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TAYLOR TAKES COVER DURING 2010 SUMMER TOUR
Topic Started: Aug 25 2010, 08:26 AM (4,547 Views)
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As the Summer Tour began, we all were anticipating great music and great showmanship from Taylor, but many of us were surprised at the new covers. Taylor has provided us with a myriad of music in his set list selection: check out lists from his 2007 tour @ http://taylorconnections.com/forum/415283/

In 2010 , several new songs have been added and the results have been glorious.
Taylor and the Band began their "Kick Ass Tour " of 26 shows, plus 3 special appearances including a song or two , 7 charity events where he sang sets and a bonus stop at Disneyworld for EPCOT 2010.

In the Big Apple's, The Highline Ballroom served up a set list filled with new covers spanning several decades.

Taylor is truly an "old soul” but he is also eclectic in his musical tastes. In New York at the Highline Ballroom he provided the audience with the 1959 tune by Buddy Holly ""; two 1970 's hits "LOVE THE ONE YOU'RE WITH" ( 1970 BY Stephen Stills ) " AIN'T GONNA HURT NOBODY " ( Brick's 1978 release ) and "BULLETPROOF" a modern day ( 2009 ) number from La Roux.



NOT FADE AWAY
First performed in NYCity at the Highline .


Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is most likely a formality) and first recorded by Holly's band The Crickets in Clovis, New Mexico, on May 29, 1957.

This was one of the first pop songs to feature the "Bo Diddley" sound, a series of beats (da, da, da, da-da da) popularized by Diddley, ( It is also known as the "shave and a haircut, 2 bits" and "hambone beat". Willie and the Hand Jive, Louie, Louie, Help Me Rhonda are but just a few other songs with clave, the basis of Cuban music, "salsa" and Latin jazz as well as other Caribbean music
The song's rhythm pattern is one of the classic examples of the Bo Diddley beat, which itself was an update of the so-called "hambone" rhythm, or "patted juba" from Western Africa; Crickets drummer Jerry Allison pounded out the beat on a cardboard box. Allison, Holly's best friend, also claims to have written part of the lyrics, though his name never appeared in the songwriting credits. The only other person on the recording was rhythm guitarist Nikki Sullivan, who didn't play but simply chanted, along with Holly and Allison, the songs overdubbed background vocals

While this song is pretty straight forward, a comment from Dressed2Depress states:
"Great song. So many band s have covered and reworked this song, I'm pretty sure The Who based My Generation on this... Great opening line.." Was this opening line that great or was the lyrist just looking for a words that would rhyme. Rhyming was a big part of songs in that era and lyrics were not as deeply symbolic. The obvious "me man, you woman" aspect of this first line would probably not be written today. HHHMm




Buddy Holly - Not Fade Away
credit to ajdunning63



This song has been covered by a multitude of artists from the Rolling Stones whose 1964 version was their first US single to the Grateful Dead, James Taylor, The Supremes who recorded it in 1964 but released it in 2008 on an album collection, the Everly Brothers, to The Beatles, who being avid fans of Buddy Holly recorded an unreleased version of Not Fade Away.

Rolling Stones:
credit to schillid

The Beatles
credit to JohnnyBleed


Rush in 1973, recorded the single , but because this song was never officially released on CD., it is rare and highly sought-after by collectors

Rush
credit to kev5655



Taylor Hicks:
credit to broadwaygretchen


Lyrics
I'm gonna tell you how it's gonna be
You're gonna give your love to me
I'm gonna love you night and day
Well love is love and not fade away
Well love is love and not fade away

My love bigger than a Cadillac
I try to show it and you're drivin' me back
Your love for me has got to be real
For you to know just how I feel
Love is real and not fade away
Well love is real and not fade away

I'm gonna tell you how it's gonna be
You're gonna give your love to me
Love to last more than one day
Well love is love and not fade away
Well love is love and not fade away
Well love is love and not fade away
Love, love is love and not fade away
Not fade away
Not fade away

sources: The Real Buddy Holly Story. White Star Studios.
songfest.com
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First sung at the Highline in NY, Taylor covered the song "Love the One You're With".



LOVE THE ONE YOU'RE WITH


It is a 1970 single by folk rocker Stephen Stills. The first release off his first solo album Stephen Stills, it rose to the top twenty of the pop singles chart, peaking at #14.
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Stills wrote the song after being inspired by the tag line -- "If you can't be with the one you love, love the one you're with" which was a frequent remark by musician Billy Preston. Stills asked him for permission to use the line in a song which Preston immediately agreed to.
tikbalanq at songmeaning.com
"I could find value in this song if it hinted at irony or anything more complex than pandering to baby boomer decadence. Instead, it's a shrill pat on the back to an economically well-off youth-obsessed generation, steeped in drugs, smug protest and pre-AIDS epidemic promiscuity. "
Was that much thought given to these lyrics by Mr. Stills or was it just saying ' tis ok to love the person who is with you ( free love); giving permission for physical love rather than waiting for spiritual lov.


Stephen Stills - Love the one you're with
credit to MarkBostock




The most notable cover came in 1971 from The Isley Brothers, whose unique gospel-driven cover of the song sent it to the charts again

credit to luvnhappinezz



1971 include Crosby, Stills, Nash & Young on their live album Four Way Street, Aretha Franklin on her album Aretha Live at Fillmore West, The Supremes along with The Four Tops on their album Dynamite, Engelbert Humperdinck on Live At The Riviera, Bobby Goldsboro and Les Humphries Singers



The Supremes/ Four Tops

credit to BabyBollox

Taylor Hicks at the Birchmere creditto skeeter226





Love the One You’re With- Lyrics
by Stephen Stills

If you’re down and confused, and you don’t remember who you’re talkin’ to. Concentration slip away, ‘cause your baby is so far away.

Well there’s a rose in the fisted glove and the eagle flies with the dove, and if you can’t be with the one you love, honey, love the one you’re with, love the one you’re with, love the one you’re with, love the one you’re with.

Don’t be angry, don’t be sad, and don’t sit cryin’ over good times you’ve had. There’s a girl right next to you, and she’s just waitin’ for something to do.

And there’s a rose in the fisted glove and the eagle flies with the dove, and if you can’t be with the one you love, honey, love the one you’re with, love the one you’re with, love the one you’re with, love the one you’re with.

Dit dit dit dit dit dit dit dit, dit dit dit dit dit dit dit dit, dit dit dit dit dit dit dit dit, dit dit dit, dit dit dit.

Turn your heartache right into joy, she’s a girl, and you’re a boy. Well get it together, make it real nice,
You ain’t gonna need anymore advice.

And there’s a rose in the fisted glove and the eagle flies with the dove, and if you can’t be with the one you love, honey, love the one you’re with, love the one you’re with, love the one you’re with, love the one you’re with.

Dit dit dit dit dit dit dit dit, dit dit dit dit dit dit dit dit, dit dit dit dit dit dit dit dit, dit dit dit, dit dit dit.



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"Ain't Gonna Hurt Nobody " was introduced in New York City at the inaugral performance of the Summer Tour at the Highline.
BRICK ( The Band )

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Brick was formed in Atlanta, Georgia in 1972 from members of two bands - one disco and the other jazz. They coined their own term for disco-jazz, "dazz". They released their first single "Music Matic" on Main Street Records in 1976, before signing to the independently distributed Bang Records. Their next single, "Dazz", (#3 Pop, #1 R&B) was released in 1976. The band continued to record for Bang records until 1982. Other hits followed: "That's What It's All About" (R&B #48) and "Dusic" (#18 Pop, #2 R&B) in 1977, and "Ain't Gonna' Hurt Nobody" (#92 Pop, #7 R&B) in 1978. Their last Top Ten R&B hit was "Sweat (Til You Get Wet)" in 1981., when they retired.

Jimmy Brown - lead vocals, saxophone, flute
Regi Hargis Hickman - guitar, bass, vocals
Eddie Irons - lead vocals, drums, keyboards
Donald Nevins - keyboards, vocals
Ray Ransom - vocals, bass, keyboards, percussion


Funk, funky and funkiest , this 1978 tune by Brick ( The Band )

AIN'T GONNA HURT NOBODY


credit to shockg021




AIN'T GONNA HURT NOBODY (BRICK ) - LYRICS


Move a groove, nice and easy
Feels so good
They're in my bones

Dance, dance, dance to the music


Get down, get down and sing along

[CHORUS]
Cause it ain't gonna hurt
Nobody to get on down
It ain't gonna hurt nobody
To get on down
It in't gonna hurt nobody
To get on down

Don't stop me
And I won't stop you

Someone said that it was ten to four
It's not too late to throw some more


Time keeps ticking away
Come on and let's get down today

[repeat CHORUS]

Don't stop me

[repeat CHORUS]

Don't stop me
And I won't stop you


By Taylor Hicks credit to anothertayfan
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The Highline Ballroom was again honored to be the first stage hearing "Bulletproof" from Taylor.

BULLETPROOF

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Bulletproof" is a song by the English electropop* duo La Roux from their self-titled debut album, La Roux (2009). Written and produced by both members of La Roux ( Elly Jackson and Ben Langmaid ) , the song was released in the United Kingdom on 22 June 2009 as the album's third single in digital and physical formats from two labels, Polydor and Kitsuné Music. "Bulletproof" was well-received by music critics, and also debuted at number one on the UK Singles Chart. It was also a sleeper hit in the United States, peaking at number 8 on the Billboard Hot 100, and has as of June 2010 shifted more than 862,000 downloads in the U.S.
Music editor Nick Levine wrote: "Well, it's a bright, bouncy slice of Yazoo-ish electropop with a chorus every bit as immediate as 'In For The Kill'. Jackson's vocals are less shrill this time around, but she comes off just as formidable, informing a useless sod who's messed her about that she won't be letting him do it again."
Fraser McAlpine of BBC's Chart Blog stated that "the one sentence that crops up most often goes something like this: "...yes, 'Bulletproof' is brilliant, but...", hinting that this might be a song which possesses magical powers of persuasion." He also went on to give five points on why the song's good: marvellous verses, marvellous chorus, the music serves the song brilliantly, less shrill to the singing, and the vocoder breakdown.


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La Roux (are an English electropop and synthpop duo made up of singer, keyboardist, co-writer and co-producer Eleanor Kate Jackson and keyboardist, co-writer and co-producer Ben Langmaid. Jackson describes their respective roles as "very much a half and half sharing situation... not like a singer producer outfit", but also recognizing that it often can "look like a solo act".. The band's name originates from Jackson's red hair and tomboyish appearance, mingling the masculine (le roux) and feminine (la rousse) French terms; she has said:

To me, it means "red-haired one" – and it does, vaguely. It's just a male version of "red-haired one", which I think is even cooler, because I'm well androgynous anyway. So it kind of makes sense.

Michael Norris at keyboard , Mickey O'Brien at keyboard and backing vocal and William Bowerman playing drums make up the LaRoux Band.

By La Roux


BULLETPROOF LYRICS


Been there done that messed around,
I'm having fun don't put me down
I'll never let you
sweep me off my feet.

I won't let you in again,
The messages I've tried to send,
My information's just not going in.

Burning bridges shore to shore,
I'll break away from something more
I'm not to not to love
until it's cheap.

Been there done that messed around
I'm having fun don't put me down,
I'll never let you
sweep me off my feet.

This time baby I'll be bulletproof,
This time baby I'll be bulletproof.

I won't let you turn around
And tell me now I'm much too proud
To walk away from something
when it's dead.

Do do do your dirty words
Come out to play when you are heard
There's certain things
that should be left unsaid.

Tick tick tick tick on the watch
And life's too short for me to stop
Oh baby, your time is running out.

I won't let you turn around
And tell me now I'm much too proud
All you do
is fill me up with doubt.

This time baby I'll be bulletproof,
This time baby I'll be bulletproof.
This time baby I'll be bulletproof,
This time baby I'll be bulletproof.

This time I'll be bulletproof
This time I'll be bulletproof
This time I'll be bulletproof

(Instrumental)

This time baby I'll be bulletproof,
This time baby I'll be bulletproof.
This time baby I'll be bulletproof,
This time baby I'll be bulletproof.

Is this just about being resilient to people's advances or actions ; Is it about a relationship that went wrong and the girl was too proud to walk away from it at first but now feels more hardened and will be more "bulletproof" in future involvements. It is a very defiant song .

Singer Elly Jackson of La Roux explained this song to the BBC Newsbeat program: “For me, Bulletproof is just about looking at a situation that’s usually a reoccurring one. It could be to do with anything in your life - whatever you want it to be about.”



* Electropop (also called technopop) is a form of electronic music that is made with synthesizers, and which first flourished from 1978 to 1981. The genre has seen a revival of popularity and influence since the late 2000s. "Electropop" is the short form of "electronic pop".

The term was used primarily during the 1980s to describe a form of synthpop characterized by an emphasized electronic sound — often described as cold and robotic — and by minimal arrangements. Electropop songs are pop songs at heart, often with simple, catchy hooks and dance beats,



Bulletproof by Taylor Hicks:

credit to marymagdaline


http://www.songmeanings.net/songs/view/3530822107858769062/#comment
wikipedia

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In Alexandria , Va. at the Birchmere , Taylor introduced "Stay With Me" .


Stay with Me", written by Rod Stewart and Ronnie Wood, was first recorded by their band Faces for the 1971 album A Nod Is as Good as a Wink...To a Blind Horse. The song has also appeared on various Faces compilations and on albums by both songwriters. The lyrics describe a woman with "red lips, hair and fingernails" he "found... down on the floor"; the singer proposes a one-night stand on the condition that she must be gone when he wakes up. The song starts with a breakneck intro that settles into a steady groove - a simple rock & roll formula at a time when music was becoming more complicated

The Faces: Stay With Me:




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Faces was formed in 1969 by members of the Small Faces after Steve Marriott left that group to form Humble Pie. The remaining Small Faces - Ronnie Lane (bass guitar), Ian McLagan (keyboards) and Kenney Jones (drums & percussion) - were joined by Ronnie Wood (guitar) and Rod Stewart (lead vocals), both from The Jeff Beck Group, and the new line-up was renamed Faces.

Faces released four studio albums and toured regularly until the autumn of 1975, although Stewart simultaneously pursued a solo recording career, and during the band's final year Wood also toured with The Rolling Stones, whom he later joined.

The first collaboration among the future Faces was in a formation called Quiet Melon, which also featured Art Wood and Kim Gardner; they recorded four songs and played a few shows in May 1969, during a break in Ronnie Wood's and Rod Stewart's commitments with the Jeff Beck Group.[1][3] Later that summer Wood and Stewart parted ways with Beck and joined Lane, McLagan and Jones full time.[4]

With the addition of Stewart and Wood, the "small" part of the original band name was dropped, partly because the two newcomers (at 5'8" and 5'9" respectively) were significantly taller than the three former Small Faces.

Although they enjoyed only modest success compared to contemporaries such as The Who and The Rolling Stones, the Faces have had considerable influence on latter-day rock revivalists. Their good-natured, back-to-basics (and frequently liquor-laden) concerts and studio albums connect them with such bands as The Damned and Steve Jones of The Sex Pistols.[4] Bands representing an assortment of genres, ranging from The Replacements and The Quireboys to You Am I, Guns N' Roses, The Black Crowes, Oasis and Pearl Jam have all acknowledged the Faces' musical influence.


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Roderick David "Rod" Stewart, CBE (born 10 January 1945) is a British singer-songwriter born and raised in London, England and currently residing in Epping. He is of Scottish and English lineage.

With his distinctive raspy singing voice, Stewart came to prominence in the late 1960s and early 1970s with The Jeff Beck Group and then Faces. He launched his solo career in 1969 with his debut album An Old Raincoat Won't Ever Let You Down (US: The Rod Stewart Album). His work with The Jeff Beck Group and Faces proved to be influential on the formation of the heavy metal and punk rock genres, respectively.[2][3] Both bands were also pioneers of blues-rock.

With his career in its fifth decade, Stewart has achieved numerous solo hit singles worldwide, most notably in the UK, where he has garnered six consecutive number one albums and his tally of 62 hit singles include 31 that reached the top 10, six of which gained the number one position. He has had 16 top ten singles in the USA, with four of these reaching number one. He has sold over 250 million records worldwide and is one of the best selling British singers of all time. He was voted at #33 in Q Magazine's list of the top 100 Greatest Singers of all time.

The youngest of Robert and Elsie Stewart's five children.[6] His father was Scottish and had been a master builder in Leith outside of Edinburgh, while Elsie was English and had grown up in Upper Holloway in North London.[ Stewart left school at age 15[18] and worked briefly as a silk screen printer. Spurred on by his father, his ambition was to become a professional footballer. In 1961 he joined on as an apprentice with Brentford F.C., a Third Division club at the time.However, he disliked the early morning travel to West London and the daily assignment to clean the first team's boots. His playing effectiveness at centre-half was hindered by his slight build — 5 feet 11 inches (1.80 m) but only 9 stone (130 lb; 57 kg) — and he pushed himself so much that he sometimes vomited at the side of the pitch. After up to two months of play in pre-season fixtures, Stewart left the team, to the great disappointment of his father.[18] Stewart later reflected that: "I had the skill but not the enthusiasm."Regarding possible career options, Stewart concluded, "Well, a musician's life is a lot easier and I can also get drunk and make music, and I can't do that and play football. I plumped for music ... They're the only two things I can do actually: play football and sing."

Stewart earned tremendous critical praise. Rolling Stone's 1980 Illustrated History of Rock & Roll includes this in its Stewart entry:

Rarely has a singer had as full and unique a talent as Rod Stewart [...] a writer who offered profound lyricism and fabulous self-deprecating humour, teller of tall tales and honest heartbreaker, he had an unmatched eye for the tiny details around which lives turn, shatter, and reform [...] and a voice to make those details indelible. [... His solo albums] were defined by two special qualities: warmth, which was redemptive, and modesty, which was liberating. If ever any rocker chose the role of everyman and lived up to it, it was Rod Stewart.

In May 2000, Stewart was diagnosed with thyroid cancer, for which he almost immediately in the same month underwent surgery. Besides being a major health scare, the resulting surgery also threatened his famous voice, and he had to re-learn how to sing.[77] Since then he has been active in raising funds for The City of Hope Foundation charity to find cures for all forms of cancer, especially those affecting children. Whether he was 5'8" or 5' 11" ( and I tend to believe the former is more accurate ) , Rod Stewart has left an indelible impression on the world of music.



Cover versions of Stay With Me
Ronnie James Dio, McFly, Def Leppard


Def Leppard Version





STAY WITH ME

In the morning
Don't say you love me
Cause I'll only kick you out of the door

I know your name is Rita
Cause your perfum smelling sweeter
Since when I saw you down on the floor
guitar
Won't need to much pursuading
I don't mean to sound degrading
But with a face like that
You got nothing to laugh about

Red lips hair and fingernails
I hear your a mean old jezabel
Lets go up stairs and read my tarot cards

Stay with me
Stay with me
For tonight you better stay with me

Stay with me
Stay with me
For tonight you better stay with me

So in the morning
Please don't say you love me
Cause you know I'll only kick you out the door

Yea I'll pay your cab fare home
You can even use my best colonge
Just don't be here in the morning when I wake up

Stay with me
Stay with me
Cause tonight you better stay with me
Sit down, get up, get down

Stay with me
Stay with me
Cause tonight your going stay with me
Hey, whats your name again
oh no, get down, wooo



The lyrics sum up well the madness of the Faces and their high living, drinking, partying lifestyle of the time!
"I don't mean to sound degrading, but with a face like that you got nothing to laugh about." Stewart used to write more rocking songs like this early on in his career with Faces and at first when he was solo. In later years he became less raucous.
Its about being with a girl("tonight you better stay with me") and then telling her to go away; the archtypical one night stand. ("Just don't be here in the morning when I wake up")




Stay With Me : Taylor Hicks at Reggies

credit to samz





http://allmusic.com
songmeanings.com
wikipedia
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In Teaneck ,New Jersey , Taylor brought out his Old Style Rock and Roll by premiering GREAT BALLS OF FIRE as a number rather than a tag.


GREAT BALLS OF FIRE :

"Great Balls of Fire" is a 1957 song written by Otis Blackwell( a prolific songwriter who wrote many hits for Elvis Presley) and Jack Hammer.[1]

Jerry Lee Lewis’s recording of “Great Balls of Fire” is the most well-known. It was recorded in the Sun Studio in Memphis, Tennessee, on October 8, 1957, and released as a single in November 1957. It reached #2 on the US chart and #1 in the UK. The song was ranked as the 96th greatest song ever by Rolling Stone Magazine.

Like Lewis' previous hit, "Whole Lotta Shakin' Goin' On," this contained a lot of sexual innuendo, which was shocking for a southern musician in 1957. Lewis grew up in a religious household and was conflicted over whether or not he should record this. He and Sun Records owner Sam Phillips argued as Phillips tried to convince him to sing it.

This was released in England the same month that Lewis married 13-year-old Myra Gale Brown, who was the daughter of his cousin (and bass player) J.W. Brown. At the time, Lewis was headlining shows with Buddy Holly and Chuck Berry, but when the UK press found out, public outrage forced Lewis to leave the country. Back in The States, his career faltered as radio stations refused to play his records and stores refused to sell them.

One of the many Rock Stars this influenced was Eric Clapton, who said: "I remember the first Rock & Roll I ever saw on TV was Jerry Lee Lewis doing 'Great Balls of Fire.' That threw me - it was like seeing someone from outer space." (thanks, Bertrand - Paris, France)


credit to josch111191



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JERRY LEE LEWIS

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OTIS BLACKWELL

Singer, songwriter, influence on Elvis Presley and composer of All Shook Up, Fever and Great Balls of Fire

Otis Blackwell was a pianist and a singer whose vocal style was said to have had a strong influence on the young Elvis Presley. Yet he will be remembered best not as a performer but as a one-man song-writing factory who helped to shape 1950s rock'n'roll and whose most memorable compositions included Don't Be Cruel, All Shook Up, Fever and Great Balls of Fire.

Born and brought up in New York City, he learnt the piano as a child and listened on the radio to rhythm and blues (then known as "race" music) and to country music in films starring such singing cowboys as Gene Autry and Tex Ritter. They were the two elements that were eventually to combine in the early 1950s to create the hybrid that was rock'n'roll.

On leaving school in the late 1940s, he worked first as a lowly floor-sweeper at a New York theatre and then as a clothes-presser in a laundry. In 1952 he won a local talent contest at the Apollo Theatre in Harlem and secured a recording contract with Joe Davis's Jay-Dee label. It was at Davis's suggestion that he began writing his own songs. "I was thrown into it," he later said.

His first release was the self-composed Daddy Rolling Stone. It failed to reach the charts but later became a big hit in Jamaica where it was recorded by Derek Martin, and was also covered by The Who in their early "mod" period. Blackwell made further recordings for RCA Records and the Groove label which were among the earliest examples of the emerging rock'n'roll style. But all the time he was developing his songwriting and on Christmas Eve 1955, he sold the demos of six songs he had written for $25 each. They included "Don't Be Cruel", which featured him singing over an accompaniment of piano and a cardboard box for a drum. Yet his first big hit as a writer came not with "Don't Be Cruel" but with the sultry and atmospheric "Fever". Originally an R&B hit in 1956 for Little Willie John, it became an even bigger pop hit for Peggy Lee and has since been covered several hundred times by other artists.

His association with Presley began around the same time, when the singer covered "Don't Be Cruel". Originally released as the B-side of Hound Dog, the song had topped the American charts in its own right by September 1956. It simultaneously headed both the R&B and Country charts. Next, Presley recorded Blackwell's "Paralysed", which fared less well, although it later reached No 8 in the British charts. But by April 1957 a version of "All Shook Up", originally recorded by the little-known David Hill, had not only restored Presley to the top of the charts but also become the biggest selling single of the year. The song was written after Blackwell's publisher, "Goldie" Goldhawk, had shaken up a bottle of Pepsi and said to him: "You can write about anything. Now write about this!" Blackwell provided Presley with further hit songs, including "Return to Sender" and "One Broken Heart for Sale". But "All Shook Up" and "Don't Be Cruel" have remained in the record books as the two songs which stayed at No.1 for longer than any of Presley's other hits.

There has been considerable speculation over the relationship between Blackwell and Presley, who never met. "We had a great thing going and I just wanted to leave it alone," Blackwell said in an interview in 1989. Their two names often appeared together on records as co-writers, but in truth Presley's role as a writer was negligible. It was common practice at the time to sell part or all of the rights of a song and Presley's astute manager, Colonel Tom Parker, was well aware of the value of the publishing royalties. It has also been said that Presley borrowed many of his vocal mannerisms from Blackwell. Certainly it was the singer's method at the time to copy wholesale the writer's demo of a song, arrangement and all. As Presley used Blackwell's demos to learn the songs, the debt was probably considerable.

A prolific writer, who sometimes used the white-sounding pseudonym John Davenport, Blackwell copyrighted more than a thousand compositions in his career. Among them was Jerry Lee Lewis's signature tune "Great Balls of Fire", as well as further hits for Lewis in "Breathless" and "Let's Talk About Us". There were more 1950s rock'n'roll hits with "Hey Little Girl" and "Just Keep It Up" by the now almost-forgotten Dee Clark, and Cliff Richard recorded his "Nine Times out of Ten". Jimmy Jones had a hit in 1960 with Blackwell's "Handy Man", which was revived by James Taylor in the 1970s, and Neil Diamond, Billy Joel and Tanya Tucker also recorded his songs. So, too, did Ray Charles and Otis Redding, although Blackwell was disappointed that few black artists ever had hits with his compositions.

He continued writing and performing and enjoyed some success in 1976 with the comeback album "These Are My Songs!" on the Inner City label. He also recorded the tribute The No.1 King of Rock'n'Roll on his own Fever label when Presley died in 1977. In 1991 he was inducted into the National Academy of Popular Music's Songwriters Hall of Fame. Three years later, Chrissie Hynde, Graham Parker and Deborah Harry were among those contributing cover versions of his songs to the album "Brace Yourself: A Tribute to the Songs of Otis Blackwell". Although there were many other generous acknowledgements to his role and influence down the years, his style essentially belonged to an earlier era and he was never to repeat the scale of success he had enjoyed in rock'n'roll's first decade.

Otis Blackwell, songwriter: born in Brooklyn, New York, in 1931 - died in Nashville, Tennessee, on May 6, 2002.


GREAT BALLS OF FIRE: LYRICS

You shake my nerves and you rattle my brain
Too much love drives a man insane
You broke my will, oh what a thrill
Goodness gracious great balls of fire

[band joins]

I learned to love all of Hollywood money
You came along and you moved me honey
I changed my mind, looking fine
Goodness gracious great balls of fire

You kissed me baba, woo.....it feels good
Hold me baba, learn to let me love you like a lover should
Your fine, so kind
I'm a nervous world that your mine mine mine mine-ine

I cut my nails and I quiver my thumb
I'm really nervous but it sure is fun
Come on baba, you drive me crazy
Goodness gracious great balls of fire

[piano solo]

Well kiss me baba, woo-oooooo....it feels good
Hold me baba
I want to love you like a lover should
Your fine, so kind
I got this world that your mine mine mine mine-ine

I cut my nails and I quiver my thumb
I'm real nervous 'cause it sure is fun
Come on baba, you drive me crazy
Goodness gracious great balls of fire

[guitar solo]

[piano solo]

[guitar and piano jam]

I say goodness gracious great balls of fire...oooh..


This song is a catchy song with simple lyrics describing how he feels about love.. In the 1950's , these lyrics were interpreted as being overly sexual . possibally due ot the life style of Mr. Lewis. The song writter
Otis Blackwell was thought to be throwing in a double meaning: Great Balls of Fire is about a horny guy in a state of arousal.


This song has been covered by many artists from the sublime to the ridiculous :

Tom Jones :



Tiny Tim:




GREAT BALLS OF FIRE: TAYLOR HICKS




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BACK TO LOUISIANA first was sung by Taylor at the Syracuse Balloon Fest, but for the Summer Tour, he debuted it at the Fat Fish in Cleveland, to the delight of his fans.


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The Live From Austin, Texas series gets a taste of some good old fashioned Texas roadhouse blues on it latest release. Delbert McClinton, three time Grammy winning blues rocker, rips it up on the Austin City Limits stage during this amazing performance.
Live from Austin, released Jan. 1, 1989 on alligator Records
Delbert McClinton may not have invented the term "roadhouse blues," but he's the one who gave it meaning with his distinctively twangy meld of blues, rock, country, and R&B. The Texan bluesman is captured live in this 1982 appearance .
Sung prior to it's release in 1989, " Back To Louisiana" has become a clasic since the Katrina diseaster.



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Delbert McClinton was born Nov. 4, 1940, in Lubbock, Texas. He honed his craft working in a bar band, the Straitjackets, backing visiting blues giants such as Sonny Williamson, Howlin' Wolf, Lightnin' Hopkins and Jimmy Reed. He made his first recordings as a member of the Ron-Dels and was noted for his distinctive harmonica work on Bruce Channel's 1962 hit "Hey Baby." On a tour of the UK with Channel, McClinton met a young John Lennon and advised him on his harmonica technique, resulting in the sound heard on the Beatles hit "Love Me Do."

Relocating to Los Angeles in the early '70s, McClinton emerged in a partnership with fellow Texan Glen Clark, performing a combination of country and soul music. They achieved a degree of artistic success, releasing two albums before splitting, with McClinton embarking on a solo career. Emmylou Harris had a No. 1 hit in 1978 with his composition "Two More Bottles of Wine" in 1978, and McClinton's "B Movie Boxcar Blues" was used in the 1980 movie The Blues Brothers. His 1980 album, The Jealous Kind, contained his hit single, "Givin' It Up for Your Love."

After a rest period during much of the '80s, McClinton made a welcome return in 1989 with the fiery album Live From Austin, taped during an Austin City Limits appearance. He won a 1991 Grammy for his duet with Bonnie Raitt, "Good Man, Good Woman," and reached the Top 5 of the country charts with the Tanya Tucker duet, "Tell Me About It." The fledgling label Rising Tide offered One of the Fortunate Few in 1997, but the label quickly folded. In addition to releasing two new studio albums in the early 2000s, New West Records issued Delbert McClinton Live in 2003, collecting songs from throughout his career.

source : CMT.com


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Ever wonder who taught John Lennon how to play harmonica? That's right, it was Texan blues rock bad boy Delbert McClinton. In the 1960s McClinton found chart success with the hit "If You Really Want Me To, I'll Go" while singing for the Rondells. He joined up with Glen Clark in the 1970s and then had a career as a solo artist and popular session musician, playing with folks like Bonnie Raitt and Tracy Nelson. As a testament to how talented he is, McClinton's songs have been covered by the likes of Emmylou Harris and Waylon Jennings. He still continues to play stellar blues rock, often traveling knee-deep into Americana territories and wandering into the sonic canyons of Lone Star State-styled country rock.
Eric Shea


BACK TO LOUISIANA SUNG BY DELBERT MCCLINTON
credit to carann5



Lyrics to Going Back To Louisiana by Delbert McClinton :

Well it's three o'clock in the mornin' ya'll
Oh, and I'm bidin' my time
Give me two more, Mr. Waiter
You know I got a whole lot on my mind
I'm going back to Louisiana
To that girl I left behind

I been to Memphis, baby, I been to Kansas City, too
Never met a woman who could love me like you do
Going back to Louisiana,
To that girl I left behind

Yeah, she's my kind of woman, ya'll
She's just my size
She knocks me out the way she looks me in the eye
Going back to Louisiana,
To that girl I left behind

She used to live in Shreveport, but then she moved
Bet you ten to one she's gone to Baton Rouge
I'm gonna look her up, if you know what I mean
If I have to go as far as New Orleans

Been fine talking to ya honey, but,
You know that I
Got to find my baby, got to move on down the line
Back to Louisiana,
To that girl I left behind

She used to live in Shreveport, but then she moved
I bet you ten to one she's gone to Baton Rouge
I'm gonna look her up, if you know what I mean
If I have to go as far as New Orleans

Been fine talkin' to ya, honey, but
You know that I
Got to find my baby, and move on down the line
Going back to Louisiana,
To that girl I left behind
Oh, yeah, I'm going back to Louisiana
To that girl I left behind


This is a pretty straight forward song. A man leaves a woman , travels around and meets other women, compares them to that gal in Louisiania , they don't match up. VOILA!! He's going back to get the girl he left behind.. HOPE SHE IS STILL THERE. lol


Cover by The Miggles , a very young band. This is a hoot . Pretty good for a non-pro band
credit to leapyearvideo


BACK TO LOUISIANA - TAYLOR HICKS

credit MisfitToyMart







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WHY DOES LOVE HAVE TO BE SO SAD , the Eric Clapton tune performed by Derek and the Dominos, was first enjoyed by the audience in Minneapolis at the Dakota Jazz Club. Taylor tayloried most of his set to fit the jazzy blues vibe of this club.

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Derek and the Dominos

Derek and the Dominos were a blues-rock band formed in the spring of 1970
by Eric Clapton with keyboardist/vocalist Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. The band played its first concert in London on June 14th of that year and toured England for the rest of the summer.

Following their tour, the group recorded its first and only record, the double album Layla and Other Assorted Love Songs, on which Duane Allman played guitar. After the album was released in November 1970, Derek and the Dominos toured England and the US ending the tour December 6.

The album went on to receive critical acclaim, but initially faltered in sales and in radio airplay.

Although the album was successful in America, and included the hit singles “Layla” and “Bell Bottom Blues,” it did not perform as well in the UK either

Tragedy dogged the group throughout its brief career. During the sessions, Clapton was devastated by the death of his friend and professional rival, Jimi Hendrix; eight days previously the band had cut a version of "Little Wing", which was added to the album as a tribute. One year later Duane Allman was killed in a motorcycle accident. Adding to Clapton's woes, the Layla album received only lukewarm reviews and weak album sales upon release; Clapton took this personally, accelerating his spiral into drug addiction and depression. In 1985 when talking about the band Clapton remarked:

“ We were a make-believe band. We were all hiding inside it. Derek and the Dominos—the whole thing ... assumed. So it couldn't last. I had to come out and admit that I was being me. I mean, being Derek was a cover for the fact that I was trying to steal someone else's wife. That was one of the reasons for doing it, so that I could write the song, and even use another name for Pattie. So Derek and Layla—it wasn't real at all.". ”

The band disintegrated messily in London just before they could complete their second LP

Although Clapton and Whitlock went on to have successful solo careers, Radle died in 1981 as a result of alcohol poisoning, and three years later, Gordon was convicted of murdering his mother and sent to prison.
WHY DOES LOVE HAVE TO BE SO SAD - DEREK AND THE DOMINOS 1970-1971




ERIC CLAPTON

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Eric Patrick Clapton was born on 30 March 1945 in his grandparents’ home at 1 The Green, Ripley, Surrey, England. He was the son of 16-year-old Patricia Molly Clapton (b. 7 January 1929, d. March 1999) and Edward Walter Fryer (b. 21 March 1920, d. 1985), a 24-year-old Canadian soldier stationed in England during World War II. Before Eric was born, Fryer returned to his wife in Canada.

It was extraordinarily difficult for an unmarried 16-year-old to raise a child on her own in the mid-1940s. Pat’s parents, Rose and Jack Clapp, stepped in as surrogate parents and raised Eric as their own. Thus, he grew up believing his mother was his sister. His grandparents never legally adopted him, but remained his legal guardians until 1963. Eric’s last name comes from Rose’s first husband and Pat’s father, Reginald Cecil Clapton .

Eric’s mother, Pat, eventually married and moved to Canada and Germany as her husband, Frank MacDonald, continued his military career. They had two girls and a boy. Eric’s half-brother, Brian, was killed in a road accident in 1974 at the age of 26. His half-sisters are Cheryl (b. May 1953) and Heather (b. September 1958).

Eric was raised in a musical household. His grandmother played piano and his uncle and mother both enjoyed listening to the sounds of the big bands. Pat later told Eric’s official biographer, Ray Coleman, that his father was a gifted musician, playing piano in several dance bands in the Surrey area.
Quiet and polite, he was characterized as an above-average student with an aptitude for art. But, from his earliest years in school, he realized something was not quite right when he wrote his name as “Eric Clapton” and his parents’ names as “Mr. and Mrs. Clapp”. At the age of nine, he learned the truth about his parentage when Pat returned to England with his six-year-old half brother for a visit. This singular event affected him deeply and was a defining moment in his life. He became moody and distant and stopped applying himself at school. Emotionally scarred by this event, Eric failed the all-important 11 Plus Exams. He was sent to St. Bede’s Secondary Modern School and two years later, entered the art branch of Holyfield Road School.

By 1958, Rock and Roll had exploded onto the world. For his 13th birthday, Eric asked for a guitar. Finding the inexpensive German-made Hoyer difficult to play - it had steel strings - he put it aside. In 1961, when he was 16, Eric began studying at the Kingston College of Art on a one-year probation. He was expelled at the end of that time for lack of progress as he had not submitted enough work. The reason? Guitar playing and listening to the blues dominated his waking hours.


Typical of his introspective nature, Eric looked beneath the surface and explored the roots of rock in American Blues. The blues also meshed perfectly with his self-perception as an outsider and of being “different” from other people. Sometime in 1962, he asked for his grandparents’ help in purchasing a £100 electric double cutaway Kay (a Gibson ES-335 clone) after hearing the electric blues of Freddie King, B.B. King, Muddy Waters, Buddy Guy, and others.

Eric spent his early days in music busking around Richmond and Kingston, he also began spending time in London and the West End. In early 1963, 17 year-old Eric joined his first band, The Roosters. Following the band’s demise in August 1963, he spent one month in the pop-oriented Casey Jones and The Engineers. Before turning to music as a full-time career, he supported himself as a laborer at building sites, working alongside his grandfather, a master bricklayer and plasterer.

In October 1963, Keith Relf and Paul Samwell-Smith recruited him to become a member of The Yardbirds because Clapton was the most talked about guitar player on the R&B pub circuit. During his 18-month tenure with The Yardbirds, he earned his nickname, Slowhand, and recorded his first albums: Five Live Yardbirds and Sonny Boy Williamson and The Yardbirds. The band also recorded the single, “Good Morning Little Schoolgirl”. But, Eric had not abandoned his serious research into the American Blues. When The Yardbirds began moving towards a more commercial sound with “For Your Love”, he quit. His path in music was the blues.

In April 1965, John Mayall invited Eric to join his band, John Mayall’s Bluesbreakers. With this group, Clapton established his reputation as a guitarist and earned his second nickname: “God”. It came from an admirer’s graffiti on the wall of London’s Islington Tube Station that boldly proclaimed “Clapton is God.” Eric’s time with the band was turbulent and he left for a while to tour Greece with friends. Upon his return from Greece, Eric rejoined the Bluesbreakers. It was during this time that the now classic Blues Breakers With Eric Clapton was recorded. While with the Bluesbreakers, Eric also recorded a one-off four-track session with a band dubbed “The Powerhouse”. This studio band included John Paul Jones, Steve Winwood and Jack Bruce.

After leaving the Bluesbreakers for a second and final time in July 1966, Eric teamed up with Jack Bruce and Ginger Baker to form Cream. Extensive touring in the U.S. and three solid albums - Fresh Cream, Disraeli Gears, and Wheels of Fire - brought the band worldwide acclaim. While a member of Cream, he cemented his reputation as rock’s premier guitarist and was elevated to superstar status. Although Cream was together for only two years, they are considered one of the most influential rock groups of the modern era. Clapton was unique because he did not simply replicate the blues riffs he heard on records. He incorporated the emotion of the original performances into his own style of playing, thus expanding the vocabulary of blues guitar. Cream crumbled beneath the weight of the member’s egos and constant arguing. They disbanded after two final performances at London’s Royal Albert Hall on 26 November 1968.
Following Cream’s break-up, Clapton founded Blind Faith - rock’s first “supergroup” - with Steve Winwood, Ginger Baker, and Rick Grech. Disbanding after one album and a disastrous American tour, Eric tried to hide from his growing fame by touring as a sideman with Delaney & Bonnie & Friends. While with this outfit, Eric was encouraged to sing by Delaney Bramlett. He also began composing more. A live album from the Delaney & Bonnie tour was released in 1970. Clapton’s self-titled debut was released that same year.

www.ericclapton.com/eric-clapton-biography

WHY DOES LOVE HAVE TO BE SO SAD - ERIC CLAPTON
Budokan Arena - Feb 2009






WHY DOES LOVE HAVE TO BE SO SAD - LYRICS

Got to find me a way

To take me back to yesterday.

How can I ever hope to forget you?



Won't you show me a place

Where I can hide my lonely face?

I know you're going to break my heart if I let you.



Why does love got to be so sad?

Why does love got to be so sad?

Why does love got to be so sad?

Why does love got to be so sad?



Like a moth to a flame,

Like a song without a name,

I've never been the same since I met you.

Like a bird on the wing,

I've got a brand new song to sing,

I can't keep from singing about you.



Chorus

I'm beginning to see

What a fool you've made of me.

I might have to break the law when I find you.

Stop running away



This song's meaning's quite simple...its about someone male or female...female in this case, that you meet, that you like , but you are given the runaround and then can't get her out of your head Basically it was a bout heartbreak and unrequited love. This may have been inspired by George Harrison's wife, Pattie. Clapton was having an affair with her and was tormented because he was good friends with George. Eventually, Clapton and Pattie started living together and got married. George was never too upset because he had lost interest in Pattie, and he remained good friends with Clapton. In the end, Pattie and Eric got a divorce and moved on with their lives. Pattie eventually married a guy who does not play guitar.

--------------------------------------------------------

Not many noted bands have covered this song, but "Spoonful James" with and without Taylor has done so.

WHY DOES LOVE HAVE TO BE SO SAD - SPOONFUL JAMES AT WORKPLAY



WHY DOES LOVE HAVE TO BE SO SAD - TAYLOR HICKS PARTIAL

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First introduced at The Annex in Madison, Wisconsin , "Can't You Hear Me Knocking" delivers a very unStonelike rendition.....


CAN'T YOU HEAR ME KNOCKING

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Can't You Hear Me Knocking" is a song by British rock and roll band The Rolling Stones from their 1971 album Sticky Fingers.
The song begins with a signature Keith Richards open-G tuned guitar intro. At two minutes and forty-three seconds, an instrumental break begins, with Rocky Dijon on congas; saxophonist Bobby Keys performs an extended saxophone solo over the layered guitar work of Richards and Taylor. Taylor then takes over from Keys and carries the song to its finish with a lengthy guitar solo.

The number was part of the Rolling Stones' concert repertoire during their Licks Tour in 2002–2003

Jagger played a harmonica solo after Keys' sax solo, and Ronnie Wood performed the extended guitar solo. A live recording was released on the band's 2003 DVD set Four Flicks and on the 2004 concert album Live Licks.


Keith and I) both played on (the intro) actually, it was one of the few, well not of the few Stones tracks because lots of tracks we recorded with the Stones in those days were actually by and large recorded live the way you would play them onstage, sometimes even in 1 or 2 takes. Very rarely were guitar solos overdubbed, I mean other things may have been overdubbed, but very rarely were guitar solos overdubbed, they were usually sort of done with the backing track so they were done live.
- Mick Taylor, 1995

On that song, my fingers just landed in the right place and I discovered a few things about that tuning (open G) that I'd never been aware of. I think I realized that even as I was cutting the track.

- Keith Richards, 2002

Can't You Hear Me Knocking... is one of my favorites... (The jam at the end) just happened by accident; that was never planned. Towards the end of the song I just felt like carrying on playing. Everybody was putting their instruments down, but the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. It just happened, and it was a one-take thing. A lot of people seem to really like that part.

- Mick Taylor, 1979

(The jam at the end wasn't inspired by Carlos Santana.) We didn't even know they were still taping. We thought we'd finished. We were just rambling and they kept the tape rolling. I figured we'd just fade it off. It was only when we heard the playback that we realized, Oh, they kept it going. Basically we realized we had two bits of music. There's the song and there's the jam.

- Keith Richards, 2002

I used a brown Gibson ES-345 for Dead Flowers and the solo on Can't You Hear Me Knocking.

- Mick Taylor, 1979

As a lead, virtuoso guitar, Mick (Taylor) was so lyrical on songs like Can't You Hear Me Knocking, which was an amazing track because that was a complete jam, one take at the end. He had such a good ear, and I would help push him along.

- Charlie Watts, 2003

The song is not a Mick Taylor song at all. Mick merely does a, certainly very fine, but nevertheless Carlos Santana kind of solo part. The whole rough rhythmic characteristic thing about the song is Keith.

- Pierre de Beauport, Keith Richards' guitar technician, 1999





http://www.timeisonourside.com/SOCantYouHear.html



CAN'T YOU HEAR ME KNOCKING - LYRICS


Yeah, you've got satin shoes
Yeah, you've got plastic boots
You've all got cocaine eyes
Yeah, you've got speed freak jive now

Can't you hear me knocking on your window?
Can't you hear me knocking on your door?
Can't you hear me knocking down the dirty street?
Yeah

Help me baby, I ain't no stranger

Can't you hear me knocking? Are you safe asleep?
Can't you hear me knocking, yeah, down the gas light street now?
Can't you hear me knocking? Yeah, throw me down the keys
All right now

Hear me ringing big bell toll
Hear me singing soft and low
I've been begging on my knees
I've been kicking, help me please

Hear me prowling - I'm going to take you down
Hear me growling - Yes, I've got a fight in me now, now, now, now
Hear me howling - I'm all around your street now
Hear me knocking - I'm all around your town



According to kingmikeking , the lyrics sound like someone who's trying to stop doing heroin talking to an old lover.
this song has the best jam ever. they were recording the song and mick taylor kept playing after all the others stopped. they picked their instruments back up and he led them into a great five minute jam.

This song was used on the movie "Blow" and "Casino"; as such it seems that perhaps it was about cocaine and therefore has a drug vibe about it.
schaefferarnold says the song is about when Mick Taylor first joined the group when he was 19 and the group was all blowing coke cranking music up loud and Taylor was beating on the door to get in but they couldn't hear him and supposedly when he came in he said "cant you all hear me knockin" and they wrote the song on the spot with Mick Taylor creating the main guitar rift.,, then the rest of the song is about the groupies and drug addicts they had to deal with all the time...

Commie_Bastard87 notes that :It sounds like he is a junkie and going in to withdrawls (I've been kickin', Help me please) and is trying to get a hold of his dealer or a hustlers (Yeah, you got satin shoes
Yeah, you got fancy boots
Y'all got cocaine eyes
Yeah, you got speed freak jive)
and
(Hey, help me baby, I ain't no stranger)
He is trying to get a hold of them but its not working


In many of the "Stones" songs, lyrics are secondary .....is this the case here ( the instrumentation more important than the lyric )


Can't You Hear Me Knocking - The Rolling Stones





ROLLING STONES

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The Rolling Stones are an English rock band formed in April 1962 by guitarist and harmonica player Brian Jones, pianist Ian Stewart, vocalist Mick Jagger and guitarist Keith Richards. Bassist Bill Wyman and drummer Charlie Watts completed the early lineup. At inception the band's material was heavily weighted with rhythm and blues material, a focus credited for raising the international regard for the more primitive blues typified by Chess Records' artists such as Muddy Waters who wrote Rollin' Stone, the song after which the band is named. Unconcerned with being authentic blues stylists, the Rolling Stones always played, and early on began writing, rock and roll songs, as well as songs in other popular styles including ballads
The Rolling Stones became successful in North America during the so-called British Invasion of the mid 1960s. In the early 1950s Keith Richards and Mick Jagger were boyhood friends and classmates at Wentworth Primary School in Dartford, Kent, until their families moved apart. In 1960 when Richards, on his way to class at Sidcup Art College, and Jagger, on his way to class at London School of Economics, met at Dartford train station. The Chuck Berry and Muddy Waters records Jagger carried revealed a mutual interest leading to the reestablishment of their friendship and the formation of a band

The Rolling Stones' first US tour, in June 1964, was, in Bill Wyman's words, "a disaster. When we arrived, we didn't have a hit record [there] or anything going for us."[44] When the band appeared on Dean Martin's TV variety show The Hollywood Palace, Martin mocked both their hair and their performance. During the tour they recorded for two days at Chess Studios in Chicago, meeting many of their most important influences, including Muddy Waters. These sessions included what would become the Rolling Stones' first number 1 hit in the UK: their cover of Bobby and Shirley Womack's "It's All Over Now".


Many of the band members seemed to live up to their image as wild rockers, enjoying a hard-partying lifestyle. Richards' home in the English countryside was raided by police on February 12, 1967. In addition to Richards, Mick Jagger, Jagger's girlfriend Marianne Faithfull, and several others were in the home at the time. During their search, police officers found drug paraphernalia and several illegal substances. Both Jagger and Richards were tried and convicted for drug-related offenses, but their sentences were dropped on appeal.

Despite their hedonistic lifestyle, the Rolling Stones continued to make great rock 'n' roll. Beggars Banquet was released in 1968, and featured a straightforward rock style. One of its singles, "Jumpin' Jack Flash," almost made it to the top of the charts. The band, however, ran into difficulty the following year.

Mick Jagger is the heart of "The Stones" and their soul is Keith Richards. The two had carried on their early image of unkempt youth, had survived ups and downs in their careers and personal lives, and remained the core of the band since they shared a flat with the late Brian Jones in London in 1962. Two other remaining members are drummer Charlie Watts and guitarist Ron Wood. "The Stones" were part of the "British Invasion" in international culture during the 1960s, and has been extremely popular and famous for their 60s craze, hot stuff and sex drive. Since the 1970s they remained one of the biggest entertainment acts touring the world with a retinue of jet-set hangers-on. Their inimitable shows, no matter the best, or the worst, has been played with fire and emotion, giving their audiences the kind of music they do best - it's only rock'n roll.

Mick Jagger dropped out of college and his every move on-stage and off-stage seemed to signal a challenge to "respectable" standards. He never received a formal musical education, and even could not read music. However, he worked hard and emerged as the lead singer and songwriter in partnership with Richards, following the example of John Lennon and Paul McCartney's songwriting for The Beatles. Outside of the Rolling Stones, Jagger released solo albums with his original songs, as well as his versions of such hits as 'Use Me' by songwriter Bill Withers. Jagger also starred in several films, such as Freejack (1992), Bent (1997), and The Man from Elysian Fields (2001). Mick Jagger fathered seven children from four women, donated to numerous school and charities, and was knighted by Queen Elizabeth II at the Buckingham Palace in 2003.

Keith Richards, was a schoolmate of Mick Jagger since the primary school. In 1960 they contemplated starting up a band together. Since the formation of the Rolling Stones in 1962, Richards has been the principal songwriting partner with Jagger, and most of the songs on all Rolling Stones albums are credited to Jagger/Richards. Outside of the Rolling Stones, Richards toured with The New Barbarians, and also was the front-man of the X-pensive Winos in the 1980s. Besides his music career, Richards made a cameo appearance as the father of Jack Sparrow in Pirates of the Caribbean: At World's End (2007) filmed by his friend, director Gore Verbinski.

Other members of The Rolling Stones has been also enjoying their individual careers outside of the band. Multi-instrumentalist Ron Wood collaborated with such performers as Prince, Bob Dylan, David Bowie, Eric Clapton, and Aretha Franklin, among others. His collaboration with Rod Stewart resulted in a hit album. Wood is also an accomplished artist who sold about $10 million worth of his artworks. Drummer Charlie Watts, who has been ever faithful to his one and only wife, Shirley, is known for his consistency in refusing sexual favors from groupies. He is also a jazz band-leader, and commercial artist, who had solo shows and successfully auctioned his artworks.

The Rolling Stones have released 55 albums of original work and compilations, and sold over 200 million records word-wide during their career spanning over 45 years. "The Stones" played in all kinds of spaces from small clubs to big stadium arenas. In 2007 they even rocked the Tsar's Winter Palace with fifty thousand fans in St. Petersburg, Russia, where the communist revolution took place. They gave more large-scale shows internationally than any other existing band in the world, culminating in their 2005-2007 "A Bigger Band" tour with 147 concerts, the highest grossing tour of all time with $559 million earned.

Come on, Stones, give us more of your respectable shows, get us rocking, we can make it if we try.IMDb Mini Biography By: Steve Shelokhonov

http://www.biography.com/articles/The-Rolling-Stones-9462754?part=1

Can't You Hear Me Knocking - Taylor Hicks

credit to AliceinTaylorland
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The Aquarius Casino in Laughlin, NV where Rick Carter of "Rollin' In the Hay" dropped in to sing with Taylor and the Band........their offering, " The Weight " ( by The Band )



THE WEIGHT

"TPosted ImageAs a 45 single released in 1968

The Weight" is a 1968 song by The Band. originally appearing on The Band's first album, Music from Big Pink.

It is one of the group's best known songs and among the most popular songs of the late 1960s counterculture. However, the song was not a significant mainstream hit for The Band in the U.S., peaking at only #63. The Band's record fared much better in Canada and the UK – in those countries, the single was a top 40 hit, peaking at #35 in Canada and #21 in the UK in 1968. None of these cover versions charted in the UK, where The Band's version of "The Weight" remains the only version to chart.

.Pitchfork Media named, " The Weight" the thirteenth best song of the Sixties.

"The Band's guitarist Robbie Robertson claims this was influenced by the work of Luis Bunuel, a Mexican director who made some of the first movies dealing with surrealism. Robertson was intrigued by the characters in his films, who were often good people who did bad things.

Robbie Robertson got the only writing credit for this, although other members of the group claimed that they contributed to this as well as many of their other songs and were not credited. Since only the writer receives royalties for a song, this created a great deal of tension in The Band.

The vocals are shared by Richard Manuel, Rick Danko, and Levon Helm. One of the distinctive characteristics of The Band was their 3 lead vocalists.

NThe Weight" takes the folk music motif of a traveler, to Nazareth, where the story takes place, referring to the town in Pennsylvania about 70 miles north of Philadelphia. The rock group Nazareth got their name from this line ("Went down to Nazareth, I was feeling about half past dead..."). In the liner notes for the Across the Great Divide box set, Robbie is quoted as saying that he chose that place because they make legendary Martin Guitars there, so he was aware of the place and been there once or twice. The only reason I know all of this is because I grew up in that area, and found it cool that little Nazareth, PA was mentioned in SUCH an influential song. (thanks, Jared - Meadville, PA)

The characters in the song - Crazy Chester, Luke, Anna Lee, are based on friends of the band. In Levon Helm's autobiography This Wheel's On Fire: Levon Helm And The Story Of The Band, he explained:
"We had two or three tunes, or pieces of tunes, and "The Weight" was one I would work on. Robbie had that bit about going down to Nazareth - Pennsylvania, where the Martin guitar factory is at. The song was full of our favorite characters. "Luke" was Jimmy Ray Paulman. "Young Anna Lee" was Anna Lee Williams from Turkey Scratch. "Crazy Chester" was a guy we all knew from Fayetteville who came into town on Saturdays wearing a full set of cap guns on his hips and kinda walked around town to help keep the peace,if you follow me. He was like Hopalong Cassidy, and he was a friend of the Hawks. Ronnie would always check with Crazy Chester to make sure there wasn't any trouble around town. And Chester would reassure him that everything was peaceable and not to worry, because he was on the case. Two big cap guns, he wore, plus a toupee! There were also "Carmen and the Devil", "Miss Moses" and "Fanny," a name that just seemed to fit the picture. (I believe she looked a lot like Caladonia.) We recorded the song maybe four times. We weren't really sure it was going to be on the album but people really liked it. Rick, Richard, and I would switch the verses around among us, and we all sang the chorus: Put the load right on me!"

There has been more than a little debate among Classic Rock DJs and enthusiasts over the real meaning of this song. Yes, Robertson has insisted time and again there is no biblical subtext, but many people think he may be deflecting. Consider the following:
-the narrator can't find a bed in Nazareth, and the guy to whom he makes an inquiry just smiles and says "no"
-Carmen and the devil were walking side by side, Carmen can go but her friend the devil has to stick around - an allusion to ever-present temptations
-"Crazy Chester followed me and he caught me in the fall" - possible allusion to Paul on the road to Damascus
-The most glaring one: "I do believe it's time to get back to Miss Fanny, you know she's the only one who sent me here with her regards for everyone" - Miss Fanny is the one who sent him to Nazareth, but now it's time for him to go back to her; Miss Fanny is God, the "time" in question is the crucifixion, and "regards for everyone" is Jesus dying for all of man's sins. (thanks, S.D. - Denver, CO)



http://www.songfacts.com/detail.php?id=420



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Jaime Robert "Robbie" Robertson was the chief songwriter for The Band and hailed from Canada. According to songwriter Robertson, "The Weight" was inspired by the films of Luis Buñuel, about which Robertson once said:

(Buñuel) did so many films on the impossibility of sainthood. People trying to be good in Viridiana and Nazarin, people trying to do their thing. In ‘The Weight’ it’s the same thing. People like Buñuel would make films that had these religious connotations to them but it wasn’t necessarily a religious meaning. In Buñuel there were these people trying to be good and it’s impossible to be good. In "The Weight" it was this very simple thing. Someone says, "Listen, would you do me this favour? When you get there will you say 'hello' to somebody or will you give somebody this or will you pick up one of these for me? Oh? You’re going to Nazareth, that’s where the Martin guitar factory is. Do me a favour when you’re there." This is what it’s all about. So the guy goes and one thing leads to another and it’s like "Holy Shit, what’s this turned into? I’ve only come here to say 'hello' for somebody and I’ve got myself in this incredible predicament." It was very Buñuelish to me at the time.
THE WEIGHT BY THE BAND :





THE WEIGHT - LYRICS



I pulled into Nazareth, was feeling 'bout half past dead
I just need some place where I can lay my head
"Hey, Mister, can you tell me, where a man might find a bed?"
He just grinned and shook my hand, "No" was all he said



{Refrain}
Take a load off Fanny, take a load for free
Take a load off Fanny, and you put the load right on me



I picked up my bag, I went looking for a place to hide
When I saw old Carmen and the devil walking side by side
I said, "Hey, Carmen, come on, let's go downtown"
She said, "I gotta go, but my friend can stick around"

{Refrain}

Go down, Miss Moses, there's nothin' you can say
It's just old Luke, and Luke's waiting on the judgement day
"Well, Luke, my friend, what about young Anna Lee?"
He said, "Do me a favor, son, won't you stay and keep Anna Lee company?"

{Refrain}

Crazy Chester followed me, and he caught me in the fog
Said, "I will fix your rack, if you'll take Jack, my dog"
I said, "Wait a minute Chester, you know, I'm a peaceful man"
He said, "That's OK, boy, won't you feed him when you can"

{Refrain}

Catch a Cannonball, now take me down the line
My bag is sinking low, and I do believe it's time
To get back to miss Fanny, you know she's the only one
Who sent me here with her regards for everyone

{Refrain}


THE BAND

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Rick Danko - Bass guitar, backing vocal, lead vocal on fourth verse
Levon Helm - Drums, lead vocals
Garth Hudson - Piano
Richard Manuel - Hammond organ (mixed low), backing vocal
Robbie Robertson - Acoustic guitar


The Band's music fused many elements: primarily old country music and early rock and roll, though the rhythm section often was reminiscent of Stax or Motown, and Robertson cites Curtis Mayfield and the Staple Singers as major influences, resulting in a synthesis of many musical genres. As to the group's songwriting, very few of their early compositions were based on conventional blues and doo-wop chord changes.

Every member was a multi-instrumentalist. There was little instrument-switching when they played live, but when recording, the musicians could make up different configurations in service of the songs. Hudson in particular was able to coax a wide range of timbres from his Lowrey electronic organ; on the choruses of "Tears of Rage", for example, it sounds like a mellotron. Helm's drumming was often praised: critic Jon Carroll famously declared that Helm was "the only drummer who can make you cry," while prolific session drummer Jim Keltner admits to appropriating several of Helm's techniques.

Singers Manuel, Danko, and Helm each brought a distinctive voice to the Band: Helm's southern voice had more than a hint of country, Danko sang in a tenor, and Manuel alternated between falsetto and baritone. The singers regularly blended in harmonies. Though the singing was more or less evenly shared among the three men, both Danko and Helm have stated that they saw Manuel as the Band's "lead" singer.

Robertson was the group's chief songwriter, but he sang lead vocals on only three studio songs released by the Band ("To Kingdom Come", "Knockin' Lost John" and "Out Of The Blue"). This role, and Robertson's resulting claim to the copyright of most of the compositions, would later become a point of much antagonism, especially that directed towards Robertson by Helm, who, in his autobiography This Wheel's on Fire - Levon Helm and the Story of The Band, disputes the validity of Robertson's place as chief songwriter, as the Band's songs were often honed and recorded through collaboration between all members. Strains appeared in the 1980s, when the bulk of songwriting royalties were going to Robertson alone while the others had to rely on income from touring. This had not arisen as an issue in the late sixties and early seventies, when a number of Band songs, mostly credited to Robertson alone, were covered successfully by other artists - such as Smith's version of "The Weight" for the Easy Rider soundtrack LP and Joan Baez's cover of "The Night They Drove Old Dixie Down" in 1971.

Producer John Simon is cited[8] as a "sixth member" of the Band for producing and playing on Music from Big Pink, co-producing and playing on The Band, and playing on other songs up through the Band's 1993 reunion album Jericho.

Bob Dylan hired The Band for his famed, controversial tour of 1966, his first wide exposure as an electrified rock and roll performer rather than his earlier acoustic folk sound. Robertson's distinctive guitar sound was an important part of the music; Dylan famously praised him as "the only mathematical guitar genius I’ve ever run into who doesn't offend my intestinal nervousness with his rearguard sound." Robertson appears as one of the guitarists on Dylan's album Blonde on Blonde.

From their first album, Music from Big Pink (1968), The Band was praised as one of rock music's preeminent groups. Rolling Stone magazine praised The Band and gave its music extensive coverage. Robertson sang only a few songs with The Band, but was the group's primary songwriter, and was in the later years of the Band often seen as the de facto bandleader.

In 1976, The Band broke up due to the stresses of sixteen years of touring. In the Martin Scorsese film The Last Waltz (1978) Robertson noted that he had been playing live rock and roll music almost since rock and roll began. Also, credited officially as the band's main songwriter, he was able to live off the song royalties, and no longer needed to tour. The Band reformed in 1983 without Robertson


The Band has influenced countless bands, songwriters, and performers, from the Grateful Dead and The Beatles to Eric Clapton and Crosby, Stills, Nash & Young.[29] The album Music from Big Pink, in particular, is credited with contributing to Clapton's decision to leave the super group Cream. In his introduction of The Band during the Bob Dylan 30th Anniversary Concert, Clapton announced that in 1968 he'd heard the album, "and it changed my life", he said. Guitarist Richard Thompson has openly acknowledged the album's influence on Fairport Convention's Liege and Life, and journalist John Harris has suggested that The Band's debut also influenced The Beatles' production of their back-to-basics album Let It Be as well as The Rolling Stones' string of roots-infused albums that began with Beggars Banquet. Meanwhile, the Big Pink song "The Weight" has been covered numerous times, and in various musical styles.


Many artists have covered this over the years. Aretha Franklin's version was the biggest hit, reaching #19 US in 1969, and a version by Diana Ross and the Supremes with The Temptations reached #46 in the US. It has also been covered by: Jackie DeShannon, A Group Called Smith, The Black Crowes, Bob Dylan, Grateful Dead, The Allman Brothers, Joan Osborne, Keller Williams, King Curtis & Duane Allman, Otis & Travis, Rotary Connection, Spooky Tooth, and The Ventures. (thanks, monica - grapeville, PA)

THE WEIGHT - ARETHEA FRANKLIN ( a little soul )





THE WEIGHT - JACKIE DESHANNON ( a little country )






THE WEIGHT - ALLMAN BROTHERS 2009 ( a little rock and roll
)





THE WEIGHT - TAYLOR HICKS / RICK CARTER ( a little honky tonk )



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First heard at EPCOT 2010 , SCARLET BEGONIAS was a surprise entry into the repertoire of Taylor and The Band.


Scarlet Begonias" is a song by the Grateful Dead in 4/4 time. The lyrics were written by Robert Hunter and the music by Jerry Garcia.[1] The song first appears on the 1974 release Grateful Dead from the Mars Hotel.
but Scarlet Begonias" debuted on March 23, 1974, at the Cow Palace in Daly City, California.



The song begins in Grosvenor Square in London and also references "Tea for Two" from No, No, Nanette by Irving Caesar and Vincent Youmans. "Heart of Gold Band", from the line "Everyone is playing in the Heart of Gold Band", was used by Keith and Donna Godchaux to name their new group when they left the Grateful Dead in 1980.



Grateful Dead


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When the psychedelic movement in San Francisco was at its artistic peak in the 1960's, the Grateful Dead and others tried to turn music making back into a folk activity. At the "Acid Test" parties of the writer Ken Kesey, the line between performer and audience was erased, and both were on equal footing in one free-wheeling community. But as the years wore on, optimism faded and psychedelic musicians became rock stars, the Grateful Dead soon rose to a top position in the community and a hierarchy took shape. Today, the Dead are neither part of nor leaders of the Deadheads they play to; they are simply the axis around which that community revolves.

There are few sure things at a Grateful Dead performance. The band changes its set every night, plays for anywhere from two to four hours and gives performances that can vary from lackluster to appropriately mind-blowing. It is probably the only surviving 60's band that can get away with not playing its most popular songs in concert, and the only one whose new songs are canonized immediately. — Neil Strauss

"The Dead has always been about more than rock and roll: about artistic curiosity and freedom, and has always been interested in and involved with the musical gamut of the world."
- Bruce Hornsby inducts the Grateful Dead



The Grateful Dead was an American rock band formed in 1965 in the San Francisco Bay Area.The band was known for its unique and eclectic style, which fused elements of rock, folk, bluegrass, blues, reggae, country, jazz, psychedelia, and space rock[2][3]—and for live performances of long musical improvisation.[1][4] "Their music," writes Lenny Kaye, "touches on ground that most other groups don't even know exists."

The fans of the Grateful Dead, some of whom followed the band from concert to concert for years, are known as "Deadheads" and are known for their dedication to the band's music.[1][4] Many referred to the band simply as "the Dead."

The Grateful Dead's musical influences varied widely; in concert recordings or on record albums one can hear psychedelic rock, blues, rock and roll, country-western, bluegrass, country-rock, and improvisational jazz. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world."[

As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable











Grateful Dead Scarlet Begonia Lyrics by Robert Hunter

As I was walkin' 'round Grosvenor Square
Not a chill to the winter but a nip to the air,
From the other direction, she was calling my eye,
It could be an illusion, but I might as well try, might as well try.
She had rings on her fingers and bells on her shoes.
And I knew without askin' she was into the blues.
She wore scarlet begonias tucked into her curls,
I knew right away she was not like other girls, other girls.
In the thick of the evening when the dealing got rough,
She was too pat to open and too cool to bluff.
As I picked up my matches and was closing the door,
I had one of those flashes I'd been there before, been there before.
Well, I ain't always right but I've never been wrong.
Seldom turns out the way it does in a song.
Once in a while you get shown the light
In the strangest of places if you look at it right.
Well there ain't nothing wrong with the way she moves,
Scarlet begonias or a touch of the blues.
And there's nothing wrong with the look that's in her eyes,
Wind in the willow's playin' "Tea for Two";
The sky was yellow and the sun was blue,
Strangers stoppin' strangers just to shake their hand,
Everybody's playing in the heart of gold band, heart of gold band


ROBERT HUNTER

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He was born Robert Burns in San Luis Obispo, California.on June 23, 1941 An early friend of Jerry Garcia, they played together in bluegrass bands (such as the Tub Thumpers) in the early sixties, with Hunter on mandolin and upright bass.

Around 1962, Hunter was an early volunteer test subject (along with Ken Kesey) for psychedelic chemicals at Stanford University's research covertly sponsored by the CIA in their MKULTRA program. [McNally 42] He was paid to take LSD, psilocybin, and mescaline and report on his experiences, which were creatively formative for him: "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist...and then sort of cascade tinkley-bell like (must I take you by the hand, every so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resoundingbells....By my faith if this be insanity, then for the love of God permit me to remain insane." [McNally 42-43]

Hunter's relationship with the band grew, until he was officially a non-performing band member. When the band was inducted into the Rock and Roll Hall of Fame in 1994, Hunter was included as a band member, the only non-performer ever so honored.[1] The majority of the Grateful Dead's original songs are Hunter/Garcia collaborations, where Garcia composed the music, and Hunter wrote the lyrics. Garcia once described Hunter as "the band member who doesn't come out on stage with us."

The band's primary lyricists, Robert Hunter and John Perry Barlow, commonly used themes involving love and loss, life and death, gambling and murder, beauty and horror, chaos and order, God and other religious themes, travelling and touring, etc. Less frequent ideas include the environment and issues from the world of politics.


What did Robert Hunter have in mind when he wrote this song? Cryptic analysis by two "DeadHeads" .
http://artsites.ucsc.edu/GDead/agdl/scarlet.html
As I was walkin'
A standard opening line in the British tradition, used in ballads and nursery rhymes. Along with the reference to Grosvenor Square, this line sets the song squarely in Britain.

Rings on her fingers...
This line echoes another nursery rhyme, "Banbury Cross":

too pat to open and too cool to bluff
I asked for opinions on these lines, at the prompting of a reader, from the fine folks on the Deadlit conference on the WELL, and with their kind permissions, here is what resulted:

Ain't always right...
The folk song "Number Twelve Train" contains the line "I may be wrong, but I'll be right some day"

Wind in the Willows
There are at least two references here. 1. "Blueberry Hill", a song by Al Lewis, Larry Stock, and Vincent Rose, first appeared sung by Gene Autry in the 1941 movie, "The Singing Hills." Glenn Miller made it a hit in the same year. Louis Armstrong recorded it in 1949, and Fats Domino in 1957. The line echoed in Scarlet Begonias is "The wind in the willow played/Love's sweet melody..."
2. The famous children's book by Kenneth Grahame (1859-1932), published in 1908, featuring a cast of animal characters. Frances Clarke Sayers, in a 1959 preface to the book, says ""On the surface, it is an animal story concerned with the small creatures of field and wood and river bank. Aside from their ability to talk, and a brief interlude of mysticism in which the great god of nature makes his presence known, it is a world of reality like that of the fable. ... It is a prose poem spoken in praise of the commonplace; a pastoral set in an English landscape which sings the grace of English life and custom. But it is something more. The tragedy inherent in all life is here, the threat of evil' and the great mysteries are touched upon."

Tea for Two
A song published in 1924, music by Vincent Youmans (b. NYC 1898, d. Colorado, 1946), words by Irving Caesar (b. NYC 1895). From the musical comedy No No Nanette, which opened in Detroit in April, 1924. This is one of the most familiar and catchy melodies in the world, and has been extensively covered, especially by jazz performers.



Sky was yellow...
This comment From: Timm Rebitzki
Subject: scarlet begonias


"the sky was yellow and the sun was blue"

Now this just seems to most people a goofy inversion of the well-known fact that the sky is obviously blue and the sun is yellow. BUT, have you ever actually LOOKED?

Well, on any sunshiny day, if you let your eyes flash by the sun (without actually staring at it, ahem), you can really see that the disk of the sun is light blue and the patch of sky surrounding it is yellow. No doubt it is an optical illusion, caused by the eye replacing the unbearably pure white disk of the sun with the color it had received previously, namely the blue of the sky. Still, illusion or whatever, this is what you SEE! Hey, these guys are just telling it the way it is!!


An interesting viewpoint comes from Dave who writes :

Something about the lyrics kept bringing me back, and it wasn't
until this evening that I finally found my interpretation of this beautiful
tune.

I believe we have all met a women at one point in our lives that seemed too
good to be true. A chance run in at a bar perhaps, or maybe a wedding where
we have been left to converse and maybe spend the evening in the company of
a beautiful female who shares your exact interests and you immediately hit
it off... before you know you're intoxicated, hours elapse in minutes, and
the evening is over in a flash. You don't ask for her number, something
stops you... but what exactly? You go home to wake up the next morning
alone, wondering why you didn't pursue another meeting with this woman or
whatnot. You're left with only the memory. We've all been there right?

I think what Garcia and Hunter are trying to tell us in Scarlet Begonias, is
that the beauty in that whole meeting is the memory itself. Trying to "pick
up" the woman would only cheapen the moment and therefore the memory, which
is why he "let her pass by". At the Beginning of the song Hunter describes
a chance meeting with a beautiful woman, she seems too good to be true ("it
could be an illusion..."), but decides to give it a shot. She was obviously
"not like other girls", and perhaps a bit foolish or naive ("Scarlet
Begonias tucked into her curls"). He knew immediately they shared a common
interest (the blues). Later that evening however, the goin' got rough. She
was a confident woman, she was beautiful and knew it, i.e. vain ("She was
too pat to open, and too cool to bluff"). He decides then to not pursue her
("... picked up my matches, and was closing the door"). He knows vanity,
he's "been there before", so he lets her go. These types of relationships
seldom have happy endings ("... it seldom turns out the way it does in the
song"). Although he lets her go, he later says that there is not a damn
thing wrong with her, or the feelings she may have felt for him ("There
ain't nothing wrong the way she moves,..., or the love that's in her eye"),
he has simply learned "the hard way" that it wouldn't work even if he tried.
Now I have no idea what Hunter is trying to say in the last verse, but to
me, I think he is obviously daydreaming about something ("The sky was yellow
and the sun was blue", this must be a dream reference). I think the subject
of the daydream is his evening with this woman ("the wind in the willows
played tea for two"?). The daydream is obviously a happy one which can be
seen from the last two lines of the song.

Once again, I believe Hunter's message is the usual "live the moment". Here
he is intoxicated by a woman but decides not to pursue her because if he
fails, he would have ruined the moment. In not pursuing the woman, he can
kindly re-live it over and over again in his mind and remember her as
untarnished as he met her, besides her slight vanity of course.

Or... whatever, that's just MY take of course.



And from Ron Love"


I've many time said were the only fans who love to go and get kicked in the
eye teeth about our preconceived notions of us and our world. Well it
happened just recently at the Dec 30th 2003 show. I was at the place
inside where one celebrates that which one is, and "scarlet" closed with
"playin in the heart of gold band - heart of gold band" . I heard myself as
being included in this band called the heart of gold band. During first set
break my mind went over this "heart of gold band" then this realization hit.
Wherever that big loving voice that knows comes from, if the perspective
would be from the knowledge of many systems of organized beings and their
types of emotional links to their worlds, our kind would be called a "Heart
of gold band" because we have not replaced the hearts desire for gold/money
with the desire of Love.

Thanks

Ron Love
organic farmer feeding healing food to humans
In times as complex as these it's hard to remember it begins with the
seeds.

P.S. Loser's "put your gold money where your love is baby" probably aligned
the "scarlet" realization. I said no deal close those curtains on paradise ,
I'm going to stay right here and maybe we can make it a place where there is
"nothing to get hung about". How can we communicate these wonders? put your
gold money where your love is baby (create it and show it, don't just talk
it) "It dont take much to get the word around" It's hard to love when your a
"heart of gold band" There's a big "fire on the mountian" that's ok it's
mostly hot air.

searchlight casting (jstrahl)

I always had the impression that the "dealing" that got rough wasn't
about cards, that the singer picked up his matches the next morning,
and was regretting the encounter, and the last verse is him finding
solace in the show's music, psychedelic environment (with its altered
colors) and communal feelings.

Charlie Hatfield (mr-charlie)
I find it interesting that Hunter addresses the issue of
temperature/climate by saying that theres "not a chill to the winter".
By saying so he draws direct attention to the play on words "but a Nip
to the air" as being other than having to do with the weather and puts
the emphasis on time (headline on a specific date) and place
(Grosevenor Square, London). Without speaking to the man one can never
be sure however, it seems very likely that Hunter opens Scarlet
Begonias by establishing time in addition to the obvious place.

As a personal aside, I always invisioned him talking about Janis
Joplin.

"She had rings on her fingers and
bells on her shoes,
And I knew without askin' she was
into the blues
Scarlet begonias
tucked into her curls
I knew right away
she was not like other girls--
other girls"



Covered by Sublime in 1974 and later : with a change in lyric

credit to HotWaterSystem

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At Taylor's final "concert" in his summer series , THE BORDER SONG was introduced to the appreciative audience. Taylor had sung this song before at THE HIGH NOON SALOON - DECEMBER 11, 2009 as an Encore. Why so long between presentations????

Music: Elton John
Lyrics: Bernie Taupin (last verse by Elton John)



Border Song" is a gospel ballad originally performed by British musician Elton John. Lyrics are credited to Bernie Taupin (although John himself wrote the words to the final verse). The music was composed by John.

"Border Song" initially appeared on the 1970 album Elton John, and was released in the spring of 1970 as the LP's first single. A flop in the UK, it was released in North America a few months later. It met with more success there, especially in Canada, where it peaked at #34. The appearance of "Border Song" on the Canadian charts was Elton John's first chart appearance in any country.

"Border Song" was also John's first song to chart in the United States, peaking at number 92 on the Hot 100. A cover by soul icon Aretha Franklin fared better the following year reaching the top 40.



ELTON JOHN


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BORN: March 25, 1947, Pinner, Middlesex, England

In terms of sales and lasting popularity, Elton John was the biggest pop superstar of the early '70s. Initially marketed as a singer/songwriter, John soon revealed he could craft Beatlesque pop and pound out rockers with equal aplomb. He could dip into soul, disco and country, as well as classic pop balladry and even progressive rock. His versatility, combined with his effortless melodic skills, dynamic charisma and flamboyant stage shows made him the most popular recording artist of the '70s. Unlike many pop stars, John was able to sustain his popularity, charting a Top 40 single every single year from 1970 to 1996.

During that time, he had temporary slumps in creativity and sales, as he fell out of favor with critics, had fights with his lyricist Bernie Taupin, and battled various addictions and public scandals. But through it all, John remained a remarkably popular artist and many of his songs -- including "Your Song," "Rocket Man," "Goodbye Yellow Brick Road," and "Don't Let the Sun Go Down On Me" -- became contemporary pop standards.

The son of a former Royal Air Force trumpeter, Elton John was born Reginald Kenneth Dwight in 1947. Dwight began playing piano at the age of four, and when he was 11, he won a scholarship to the Royal Academy of Music. After studying for six years, he left school with the intention of breaking into the music business. In 1961, he joined his first band, Bluesology, and divided his time between playing with the group, giving solo concerts at a local hotel, and running errands for a London publishing house. By 1965, Bluesology were backing touring American soul and R&B musicians like Major Lance, Doris Troy and the Bluebells.

In 1966, Bluesology became Long John Baldry's supporting band, and began touring cabarets throughout England. Dwight became frustrated with Baldry's control of the band and began searching for other groups to join. He failed his lead vocalist auditions both King Crimson and Gentle Giant before responding to an advertisement by Liberty Records. Though he failed his Liberty audition, he was given a stack of lyrics Bernie Taupin, who had also replied to the ad, had left with the label. Dwight wrote music for Taupin's lyrics and began corresponding with him through mail. By the time the two met six months later, Dwight had changed his name to Elton John, taking his first name from Bluesology saxophonist Elton Dean and his last from John Baldry.

John and Taupin were hired by Dick James to become staff songwriters at his fledgling DJM in 1968. The pair collaborated at a rapid rate, with Taupin submitting batches of lyrics -- he often wrote a song an hour -- every few weeks. John would then write music without changing the words, sometimes completing the songs in under a half hour. Over the next two years, the duo wrote songs for pop singers like Roger Cook and Lulu. In the meantime, John recorded cover versions of current hits for budget labels to be sold in supermarkets.

By the summer of 1968, he had begun recording singles for release under his own name. Usually, these songs were more rock and radio-oriented than the tunes he and Taupin were giving to other vocalists, yet neither of his early singles for Phillips, "I've Been Loving You Too Long" and "Lady Samantha," sold well. In June of 1969, he released his debut album for DJM, Empty Sky, which received fair reviews, but no sales.

For his second album, John and Taupin hired producer Gus Dudgeon and arranger Paul Buckmaster, who contributed grandiose string charts to Elton John. Released in the summer of 1970, Elton John began to make inroads in America, where it was appeared on MCA's Uni subsidiary. In August, he gave his first American concert at the Troubadour in Los Angeles, which received enthusiastic reviews, as well as praise from Quincy Jones and Leon Russell. Throughout the fall, Elton John continued to climb the charts on the strength of the Top 10 single, "Your Song."

John followed it quickly in February 1971 with the concept album Tumbleweed Connection, which received heavy airplay on album-oriented radio in the US, helping it climb into the Top 10. The rapid release of Tumbleweed Connection established a pattern of frequent releases that John maintained throughout his career. In 1971, he released the live 11-17-70 and the Friends soundtrack, before releasing Madman Across the Water late in the year. Madman Across the Water was successful, but John achieved stardom with the followup, 1972's Honky Chateau. Recorded with his touring band -- bassist Dee Murray, drummer Nigel Olsson and guitarist Davey Johnstone -- and featuring the hit singles "Rocket Man" and "Honky Cat," Honky Chateau became his first American number one album, spending five weeks at the top of the charts.

Between 1972 and 1976, Elton John and Bernie Taupin's hit-making machine was virtually unstoppable. "Rocket Man" began a four-year streak of 16 Top 20 hits in a row; out of those 16 -- including "Crocodile Rock," "Daniel," "Bennie and the Jets," "The Bitch Is Back" and "Philadelphia Freedom" -- only one, the FM hit "Saturday Night's Alright for Fighting," failed to reach the Top Ten. Honky Chateau began a streak of seven consecutive number one albums -- Don't Shoot Me I'm Only the Piano Player (1973), Goodbye Yellow Brick Road (1973), Caribou (1974), Greatest Hits (1974), Captain Fantastic and the Brown Dirt Cowboy (1975), Rock of the Westies (1975) -- that all went platinum. John founded Rocket, a record label distributed by MCA, in 1973 in order to sign and produce acts like Neil Sedaka and Kiki Dee.

John didn't become a Rocket recording artist himself, choosing to stay with MCA for a record-breaking eight million dollar contract in 1974. Later in 1974, he co-wrote John Lennon's number one comeback single, "Whatever Gets You Through the Night," and he persuaded Lennon to join him onstage at Madison Square Garden on Thanksgiving Day 1974; it would prove to be Lennon's last live performance. The following year, Captain Fantastic became the first album to enter the American charts at number one. After its release, he revamped his band, which now featured Johnstone, Quaye, Roger Pope, Ray Cooper and bassist Kenny Passarelli; Rock of the Westies was the first album to feature this lineup.

Throughout the mid-'70s, John's concerts were enormously popular, as were his singles and albums, and he continued to record and perform at a rapid pace until 1976. That year, he revealed in an interview in Rolling Stone that he was bisexual; he would later admit that the confession was a compromise, since he was afraid to reveal that he was homosexual. Many fans reacted negatively to John's bisexuality, and his audience began to shrink somewhat in the late '70s. The decline in his record sales was also due to his exhaustion. After 1976, John cut his performance schedule drastically, announcing that he was retiring from live performances in 1977 and started recording only one album a year.

His relationship with Taupin became strained following the release of 1976's double-album Blue Moves, and the lyricist began working with other musicians. John returned in 1978 with A Single Man, which was written with Gary Osborne; the record produced no Top 20 singles. That year, he returned to live performances, first by jamming at the Live Stiffs package tour, then by launching a comeback tour in 1979 accompanied only by percussionist Ray Cooper. "Mama Can't Buy You Love," a song he recorded with Phillie soul producer Thom Bell in 1977, returned him to the Top Ten in 1979, but that year's Victim of Love was a commercial disappointment.

John reunited with Taupin for 1980's 21 at 33, which featured the Top 10 single "Little Jeannie." Over the next three years, John remained a popular concert artist, but his singles failed to break the Top 10, even if they reached the Top 40. In 1981, he signed with Geffen Records and his second album, Jump Up! became a gold album on the strength of "Blue Eyes" and "Empty Garden (Hey Hey Johnny)," his tribute to John Lennon. But it was 1983's Too Low for Zero that began his last great streak of hit singles, with the MTV hit "I'm Still Standing" and the Top Ten single "I Guess That's Why They Call It the Blues."

Throughout the rest of the '80s, John's albums would consistently go gold, and they always generated at least one Top 40 single; frequently, they featured Top 10 singles like "Sad Songs (Say So Much)" (1984), "Nikita" (1986), "Candle in the Wind" (1987), and " I Don't Want To Go On With You Like That" (1988). While his career continued to be successful, his personal life was in turmoil. Since the mid-'70s, he had been addicted to cocaine and alcohol, and the situation only worsened during the '80s. In a surprise move, he married engineer Renate Blauel in 1984; the couple stayed married for four years, although John later admitted he realized he was homosexual before his marriage. In 1986, he underwent throat surgery while on tour in 1986, but even after he successfully recovered, he continued to abuse cocaine and alocohol.

Following a record-breaking five-date stint at Madison Square Garden in 1988, John auctioned off all of his theatrical costumes, thousands of pieces of memorabilia and his extensive record collection through Sotheby's. The audction was a symbolic turning point. Over the next two years, John battled both his drug addiction and bullimia, undergoing hair replacement surgery at the same time. By 1991, he was sober and the following year, he established the Elton John AIDS Foundation; he also announced that he would donate all royalties from his single sales to AIDS research.

In 1992, John returned to active recording with The One. Peaking at number eight on the US charts and going double platinum, the album became his most successful record since Blue Moves, and sparked a career renaissance for John. He and Taupin signed a record-breaking publishing deal with Warner/Chappell Music in 1992 for an estimated $39 million. In 1994, John collaborated with lyricist Tim Rice on songs for Disney's animated feature The Lion King. One of their collaborations, "Can You Feel the Love Tonight," won the Academy Award for Best Original Song, as well as the Grammy for Best Male Pop Vocal Performance. John's 1995 album Made In England continued his comeback, peaking at number 3 on the UK charts and number 13 in the US; in America, the album went platinum.

Biography by 10-year-old Laura Chase (saintjohnbarbie@hotmail.com)

Elton John was the single most successful pop artist of the '70s, and he continued to score hits for decades after his initial reign of popularity. Born Reginald Dwight in Pinner, England, he showed an early aptitude for the piano and received classical training, winning a scholarship to the Royal Academy of Music at the age of 11. But after six years he turned to pop music, and struggled as a songwriter, sideman, and member of unsuccessful groups for the rest of the '60s. During this period, he hooked up with lyricist Bernie Taupin through a newspaper advertisement, and the two were signed as songwriters to publisher Dick James, who was to have a tremendous impact on John's early career. A debut album sponsored by James, Empty Sky, flopped in 1969, but in 1970, with the album Elton John and the single "Your Song," Elton John took off, scoring especially well in America. For the next five years, his output -- and the sales that material racked up -- was enormous. John always had an ability to hit with ballads like the wistful "Daniel," then turn around and rock as hard as The Rolling Stones on a song like "Saturday Night's Alright for Fighting." There hardly seemed a day from 1972, when "Rocket Man" began a streak of 16 straight Top 20 hits (15 of which went Top Ten), to 1976, when John took a breather, that his songs were not dominating the airwaves and the record charts. The late '70s seem to have been a period of recovery and indecision for the singer, but by 1980 he had settled into making one well-crafted album a year, and many of them tossed off hits, if not with such consistency as before. "Little Jeannie" (1980), "I Guess That's Why They Call It the Blues" and "Sad Songs (Say So Much)" (both 1984), and "Nikita" (1986) all showed John could still hit the upper reaches of the charts, especially with his trademark ballads. The late '80s again saw a slowing in John's record success, but by the start of the '90s he had gone public about drug and alcohol problems he said were behind him, and he looked poised for a new start. After several more years of adult contemporary hits in the early '90s, John moved into film, writing the music for Walt Disney's 1994 film The Lion King. The soundtrack was an enormous success and John's version of "Can You Feel the Love Tonight" was his biggest hit in years.

http://www.sing365.com/music/lyric.nsf/elton-john-biography/e98916284be40c2f48256876001fcecf


The Border Song ( Elton John ) jinzoAgain




BERNIE TAUPIN

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Bernie Taupin (born May 22, 1950) is a lyricist famous for his collaboration with Elton John.

Taupin was born in Sleaford, Lincolnshire, in the United Kingdom. He showed an early flair for writing while at school and he then started working in a printing firm.

In 1967, he answered an advertisement for a lyric-writer printed in the New Musical Express which began a famous and well-loved team of John/Taupin. John and Taupin have collaborated on over 30 albums. Taupin's lyrics include such memorable tunes as "Candle in the Wind," "Don't Let the Sun Go Down on Me," and 1969's "Your Song," his and John's first hit.

Taupin has written a book The One Who Writes the Words for Elton John, and has recorded two works for aural medium.


THE BORDER SONG : MEANING


Lyrics:

Holy Moses I have been removed
I have seen the spectre he has been here too
Distant cousin from down the line
Brand of people who ain't my kind
Holy Moses I have been removed
Holy Moses I have been deceived
Now the wind has changed direction and I'll have to leave
Won't you please excuse my frankness but it's not my cup of tea
Holy Moses I have been deceived
I'm going back to the border
Where my affairs, my affairs ain't abused
I can't take any more bad water
I've been poisoned from my head down to my shoes
Holy Moses I have been deceived
Holy Moses let us live in peace
Let us strive to find a way to make all hatred cease
There's a man over there what's his colour I don't care
He's my brother let us live in peace
He's my brother let us live in peace
He's my brother let us live in peace


John has said that the song is about the alienation Taupin felt in and about London at the time ("Brand of people who ain't my kind"), and his desire to visit home as often as he could. Some believe the song is speaking against bigotry. The last verse, written by John himself, seems to support this idea: "Holy Moses, let us live in peace/let us strive to find a way to make all hatred cease/there's a man over there. What's his colour I don't care/he's my brother let us live in peace." But according to Lord Choc Ice
Bernie (writer) claims that the song is about nothing in particular.
Elton says that it's about how alienated Bernie felt in London at the time ("Brand of people who ain't my kind") and his desire to visit home as much as he could.

Sir Elton's audience seems to feel that it is about racism .
sebastianquilt :

To me, this is the OBVIOUS black movement idea going on here, Taupin (Elton's Lyricist) was making a stab at the racisit people by just writing in the view of a black person, it's FAR TOO EVIDENT, I cannot believe these people didn't see it. I mean BOrder, hint hint-foreigners?? It is also in the form of a gospel song, well not form but it has that feeling, it's great, one of my fave's. Cheers


tinderbox:
Sure this is a homage to the black movement around 1970, at a troubled time (city violence, increasing crime, disarray after the murders of Robert Kennedy and Martin Luther King, and the resistance of Nixon and others who wanted to think it was all through now and the blacks had got all they bargained for).

Often the listener will read into lyrics more then was intended................ we hear



Several others have covered this song :


The Border Song ( Eric Clapton ) aforoc48






The Border Song ( Taylor Hicks ) Gypsee44

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