy sued the Beatles, or more accurately, John Lennon, over the song around the time the Beatles broke up. For years, Lennon delayed the trial while he and the Beatles tried to sort out all the legal and business problems that plagued Apple Records. Finally, in an attempt to avoid the court room as much as he could (Lennon felt like he was appearing in court more often than not), he settled with Levy. Lennon agreed to record his Rock N Roll album, which was just a series of cover songs, including three songs Levy owned (including "You Can't Catch Me") on the tracklist. The deal made sense: Lennon always wanted to make a covers album, and Levy wanted the value of his songs to increase (when a Beatle re-records a song, that is just what happens). To make a long long long story short, Lennon recorded the album over the Lost Weekend, a year-or-two period when he was separated from Yoko Ono and lived in Los Angeles. During that time he was often drunk or high, and was rather sloppy and useless. Levy was getting frustrated with the lack of progress. Phil Spector was the producer, but in a fit of madness (which was not too unusual for Spector) he ran away and stole the recording session tapes. Levy invited Lennon to his upstate New York recording studio, and that is where he finally recorded the album, which ended up with only two Levy songs: "You Can't Catch Me" and "Ya Ya." The whispered lyric that sounds like "shoot" is actually Lennon saying "shoot me" followed by a handclap. The bass line drowns out the "me." The Beatles recorded this on July 21, 1969 and it was the first session John Lennon actively participated in following his and Yoko's car accident 3 weeks earlier. John was so insistent on Yoko being in the studio with him that he had a hospital bed set up in the studio for her right after the accident, since she was more seriously injured than he was. >> The line "Ono sideboard" refers to Yoko. The British Broadcasting Company (The BBC) banned this because of the reference to Coca Cola, which they considered advertising. This has one of the most commonly misheard lyrics in the history of popular music: "Hold you in his -armchair- you can feel his disease." It's actually "Hold you in his arms, yeah, you can feel his disease." All published sheet music had the "armchair" lyric, including the inner sleeve of the 1967-1970 compilation, which contained lots of other errors too, notably on "Strawberry Fields Forever." After John heard that his lyric was incorrect in the sheet music and other folios, he decided he liked "armchair" better and kept it. The Beatles released this as a "double A side" single with "Something." In 1969, this won a Grammy for best engineered recording. When rumors were spreading that Paul McCartney was dead, some fans thought the line "One and one and one is three" meant that only George, John and Ringo were left. The line "Got to be good lookin' cuz he's so hard to see" was supposed to be Paul's spirit. A rotary phone was used to make the sound heard before each verse and after the chorus. The sound was accompanied by the bass Paul played. Kids, ask your parents or grandparents what a rotary phone was. Aerosmith recorded this song with Beatles producer George Martin for the 1978 movie Sgt. Pepper's Lonely Hearts Club Band, which turned out to be one of the worst films ever made. Aerosmith appeared in the film performing this song (as the Future Villain Band), agreeing to the role only because they couldn't resist the chance to record a Beatles song with George Martin. They weren't the only big names in the film - Peter Frampton and The Bee Gees were also in it. The Aerosmith version of "Come Together" made #23 in the US when it was released as a single. When we asked their guitarist Brad Whitford why some folks prefer the Aerosmith version, he replied, "I've actually never heard anybody say that." Whitford added, "But you know, it's funny, I hear our version more on the radio than I do The Beatles' version." In 2001, Beck, Moby, Marc Anthony, and Nelly Furtado were scheduled to put on a tribute concert in Radio City Music Hall called "Come Together: A Night For John Lennon." Due to the terrorist attacks on America, it was postponed and dedicated to the people of New York City, with proceeds benefiting victims of the attacks. Nortel used this in commercials, as did Macy's. On an early demo version of "My Monkey" by Marilyn Manson (whose vocals were sped up to sound like "a demonic toddler"), Manson sang the second verse as an opener. It appeared on Demos in Lunchbox by Manson's former band, The Spooky Kids. Ike & Tina Turner covered "Come Together" in 1970, taking the song to #57 in the US. That and the Aerosmith version are the only covers to chart, but Michael Jackson did a very popular version that he performed at the close of his 1988 concert film Moonwalker. His rendition appeared on his HIStory album in 1995. Others to record the song include Meat Loaf, Guns N' Roses, Soundgarden, Marilyn Manson, Nazareth, and Oasis. Though Ringo is best known for playing on Oyster Black Pearl Ludwig drum kit, he used for this his Ludwig "Hollywood" maple-finish equipment, with a 22" kick. Starr produced his distinctive late '60s drum muffling sound on tracks like this by wrapping tea towels (dishtowels) around his snares and toms. The Arctic Monkeys performed the song during the London 2012 Olympic Games opening ceremony. Their version reached #21 on the UK singles chart in the week after the event. On October 7, 2016, The Rolling Stones covered this song during their headline set at the Desert Trip festival in Indio, California. Before launching into the tune, Mick Jagger told the crowd: "We're gonna do a cover song of a sort of unknown beat group. I think you might remember [them], we're gonna try a cover of one of their tunes." American band Aerosmith recorded one of the most successful cover versions of "Come Together" in 1978. The band performed the song in the 1978 film Sgt. Pepper's Lonely Hearts Club Band; their recording appeared on its accompanying soundtrack album. Released as a single in July 1978, Aerosmith's version was an immediate success, reaching number 23 on the Billboard Hot 100, following on the heels of a string of Top 40 hits for the band in the mid-1970s. However, it would be the last Top 40 hit for the band for nearly a decade. Another recording of the song was released several months later on Aerosmith's live album Live! Bootleg. The song also featured on Aerosmith's Greatest Hits, the band's first singles compilation released in 1980. Their live performance from the 33rd Annual Grammy Awards ceremony was released in a Grammy compilation CD. The song has also surfaced on a number of Aerosmith compilations and live albums since then, as well as on the soundtrack for the film Armageddon.

Amnesia Album: Tubthumper (1998) The Wizard Of Menlo Park Album:Un (2004) Give The Anarchist A Cigarette Album: Anarchy (1994) by Chumbawamba "Amnesia" is the second single from English band Chumbawamba's eighth studio album, Tubthumper (1997). The song's lyrics address the sense of betrayal that English leftists felt during the rise of New Labour. Released on 19 January 1998 by EMI, the song was met with favorable reception from critics, who regarded the song as a highlight from Tubthumper. The song was a top-10 hit in Canada and the United Kingdom, giving the group their final top-20 entries in both countries. The song also reached number one on the Billboard Bubbling Under Hot 100, becoming the group's final US chart entry. An accompanying music video was also released. "Amnesia" lyrically explores the dishonesty of politicians and the ignorance of voters who continue to vote them into office. Chumbawamba's Alice Nutter told MTV that the group "wrote "Amnesia' before the general election in England, and we basically wrote it about Blair's new labor [sic]," adding that the song has a universal message, noting that "people forget that what Bill Clinton says before he gets elected is not what Bill Clinton will do when he's in office, and that's not about Bill Clinton, that's about all politicians." At the end of the album version of the song, there is an interlude that samples a UK public service announcement on mad cow disease. Amnesia was released as a CD single in the UK. A 12-inch single of the song was later released in the US, featuring "Tubthumping" as its B-side. A full-page ad featured in Spin magazine, for the song's parent album mentioned the inclusion of "Amnesia" on the album, was accompanied by partial lyrics. Un is the eleventh studio album by Chumbawamba, released on 8 June 2004 by Koch Records. The album was written and produced by solely by Chumbawamba. A musical departure from predecessor Readymades (2002), the album incorporates elements of folk, electronic, and world music. Thematically, the album acts as a social commentary on a variety of political and social issues, including individualism and anti-consumerism. Un was promoted with two singles: "The Wizard of Menlo Park" (included here) and "On eBay". Anarchy is the sixth studio album by Chumbawamba. Many of the tracks address specific social issues, such as homophobia, strikes or otherisms. Its graphic cover, depicting a baby's head emerging from a vagina, prompted the record to be banned from some shops and stocked in plain sleeves in others. The Spotify and iTunes version of the album replaces the baby picture with a painting of red roses. The album was a commercial success, giving the group their first top-40 album on the UK Albums Chart. The album debuted and peaked at number 29 on the chart dated 7 May 1994; it spent a total of three weeks on the chart before exiting the top 100. Give The Anarchist A Cigarette is the first track.

Lowrider Album: Stoned Raiders (2001) Insane In The Brain Album: Black Sunday (1993) Rock Superstar Album: Skull & Bones (2000) by Cypress Hill 1988- B-Real Lead rapping DJ Muggs Turntables Sen Dog Rapping Eric Bobo Drums 1994- Cypress Hill started in Cypress Park, California in 1988. The group signed a deal with Columbia Records in 1989 after the label heard their first demo. Black Sunday, Cypress Hill's second album, came out in 1993 and went straight to #1 on Billboard's Top 200 chart. It spent 2 weeks at the top spot, displacing Zooropa by U2 and getting knocked off by the Sleepless in Seattle soundtrack. Cypress Hill was banned from playing Saturday Night Live in 1993 after they smoked marijuana onstage and trashed their instruments after performing the song "I Ain't Goin' Out Like That." In 1995, Cypress Hill appeared on The Simpsons, performing at a fictional festival called Homerpalooza. The episode poked fun at Lollapalooza and Woodstock 1994, two festivals that the Hip-Hop group had recently headlined. Cypress Hill attempted to gain a larger audience in 2000 by releasing a guitar-driven single called "Rock Superstar." The group also joined punk bands MxPx and The Offspring on tour the same year. "Lowrider" is the second single from the album Stoned Raiders. The song is featured in the British TV series Soccer AM. The song was the second part of the double A-Side single it shared with "Trouble" in Europe. "Lowrider" was not released until February elsewhere. On the album, there is a hidden track. The hidden track is rather ominous as it features a slow drum beat and a low pitched organ that only plays five notes. This lasts for around two minutes. "Insane in the Brain" is a song released in June 1993 by Ruffhouse and Columbia as the first single from the group's second album, Black Sunday (1993). The song was written by group members Louis Freese, Lawrence Muggerud and Senen Reyes, and produced by Muggerud (DJ Muggs). In addition to hitting number one on the US rap chart, it also was a mainstream hit, reaching number 19 on the Billboard Hot 100 in 1993. "Insane in the Brain" earned a 3× platinum certification from the Recording Industry Association of America and sold 3,000,000 copies domestically. The accompanying music video was directed by Josh Taft, featuring the group performing at a rave. According to B-Real, the song was actually a diss song aimed at Chubb Rock. The group felt Chubb had ridiculed their style on his 1992 album, I Gotta Get Mine Yo. DJ Muggs credited "Jump Around" by House of Pain, also produced by himself, as a major influence. According to a live interview aired on Double J during a feature of the Black Sunday album, "insane in the membrane" was a localised gang term used at the time by the Crips when doing something crazy. It was then appropriated into this song. A 2019 interview with The Guardian elaborated further that both Bloods and Crips used a similar phrase as an informal insanity plea upon arrest. The Double-J interview also notes that B-Real was a member of the Bloods. The song is built around many samples: A drum break from organist George Semper's cover version of Lee Dorsey's "Get Out of My Life, Woman" A sample of James Brown grunting from the opening of his song "Say It Loud – I'm Black and I'm Proud" A vocal sample of the line "insane in the brain" from Cypress Hill's own song "Hole in the Head" A vocal sample of the line "just another local" from their own song "How I Could Just Kill a Man" during the second and the third chorus A vocal sample at the end of the second chorus from the beginning of the 'Prince Paul Mix' of their own song "Latin Lingo" A sample of the opening keyboard riff from Sly and the Family Stone's "Life" A vocal sample of the line "gunshot me head back" from Buju Banton's "Boom By By" before the start of the third verse A sample of the line "I think I'm going crazy" from the Youngbloods' "All Over the World (La La)" which concludes the track The origin of the most prominent sample, repeated throughout the song, has been a matter of dispute. DJ Muggs initially claimed the sample was a pitched blues guitar,[8] although shortly after, he claimed that the sound is a horn. Many sources claim that it is actually a sample of a horse from Mel and Tim's "Good Guys Only Win in the Movies", but during an interview with Sound on Sound in December 2018 on the production techniques used, DJ Muggs refuted the sample: That's weird, everybody thinks that's a horse, but it isn't. I've seen that a bunch of times on these sample sites. That's a sound I made from a blues guitar pitched. At the time I used to run some sounds through guitar amps. When I heard that horse thing, I was like, 'Oh, that sounds just like it.' Honestly to God, those sample sites get a lot wrong. They have some shit right, but I'll go, 'I never used that.' I don't know where they gather their information. Sometimes, they're spot on, but sometimes, I'm like, 'Yo, you guys are off.' However, less than two months later in an interview with British newspaper The Guardian, Muggs then claimed the sound effect was made by a horn and not a guitar. In another interview with The Wire magazine, when asked: "You're well known for using unusual sample sources not just in terms of the music you sample from – from funk, soul and jazz to krautrock and metal – but also different kinds of sounds, like sirens, elephants, horses", Muggs' response was "Yes, you know I have a visual thought first of all and that excites me and on the conscious side of it, I'm always looking for things that are awkward". This has since caused disbelief that Muggs is telling the truth and that the sample may well be the horse from Mel and Tim's "Good Guys Only Win in the Movies", as Muggs has claimed himself that he has "a foggy memory when it comes to the samples used on 'Insane in the Brain'" due to the fact that at the time of the song's production, "there was a lot of weed smoked" and that he confirmed he was "not musically trained, never went to music school and I don't play instruments". Cypress Hill performed Insane In The Brain live on Saturday Night Live on October 2, 1993. "(Rock) Superstar" is the second single from Cypress Hill's fifth studio album, Skull & Bones. It was originally released as a double A-side with its standard rap counterpart on February 29, 2000 in the UK. An individual release was available starting sometime in April. Sony executive Donnie Ienner suggested adding guitars, which took the song "to a new level." Cypress Hill put Rock Superstar into both the hip-hop and alternative markets, because they had fans in both places. Rock Superstar is featured in the 2001 film Training Day. It was also in the film Little Nicky. Rock Superstar is featured in the 2000 video game MTV Sports: Skateboarding featuring Andy Macdonald, released on PC and various consoles. The instrumental is used as an intro at the beginning of each hour on the nationally syndicated radio and television sports talk show The Dan Patrick Show, and is also used in a small game called Alien Battlecraft Arena. Rock Superstar is featured twice in the American Dad! episode "The Boring Identity". The first is when Steve becomes a paperboy and is introduced to their best worker, Roger. The second time is during a montage of the two "hustling" to earn extra money. Rock Superstar is featured in the intro to the first Twisted Metal episode WLUDRV. It is diegetic, as the protagonist is seen starting the song and singing along, an in-universe soundtrack to a car chase that he seems to be enjoying.

We Used To Know Track 8 on Album: Stand Up (1969) Bourée Album: Track 3 Album: Stand Up (1969) by Jethro Tull Ian Anderson has speculated that the chord progression in "We Used to Know" was picked up subconsciously by the Eagles when they toured together in 1971 or 1972 and used in their song "Hotel California". However Don Felder, who wrote the music for "Hotel California", did not join the Eagles until 1974. In a 2016 interview, Anderson stated that the chord progression had likely been used in earlier songs and also called "Hotel California" a "much better song" than "We Used to Know". He was probably lying... Stand Up, released in 1969, is the second studio album by British band Jethro Tull. It was the first Jethro Tull album to feature guitarist Martin Barre, who would go on to become the band's longtime guitarist until its initial dissolution in 2012. Before recording sessions for the album began, the band's original guitarist Mick Abrahams departed from the band as a result of musical differences with frontman and primary songwriter Ian Anderson; Abrahams wanted to stay with the blues rock sound of their 1968 debut, This Was, while Anderson wished to add other musical influences such as folk rock. The design of the album cover started with a visit to New Haven, Connecticut during a concert tour in late February 1969. Under the direction of producer Terry Ellis, the band met a woodcarver named James Grashow who followed them for a week in order to properly represent them in wood. The resulting gatefold album cover, in a woodcut style designed by Grashow, originally opened up like a children's pop-up book so that a cut-out of the band's personnel stood up, evoking the album's title. Stand Up won New Musical Express's award for best album artwork in 1969. The pop-up was not carried over to the 1973 album reissue, but is now available on the 180g vinyl issue of the Steven Wilson remixed version of the album, released in 2017. Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The result was an eclectic album with various styles and instrumentation appearing in its songs. The album was released 25th July, and was No. 1 on the UK charts the following week, 3rd August, following up on the success of the non-album single "Living in the Past", which had reached No. 3 in the UK singles chart on the day the album was released. The album was Jethro Tull's first success in the United States, reaching No. 20 on the Billboard 200. Jethro Tull released their debut album "This Was" in October 1968. During the recording of This Was, frontman Ian Anderson began writing new material which differed from the straight blues/jazz fusion style which the band were known for at the time. Anderson estimated that he wrote "50 percent" of Stand Up during the summer of 1968. Anderson wrote the album's songs on an acoustic guitar in his bedsit in Kentish Town, London, and cited Roy Harper, Ornette Coleman, Charlie Parker, Bert Jansch, Pentangle, Blind Faith and Jimi Hendrix as inspirations. The new material's departure from the band's blues-based style caused conflict with guitarist Mick Abrahams, who was a blues purist: Anderson recalled "running some of [the new songs] by Mick Abrahams, and coming to the conclusion that they weren't going up to be up his street at all" while drummer Clive Bunker stated that "when Ian started to write new and different stuff, that's when we realised we were going to have serious problems, because Mick just didn't want to do it." The stylistic clash resulted in Abrahams' departure from the band in December 1968. The band initially began rehearsals for Stand Up with Black Sabbath guitarist Tony Iommi, however Iommi left the band after only a few weeks as he felt he did not fit in well with the group. The job eventually went to Martin Barre, who immediately joined rehearsals for Stand Up before making his live debut with the band on 30 December 1968. The band then embarked on a short Swedish tour to support Jimi Hendrix in January 1969 before embarking on a three-month U.S. tour (the band's first) during which the band recorded the non-album single "Living in the Past" and B-side "Driving Song" at the behest of manager Terry Ellis to "keep the pot boiling" in the UK. Following the end of the tour in April, the band returned to the UK to begin recording sessions for the new album. The band began recording the album on 17 April 1969, recording "A New Day Yesterday" and finished on 21 May 1969, finishing "Look Into the Sun". Recording was briefly paused in early-mid May for the band to embark on a joint headlining tour of the UK and France with Ten Years After. All of the songs were recorded at Studio 2 of Morgan Studios, except for "Bourée" which was recorded at Olympic Studios because Morgan was already booked for the day (although takes of the song were also recorded at Morgan). The general routine was that the band would arrive at the studio at 9:00 am to work on one or two songs which would be finished by 4:00 or 5:00 pm. Anderson cited Morgan Studios' modern 8-track recording facilities as "a big help", saying that "8-track was the beginning of that creative freedom without which it would have been much harder to have made the Stand Up album." The band praised recording engineer Andy Johns, who they found easy to work with. Johns tried some innovative recording techniques on the album; for example on "A New Day Yesterday" he achieved a swirling, stereo-shifting guitar effect by swinging an expensive Neumann U67 microphone on its cable in wide circles around the studio. The majority of the album was recorded live with the entire band, with minimal overdubs, however primarily acoustic songs such as "Look Into the Sun" and "Fat Man" were recorded mostly solo by Anderson. The song "Bourée" proved the most difficult to record, with the band unsatisfied with any of the takes they recorded. The final version of the song was compiled later from several takes, with additional overdubs added by Anderson. A variety of rock artists have cited Stand Up as an all-time favourite album, including Pearl Jam's Eddie Vedder, Aerosmith's Tom Hamilton, Joe Bonamassa, and Joe Satriani. Black Francis of Pixies also spoke glowingly of the album, commenting, "Stand Up is the [Jethro Tull] record that moves me the most. It's only their second album and they're still kind of scruffy. There's a heavy rock influence but they had that English thing going on, you know, university dudes who were really into folk music. It didn't seem like an affectation to me – it still seems real". During an interview with BraveWords in 2015, Anderson selected Stand Up as his favourite Tull album: "I suppose if you were to really twist my arm, I would probably go back to 1969, with the Stand Up album, because that was my first album of first really original music. The instrumental "Bourée" (one of Jethro Tull's popular concert pieces) is a jazzy re-working of "Bourrée in E minor" by Johann Sebastian Bach. Bourée is an instrumental, flute-based song is an adaptation of the piece "Bourrée," written by Johann Sebastian Bach. The Bach version was written for lute, and is his fifth movement of the Suite in E minor for Lute. Also known as "Aufs Lautenwercke" (works for the Lute), Bach wrote the piece in the early 1700s. The music was used for the 2012 Ethno France concert at the Luxembourg park in Paris. In an interview with Ian Anderson he explained why he decided to adapt the Bach composition: "I got to the point where I was playing the flute every night on stage in the early part of '68, and so by the end of the year, I was casting around for an instrumental piece as a successor to the Roland Kirk piece, 'Serenade to a Cuckoo,' which I'd been playing most of 1968. I wanted something that had a syncopated jazzy feel, but a melody that wasn't associated with the jazz world or the blues world. And 'Bourée' was a little bit of music that came to me through the floorboards of my bedsitter in London, because there was a media student in the room below who kept playing over and over again this refrain of the Bach tune "Bourée." He played it on classical guitar, but he only ever got the one bit, he never progressed beyond that basic thing. So I kept hearing that over and over and over and over again, and decided that I would try to use that little tune some way as a starting point for an instrumental piece. And Martin Barre, who literally at that point in January '69 was just kind of auditioning to join the band, said, 'Oh, I know that. I think I've got the sheet music somewhere for Bach's 'Bourée.'' So it was something we could fairly readily embark upon as a variation on a classical piece of music." Released as a single from Stand Up on September 30, 1969, "Bourée" didn't trouble the UK charts but did better on continental Europe. It peaked at #5 in The Netherlands, #20 in Belgium and #37 in Germany. Asked by The Sun in a January 2022 interview what his favorite Jethro Tull album is, Anderson replied: "Stand Up. A brave departure from the bluesy beginning of Tull and the start of the progressive rock and more eclectic period, which has lasted a further 53 years." Bourrée ("Bourrée," written by Johann Sebastian Bach), is a French folk dance with many varieties, characteristically danced with quick, skipping steps. The dancers occasionally wear wooden clogs to emphasize the sounds made by their feet. Notably associated with Auvergne, bourrées are also danced elsewhere in France and in Vizcaya, Spain. Michael Praetorius mentions the bourrée in his musical compendium Syntagma musicum in 1615. Stylized bourrées in 2/4 or 4/4 time (folk bourrées also occur in 3/8 time) have been composed as abstract musical pieces since the mid-16th century. In such 18th-century suites as those of Johann Sebastian Bach and George Frideric Handel, the bourrée often appears as one of the galanteries, or optional movements. The bourrée was among the dances from which ballet derived its early steps. The pas de bourrée (“bourrée step”) has been variously elaborated; it is usually a small, quick step executed in preparation for a larger step. Pas de bourrée couru (“running bourrée”) is a smooth run on the toes, with the feet close together (first or fifth positions). Whenever I get to feel this way Try to find new words to say I think about the bad old days We used to know Nights of winter turn me cold Fears of dying, getting old We ran the race and the race was won By running slowly Could be soon we'll cease to sound Slowly upstairs, faster down Then to revisit stony grounds We used to know Remembering mornings, shillings spent Made no sense to leave the bed The bad old days they came and went Giving way to fruitful years Saving up the birds in hand While in the bush the others land Take what we can before the man Says it's time to go Each to his own way I'll go mine Best of luck in what you find But for your own sake remember times We used to know

Papa Was A Rollin Stone Album: Rare Earth by Rare Earth "Papa Was a Rollin' Stone" is a song originally performed by Motown recording act the Undisputed Truth in 1972, though it became much better known after a Grammy-award winning cover by the Temptations was issued later the same year. This latter version of the song became a number-one hit on the Billboard Hot 100. "Papa Was a Rollin' Stone" was written by Norman Whitfield and Barrett Strong in 1971. Whitfield produced the original Undisputed Truth version, which was released as a single in May 1972. This version of the song peaked at number 63 on the Pop Charts and number 24 on the R&B Charts. The song was included on the Undisputed Truth's album Law of the Land (1973). Later in 1972, Whitfield cut a different version of the song, turning it into a 12-minute track for the Temptations. This version was included on their 1972 album All Directions. The edited 7-inch single release of this Temptations track was issued in September 1972, and this version was a number-one hit on the Billboard Hot 100 and won three Grammy Awards in 1973. While the original Undisputed Truth version of the song has been largely forgotten, the Temptations' version of the song has been regarded as an enduring and influential soul classic. The full-length album version was ranked number 169 on Rolling Stone's list of the 500 Greatest Songs of All Time, one of the group's three songs on the list. In retrospect, the Temptations' Otis Williams considers the song to be the last real classic the group recorded (it would be the Temptations' last number one hit and would win them their second and final Grammy Award in a competitive category). It was the third of September That day I'll always remember, yes I will Cause that was the day, that my daddy died I never got a chance to meet him Never heard nothin' but bad things about him Momma I'm depending on you, to tell me the truth Momma just hung her head and said, son Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Hey Momma! Is it true what they say that Papa never worked a day, in his life And Momma, there's some bad talk goin' round town sayin' that Papa had three outside children And another wife, and that ain't right Folks say Papa did some store front preachin' Talked about saving souls and all the time leaching Dealing in debt, and stealing in the name of the law Momma just hung her head and said, son Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Hey Momma, I heard Papa called himself a jack of all trades Tell me is that what sent Papa to an early grave Folks say Papa would beg, borrow, steal To pay his bills Folks say Papa never was much on thinking Spent most of his time chasing women and drinking Momma, I'm depending on you, to tell me the truth Momma just hung her head and said, son... Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Momma just hung her head and said Papa was a rolling stone, son, son Where ever he laid his hat was his home and when he died, all he left us was alone Papa was a rolling stone Where ever he laid his hat was his home and when he died, all he left us was alone It was alone, all he left us was alone Momma said it was alone

Jungle Album: Out of the Blue (1977) by The Electric Light Orchestra (ELO) The Electric Light Orchestra (ELO) are a band formed in Birmingham England in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of pop and classical arrangements with futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan, and keyboardist Richard Tandy were the group's only consistent members. Out of the Blue is the seventh studio album, released on 28 October 1977. Written and produced by ELO frontman Jeff Lynne, the double album is among the most commercially successful records in the group's history, selling about 10 million copies worldwide by 2007. " Jungle " is a song written by Jeff Lynne which first appeared as an album track from the 1977 album Out of the Blue. According to the band members' opinions, recording Jungle was a lot of fun owing to the various types of sound effects, the upbeat tune, and the jungle animal noises provided by Lynne, Bev Bevan, and Kelly Groucutt. The album had 4 million pre-ordered copies and quickly went multi-Platinum upon release. Out of the Blue spawned five hit singles in different countries, and was ELO's most commercially successful studio album. It was also the first double album in the history of the UK music charts to generate four top twenty hit singles. Lynne considers A New World Record and Out of the Blue to be the group's crowning achievements, and both sold extremely well, reaching multi-platinum according to RIAA Certification. Capital Radio and The Daily Mirror Rock and Pop Awards (forerunner to The Brit Awards) named it "Album of the Year" in 1978. Lynne received his first Ivor Novello award for Outstanding Contributions to British Music the same year. The US release of Out of the Blue was originally distributed by United Artists. This changed after United Artists Records was sold by Transamerica Corporation to an EMI Records-backed partnership, which triggered Jet Records' change of control clause in its distribution contract, and Jet shifted to CBS Records as its new distributor. American cut-out copies of Out of the Blue soon became widely available at discounted prices in record shops in the US and Canada shortly after the album's release, affecting the album's sales and triggering lawsuits by CBS and Jet. The suits were ultimately unsuccessful in stopping the discounted sales. Jungle Electric Light Orchestra Written by: Jeff Lynne Album: Out of the Blue Released: 1977 I was standin' in the jungle, I was feeling alright I was wanderin' in the darkness in the middle of the night The moon began to shine, I saw a clearing ahead But what's that goin' on? I think I'm out of my head (Chooka-chooka, hoo la ley) (Looka-looka, koo la ley) A hundred animals were gathered 'round this night And they were singin' out a lovely song under the pale moonlight I stood and stared for quite a while Then a lion sang to me and smiled "Come join us if you so desire" They sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) And then turned away (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) I said, "Now, please, explain the meaning of this song you sing" ("Wondrous is our great Blue Ship That sails around the mighty Sun And joy to everyone that rides along") Oh, they sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) Oh, that's nice And they danced Pretty soon I knew the tune And we sat and sang under the moon And the jungle rang in joyful harmony They sang (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) And then turned away (Chooka-chooka, hoo la ley) That's what they sang (Looka-looka, koo la ley) Wondrous is our great Blue Ship That sails around the mighty Sun Joy to everyone that rides along

Those Shoes Album: The Long Run (1979) by Eagles Cruel Shoes is a collection of essays and short stories by Steve Martin and is also the title of one of the essays included, a satirical short-short story about a woman in a shoe store. Cruel Shoes was Martin’s first book, released in 1977 as a handmade limited edition of 750 signed and numbered books published by Press of the Pegacycle Lady (Victoria Dailey). The cover is just pale paper over pressboard. It only contained 48 pages and many of the stories that appeared in the trade version were not included. Table of contents The works included in the 1979 trade edition of the book are: "My Uncle's Metaphysics" "Demolition of Cathedral at Chart "Annareddy Akshayareddy and her struggle" "The Boring Leading the Bored" "Cruel Shoes" "The Bohemians" "Serious Dogs" "The Diarrhea Gardens of El Camino Real" "Turds" "The Undertakers" "The Day the Dopes Came Over" "The Smokers" "She Had The Jugs" "Sex Crazed Love Goddesses" "Women Without Bones" "The Children Called Him Big Nose" "Wrong Number" "Morse and the Naughty Magnets" "Dynamite King" "The Gift of the Magi Indian Giver" "Poodles... Great Eating" "Shuckin' the Jive" "How To Fold Soup" "The Vengeful Curtain Rod" "Cows In Trouble" "The Complete Works of Alfredo Francesi" "Society In Aspen" "The Day the Buffalo Danced" "Things Not To Be" "No Man's Land" "Oh Mercy, The Prose-Poem Triptych!" "Comedy Events You Can Do" "Dr. Fitzkee's Lucky Astrology Diet" "The Morning I Got Out of Bed" "What to Say When the Ducks Show Up" "The Year Winter Lasted Nine Minutes" "The Almaden Summer" "The Nervous Father" "Dogs In My Nose" "Awards" "Rivers of the Dead" "When Men Shop" "The Last Thing On My Mind" Limited 1977 edition "Confessions" "Smokers" "Jugs" "Women" "Poodles" "Alfredo" "Cows" "Self-review" "Serious" "S.M. Collection of Am. Art" "Day" "Sex Crazed" "Wrong #" "Morse" "Gift" "Fold Soup" "Dr. Fitzkees" "Morning" "Year" "Last Thing" "Other Books" "My Uncle's" "The Day" "Children" The Long Run is the sixth studio album by the Eagles. It was released in 1979, on Asylum in the United States and the United Kingdom. This was the first Eagles album to feature Timothy B. Schmit, who had replaced founding member Randy Meisner, and the last full studio album to feature Don Felder before his termination from the band in 2001. This was the band's final studio album for Asylum Records. It also turned out to be their last studio album as the Eagles disbanded in 1980 until 2007's Long Road Out of Eden after the band had reformed in 1994. The album was originally intended to be a double album. The band could not come up with enough songs and the idea was therefore scrapped. The recording was protracted; they started recording in 1978, and the album took 18 months to record in five different studios, with the album finally released in September 1979. According to Don Henley, the band members were "completely burned out" and "physically, emotionally, spiritually and creatively exhausted" from a long tour when they started recording the album, and they had few songs. However, they managed to put together ten songs for the album, with contribution from their friends J. D. Souther and Bob Seger who co-wrote with Frey and Henley on "Heartache Tonight". (Souther also got songwriting credit on "Teenage Jail" and "The Sad Cafe".) According to Henley, the title track was in part a response to press articles that said they were "passé" as disco was then dominant and punk emerging, which inspired lines such as "Who is gonna make it/ We'll find out in the long run". He said that the inspiration for the lyrics was also "irony", as they wrote about longevity and posterity while the group "was breaking apart, imploding under the pressure of trying to deliver a worthy follow-up to Hotel California". Randy Meisner decided to leave the Eagles after an argument in Knoxville, Tennessee, during the Hotel California Tour in June 1977. He was replaced by Timothy B. Schmit. The song is not to be taken altogether seriously. In a statement before The Long Run was released, Don Henley said the album was "tongue-in-cheek cynical," and that "most of the humor is so dry nobody will think its funny." Don Felder and Joe Walsh did a double talk-box guitar solo at the end, which is very unusual. Joe Walsh was an early practitioner of the device, which he used on his solo hit "Rocky Mountain Way." In a 1981 interview with the BBC, Walsh talked about the device: "There's a Country singer from Nashville named Dottie West who's a longtime friend of mine, and her husband is a pedal steel guitar player named Bill West, who actually came up with the concept of the talkbox, but never really got the credit for it. There was a record which I think was called 'Forever' by Pete Drake in the late '50s, and they used it on that and various people used it. I met Bill and Dottie in Nashville, and Bill showed me this talkbox and gave me a prototype that he had, which I used for 'Rocky Mountain Way', and Don Felder and I pursued that in the Eagles and worked out some double guitar parts, and it turned into a song, which was 'Those Shoes,' and that's actually both of us playing through talkboxes, which hadn't really been done. It's an old idea, but that was a new innovation." Don Felder, Don Henley and Glenn Frey wrote this song. Henley sang lead and Joe Walsh played the guitar solo. The Eagles were not on the best of terms when recording The Long Run, which was their last album before they re-formed in 1994. They frustrated their record company as it took them 3 years to follow up their very successful Hotel California album, which was released in 1976. Ironically, sessions for The Long Run took place at Love 'n' Comfort Studios in Los Angeles.

In 2002, a former music journalist named Michael Skidmore came into control of California's estate, and 2014 he began proceedings against Led Zeppelin. In 2016, Jimmy Page testified in the case and said that the first time he heard of the controversy when a few years earlier when his son-in-law told him that a debate had been brewing online. Page insisted he had never heard "Taurus" before, and that it was "totally alien" to him. The jury didn't buy the argument that Page never heard "Taurus," but still ruled in favor of Led Zeppelin, deciding that the chord progression in "Taurus" was common to many other songs dating back decades, and therefore, in the public domain. In 2018, the case was sent back to trial on appeal, but the ruling was upheld two years later. Here's a timeline of the case. Pat Boone released an unlikely cover on his album In a In a Metal Mood. Boone wanted to see how it would turn out as a jazz waltz, and opened and closed the song with soft flute playing. In a subtle reference to his Christian faith, Boone changed the line "All in one is all and all" to "Three in one is all and all" - a reference to the Christian Trinity (the Father, Son, Holy Spirit). Before recording the song, he scanned it for devilish references. "I kept looking for allusions to witchcraft or drugs," he said in a Songfacts interview. "And even though there were strange images, like 'in the hedgerows' and all these things, there were no specific mentions of Jimmy Page's involvement in witchcraft or anything like that." Another notable cover was by an Australian performer called Rolf Harris, who used a wobbleboard (piece of quite floppy wood, held at both sides, arched slightly and wobbled so the arch would continually invert) and changed the line "And it makes me wonder" to "Does it make you wonder." In the '90s, Australian TV host Andrew Denton had a show on which various artists were asked to perform their version of this song. Their versions were released on an album called The Money or the Gun: Stairways to Heaven. Artists performing it included Australian Doors Show, The Beatnix, Kate Ceberano and the Ministry of Fun, Robyne Dunn, Etcetera Theatre Company, The Fargone Beauties, Sandra Hahn and Michael Turkic, Rolf Harris, Pardon Me Boys, Neil Pepper, The Rock Lobsters, Leonard Teale, Toys Went Berserk, Vegimite Reggae, The Whipper Snappers, and John Paul Young. In reply to Rolf Harris' version, Page and Plant performed his song "Sun Arise" at the end of another Denton TV show. In January 1990, this song was added to the Muzak playlist in a solo harp version. Unlike the original, the Muzak version, arranged and recorded to provide an "uplifting, productive atmosphere" and "counteract the worker-fatigue curve in the office environment," did not do so well, as even this sanitized version drew a lot of attention to the song, thus undermining the intention of the Muzak programming. The band performed this at the Atlantic Records 40th anniversary concert in 1988 with Jason Bonham sitting in on drums for his late father. Plant did not want to play it, but was convinced at the last minute. It was sloppy and Plant forgot some of the words. This was not the case when Jason joined them again in 2007 for a benefit show to raise money for the Ahmet Ertegun education fund. They performed this song and 15 others, earning rave reviews from fans and critics. Zeppelin's longest ever performance of this song was their last gig in Berlin in 1980. It clocked in around 15 minutes long. Gordon Roy of Wishaw, Scotland, had all of the lyrics to this song tattooed on his back. He did it as a tribute to a friend who died in a car accident. In the late '90s, the radio trade magazine Monday Morning Replay reported that "Stairway" was still played 4,203 times a year by the 67 largest AOR (album-oriented rock) radio stations in the US. ASCAP, the American Society of Composers, Authors and Publishers, refuses to release exact figures on how many times it has been played since its release, but figure that on each AOR station in America, the song was played five times a day during its first three months of existence; twice a day for the next nine months; once a day for the next four years; and two to three times a week for the next 15 years. There are roughly 600 AOR and Classic Rock stations in the US, which means that "Stairway" has been broadcast a minimum of 2,874 times. At 8 minutes per spin, roughly 23 million minutes - almost 44 years - have been devoted to the song. So far. On January 23, 1991, under the direction of owner and general manager John Sebastian, the radio station KLSK (104.1 FM) in Albuquerque, New Mexico played this song over and over for 24 hours, confounding listeners who weren't used to hearing Led Zeppelin on the station. The song played over 200 times, with many listeners tuning in to find out when it would end. It turned out to be publicity stunt, as the station was switching to a Classic Rock format. Explaining his guitar setup for the solo, Jimmy Page told Guitar Player magazine in 1977: "I was using the Supro amp for the first album, and I still use it. The 'Stairway to Heaven' solo was done when I pulled out the Telecaster, which I hadn't used for a long time, plugged it into the Supro, and away it went again. That's a different sound entirely from the rest of the first album. It was a good, versatile setup." The Foo Fighters did a mock cover of this song, and their version was to say that nobody should try to cover the song because they will screw it up. Dave Grohl intentionally carried the intro on way too long, asked his drummer and audience for lyrics, and when it came time for the guitar solo, he sang Jimmy Page's part. This was done purely as a joke, and to tell people not to cover the song, as Grohl is a huge Zeppelin fan, and lists Zeppelin's John Bonham as a major influence. Rolling Stone magazine asked Jimmy Page how much of the guitar solo was composed before he recorded it. He replied: "It wasn't structured at all [laughs]. I had a start. I knew where and how I was going to begin. And I just did it. There was an amplifier [in the studio] that I was trying out. It sounded good, so I thought, "OK, take a deep breath, and play." I did three takes and chose one of them. They were all different. The solo sounds constructed - and it is, sort of, but purely of the moment. For me, a solo is something where you just fly, but within the context of the song." Mary J. Blige recorded this in 2010 backed by Travis Barker, Randy Jackson, Steve Vai and Orianthi. Blige told MTV: "Once you get lost in the rock-and-roll moment of it, all you can do is scream to the top of your lungs or go as low as you need to go. It's not a head thing - it's a spirit thing." She added: "I am a Led Zeppelin fan. I've listened to their music since I was a child, and it's always moved me, especially 'Stairway To Heaven.' I make songs my own by going deep inside myself and translating them to 'what would Mary do.'" The song is included as a bonus track on the UK re-issue of her album Stronger With Each Tear and made available for download. Blige performed the song on the April 21, 2010 episode of American Idol. In solo work or with other groups, Jimmy Page would not let anyone but Robert Plant sing this, but he did play it as an instrumental on occasion. The ending of this song is distinctive in that is closes out with just Robert Plant's voice. According to Jimmy Page, he wrote a guitar part to end the song, but decided to leave it off since the vocal at the end had such an impact. Jimmy Page often called "In The Light" from Physical Graffiti a follow-up to this song. Regarding the composition of the track, Jimmy Page told Rolling Stone: "I was trying things at home, shunting this piece up with that piece. I had the idea of the verses, the link into the solo and the last part. It was this idea of something that would keep building and building." Andy Johns, sound engineer on Led Zeppelin IV, told Guitare & Claviers magazine (January 1994) about the recording session for "Stairway To Heaven": "This song arrived completed. The arrangements had been done before the band entered the studio. We recorded the main tracks upstairs, in Island, with Jimmy on acoustic guitar, John Paul on a Hohner electric upright piano, and Bonham behind his kit. I tried to have a left hand sound coming out of the Hohner piano, in order to have something to re-record afterwards. As soon as we added the bass parts and Page started recording the overdubs, we could already tell it would be awesome. I knew it was a really special track and I was proud to take part in it. I didn't have the least idea, however, that it would become a f--king hymn for three generations of kids!" During an interview with Rolling Stone in 1975, Page told journalist Cameron Crowe that the one artist who might be capable of achieving the artistic excellence of "Stairway To Heaven" was Joni Mitchell. He specifically mentioned Mitchell's song "Both Sides Now." There have been two other completely different songs called "Stairway To Heaven" to chart in America. First in 1960 by Neil Sedaka (#9), and then in 1996 by Pure Soul with The O'Jays (#79). "Stairway" was entered into the United States National Recording Registry in 2023, recognizing it as a historically significant work worthy of preservation. The essay to accompany the entry notes, "Early in his career as a studio musician Page had learned that one of the cardinal rules of studio work was to keep an even tempo, and resist the urge to speed up at all costs. Ironically, 'Stairway to Heaven' violates this rule to masterful effect, as it gradually increases speed, while adding instruments one at a time." The man on the Led Zeppelin 4 album cover wasn't identified until 2023, 52 years after it was released. His name was Lot Long, and he lived in rural Wiltshire, England, making thatched roofs, which explains the bundle he's carrying on his back. The photograph, from 1892, was discovered by a researcher named Brian Edwards who happened to be a Zeppelin fan. Edwards found it in a photo album that had been put up for auction. The original photo used on the cover, which was lost long ago, was discovered in an antique shop. "Bonzo's Montreux" is a drum solo by Led Zeppelin drummer John Bonham. It was recorded in September 1976 at Mountain Studios in Montreux, Switzerland, with electronic effects added by Jimmy Page. Page used the then-new Eventide Harmonizer to create a steel drum sound, which Bonham apparently liked; the final "gliss-phrases" were developed during mixing with the Harmonizer's keyboard controller. The track was released on the 1982 compilation album, Coda. "Bonzo's Montreux" was never performed live at Led Zeppelin concerts, however, Bonham performed parts of the composition during "Moby Dick" in 1977.

Big Red Rocket Of Love Album: Martini Time (1996) Galaxy 500 Album: Lucky 7 (2002) Five-O Ford Album: Liquor in the front (1994) by Reverend Horton Heat 1985- Reverend Horton Heat (Jim Heath) Guitar, lead vocals "Swingin'" Jack Barton Bass 1985-1989 Jimbo Wallace Bass, backing vocals 1989- Patrick "Taz" Bentley Drums 1989-1994 Scott Churilla Drums 1994-2006 Paul Simmons Drums 2006-2012 Formed in 1985, this Texas trio has recorded ten studio albums and one live album from 1990 through 2009. The group has sold about one million albums. Originally signed by the indie label Sub Pop, they later moved to Victory Records. The band can be described as some combination of Rockabilly, Psychobilly, Swing, Punk, Blues, Jazz, and even traditional Country. In a Reverend Horton interview Jim was asked if he was content with the Psychobilly label. "Not really, no. We're really not psychobilly," he replied. He added: "Artists don't want to be pigeonholed, but I would rather be pigeonholed into Rockabilly, because that was really my thing, just being a band that tried to be an ultimate '50's type of thing, which currently is what Psychobilly is." Reverend Horton Heat has a passion for 1950s greaser memorabilia and nostalgia, including Flame-drenched hot rods and muscle cars, pinups, even button beanies. Think Jughead and Goober Pyle. He writes about his button beanies passion in his "Rant Update" on his website: "I have been obsessed with something for a while (20 years or more). As a fifties enthusiast, I'm always interested in things from that era. Something missing from the new retro explosion is the button beanie. To me, it's a cool retro look." Heat sports one with a RHH patch. The name, or title if you will, Reverend Horton Heat, was placed on Jim Heath by a club owner. Heat had developed a style of "preaching" while on stage. Over time "The Rev" felt that might be compromising the band's real talent, diminishing their credibility. The preaching has been toned down, but, he has received requests to officiate weddings. All of which he declines. Reverend Horton Heat has worked with Gretsch Guitars in the development of his signature guitar, the Gretsch 6120RHH hollow body electric guitar. In a video demonstration Heat made with Premier Guitars he explains he wanted a guitar with more stability and one that would allow for easier changing of strings. "The Rev" made another change in his gear, parting ways with his beloved 1978 Fender Super Reverb amplifier to a Gretsch Executive Combo. Not a move taken lightly for any accomplished musician. The Gretsch Executive Amps offered him more clarity in the higher notes. Heat explained to Guitar Player magazine: "It doesn't matter what guitar you play, it's how you play it. It's what comes out of the heart." Big Red Rocket Of Love I got a red car with blue tail lights Shiny red seats with piping in white Leopard skin dash with a louvered hood She goes ba-ba-ba-ba-ba-ba when she's runnin' good Lets go Ride into the mountains above It's low My big red rocket of love My big red rocket of love I got a little honey you just got to know Drivin' this bomb as fast it will go Drive the red rocket past the local dive She goes ba-ba-ba-ba-ba-ba-ba in overdrive Lets go Ride into the mountains above It's low My big red rocket of love My big red rocket of love Horny little baby in my back seat Pull my velveteen curtain with pleats Pick a little spot were no one will be Ma-ma-ma-ma-ma-ma-make love to me Galaxy 500 You take the dog I'll take the Galaxie 500 You get the cat I get the couch you don't want anymore You take the fish I'll take the bowl You take the dishes While you're at it take my soul But things ain't so bad 'Cause I've got a Galaxie 500 You get the house I get a cheap motel room You get a friend But that should not matter to me anymore You have a thing and he's just a friend I can't believe that this is the end But things ain't so bad 'Cause I got a Galaxie 500 Galaxie 500, in a Galaxie 500 Galaxie 500 I'm in my own Galaxie 1973 In my own Galaxie You probably would have wanted this too But it's not air-conditioned No, it's not air-conditioned No, it's not air-conditioned No, it's not air-conditioned It's not air-conditioned Five-O Ford Let me tell you the tale of a hot rod race That happened out in a secluded place Where no one lives 'cept cows and a few raccoons I was drivin' around in my shoebox car My baby and me underneath the stars My engine was knockin' But i knew it'd clear real soon I was cruisin' along 'bout 95 I looked in my mirror and man alive Some guy was gaining on me As his engine roared So i gave that Holly carb some gas My baby cried out don't let him pass I guess it's just that bitch got bored I had to race my fucked up Ford I made the turn at 108 And he was up on my back gate And I knew he had something bad Underneath that hood So I pushed it up to 110 That flathead motor was about to give in I crossed my fingers and prayed to the lord Don't let me down you fucked up Ford