Category: Tunage

Late Night Grooves #100

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One of history’s most well-known rock & roll songs is Back in Black by AC/DC. Like many, I’ve jammed to that song and many others from that legendary album. When I started writing this post, I had decided on a song that I wanted to discuss, but I realized it wasn’t on this album. However, it fits a future post. The Back in Black features several other tracks besides the title track that cement it into Rock and Roll history as one the best albums.

My favorite track on that album is a little number called Shake a Leg. I can’t really explain it. Even now, I can hear Brian Johnson wailing,

“Idle juvenile on the street, on the street
Kickin’ everything with his feet, with his feet
Fightin’ on the wrong side of the law, of the law, yeah
Don’t kick, don’t fight, don’t sleep at night and shake a leg

Shake a leg
Shake a leg
Shake it again”

Perhaps it spoke to my restless soul. I can’t be sure, but I love that song …

Here it is …

Late Night Grooves #99

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We need to reset a bit tonight. I need to play a little something the Madre would love—the kind of thing that made her tap her feet and sway to the groove. The Madre turned me on to Otis Redding. Nah, she didn’t sit me down and tell me this is what music really sounds like and all that, but she played it in the house, which meant it was good.

Otis Redding …

Late Night Grooves #98

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One of the most popular albums of my youth was Dio’s Hold Diver. The best-known tracks from that album were Holy Diver and Rainbows in the Dark. The track Holy Diver has been covered more times than I can count. Some of the covers are rather interesting, but I still prefer the original. My nephew says I’m stubborn that way. I chuckle every time I think about it because he’s probably right.

Ronnie James Dio sang with Black Sabbath for a while, so many of my friends felt the necessity to discuss who the better singer was, Ozzy or Ronnie James. As that topic could be addressed adequately over a keg of beer, they tried until they were summoned by the porcelain god, Ralph. However, a buddy dubbed me a cassette of Holy Diver, and I listened.

As the album plays over my Sennheisers as I write this post, I find myself singing along with the track Invisible. It has always been my favorite track from the Holy Diver album. So, here it is …

I’ve always thought this album cover was righteous.

Late Night Grooves #97

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I’ve had a few conversations about the previous LNG, so I decided to continue that groove. So, this week, I will feature tracks from my childhood. I mean, the stuff that might not have been as popular with my friends but holds a special place with me. Tonight, we will feature the Canadian band Rush. Most of my friends were huge fans of Tom Sawyer and played endlessly. They’d hush conversations when it came on the radio and turn it up. You dare not utter a word turning Neil Peart’s drum solo. However, I always preferred Limelight. So, here’s Limelight by Rush.

Late Night Grooves #93

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As Jazz week concludes on LNG, we are featuring Jazz Legend Miles Davis, whose career spanned over 4 decades. Here is one of my favorites.

Miles Davis (1926-1991)

Late Night Grooves #92

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Tonight on LNG, we’re featuring another classic. In 1942, Dizzy Gillespie recorded the timeless track “A Night in Tunisia.” Here we have that with the Jazz Legend Charlie Parker on saxophone. Enjoy!

Dizzy Gillespie (1917-1993)
Charlie Parker (1920-1955)

Late Night Grooves #91

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Jazz week continues with a little Dave Brubeck. It was one of the first jazz tracks I heard in my musical discovery.

Dave Brubeck (1920-2012)

Late Night Grooves #90

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We are continuing the jazz groove tonight on LNG with a classic featuring two music legends. One of my favorite collaborations. Ladies and gentlemen, Grover Washington Jr. and Bill Withers.

Grover Washington Jr. (1943 -1999)
Bill Withers (1938-2020)

As a bonus, here is an exciting cover of the classic. I enjoy their interpretation of the classic. Let’s give it a listen, shall we?

Late Night Grooves #89

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It might be Jazz week …

Late Night Grooves #86

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Back in the 90’s, one of my soldiers was playing this band in my office. At the time I had a hard rule “No Unauthorized Tunage.” He wasn’t expecting me, so I allow him to explain himself. There were words, but I didn’t hear them. I walked out of the office and checked on the team in the another location.

We went on training mission and he started playing this group while we were traveling. I’ve been hooked every since.

Here’s Pennywise …

Late Night Grooves #84

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I can’t explain why does song caught my attention, but it did. I used to listen to it on road trips on Spotify, but it was removed from my playlist. However, YouTube has saved the day

Late Night Grooves #83

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Here is a interesting little number I ran into some time ago. I liked the sound.

Late Night Grooves #82

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Lately, we have changed the pace on LNG and we will continue exploring tracks within the different genres. Tonight,, we’ll featuring the music of David Gray.

Late Night Grooves #81

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Tonight on LNG, we introducing a new artist to LNG. I got turned on to this artist a few years back. I was surprised that I enjoyed the range of his music.

Here’s is Amos Lee …

Late Night Grooves #80

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I found about this artist a few years back and I made a note of him. I don’t listen to him a great deal, but I have been expanding my musical tastes. Here’s Jason Isbell…

Late Night Grooves #79

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Marc Cohn rose to fame with his track “Walking in Memphis.” The track got tremendous airplay; I still hear it on oldie radio stations occasionally. However, though I enjoyed the track, his sophomore “The Rainy Season” made me a fan. Like any true fan, I went back and listened to his previous work and found this little number I find enjoyable.

Late Night Grooves #78

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Howdy Peeps, tonight on LNG, we are featuring an artist that we’ve never featured before. I’ve listened to him in passing for many years, but somehow he has never into regular rotation.

Here’s T-Bone Burnett..

Late Night Grooves #77

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Tonight on LNG, we’ll play a track that I had forgotten about from this artist. Usually, when I hear Donovan I immediately think of “Spirit in the Sky”, which happens to be a longtime favorite of mine. This particular track doesn’t hit my radar, but I heard it on the radio yesterday.

Donovan’s “Season of the Witch”:

Late Night Grooves #76

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Tonight on LNG, I will play some punk tonight. I’m in that kind of mood.

The Ramones…

Late Night Grooves #74

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What up? Tonight, we are going to play another classic. You know, that’s pretty much all I play. This time, I’m going to take a turn a bit. It’s still going to be good but a little different from what you are used to hearing on this channel. I’m in a mood today, good, bad, or indifferent, but a mood nonetheless. So, folks, here is a little Funkadelic

Late Night Grooves #73

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Howdy folks, tonight on LNG, we will crank it up a little. I’m up late researching an article. My sleep cycle is trashed. Don’t get me started. So, I need a little music that will keep me charged until Slumber whispers that sweet lullaby in my ear. Her voice is so soft and melodic. I wish she came every night, but she is like a seductress, giving me just enough to want more. Since she gonna act like that … here’s a little for ya!

Did you like that slumber, huh? Here’s another for good measure, HA!

Danish heavy metal is nice! Very nice!

Late Night Grooves #72

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Hey folks, I’m back with another edition of LNG. I know its been a while but I’ve been in another region of my mind and good to be back. I’ve writing all day and it’s good to close the night with a chill classic. It’s hard to believe this track is a classic now, but it is. Tonight’s track is from a band that may be forgotten. However, you hear the track, you’ll remember it. I hope. But, if you haven’t heard this track before perhaps its something you may want to explore later.

Mixed Music Bag – Week 23 – Not an Addict

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TUNAGE ARTICLE – MMB

Here’s my response to Glyn’s Mixed Music Bag. It’s been awhile since I have participated, so let’s jump right into it. I was stuck in traffic a few years ago, a song on the radio caught my attention. I had never heard before, but it stuck with me. I assumed it was going to be another time where you here a song and don’t hear the artist, but I got lucky. The artist was K’s Choice and the track was Not an Addict

Sarah and Gert Bettens

K’s Choice, a Belgian rock band formed in the early 1990s, has captivated audiences worldwide with their deeply emotional lyrics and haunting melodies. Founded by siblings Sarah and Gert Bettens, the band has navigated the complexities of the music industry with a unique sound that blends rock, folk, and alternative elements.

K’s Choice originated in Antwerp, Belgium, with the Bettens siblings at its core. Their musical journey began in the local music scene, where they quickly gained attention for their distinctive sound and lyrical depth. The band’s breakthrough came with releasing their second album, “Paradise in Me,” in 1995. The album featured the hit single “Not an Addict,” which brought them international recognition. With its powerful lyrics and compelling melody, this song became an anthem for many and solidified K’s Choice as a formidable presence in the alternative rock genre.

Song Lyric Sunday – King Diamond’s Abigail

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TUNAGE – SLS

This post has been over 30 years in the making. Let me explain with a little back story. So, in 1987, a guy I knew in high school suggested three albums. Over a period of several months, this guy and I had drunken conversations about heavy metal. During this time, I knew hardly anything about the genre beyond the typical bands everyone listened to at the time, Van Halen, Motley Crue, and alike. Plus, I had one huge disadvantage. I was Black.

Today, no one gives two shakes about what music you like, but back then, in my region of the world, it was a big deal. I recall getting flack for my taste in music. However, this one guy would come up to me, and we’d rap about metal and drink beer. So, the last album he suggested I buy was King Diamond’s Abigail. He gave me the rundown on how King Diamond used to be with Mercyful Fate and all that. So, I bought the album without reservations because his previous recommendations were solid. In fact, I still listen to those artists.

I put on this album and was immediately thrown. Yeah, I was mindfucked. There was no one there telling me they loved me. No foreplay or heavy petting. Just take this, and you’re gonna like it; I did. Abigail was nothing like any music I had heard before. I sat for hours trying to figure out what I was listening to. All I knew was that I was drawn to it. None of my friends listened to this style of music, so I couldn’t discuss the album. For years, I’ve tried to find someone I could talk to about this album. Either they couldn’t stand King Diamond or never heard of him. I even had people question why a Black guy was listening to heavy metal. Without further ado or hyperbole, I present King Diamond’s Abigail. This entire album is some eerie shit!

Narrative and Concept

“Abigail” is a concept album that tells a gothic horror story set in 1845. The narrative follows a young couple, Jonathan and Miriam La’Fey, who inherit a mansion. Seven mysterious horsemen warn them about a terrible fate awaiting them if they stay in the house. Ignoring the warning, they encounter the spirit of Abigail, a stillborn child whose spirit possesses Miriam, leading to a tragic and gruesome series of events.

The album’s storytelling is a standout feature, with each song advancing the plot while creating a vivid, eerie atmosphere. The lyrics, written by King Diamond, are rich in detail and character development, immersing the listener in the dark tale. Songs like “Arrival,” “The Family Ghost,” and “Black Horsemen” are essential pieces of the narrative puzzle, each contributing to the unfolding horror.

Musical Composition and Style

Musically, “Abigail” blends heavy metal, speed metal, and progressive elements. Its complex arrangements, technical proficiency, and King Diamond’s distinctive falsetto vocals characterize it. The album showcases the exceptional musicianship of the band members: Andy LaRocque and Michael Denner on guitars, Timi Hansen on bass, and Mikkey Dee on drums.

The guitar work on “Abigail” is particularly noteworthy. It features intricate riffs, harmonized solos, and melodic passages, enhancing the album’s dramatic effect. Andy LaRocque and Michael Denner’s dual guitar interplay is a highlight, providing both aggression and melodic depth. Tracks like “A Mansion in Darkness” and “The 7th Day of July 1777” display their technical prowess and ability to convey the album’s ominous mood.

The rhythm section, with Timi Hansen on bass and Mikkey Dee on drums, provides a solid foundation for the album’s intensity. Dee’s drumming is dynamic and precise, adding to the album’s relentless energy, while Hansen’s bass lines add depth and complexity to the compositions.

Thematic Elements and Atmosphere

“Abigail” is steeped in themes of horror, possession, and the supernatural, drawing heavily from gothic fiction and classic horror films. The album’s lyrics are filled with vivid imagery, creating a cinematic experience for the listener. King Diamond’s theatrical vocal techniques, including his famous high-pitched falsetto and menacing growls, bring the characters and story to life.

The atmosphere of “Abigail” is dark and foreboding, achieved through the music and the production. The album was produced by King Diamond and Roberto Falcao, who crafted a sound that balances clarity with a raw, menacing edge. The production emphasizes the album’s dramatic dynamics, from the quiet, suspenseful moments to the explosive, intense sections.

Keyboards and sound effects further enhance the album’s eerie ambiance. These elements are used sparingly but effectively, adding to the overall sense of dread and tension. For instance, the haunting intro of “The Possession” and the chilling conclusion of “Black Horsemen” feature atmospheric sounds that contribute to the storytelling.

Impact and Legacy

“Abigail” is widely regarded as one of the greatest concept albums in metal history and a defining work in King Diamond’s career. Its success helped establish King Diamond as a solo artist and set a high standard for narrative-driven metal albums. The album’s blend of horror themes, theatricality, and musical complexity has influenced countless metal bands and artists.

The impact of “Abigail” extends beyond its initial release. Many metal musicians have cited it as influencing numerous tribute performances and covers. The album’s storytelling approach has also paved the way for other concept albums in metal, encouraging artists to explore ambitious, narrative-driven projects.

King Diamond’s ability to create a cohesive and compelling story through music is a significant achievement, demonstrating the potential of the concept album format. “Abigail” remains a testament to his creativity and vision, showcasing his unique blend of horror and metal in a way that continues to resonate with fans.

Conclusion

“Abigail” by King Diamond is a masterful album that combines intricate storytelling, exceptional musicianship, and a haunting atmosphere to create a landmark in the metal genre. Its gothic horror narrative, driven by King Diamond’s distinctive vocals and the band’s technical prowess, has left an indelible mark on the world of heavy metal. More than three decades after its release, “Abigail” continues to be celebrated as a classic, influencing new generations of metal artists and captivating listeners with its dark, compelling tale.

Lyrics:

Abigail

Song by

King Diamond

Abigail, I know you’re in control of her brain, Abigail
And I know that you’re the one that’s speaking through her, Abigail
Miriam, can you hear me?

I am alive inside your wife
Miriam’s dead, I am her head

I am alive inside your wife
Miriam’s dead, I am her head

Abigail, don’t you think I know what you’ve done, Abigail
I’ll get a priest
He will know how to get her soul back

Oh, Jonathan, this is Miriam
Our time is out
Remember the stairs, the only way

Abigail, nothing I can do but give in, Abigail
Follow me to the crypt
Abigail, you aught to be reborn where you died, Abigail
Jonathan, I agree, yes, I do

I am alive inside your wife
Miriam’s dead, I am her head
Soon I’ll be free

Songwriters: Kim Bendix Petersen.

Thanks, Jim and Di, for coming up and hosting this theme.

Late Night Grooves #71

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Tonight, we are traveling to 1966, as you know the 60’s were filled with amazing music. Suddenly, there is a reemergence of the classics, which is fine by me. I’ve had trouble following modern music since my daughters were young. So, in 1966, there was a fella who came out with a hit entitled “You’re in the Cream of the Crop.” Let’s take a listen, shall we?

(born Roger Lee Craton, 1939 – October 1, 1990)

Lee Rogers, an American R&B singer and songwriter, made a lasting impact on the soul music scene during the 1960s. Born in 1939 in Detroit, Michigan, Rogers was part of the vibrant Motown era, though he found his niche with smaller labels such as Wheelsville and D-Town Records. His music is characterized by smooth vocals, heartfelt lyrics, and a soulful delivery that resonated with audiences of his time.

Rogers is best known for his hits “I Want You to Have Everything” and “Love for a Love,” which showcased his ability to convey deep emotion and connect with listeners. His work often featured lush arrangements and rich instrumentation typical of the classic R&B sound of the era.

Despite not achieving the same level of fame as some of his Motown contemporaries, Rogers’s contributions to R&B have been appreciated by soul music aficionados and collectors. His recordings remain a testament to his talent and the enduring appeal of 1960s soul music.

Lee Rogers’s legacy is one of heartfelt expression and musical craftsmanship, securing his place in the annals of R&B history as a beloved and influential artist.

Song Lyric Sunday – Whistling Dixie

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TUNAGE – SLS

As a child, I had the hardest time learning to whistle. So, when I saw the theme for this week, I had a nice flashback to that time. Oh yeah, this week’s theme is songs with whistling in them. Thanks to Jim Adams for hosting every week. Here are two of my favorites in this category.

“Raindrops Keep Fallin’ on My Head” by B.J. Thomas

“Raindrops Keep Fallin’ on My Head,” performed by B.J. Thomas, is a classic song that epitomizes the easygoing, optimistic spirit of late 1960s pop music. Written by the legendary songwriting duo Burt Bacharach and Hal David, the song was released in 1969 as part of the soundtrack for the film “Butch Cassidy and the Sundance Kid.”

The song’s light, breezy melody, accompanied by Thomas’s warm and soulful vocals, conveys a sense of resilience and cheerfulness despite life’s inevitable challenges. The lyrics, which speak of a carefree attitude in the face of adversity, perfectly complemented the film’s whimsical tone and became an instant hit.

“Raindrops Keep Fallin’ on My Head” topped the Billboard Hot 100 chart in January 1970 and won an Academy Award for Best Original Song. Its enduring popularity is a testament to its timeless appeal, capturing a universal sentiment of maintaining a positive outlook no matter what obstacles come one’s way. The song remains a beloved classic, frequently covered and featured in various media, bringing listeners a sense of joy and optimism worldwide.

Lyrics:

Raindrops keep fallin’ on my head
And just like the guy
Whose feet are too big for his bed

Nothin’ seems to fit
Those raindrops are fallin’
On my head, they keep fallin’

So, I just did me some talkin’ to the sun
And I said, I didn’t like
The way he got things done

Sleepin’ on the job
Those raindrops are fallin’
On my head, they keep fallin’

But there’s one thing I know
The blues they send
To meet me won’t defeat me (aah)
It won’t be long till
Happiness steps up to greet me

Raindrops keep fallin’ on my head
But that doesn’t mean
My eyes will soon be turnin’ red
Cryin’s not for me ’cause
I’m never gonna stop the rain by complainin’
Because I’m free, nothin’s worryin’ me

It won’t be long till
Happiness steps up to greet me

A raindrops keep fallin’ on my head
But that doesn’t mean
My eyes will soon be turnin’ red
Cryin’s not for me ’cause
I’m never gonna stop the rain by complainin’
Because I’m free, nothin’s worryin’ me

Songwriters: Burt F. Bacharach, Hal David.

“Me and Julio Down by the Schoolyard” by Paul Simon

“Me and Julio Down by the Schoolyard” is a lively and infectious song by Paul Simon, released in 1972 on his self-titled solo album. Known for its upbeat tempo and catchy melody, the song showcases Simon’s distinctive storytelling and musical style, blending elements of folk, rock, and Latin rhythms.

The song narrates the adventures of the narrator and his friend Julio, who get into some unspecified trouble “down by the schoolyard.” The playful and somewhat mysterious lyrics have sparked much curiosity and speculation over the years about the nature of their mischief. Despite the ambiguity, the song’s joyful energy and whistling sections create a carefree and nostalgic atmosphere.

“Me and Julio Down by the Schoolyard” became one of Simon’s early solo hits. It was celebrated for its unique blend of musical influences and whimsical yet relatable narrative. The song remains a favorite in Paul Simon’s extensive catalog, capturing the essence of youthful exuberance and the timeless appeal of friendship and misadventure.

Lyrics:

Mama pajama rolled out of bed, and she ran to the police station
When the papa found out he began to shout
And he started the investigation
It’s against the law, it was against the law
Oh, what the mama saw, it was against the law

Mama looked down and spit on the ground
Every time my name gets mentioned
The papa say, “Oy, if I get that boy
I’m gonna stick him in the house of detention”

Well, I’m on my way
I don’t know where I’m goin’, I’m on my way
I’m takin’ my time, but I don’t know where
Goodbye to Rosie, the Queen of Corona
Seein’ me and Julio down by the schoolyard
Seein’ me and Julio down by the schoolyard

Whoa, in a couple of days
They come and take me away
But the press let the story leak
And when the radical priest come to get me released
We was all on the cover of Newsweek

And I’m on my way
I don’t know where I’m goin’, I’m on my way
I’m takin’ my time, but I don’t know where
Goodbye to Rosie, the Queen of Corona
Seein’ me and Julio down by the schoolyard
Seein’ me and Julio down by the schoolyard
Seein’ me and Julio down by the schoolyard

Songwriters: Paul Simon.

Late Night Grooves #69

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Tonight on LNG, we are travelling to the 90’s to play a perhaps forgotten band with a powerful and unique sound. I didn’t get turned on them until many years after their emergence. I was immediately pissed, because I felt like I missed a movement. Yeah, I have those moments where I believe something ridiculous. Join me for a little K’s Choice.

Evening Writing Grooves – 05122024

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In the evenings, after dinner Motown played in the living room. By far my mother’s favorite artist was Diana Ross & the Supremes. She was mainly a Diana Ross fan, but the Supremes played all the time. Here are some of her favorites

Mom would tell stories about the band as they played on the record player. She knew so much about the group I thought she actually knew them. However, she was just a fan, like I am for so many bands.

Late Night Grooves # 66

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Ladies and Gentlemen, Mr. Otis Redding

Late Night Grooves #63

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I can’t seem to get past 1978. It was such a powerful and diverse year in regards to music. Here’s another cut

Late Night Grooves #62

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Tonight on LNG, first let me say its been awhile since I jammed with you. Earlier on Afternoon Vinyl we played a track from the late seventies. So, I decided to continue that theme since I was already in the archives. Here is a little something for you.

Song Lyric Sunday – The Ohio Players – 04/14/2024

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TUNAGE – SLS

I got excited when I saw the prompt for this post. There are so many songs I love that fit the category. I could go on a rant about these songs, but I will behave. Tonight, I will just provide five of my favorites in this category.

2. Disco Inferno – The Trammps (1976)

3. The Roof is on Fire – Rock Master Scott & The Dynamic Three (1984)

4. Beds are Burning – Midnight Oil (1987)

5. Fire Woman – The Cult (1989)

My all-time favorite song is none other than The Ohio Players. I remember sitting in front of my mother’s HiFi, flipping through records. I found this album cover and was mesmerized by it. I listened to this as much as I could. I never understood the meaning of the song until much later in life. Even today, I still enjoy the funk sound of this track. This track was recorded in 1974. Fire reached No. 10 on the disco/dance chart.

Lyrics:

Hey, now, huh-huh
Hey, hey, hey, no, (Ow, now)
Hey, now, huh-huh
Hey, hey, hey, no
Fire (Uh) Fire (Its all about) Fire (Woo, woo, woo)
Fire
The way you walk and talk really sets me off
To a fuller love, child, yes, it does, uh
The way you squeeze and tease, knocks to me my knees
Cause Im smokin’ baby, baby
The way you swerve and curve, really wrecks my nerves
And Im so excited, child, woo, woo
The way you push, push lets me know that you’re good
Oh, yeah
Fire (What I said, child, ow)
Fire (Uh-huh)
Got me burnin’ burnin’ burnin’
Ooh. Ooh, ooh, ooh
Burnin’, burnin’ baby
Oh, baby
When you shake what you got, and girl, you’ve got a lot
You’re really somethin’ child, yes, you are
When you’re hot you’re hot, you really shoot your shot
You’re dyn-o-mite, child, yeah
Well, I can tell by your game, you’re gonna start a flame
Love, baby, baby
I’m not gon’ choke from the smoke, got me tightenin’ up my stroke
Do you feel it, girl, yeah
Songwriters: Clarence Satchell, Marshall Jones, Leroy Bonner, Willie Beck, James L. Williams, Marvin Pierce, Ralph Middlebrooks. For non-commercial use only.

Thank you, Jim, for hosting this challenge. Thank you, Nancy, for suggesting this wonderful theme.

Song Lyric Sunday – The Time

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TUNAGE – SLS

When I think about songs with cold in the title, two come to mind immediately: Foreigner’s “Cold as Ice” and Rainbow’s “Stone Cold.“ However, I decided to take things in a different direction for this post. I wanted a track I always considered fun. One of my favorite bands is none other than The Time and their track Ice Cream Castles. Which was the title track from that album.

“Ice Cream Castles” is a funky and playful song by The Time, released in 1984. The track stands out with its whimsical lyrics and a groovy melody that captures the essence of 80s funk and R&B. The song, produced by Prince, features a blend of catchy guitar riffs, vibrant synthesizers, and smooth vocals, creating a lighthearted and danceable vibe. It encapsulates a dreamy, surreal aesthetic, much like the imagery suggested by its title, offering listeners a musical escape into a fantastical world of rhythm and style.

Here are the lyrics:

We are young, we are free on earth together. Let’s fall in love.
You are fine, you are white, I am of color. Let’s fall in love.

Ice cream castles in the summertime.
Ice cream castles in the summer.

I want you, you want me, we want each other. Is that so wrong?
It’s raining. Mad sisters, why can’t they realize, that it won’t be long?

We’re all ice cream castles in the summertime.
Ice cream castles in the summer.
Let’s do something soon.

We are young, we are free. Let’s come together before the end.
I am blue, you are too, what could be better? Let’s make friends.

We’re all ice cream castles in the summertime.
Ice cream castles in the summertime.
We’re all ice cream castles in the sun.
Ice cream castles when we fall.
Ice cream castles in the summertime.
Summertime, summertime, summertime.

Is that what you need?
White girls, black girls, orientals, Jamaican?

Ice cream castles in the summertime.
We’re all ice cream castles in the sun.
Ice cream castles when we fall.
Ice cream castles in the summertime.
Summertime.

White girls, black girls, orientals, jamaican.
I want you, you want me, we want each other.

White girls, black girls.
We are young, we are free on earth together.

Let’s do something, let’s do something soon.

We are young, we are free. Let’s come together.

Thanks, Jim, for hosting, and Nancy, for suggesting this one was fun.

Song Lyric Sunday – Gladys Knight

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TUNAGE – SLS

This week’s challenge is a particular favorite of mine. I’m a bit of a soundtrack junkie, so I can ramble all day about the different tracks written for motion pictures. However, I’ll try my best to contain my urge to go into a full rant about this week’s challenge.

I’m a huge fan of the James Bond movies. Yes, the best James Bond was Sean Connery, that’s right, I said it. We all know that the Bond films are known for their theme songs and the Bond Girls. Sorry, I digress, I’m a little taken back by my favorite Bond theme song is for Licence To Kill, which featured Timothy Dalton as 007. I still trying to figure out how that happened. I’m confused because we saw his role in Flash Gordon, whose soundtrack was done by Queen.

The theme song for this film was sung by vocal legend Gladys Knight. It’s definitely one of my favorite songs of all time. The power and passion she brings to this song; I don’t have the words. The track was released in May 1989. This track is another example of the power of the music of the decade.

Lyrics

“Licence To Kill”

Ooooh
Ah-aaah
I need, I need, I’ve got to hold on to your love
Ooooh

Hey baby, thought you were the one who tried to run away
Ohh, baby, wasn’t I the one who made you want to stay?
Please don’t bet that you’ll ever escape me
Once I get my sights on you

I Got a licence to kill (to kill)
And you know I’m going straight for your heart
(Got a licence to kill)
Got a licence to kill (to kill)
Anyone who tries to tear us apart
(Got a licence to kill)
Licence to kill

Hey baby, think you need a friend to stand here by your side?
Yes you do (your side)
Ohh, baby, now you can depend on me to make things right (things right)
Please don’t bet that you’ll ever escape me
Once I get my sights on you

[2x:]
I Got a licence to kill (to kill)
And you know I’m going straight for your heart
(Got a licence to kill)
Got a licence to kill (to kill)
Anyone who tries to tear us apart
(Got a licence to kill)
Licence to kill

Say that somebody tries to make a move on you
In the blink of an eye, I’ll be there too
And they’d better know why I’m gonna make them pay
Till their dying day
Till their dying day
Till their dying day

[2x:]
Got a licence to kill (to kill)
And you know I’m going straight for your heart
(Got a licence to kill)
Got a licence to kill (to kill)
Anyone who tries to tear us apart
(Got a licence to kill)
Licence to kill

Gotta hold onto your loving
Licence to kill
Ooohooo!
Kill

Thanks Jim and Nancy

Late Night Grooves #61

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Tonight on LNG, we are going to the basics. Back to a time before we had to make accuses for ourselves. We didn’t really know who we were. Music played a large part in the development of our identity. There were so many genres during that time. Music spoke to us, it pulled us out of the dark, it brought joy to parts of us that didn’t even existed. For some of us, it took us a long time that to discover who we truly were meant to be. Cyndi Lauper’s True Colors meant a great deal to me back then, it still means a great now.

Late Night Grooves #60

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Tonight on LNG, we are featuring a classic track known by many. I remember singing along with this track.

Late Night Grooves #59

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I typically don’t take requests on the tracks I post, but tonight on LNG, I’m going to make exception a play a little Elvis. Though, I appreciate Elvis’s contribution to music, I never really been a huge fan of his music. However, I have watched most of those corny movies his several times. I enjoyed them too.

Late Night Grooves #58

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Tonight on LNG, we slip back into 1984 and feature another dancefloor classic

Mixed Music Bag Week 11: Flyleaf

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No discussion about rock music over the last twenty years should be had without mentioning the band Flyleaf. Flyleaf emerges as a band with an edgy narrative and an unmistakable sound. Originating from the heart of Texas, their music is a fusion of raw emotion and intense energy, which is what you come to expect from artists from capturing the attention of listeners worldwide.

I was watching Die Hard 4 when I noticed the band playing in the background. The music was bold and gripping. Her voice struck a cord as soon as this booming voice came from this tiny woman. Here is the voice that caught my attention.

I looked high and low for their album but only found a couple videos on YouTube. Finally, I found a Japanese Import of their debut album.

History and Formation

Flyleaf’s story begins in the early 2000s in Belton and Temple, Texas, where passionate musicians came together to form what was initially known as Passerby. With Lacey Sturm leading the vocals with her distinctive booming voice, the band soon rebranded as Flyleaf. Their self-titled debut album, released in 2005, Flyleaf also released a variety of singles over their career, including notable tracks like “Breathe Today,” “I’m So Sick,” “Fully Alive,” “All Around Me,” which is certified Platinum, “Again,” and “Set Me on Fire,” among others. Each of these singles showcases the band’s unique blend of hard rock and alternative music

Musical Style and Influences

Flyleaf is renowned for its dynamic musical style, which blendelements of punk, metal, and hard rock. Lacey’s intense vocals, paired with the band’s compelling instrumentation, create a powerful and poignant sound. The band’s lyrics often delve into pain, hope, and redemption themes, reflecting their personal experiences and spiritual backgrounds. Influences range from grunge bands like Nirvana to the emotive storytelling of groups like The Cranberries, shaping a unique sonic identity for Flyleaf.

Critical Reception and Achievements

The band’s debut album was a launching pad, earning them a platinum certification and solidifying their status in the rock scene. Critics praised Flyleaf for their raw energy and emotional depth, recognizing them as a significant force in alternative rock. Over the years, Flyleaf has garnered a loyal fanbase, captivated by their authenticity and the emotional intensity of their live performances. Their commitment to various causes, including mental health awareness and anti-bullying campaigns, has further endeared them to fans, showcasing their dedication to making a difference.

Band Member Profiles

While Lacey Sturm’s departure in 2012 marked a significant transition for Flyleaf, the band’s essence remained intact with Kristen May stepping in as the lead vocalist until her departure in 2016. Members like guitarist Sameer Bhattacharya and drummer James Culpepper have been instrumental in crafting Flyleaf’s distinctive sound, contributing to the band’s enduring appeal.

Legacy and Future Endeavors

Flyleaf’s influence extends beyond their discography, inspiring a new generation of rock artists with their heartfelt music and unwavering spirit. While the band’s future projects are eagerly anticipated by fans, their legacy is already cemented in the annals of rock history. As Flyleaf continues to evolve, their journey remains a testament to the power of music to connect, heal, and inspire.

Late Night Grooves #57

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It’s Monday; after a weekend of different genres, let’s slip back into the 80s and play a little rock & roll. Tonight, we are going to travel overseas to the UK. Instead of playing tracks from several bands, I will focus on a band I typically don’t listen to as much anymore. I was working on the blog when I noticed a comment mentioning Steve Clark from Def Leppard. I rolled with Def Leppard for two albums, High and Dry and Pyromania. I remember tragedy befell the band, but I couldn’t remember the details. I discovered Steve Clark had succumbed to alcohol abuse. While working on other blog projects, I reacquainted myself with Def Leppard.

Of course, I enjoyed the popular tracks from the mentioned albums, but I wanted to see if I could remember why I enjoyed them all those years ago. Quickly, I remembered why. Here are a few cuts I enjoyed from High & Dry.

Unfortunately, I never really got into the Pyromania album like I did with High & Dry. When Phil Collen joined the lineup, the sound changed for me. Pyromania has tracks that received a fair amount of airplay so I found it difficult to find a track fitting my criteria. However, midway through the album, I found the tracks I remembered.

It’s one of my favorites from this band by far.

Though their sound changed overall, I found Pyromania a decent album. In the song Die Hard the Hunter, the tandem guitar play of Clark and Collen is insane. I definitely see why they were called “The Terror Twins”

Well, that’s it for tonight. I did my best to find Steve Clark playing footage. He is definitely a joy to watch. I never watched this much footage of playing until tonight. Thanks, Ted, for mentioning him; what a treat!

Song Lyric Sunday – Going Biblical

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CHALLENGE RESPONSE – SLS

Typically, I roll my eyes when I hear the term Christian Rock. It’s not because I don’t believe there could be such a thing, but when I first heard of the genre, the selected tracks presented to them weren’t rock. Not even close. The people presenting the music believed I listened to the “music of the devil.” It didn’t help; I sometimes started the day in the office by blasting Black Sabbath’s Sweet Leaf. Hey, sometimes I need a little kick somedays. There are days when caffeine and nicotine alone just aren’t enough.

Several years later, an NCO was playing some hard driving music from his office one night while we were working on preparing for an inspection. That music turned out to be Creed. I went out and bought the CD and gave it a listen. Immediately, I noticed the spiritual overtones in some of their music. I enjoyed their music, but never really reached the fan level. Even though I have their debut and sophomore albums. So, when I read this prompt, My Own Prison immediately came to mind. Let’s give it a listen.

Creed

LYRICS:

Court is in session, a verdict is in
No appeal on the docket today just my own sin
The walls cold and pale, the cage made of steel
Screams fill the room, alone I drop and kneel
Silence now the sound, my breath the only motion around
Demons cluttering around, my face showing no emotion
Shackled by my sentence, expecting no return
Here there is no penance, my skin begins to burn

(And I said, ohh) So I held my head up high
Hiding hate that burns inside
Which only fuels their selfish pride
(And I said, ohh) All held captive out from the sun
A sun that shines on only some
We the meek are all in one

I hear a thunder in the distance, see a vision of a cross
I feel the pain that was given on that sad day of loss
A lion roars in the darkness, only he holds the key
A light to free me from my burden and grant me life eternally

Should have been dead on a Sunday morning, banging my head
No time for mourning
Ain’t got no time
Should have been dead on a Sunday morning, banging my head
No time for mourning
Ain’t got no time

(And I said, ohh) So I held my head up high
Hiding hate that burns inside
Which only fuels their selfish pride
(And I said, ohh) All held captive out from the sun
A sun that shines on only some
We the meek are all in one

I cry out to God, seeking only His decision
Gabriel stand and confirms, I’ve created my own prison
I cry out to God, seeking only His decision
Gabriel stand and confirms, I’ve created my own prison

(And I said, ohh) So I held my head up high
Hiding hate that burns inside
Which only fuels their selfish pride
(And I said, ohh) All held captive out from the sun
A sun that shines on only some
We the meek are all in one
(And I said, ohh) So I held my head up high
Hiding hate that burns inside
Which only fuels their selfish pride
(And I said, ohh) All held captive out from the sun
A sun that shines on only some
We the meek are all in one

Should have been dead on a Sunday morning, banging my head
No time for mourning
Ain’t got no time

Here is another band whose music fits the parameters of the prompt. I’m providing a detailed article for Mixed Music Bag. So, just give this track a listen.

Flyleaf:

LYRICS:

Circle encircles the earth
Chance and choice break his heart
His innocent arm moves to save me and I am spared
His beautiful arm is bloody and cut off
His heart ripped out to show me he loved me
But I wouldn’t believe him
He did all that he could
I still would not believe him

I left his arms empty and tied outstretched for me until he died
Left his arms empty and tied outstretched for me until he died

No man shows greater love
Than when a man lays down his life
For his beloved

I left his arms empty and tied outstretched for me until he died
Left his arms empty and tied outstretched for me until he died

And here I am alive
And I don’t have the right
And he gives me the right
Costing him his life
New mercy’s in the morning

I believe
What if I believe you now?
Could it ever change this for you?
Forgive me, relieve me
Please come back to life

I believe
What if I believe you now?
Could it ever change this for you?
Forgive me, relieve me
Please come back to life
Come back to my life

I believe
What if I believe now?
Forgive me, relieve me
Please come back to life

Sunday Juke Joint #1

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As you may have figured out by now, I love music of all kinds. I decided to dedicate Sundays to my favorite genre, Jazz. Each Sunday, I’ll post four tracks. Sometimes, they may be a theme and other times, they will be tracks of what I am feeling on that particular day.

This week, we are looking at jazz covers of songs originally released in a different genre. So, if you hate jazz, I will be back to regular formatting tomorrow. If you don’t know much give a listen and keep an open mind. The tracks I picked are across several jazz sub-genres, so there is a variety. I hope you enjoy them.

Song Lyric Sunday – Children and Families

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CHALLENGE RESPONSE – SLS

Nothing More

“Fade In, Fade Out” by Nothing More is a deeply emotional and introspective song that explores the universal themes of time, legacy, and the cyclical nature of life. Released as part of their album “The Stories We Tell Ourselves” (2017), the song delves into the relationship between generations, specifically focusing on the bond between a parent and child. Through its poignant lyrics, “Fade In, Fade Out” reflects on the inevitable passage of time, the experience of watching one’s parents age, and the desire to make the most of the moments shared with loved ones.

The song begins with a perspective that captures the essence of watching one’s child grow up, imparting wisdom, and hoping they find their way in life without losing themselves. As it progresses, the narrative shifts to express the child’s perspective—acknowledging the sacrifices made by the parents, the realization of their mortality, and the deep wish to carry forward their legacy. With its haunting refrain, the chorus emphasizes the transient nature of life, urging listeners to cherish their time with loved ones before it’s too late.

Musically, “Fade In, Fade Out” is marked by its dynamic shifts, moving from softer, reflective verses to powerful, emotionally charged choruses, mirroring the emotional depth and complexity of the subject matter. The song is a testament to Nothing More’s ability to weave intricate narratives through their music, offering listeners not just a song, but a profound emotional experience that resonates with the universal human condition of love, loss, and the hope of legacy. To hear this song preformed live adds another layer to it.

LYRICS:

Just the other day I looked at my father
It was the first time I saw he’d grown old
Canyons through his skin and the rivers that made them
Carve the stories I was told

He said
“Son, I have watched you fade in
You will watch me fade out
I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your mark
Hold your head up
Follow your heart
Follow your heart”

Just the other day I stared at the ocean
With every new wave another must go
One day you’ll remember us laughing
One day you’ll remember my passion
One day you’ll have one of your own

And I say
“Son, I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your Mark
Hold your head up
Follow your heart
Follow your heart, follow your heart, follow your heart”

We all get lost sometimes
Trying to find what we’re looking for
We all get lost sometimes
Trying to find what we’re looking for
I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your Mark
Hold your head up
Follow your heart
Follow your heart, follow your heart”

When the morning comes and takes me
I promise I have taught you everything that you need
In the night you’ll dream of so many things
But find the ones that bring you life and you’ll find me

Thanks to Jim Adams for hosting and another excellent suggestion by Nancy, aka The Sicilian Storyteller

Song Lyric Sunday – War and Peace

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CHALLENGE RESPONSE – SLS

Here is my response to SLS, hosted by Jim Adams

“Run to the Hills” by Iron Maiden is a powerful track from their 1982 album, “The Number of the Beast.” The song is renowned for its compelling musicality and thought-provoking lyrics, which offer a critical perspective on the historical conflicts between Native Americans and European settlers. Through its driving riffs supplied by Dave Murray and Adrian Smith and Bruce Dickerson’s dynamic vocal range, “Run to the Hills” tells a story from both viewpoints: the indigenous peoples of America and the invading settlers.

The song’s narrative highlights the violence, exploitation, and injustices faced by Native Americans during the colonization period, emphasizing themes of freedom, survival, and the tragic consequences of imperialism. Iron Maiden uses this track to showcase their musical talent and provoke reflection on a dark chapter in history, making it a memorable and impactful piece in the realm of heavy metal.

Lyrics:

White man came across the sea
He brought us pain and misery
He killed our tribes, he killed our creed
He took our game for his own need

We fought him hard, we fought him well
Out on the plains, we gave him hell
But many came, too much for Cree
Oh, will we ever be set free?

Riding through dust clouds and barren wastes
Galloping hard on the plains
Chasing the redskins back to their holes
Fighting them at their own game
Murder for freedom, a stab in the back
Women and children and cowards attack

Run to the hills
Run for your lives
Run to the hills
Run for your lives

Soldier blue in the barren wastes
Hunting and killing’s a game
Raping the women and wasting the men
The only good Indians are tame
Selling them whiskey and taking their gold
Enslaving the young and destroying the old

Run to the hills
Run for your lives
Run to the hills
Run for your lives

Yeah

Run to the hills
Run for your lives
Run to the hills
Run for your lives

Run to the hills
Run for your lives
Run to the hills
Run for your lives

Late Night Grooves #56

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Tonight on LNG, we are going back to November 1966. Atlantic Records released a 45 with Wilson Pickett’s Mustang Sally, but we aren’t going to feature that iconic track. We are going to feature the b-side track Three Time Loser.

Late Night Grooves #55

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Tonight on LNG, I realized we needed a little Retro Soul

Late Night Grooves #54

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Tonight on LTG, I’m featuring a track from the teenage years by artist I had forgotten about until I heard him playing on a television program. I spent a great deal of time listening to the Don’t Say No album by Billy Squier. Here is one of my favorite tracks from that album.

Mixed Music Bag Week 10: Evanescence

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CHALLENGE RESPONSE – MMB

With its hauntingly beautiful music that seamlessly blends rock, metal, and classical elements, Evanescence has carved a unique niche in the music world. Which makes them one of my favorite bands in recent yearss. pFormed in the mid-90s, the band achieved massive success early in their career and has maintained a devoted global fanbase. Their sound, characterized by dramatic arrangements and Amy Lee’s powerful vocals, resonates with a sense of depth and emotion that is unmistakably theirs. This blog delves into the journey of Evanescence, exploring their formation, musical evolution, iconic albums, and enduring impact on the music industry.

History and Formation

The story of Evanescence begins in Little Rock, Arkansas, where Amy Lee and Ben Moody met at a youth camp in 1994. Bonded by their love for music, they started writing songs together, laying the foundation for Evanescence. After several lineup changes and years of honing their sound, the band released their debut album, “Fallen,” in 2003. The album catapulted them to international fame, fueled by the success of hit singles like “Bring Me to Life” and “My Immortal.” These tracks dominated the charts and set the tone for the band’s distinctive blend of anguished lyrics, soaring melodies, and robust instrumentation.

Musical Style and Influences

Evanescence’s music defies easy categorization, blending elements of gothic rock, nu-metal, and classical music. Amy Lee’s classically trained voice, capable of conveying profound emotion, stands at the forefront, while the band’s use of piano, strings, and heavy guitars creates a rich, layered sound. Influences range from classical composers like Mozart and Danny Elfman to alternative and metal bands such as Portishead and Soundgarden. This eclectic mix of influences has enabled Evanescence to create a distinctive and broadly appealing sound.

Key Albums and Songs

Beyond “Fallen,” Evanescence has continued to evolve with subsequent albums. “The Open Door” (2006) and “Evanescence” (2011) further explored themes of love, loss, and resilience, while “Synthesis” (2017) reimagined some of their previous work with orchestral and electronic arrangements. Songs like “Lithium” and “Imperfection” showcase the band’s range, from introspective ballads to powerful anthems. Each album reflects a chapter in the band’s journey, marked by introspection, experimentation, and growth.

Impact and Legacy

Evanescence’s impact on the music industry is undeniable. With millions of albums sold worldwide and numerous awards, including two Grammys, the band has solidified its place in the annals of rock music. Moreover, they have inspired a generation of artists across various genres, proving that music can transcend boundaries and resonate with listeners on a deeply personal level. Evanescence’s legacy is one of creativity, resilience, and the relentless pursuit of artistic expression.

Conclusion

From their humble beginnings in Arkansas to their status as rock icons, Evanescence has navigated the music industry with grace and tenacity. Their fusion of rock and classical music has defined their career and enriched the broader musical landscape. As they continue to evolve and inspire, Evanescence’s journey is a testament to the power of authenticity and innovation in music. For fans old and new, their discography offers a treasure trove of emotional, thought-provoking, and utterly captivating music.

Lithium Lyrics:

Lithium, don’t wanna lock me up inside
Lithium, don’t wanna forget how it feels without
Lithium, I wanna stay in love with my sorrow
Oh, but God I wanna let it go

Come to bed, don’t make me sleep alone
Couldn’t hide the emptiness, you let it show
Never wanted it to be so cold
Just didn’t drink enough to say you love me

I can’t hold on to me
Wonder what’s wrong with me?

Lithium, don’t wanna lock me up inside
Lithium, don’t wanna forget how it feels without
Lithium, I wanna stay in love with my sorrow, oh

Don’t wanna let it lay me down this time
Drown my will to fly
Here in the darkness I know myself
Can’t break free until I let it go, let me go

Darling, I forgive you after all
Anything is better than to be alone
And in the end I guess I had to fall
Always find my place among the ashes

I can’t hold on to me
Wonder what’s wrong with me?

Lithium, don’t wanna lock me up inside
Lithium, don’t wanna forget how it feels without
Lithium, in love with you
Oh, I’m gonna let it go

Songwriters: Amy Lee. For non-commercial use only.

Late Night Grooves #53

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It was 1993, and my wife had returned home from the exchange for a bit of bargain shopping. I frequently would shake my head at her purchases on a great many things, but that woman had a knack of finding the jam in the bargain CD bin. This feat was shocking to me because she couldn’t name five music artists correctly if the world depended on it. That day, she introduced me to Lucky Peterson and Albert King.

So, tonight on Late Night Grooves, we are doing a dual tribute to my late wife and senior editor, who just happen to be huge Blues fans. So, its Saturday Night Blues with your host Mangus. Tonight, featuring some of my favorites from Lucky Peterson and Albert King.

I wasn’t ready!

This album played through the first time, and I tapped my foot during the entire album. My late wife, a brilliant woman, noticed this a started sliding gadgets that have needing repairs for a long time. With my foot tapping in time with music, I made quick work of my honey do list.

Next thing I knew the music changed and I was introduced to Albert King, who later became one of my favorite Blues guitarists. But our love affair started here with this cut:

No discussion about Albert King’s music can be held without the mentioning of King’s live album; Wednesday Night in San Franscisco. In my opinion, one the most important albums of the live recording genre. It’s certainly one of my favorite Blues albums of all-time. Here is a track from that album.

Late Night Grooves #52

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Tonight, we are going back to the 80’s to feature a group only had one song worth mentioning. Well, maybe two. Here’s Vandenberg

Late Night Grooves # 51

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Tonight, we are going to talk about the softer side of rock. The 1970s introduced us to a brand new genre. It seemed we were ready for it—almost like we needed it. Not that we would even admit we secretly grooved to some of these songs or bands. However, when you reach a certain age, you tend to walk away from the dumb stuff we once held as standard. Bread is one of those bands that helped me realize the true magic of music.

Listening to Bread helped me understand the subject matter of their music is universal. My children and grandchildren have heard me listening to Bread for decades. They don’t seem to complain like they do when I play bands like Pennywise. Here are a few cuts on Mangus’s Easy Groove playlist. Enjoy!

The first cut of theirs I heard
Another solid Jam
My personal favorite jam

This group has plenty of jams. If you haven’t already, take a minute to check them out.

Late Night Grooves #50

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Tonight, we are stepping into the past and embracing one of the classics. I can’t remember when or why I enjoy this I just do.

Late Night Grooves #49

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Tonight, on Late Night Grooves, we are traveling back to 1975 and snatching another track I listened to while I was supposed to be going to bed. This track was on a K-Tel compilation album. I found it in a truck stop 20 years later. Just so happens I was traveling with my mom and showed her the CD. She shook her head, giving one of her timeless looks. I played the CD on the leg of the trip. Tonight’s track is Fly, Robin, Fly by Silver Convention.

Mixed Music Bag: Week 2 – Tori Amos

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ARTICLE – MINI BIOGRAPHY – MMB

During most of Tori Amos’ rise to stardom, my face was buried in the used record stacks, looking for classic jazz and blues. Though I collected many treasures, it wreaked havoc on my sinuses. I’m not sure if I ever fully recovered. Despite my obsession, I remember some of the women ranting about the excellent music of Tori Amos. I’m telling you, if it wasn’t Davis, Monk, Parker, Wolf, or Waters, I wasn’t trying to hear it.

As it turned out, I had three female soldiers assigned to my section. Although I had worked with female soldiers before in various limited capacities, I had never had any assigned to my section. Although they were from different backgrounds and musical tastes, they were all fans of Tori Amos. Finally, they talked me into listening. Here’s the particulars. Let’s get started:

Tori Amos, an American singer-songwriter and pianist, has captivated audiences worldwide with her distinctive voice and profound lyrical content. Known for her emotionally intense songs that blend classical music influences with alternative rock, Amos has carved a unique niche in the music industry. This blog post delves into her life, music, activism, and enduring legacy, offering a comprehensive look at one of the most influential artists of her generation.

Early Life and Musical Beginnings

Born Myra Ellen Amos on August 22, 1963, in North Carolina, Tori Amos demonstrated prodigious musical talent from a young age. Encouraged by her Methodist minister father and her mother of Eastern Cherokee descent, Amos began playing the piano at two and composing by age five. Her early exposure to gospel music and classical compositions profoundly influenced her musical style.

Amos’ prodigious talent earned her a scholarship to the prestigious Peabody Institute at Johns Hopkins University when she was five. However, her inclination towards rock and popular music led to her dismissal at 11. Undeterred, she played in bars and clubs in the Washington D.C. area during her teenage years, honing her skills and developing her distinctive style.

Her first professional music endeavor was as the lead singer of the 1980s synth-pop band Y Kant Tori Read, which was not a commercial success. This setback paved the way for Amos to establish her solo career, leading to her breakthrough debut solo album, “Little Earthquakes,” in 1992.

Breakthrough and Mainstream Success

“Little Earthquakes” marked a significant turning point in Amos’ career. The album’s raw, emotional intensity and unconventional songwriting resonated with listeners and critics, establishing her as a unique voice in the music industry. With hit singles like “Silent All These Years” and “Crucify,” Amos gained a devoted following and critical acclaim.

Her subsequent albums, including “Under the Pink” (1994) and “Boys for Pele” (1996), continued to explore complex emotional and social themes while showcasing her virtuosic piano skills and innovative arrangements. Amos’ ability to blend classical music elements with contemporary styles helped her maintain a distinctive identity in the evolving music scene of the 1990s.

Amos has received numerous accolades throughout her career, including multiple Grammy Award nominations. Her fearless approach to addressing personal and societal issues through her music has cemented her status as an influential figure in the industry.

Artistry and Musical Style

Tori Amos’ music defies easy categorization, blending classical, rock, electronica, and folk elements. Her classically trained piano skills are at the forefront of her compositions, often complemented by intricate arrangements and a wide range of instrumentation. Her lyrics are known for their depth, exploring themes such as religion, sexuality, feminism, and personal trauma.

Amos draws inspiration from various sources, including mythology, literature, and personal experiences. Her storytelling ability is evident in her songwriting, where she creates vivid, emotionally charged narratives. Her voice, with its distinctive timbre and dynamic range, adds an additional layer of expressiveness to her music.

Her musical influences are as eclectic as her style, ranging from classical composers like Debussy and Rachmaninoff to rock and folk artists like Led Zeppelin and Joni Mitchell. This blend of influences has helped Amos create a sound that is uniquely her own, resonating with fans across different genres and generations.

Notable Works and Albums

Throughout her career, Tori Amos has released a multitude of albums that have garnered critical and commercial success. “Little Earthquakes” and “Under the Pink” are often cited as her most impactful works, featuring songs that address complex emotions and personal struggles. “Boys for Pele” showcased her experimental side, incorporating harpsichord and brass instruments into her music.

Other significant albums include “From the Choirgirl Hotel” (1998) and “Scarlet’s Walk” (2002), each demonstrating Amos’ evolution as an artist and storyteller. Her ability to adapt and explore different musical landscapes while maintaining her core artistic identity is a testament to her talent and versatility.

Activism and Impact

Beyond her music, Tori Amos is a passionate advocate for various causes, including women’s rights, sexual assault awareness, and LGBTQ+ rights. She co-founded the RAINN (Rape, Abuse & Incest National Network), which has become the largest anti-sexual violence organization in the United States.

Amos’ activism is reflected in her music, where she often tackles challenging and taboo subjects, offering support and solidarity to those who have experienced trauma. Her dedication to these causes has inspired her fans and fellow artists, amplifying her impact beyond the music industry.

Legacy and Influence

Tori Amos’ influence extends far beyond her discography. As a pioneering female artist in the alternative rock and singer-songwriter genres, she has inspired countless musicians with her authenticity, musical innovation, and lyrical depth. Her contributions to music and activism have earned her a dedicated fanbase and a lasting legacy as an influential and respected figure in the industry.

Butterfly Lyrics :

[Verse 1]
Stinky soul, get a little lost in my own
Hey General, need a little love in that hole of yours
So one way’s now and Saturday’s now
And our kittens all wrapped in cement
From cradle to gumdrops got me running girl as fast as I can

[Chorus]
And is it right, Butterfly
They like you better framed and dried?

[Verse 2]
Daddy, dear, if I can kill one man why not two?
Well, nurses smile when you’ve got iron veins
You can’t stain their pretty shoes
And pompoms and cherry blondes
And the kittens still wrapped in cement
From God’s saviors to gumdrops got me running girl as fast as I can

[Chorus]
And is it right, Butterfly
They like you better framed and dried?

[Outro]
Got a pretty pretty garden; pretty garden, yes
Got a pretty pretty garden; pretty garden, yes
You’ll be a pretty pretty garden; pretty garden

A remarkable cover of an REM classic

Late Night Grooves #48

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In another post, the subject is songs with God in them. So, I sat back and thought of all the songs I knew that fit these parameters. In the other post, I listed my Top three favorites. However, tonight on Late Night Grooves, we are going to add a few more. Why? Because we can. Hehe. These next songs are going to cover three different music genres. So, let’s get to it, shall we?

Quirky, but I dig
Hard hitting Lyrics
Just damn good … I miss their music

Song Lyric Sunday: God – 03102024

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CHALLENGE RESPONSE – SLS

This challenge was tough for me, not because I didn’t know a song that fit the parameters, but because I knew too many to choose one. So, I decided to cheat a little, just a tad. I’m going to list my Top 3 favorites within the parameters. However, I will only deep drive on the first song. My Top 3 are as follows:

  • God Bless the Child – Billie Holiday
  • God is a Bullet – Concrete Blonde
  • Dear God – XTC

God Bless the Child is my favorite because of the dear memories it holds within the melody and lyrics—memories I rarely recall until I hear the song. Immediately, I’m teleported back into my childhood, listening to my mother playing the track on the HiFi. For the longest time, she only played Diana Ross’s cover of the song. I memorized and sang it along with her. I found the original when I was old enough and brought the 45 for Mom. Here are the particulars about the song.

The Meaning of “God Bless the Child”

“God Bless the Child” is a song that carries profound meanings, intertwining themes of independence, self-reliance, and the harsh realities of inequality and economic disparity. Originating as a jazz standard, it was famously performed by Billie Holiday, who co-wrote the song with Arthur Herzog Jr. in 1939. Through its poignant lyrics and soul-stirring melody, the song delves into the complexities of financial dependency and social stratification, resonating across generations with its timeless relevance.

Interpretation of Lyrics

At its core, “God Bless the Child” emphasizes the value of self-sufficiency. The opening lines, “Them that’s got shall get, Them that’s not shall lose,” reflect a stark observation of societal dynamics, where the rich grow richer and the poor face continual hardship. This sets the stage for the song’s central message, advocating for personal strength and independence in a world rife with inequities.

The chorus, “God bless the child that’s got his own,” underscores the dignity and empowerment found in self-reliance. It suggests a divine favor or resilience bestowed upon those who can stand on their own feet, contrasting the vulnerability of those who depend on the charity or whims of others. This message is particularly poignant, considering Billie Holiday’s own struggles with poverty and racial discrimination, adding a layer of personal testimony to the song’s narrative.

Cultural and Historical Context

“God Bless the Child” emerged during significant social and economic upheaval in the United States, reflecting the hardships of the Great Depression and the subsequent recovery period. Its themes resonated with many who experienced financial insecurity and witnessed the disparities between social classes. Over the decades, the song has been interpreted by numerous artists across various genres, each bringing their own perspective but retaining the core message of autonomy and resilience.

Philosophical and Ethical Considerations

Beyond its commentary on economic issues, “God Bless the Child” also touches on deeper philosophical and ethical questions. It prompts listeners to consider the values of independence versus interdependence and the moral responsibilities of the fortunate towards the less privileged. In this light, the song can be seen as a call to introspection and empathy, encouraging individuals to find their strength while recognizing the interconnectedness of society.

Legacy and Influence

The enduring appeal of “God Bless the Child” lies in its universal message and emotional depth. It has transcended its original context to become an anthem of perseverance and dignity, inspiring listeners to reflect on their circumstances and society. The song’s influence extends beyond music, permeating cultural discussions and academic analyses, attesting to its profound impact and relevance.

In conclusion, “God Bless the Child” is more than a musical composition; it reflects human resilience, social justice, and the quest for dignity. Its message of self-reliance amidst adversity resonates, offering inspiration and insight to each new generation that discovers its timeless verses.

God Bless the Child Lyrics (1956 Version)

Them that’s got shall have
Them that’s not shall lose
So the Bible said and it still is news

Mama may have, Papa may have
But God bless the child that’s got his own, that’s got his own

Yes, the strong get smart
While the weak ones fade
Empty pockets don’t ever make the grade

Mama may have, Papa may have
But God bless the child that’s got his own, that’s got his own

Money, you’ve got lots of friends
They’re crowding around the door
But when you’re gone and spending ends
They don’t come no more
Rich relations give crusts of bread and such
You can help yourself, but don’t take too much

Mama may have, Papa may have
But God bless the child that’s got his own, that’s got his own

Mama may have, Papa may have
But God bless the child that’s got his own, that’s got his own

He just don’t worry ’bout nothing, ’cause he’s got his own

You guys already know how I feel about Concrete Blonde. However, XTC’s Skylarking was packed with amazing songs, and I spent a lot of time listening to it.

Thanks to Jim Andrews for hosting this challenge. Such a fantastic suggestion, Nancy, aka The Sicilian Storyteller.

Late Night Grooves #47

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After a long day of chores, I feel like a Johnny Cash.

Late Night Grooves #46

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Tonight, we are featuring REM. Nothing else needs to be said

Mixed Music Bag – Week 1: Alabama Shakes & Adam and the Ants

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ARTICLE – MINI BIOGRAPHY – MMB

Here is my response to Glyn’s Mixed Music Bag

Alabama Shakes, a band whose name evokes the southern roots from which they emerged, has captivated audiences around the world with their raw, soulful sound. Since their formation in Athens, Alabama, in 2009, the band has garnered critical acclaim and a dedicated fan base for their electrifying performances and genuine musicality.

At the heart of Alabama Shakes is lead vocalist and guitarist Brittany Howard, whose powerhouse vocals and emotionally charged delivery have become synonymous with the band’s sound. From the moment she belts out the opening notes of a song, Howard effortlessly commands attention, infusing each lyric with a sense of urgency and sincerity that cuts straight to the soul.

Backing Howard is a talented ensemble of musicians including Heath Fogg on guitar, Zac Cockrell on bass, and Steve Johnson on drums, whose collective chemistry and tight instrumentation provide the perfect backdrop for Howard’s powerhouse vocals.

What sets Alabama Shakes apart is their commitment to authenticity. In an age where studio production and auto-tune reign supreme, the band’s stripped-down approach to music feels refreshingly genuine. Their debut album, “Boys & Girls,” released in 2012, is a testament to this authenticity, with its raw, bluesy sound and heartfelt lyrics resonating with listeners deeply and personally.

Tracks like “Hold On” and “I Found You” showcase the band’s ability to blend elements of rock, soul, and blues into a seamless and infectious sound that feels both timeless and contemporary. With each soulful guitar riff and impassioned vocal performance, Alabama Shakes transports listeners to a place where music is not just heard but felt.

The band’s sophomore effort, “Sound & Color,” released in 2015, further solidified their status as musical innovators. From the hauntingly beautiful title track to the raucous energy of “Don’t Wanna Fight,” the album is a sonic experimentation and emotional depth masterclass.

Beyond their recorded music, Alabama Shakes is renowned for their electrifying live performances. Whether performing in an intimate club or headlining a festival stage, the band’s energy and passion are palpable, leaving audiences spellbound and craving more.

As Alabama Shakes continues to evolve and push musical boundaries, one thing remains constant: their unwavering commitment to authenticity. In a world where trends come and go, the band’s timeless sound and genuine spirit remind us of the power of music to move, inspire, and unite us all.

Few bands stand out in the vibrant tapestry of punk rock history quite like Adam and the Ants. With their flamboyant style, infectious energy, and rebellious spirit, they carved out a unique niche in the late 1970s and early 1980s music landscape.

Formed in London in 1977 by frontman Adam Ant (born Stuart Leslie Goddard), Adam and the Ants quickly made a name for themselves with their distinctive blend of punk, glam rock, and new wave. With Ant’s charismatic persona at the forefront, the band’s music became synonymous with theatricality, bravado, and unabashed rebellion.

At the heart of Adam and the Ants’ sound was their innovative use of tribal rhythms and dual drummers, which added a primal, tribal element to their music. Combined with Ant’s swaggering vocals and catchy guitar riffs, the band created an infectious and unmistakably their own sound.

Their breakthrough came with releasing their sophomore album, “Kings of the Wild Frontier,” in 1980. Fueled by hits like “Antmusic” and “Dog Eat Dog,” the album catapulted Adam and the Ants to international fame, earning them a legion of devoted fans and cementing their status as icons of the punk rock movement.

But it wasn’t just their music that set Adam and the Ants apart—their larger-than-life image and fearless sense of style. With their elaborate costumes, tribal face paint, and provocative lyrics, the band embraced a sense of daring and empowering theatricality. They dared to challenge societal norms and push the boundaries of self-expression, inspiring countless fans to embrace their individuality and inner rebellion.

Throughout their career, Adam and the Ants continued to push musical boundaries with albums like “Prince Charming” and “Friend or Foe,” showcasing their versatility and innovation as artists. Tracks like “Stand and Deliver” and “Prince Charming” further solidified their status as cultural icons, earning them critical acclaim and commercial success.

Though the band’s lineup underwent changes over the years, with Ant pursuing a successful solo career in the 1980s, the legacy of Adam and the Ants endures. Their music continues to resonate with audiences old and new, serving as a testament to the enduring power of punk rock to inspire, provoke, and ignite the fires of rebellion.

Adam and the Ants remind us to embrace our inner eccentricities and celebrate our unique identities in a world that often prizes conformity over creativity. With their infectious energy, fearless spirit, and unapologetic attitude, they remain timeless symbols of punk rock swagger and defiant individualism.

Late Night Grooves #45

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Tonight on Late Night Grooves, we are traveling back to 1967. I’ve always been a fan of R&B of the 60’s. One of my favorite artists from that period is Johnnie Taylor. Tonight, we are featuring a version of one of my favorite songs. Here is Johnnie Taylor’s version of Watermelon Man.

Late Night Grooves #44

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Tonight, we are selecting a track from “The Shit I Grew Up On” playlist. Electric Light Orchestra has been a longtime favorite tied to several fond memories. So, tonight we are featuring the track “Telephone Line.” Enjoy!

Mixed Music Bag Week 8: Daisy Chainsaw & Dorothy

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ARTICLE – MINI BIOGRAPHY – MMB

The Brother Jim Edition:

Thanks to Glyn’s MMB for the prompt. I’m still working on the February weeks. My brother Jim inspired me to select the groups for this post during one of our many conversations about music. Jim told a compelling story about when he saw the band Daisy Chainsaw. I’d completely forgotten about them. So, when Glyn’s prompt said groups of C-D, there was no way I could resist mentioning Daisy Chainsaw.

Daisy Chainsaw was an English alternative rock band formed in London in 1989. Led by vocalist KatieJane Garside, the band’s music is characterized by its raw, unapologetic energy, incorporating punk, grunge, and noise rock elements. Daisy Chainsaw gained attention for their confrontational lyrics, aggressive guitar riffs, and Garside’s distinctive vocal style, which ranged from whispered whispers to primal screams.

With their debut album “Eleventeen” (1992), Daisy Chainsaw gained a cult following and critical acclaim, earning comparisons to bands like Sonic Youth and Hole. Hits like “Love Your Money” and “Pink Flower” showcased the band’s irreverent attitude and unique sound. At the same time, Garside’s provocative stage presence solidified their reputation as one of the most exciting acts of the early ’90s alternative rock scene.

Despite their relatively short-lived career, Daisy Chainsaw left a lasting impact on the alternative rock landscape, influencing subsequent generations of musicians with their bold, uncompromising approach to music. While the band disbanded in the mid-’90s, their legacy lives on through their music, which continues to resonate with audiences seeking raw, unfiltered rock and roll.

Lyrics:

We love you yeah
We love what you got and you’ve got it truly
You’re talented kid
We can see it clearly
We love your sound
The way you look so we say sincerely
You’re natural stars and we mean it really
{Chorus}
We love your money(Love your money)
We love your money(Love your money)
We love your money(Love your money)
We love your money(Love your money)
Yes we do
We love you yeah
Place your trust in us completely
You’ll sell worldwide we mean it really
We love your songs
Shape your image and we’ll all be greedy
Sign right here, and we’ll all be wealthy
{Repeat}
We love you so love your demo
We love you so love love love love
All your money
We love your money(love your money)
We love your money(love your money)
Love love love love all your money
(Repeat chorus)
Love love love love all your money
Love love love love all your money
Love love love love all your money

Songwriters: C. Gray.

The next group appeared in my text messages from Jim with the simple instructions to listen to it. So, I did and liked what I heard. I enjoyed the band’s sound. It was reminiscent of classic rock but edgy enough to keep me interested. I can’t stand copycats; they are boring. The band was called Dorothy. A couple of years later, Jim informed me that Dorothy would be playing at one of the upcoming shows. My interest was immediately peaked. They put on a decent show with a solid sound. They are worth mentioning for this post as they differ from what I usually discuss. Tell me your thoughts.

Dorothy is an American rock band led by vocalist Dorothy Martin. Formed in Los Angeles in 2014, the band’s sound is characterized by its gritty, blues-infused rock with a modern edge. Drawing inspiration from classic rock acts like Led Zeppelin and Janis Joplin, Dorothy’s music is raw, powerful, and soulful, featuring infectious riffs, soaring vocals, and electrifying performances.

Frontwoman Dorothy Martin’s distinctive voice serves as the focal point of the band’s sound, channeling a mix of vulnerability and strength that captivates listeners. With songs like “Raise Hell,” “Missile,” and “Flawless,” Dorothy delivers anthemic rock tunes that resonate with audiences, evoking a sense of empowerment and rebellion.

Since their debut, Dorothy has toured extensively, building a dedicated fanbase with their high-energy live shows and authentic, no-nonsense approach to rock music. With their dynamic sound and uncompromising attitude, Dorothy continues to make waves in the rock scene, solidifying their place as one of the genre’s most exciting acts.

Lyrics:

You said you loved me but you threw me out in the garbage
Now I’m starting to stink but everyone thinks I’m flawless
Listen to me, I can’t be what you want me to
I just came like this, I’m already black and blue

You said you loved but you put my shit on the sidewalk
You like it when I fall and you laugh when I run into the wall
You gave nothing, I put my heart out on the table
I wasn’t always willing but baby I was always able, yeah

Oh… slipping into some kinda feeling
Got me believing
Oh… coming out of all of the darkness
Now that I’m flawless

You said I was the one but you married someone half your age
She’s a groupie ex-girlfriend with a plastic face
You said you’d never go back to an old flame
Well it’s gonna make you sick when everybody hears my pain, yeah

Oh… slipping into some kinda feeling
Got me believing, baby
Oh… coming out of all of the darkness
Now that I’m flawless

Now that I

Can you feel it
Can you feel it, yeah
Can you feel it
Can you feel it, yeah
Can you feel it
Can you feel it, yeah
Can you feel it
Baby, can you feel it, yeah

Oh, slipping into some kinda feeling
Got me believing, baby, yeah
Oh, coming out of all of the darkness
Now that I’m flawless

Now that I’m
Can you feel it baby?
Now that I’m
Oh can you feel it baby?
Can you feel it, yeah
Can you feel it, yeah
Can you feel it, yeah
Oh, now that I’m flawless

Songwriters: Linda Perry, Maria Tynes.

Late Night Grooves #43

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Tonight, we are continuing with “Shop Tunes.” A few years back, my brother turned me on to this band, and I instantly added them to my playlist. Now, at least a few of their songs appear on our shop playlist. So tonight, we are featuring Radkey.

Radkey is an American rock band formed by three brothers: Dee, Isaiah, and Solomon Radke. Hailing from St. Joseph, Missouri, Radkey burst onto the music scene with their high-energy performances and gritty, punk-influenced sound. Their music is characterized by catchy melodies, driving rhythms, and raw, impassioned vocals. Drawing inspiration from classic punk and rock bands, Radkey infuses their music with a modern edge, creating a timeless and contemporary sound. With their electrifying live shows and infectious energy, Radkey has garnered a dedicated fanbase and critical acclaim, solidifying their reputation as one of the most exciting rock bands in recent years.

Mixed Music Bag – Week #7: Concrete Blonde

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ARTICLE – MINI BIOGRAPHY – MMB

I’m a little behind because of my recent prolonged illness, so please forgive my tardiness. Here is my response to Glyn’s MMB.

From the moment I heard, “There’s a crack in the mirror and bloodstain on the bed,” I was floored. I wondered who the hell was this singing and what band is this? I must have listened to that song back to back for a week straight. I’m sure it wasn’t that long, but I played it repeatedly. Well, the band Concrete Blonde, and the song was Bloodletting

The opening bass line captured my attention, and I was grooving. However, when the vocals arrived mixed with powerful lyrics, I seemed to be teleported into the song. I could feel everything she was singing about. Yeah, yeah, I was young, and everything was so damn serious. It was the best thing I’d ever heard blah, blah. However, Concrete Blonde has remained one of my favorite bands throughout my lifetime. Here are the particulars:

Concrete Blonde occupies a unique and enduring place in the rich tapestry of alternative rock music. Formed in the vibrant musical landscape of Los Angeles in the 1980s, Concrete Blonde emerged as a beacon of emotional depth and musical innovation. Led by the captivating vocals and songwriting prowess of Johnette Napolitano, the band’s distinctive blend of rock, punk, and folk influences captivated audiences and earned them a devoted following. This essay explores Concrete Blonde’s evolution, impact, and enduring legacy, delving into their thematic depth, musical craftsmanship, and cultural significance.

Formation and Early Years:

Concrete Blonde traces its origins to the convergence of talents between vocalist/bassist Johnette Napolitano, guitarist James Mankey, and drummer Harry Rushakoff in the mid-1980s. Drawing inspiration from the eclectic music scene of Los Angeles, the band forged a sound that defied easy categorization, blending elements of punk, rock, folk, and alternative music. Their eponymous debut album, “Concrete Blonde,” released in 1986, showcased their raw energy and emotional intensity, laying the foundation for their subsequent success.

Thematic Depth and Musical Craftsmanship:

At the heart of Concrete Blonde’s music lies a profound exploration of the human condition, infused with love, loss, longing, and redemption themes. Johnette Napolitano’s evocative lyrics and soul-stirring vocals serve as a conduit for raw emotion, resonating with listeners on a deeply personal level. Whether channeling heartache and despair in “Joey” or exuding defiance and resilience in “Bloodletting (The Vampire Song),” Concrete Blonde’s music transcends genre boundaries, inviting listeners into a world of introspection and catharsis.

Musically, Concrete Blonde’s compositions are characterized by their dynamic arrangements, melodic hooks, and rich instrumentation. James Mankey’s masterful guitar work ranges from atmospheric textures to blistering solos, complementing Napolitano’s emotive vocals with nuance and depth. The rhythm section, anchored by Harry Rushakoff’s propulsive drumming, provides a solid foundation for the band’s sonic exploration, while guest musicians add layers of sonic richness to their sound.

Cultural Impact and Enduring Legacy:

Throughout their career, Concrete Blonde left an indelible mark on the alternative rock landscape, influencing subsequent generations of musicians and earning critical acclaim for their distinctive sound and uncompromising vision. Their breakthrough album, “Bloodletting,” released in 1990, propelled them to mainstream success, fueled by the haunting single “Joey” and the atmospheric title track “Bloodletting (The Vampire Song).” Subsequent albums, including “Walking in London” and “Mexican Moon,” further cemented their reputation as one of the preeminent bands of the alternative rock era.

Beyond their musical achievements, Concrete Blonde’s impact extends to their engagement with social and political issues, using their platform to advocate for causes ranging from environmental conservation to LGBTQ rights. Their music resonates with audiences worldwide, providing solace, inspiration, and a sense of connection in an ever-changing world.

The song that made me a fan.

Lyrics: Dance Along the Edge

Sometimes we laugh like children
Go running holding hands
I never felt like this before,
I never will again
Sometimes we cry like babies
I hold you to my heart.
I just can’t stand to see you sad,
It tears me all apart

And we’re so afraid and it’s such a shame,
There is no reason we should doube it.
The things we want to say we’ver never said!
And we look away and it’s all ok and
Never really talk about it
It’s a shame the way we dance along the edge
Dance along the edge.

We always seem so careful,
We’re always so unsure.
Our past mistakes they make us shakey… eyes on the door.
When do we stop searching
For what we’re searching for?
Then when it comes, we question love and try for more!

And we’re happy here, but we live in fear
We’ve seen a lot of temples crumble.
Some of flesh and blood from love under glass.
Will we come undone? Will we turn and run?
And will we know it when we find it?
It’s a game the way we dance along the edge.
And we’ll walk the line and we’ll do our time
For just as long as we’ve been given,
And pretend that we don’t hear the things they’ve said.
Can we promise love? Is it all too much
And do our old souls still believe it?
It’s insane the way we dance along the edge.

Song Lyric Sunday – Singled Out

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Here is my response to Jim Adams’ SLS

This prompt was a little difficult for me, because I grew up during the time when we collected 12 inch singles. So, after a bit of research, I was surprised to find one of the songs I enjoy fitting the parameters of the challenge.

The Pixies are an influential American alternative rock band formed in 1986 in Boston, Massachusetts. The band consists of Black Francis (vocals, guitar), Joey Santiago (guitar), Kim Deal (bass, vocals), and David Lovering (drums). It is known for its distinctive blend of punk, surf rock, and indie pop elements. The Pixies’ music is characterized by loud-quiet dynamics, catchy hooks, and surreal lyrics exploring themes of surrealism, mythology, and pop culture.

With iconic albums such as “Surfer Rosa” (1988) and “Doolittle” (1989), the Pixies garnered critical acclaim and a dedicated cult following, influencing a generation of alternative rock bands with their innovative sound. Hits like “Where Is My Mind?” and “Debaser” remain staples of the indie rock canon, while the band’s energetic live performances solidify their reputation as one of the most influential acts of the late 20th century. Despite periods of hiatus and lineup changes, the Pixies continue to create music and tour, leaving an indelible mark on the landscape of alternative rock.

Where is my Mind? Lyrics

Ooh
Stop

With your feet on the air
And your head on the ground
Try this trick and spin it, yeah
Your head will collapse
If there’s nothing in it
And you’ll ask yourself

Where is my mind?
Where is my mind?
Where is my mind?

Way out in the water, see it swimmin’

I was swimmin’ in the Caribbean
Animals were hidin’ behind the rocks
Except the little fish, bumped into me
I swear he was trying to talk to me, koi-koi

Where is my mind?
Where is my mind?
Where is my mind?

Way out in the water, see it swimmin’

With your feet on the air
And your head on the ground
Try this trick and spin it, yeah
Your head will collapse
If there’s nothing in it
And you’ll ask yourself

Where is my mind?
Where is my mind?
Where is my mind?

Way out in the water, see it swimmin’

With your feet on the air
And your head on the ground
Try this trick and spin it, yeah

Late Night Grooves #42

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Tonight, on Late Night Grooves, we are going to feature a little shop music. Music played while working in the shop. Two brothers are jamming while the other brother is cringing as he pretends to ignore the music. Sometimes, I wonder which is more enjoyable; the tune or watching him pretend?

Tonight’s cut is from Asking Alexandria

Vultures Lyrics:

Close the curtains, cash me in
Gather photographs of the Devil you let in
Digging deep inside my soul
I don’t know, I don’t know

Where to turn
Everywhere I look, these vultures burn the life right outta me
Do I run or lay down and die?
Is it time to close my eyes?

Keep me numb, I’ll follow direction
A pawn to pass around and be bled until I’m dry
It’s hard to see what’s underneath
Is it me? Is it me?

Where do I turn?
Everywhere I look, these vultures burn the life right outta me
Do I run or lay down and die?
Is it time to close my eyes?

For so long all I’ve known, all I’ve seen’s green lights
Fuck your greed, all I need’s somewhere
To catch my breath, rest my head and ease my mind
I’ve been holding on, but my grip ain’t what it used to be
I’m much older, I’m bitter, I’m jaded, I’m lost
Can somebody give me a sign?

Where do I turn?
Everywhere I look, these vultures burn the life right outta me
Do I run or lay down and die?
Is it time to close my eyes?

Where do I turn?
Everywhere I look, these vultures burn the life right outta me
Do I run or lay down and die?
Is it time to close my eyes?

~Feel free to share your thoughts. Don’t be shy!~

SLS – 03032024 – Bye, Bye Miss American Pie

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CHALLENGE RESPONSE – SONG LYRIC SUNDAY

Here is my response to Jim Adams’ Song Lyric Sunday

As a child, I can hardly remember when I listened to the radio and didn’t hear this song at least once. I heard so much I memorized the lyrics and sang right along. Yet, as time went on, I found myself growing tired of hearing this song. I remember wondering what was going to be the next big hit? I didn’t realize the song was already several years old. It’s such a timeless classic I had to take a moment and discuss its meaning. This is what I came up with.

The Layers of Meaning in “American Pie”

Don McLean’s iconic song “American Pie” has captivated audiences for decades with its enigmatic lyrics and haunting melodies. Released in 1971, the eight-and-a-half-minute epic is steeped in cultural references, historical events, and personal reflections, inviting listeners on a journey through the turbulent landscape of American society in the 20th century. As one of the most analyzed and debated songs in popular music history, “American Pie” continues to fascinate and inspire, offering layers of meaning that transcend time and space.

At its core, “American Pie” is a lamentation for the loss of innocence and idealism in American society and a nostalgic homage to the golden era of rock and roll. The song opens with the poignant line, “A long, long time ago, I can still remember how that music used to make me smile,” evoking a longing for the simpler times of youth and the transformative power of music to unite and uplift.

Central to the song’s narrative is the tragic plane crash that claimed the lives of Buddy Holly, Ritchie Valens, and The Big Bopper on February 3, 1959, often referred to as “The Day the Music Died.” This event serves as a metaphor for the loss of innocence and optimism in American society, marking the end of an era of rock and roll idealism and the onset of a more turbulent and uncertain period in history.

McLean weaves a tapestry of cultural references and symbolic imagery throughout the song, drawing on Americana, mythology, and spirituality themes to create a rich and evocative narrative. The lyrics are peppered with allusions to historical figures, events, and symbols, from “the King” (Elvis Presley) to “the jester” (Bob Dylan), from “the sacred store” (the record store) to “the holy dove” (a symbol of peace and spirituality).

One of the most debated aspects of “American Pie” is the interpretation of its cryptic lyrics, which have spawned countless theories and analyses over the years. Some interpretations suggest that the song is a commentary on the decline of American society and the loss of traditional values. In contrast, others see it as reflecting popular culture’s changing landscape and commercialism’s rise.

Yet, amidst the ambiguity and complexity of its lyrics, “American Pie” ultimately serves as a testament to the enduring power of music to transcend boundaries, unite disparate voices, and capture the collective consciousness of a generation. As McLean once said, “American Pie” is “a big song with big themes,” encompassing an entire nation’s hopes, dreams, and aspirations.

In conclusion, “American Pie” is a timeless masterpiece that defies easy categorization and interpretation. Its evocative imagery, poetic lyricism, and haunting melodies resonate with listeners of all ages, inviting them to ponder the mysteries of life, love, and loss. Whether viewed as a nostalgic tribute to the golden age of rock and roll or a poignant lament for the loss of innocence in American society, “American Pie” remains a symbol of hope, resilience, and the enduring power of music to inspire and uplift.

American Pie Lyrics

A long, long time ago
I can still remember how that music
Used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they’d be happy for a while

But February made me shiver
With every paper I’d deliver
Bad news on the doorstep
I couldn’t take one more step
I can’t remember if I cried
When I read about his widowed bride
Something touched me deep inside
The day the music died

So, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
And them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Now, do you believe in rock ‘n’ roll
Can music save your mortal soul
And can you teach me how to dance real slow?

Well, I know that you’re in love with him
‘Cause I saw you dancin’ in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues
I was a lonely teenage bronckin’ buck
With a pink carnation and a pickup truck
But I knew I was out of luck
The day the music died

I started singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

Now, for ten years we’ve been on our own
And moss grows fat on a rollin’ stone
But that’s not how it used to be
When the jester sang for the king and queen
In a coat he borrowed from James Dean
And a voice that came from you and me

Oh, and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned
And while Lenin read a book on Marx
A quartet practiced in the park
And we sang dirges in the dark
The day the music died

We were singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

Helter skelter in a summer swelter
The birds flew off with a fallout shelter
Eight miles high and falling fast
It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast

Now, the halftime air was sweet perfume
While sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance
‘Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
The day the music died?

We started singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

Oh, and there we were all in one place
A generation lost in space
With no time left to start again
So, come on, Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
‘Cause fire is the Devil’s only friend

Oh, and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan spell
And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died

He was singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away
I went down to the sacred store
Where I’d heard the music years before
But the man there said the music wouldn’t play

And in the streets the children screamed
The lovers cried, and the poets dreamed
But not a word was spoken
The church bells all were broken
And the three men I admire most
The Father, Son and the Holy Ghost
They caught the last train for the coast
The day the music died

And they were singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
And them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die
This’ll be the day that I die”

They were singin’, bye-bye, Miss American Pie
Drove my Chevy to the levee, but the levee was dry
Them good ol’ boys were drinkin’ whiskey and rye
Singin’, “This’ll be the day that I die”

Late Night Grooves #41

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We are returning to the late seventies tonight on Late Night Grooves. I had a discussion this evening about an artist I hadn’t thought about in a while. I remember sitting in front of the radio, singing along; of course I was off key, but who cares when you’re feeling the music. So tonight, we are featuring Meatloaf.

For the longest time, I thought Meatloaf wrote his own music. However, while researching Phantom of the Opera, I discovered his songs were written by Jim Steinman. I saw a reference that Jim Steinman was approached by Andrew Lloyd Webber to write the lyrics to the music of Phantom. I haven’t found any other connection to support this claim, but if it is true, it’s a testament to Steinman’s lyrical prowess

Here are a couple of my favorites

Mixed Music Bag – Week 6 – Chicago

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ARTICLE – MINI BIOGRAPHY – MMB TUNAGE

Here is my response to week 6 of Glynn’s Mixed Music Bag

On my birthday in 1983, a back known as Chicago released an album which inadvertenly changed my life. Yes I know, you hear things such as these all the time and they rather rise to the occasion. Yet, I submit you the following; let us stop for a moment and consider that event may in some significant changed the person describing the incident’s life. Though, the event may be small for us it may majestic for them at the time. We have no way of knowing.

However, for me I will never forget the name of the band who meant so much to me, but I didn’t know it at the time. Allow me to explain. In 1983, they had just released to album it was a big deal at the catholic school I attended. One lucky young lady had the album and agreed to play it at our Confirmation. I believe it was Chicago 17 but I’m not sure. Well, I kept bumping into the record player and ended up scratching the album to hell. I was supposed to replace it, but never did. So from that point, I cringed every time I heard someone talking about Peter Cetera and Chicago.

The strange thing was I had several songs by the band recorded on cassette. I had no idea I was listening to Chicago. The songs were from their earlier albums and I love these songs still. So, a little over decade ago, I come across a list of the 1001 albums you need to hear before you die or some nonsense like that. I ran across an album by a band called the Chicago Transit Authority. I listened and it contained several of my favorites. So, finally I knew who recorded these songs. After researching a little further, I discovered Chicago Transit Authority was actually my dreaded Chicago. I looked at my computer screen and silently screamed.

Though, I haven’t listened any of there work from the 80’s, I still jam their earlier with gusto. Yeah, don’t judge me!

Here are the particulars about the band

In the grand tapestry of music history, certain bands stand out for their exceptional talent and profound impact on the cultural landscape. Among these luminaries is the band Chicago, a group that transcended boundaries and defied conventions to etch its name into the annals of musical history. From its humble beginnings in the late 1960s to its enduring presence in the contemporary music scene, Chicago has captivated audiences with its eclectic blend of rock, jazz, and pop, leaving an indelible mark on generations of listeners worldwide.

Origins and Evolution:

Chicago’s journey began in 1967 when a group of young musicians from DePaul University formed a rock band that would soon revolutionize the music industry. Originally known as The Big Thing, the band underwent several transformations before settling on the name Chicago Transit Authority, paying homage to the bustling city that inspired their sound. Led by the visionary partnership of Robert Lamm, Terry Kath, and James Pankow, Chicago quickly distinguished itself with its innovative fusion of rock instrumentation and jazz-inflected arrangements.

The band’s eponymous debut album, released in 1969, served as a bold declaration of their musical prowess, featuring a dynamic blend of brass-heavy compositions and intricate instrumental passages. Tracks like “Beginnings” and “Does Anybody Really Know What Time It Is?” showcased Chicago’s knack for crafting sophisticated arrangements while maintaining an infectious sense of groove. Bolstered by critical acclaim and commercial success, the album laid the foundation for Chicago’s meteoric rise to fame.

In the ensuing years, Chicago continued to push the boundaries of their sound, experimenting with different genres and incorporating diverse influences into their music. Albums such as “Chicago II” and “Chicago V” showcased the band’s versatility, blending rock anthems with soulful ballads and complex jazz compositions. With each new release, Chicago further solidified its reputation as a musical powerhouse, earning accolades and amassing a diverse devoted fan base.

Innovative Fusion:

One of Chicago’s most distinctive features is its innovative use of horns, which became a signature element of the band’s sound. Unlike traditional rock bands that relied solely on guitars and keyboards, Chicago integrated a full brass section into its lineup, comprising saxophones, trumpets, and trombones. This unconventional approach set Chicago apart from its contemporaries and allowed the band to explore new sonic territories, infusing their music with a rich tapestry of textures and colors.

The seamless fusion of rock and jazz elements became a hallmark of Chicago’s style, earning them widespread acclaim and admiration from audiences and critics alike. Tracks like “25 or 6 to 4” and “Make Me Smile” exemplify the band’s ability to marry intricate instrumental arrangements with catchy melodies, creating a sound that is both sophisticated and accessible. Chicago’s innovative approach to songwriting and arranging paved the way for countless artists to explore new avenues of musical expression, leaving an indelible mark on the evolution of popular music.

Enduring Legacy:

Over five decades since its inception, Chicago’s legacy remains as vibrant as ever, with its music continuing to resonate with global audiences. With a discography spanning 25 studio albums and countless hits, the band has left an indelible imprint on the fabric of popular culture, influencing subsequent generations of musicians across genres.

From sold-out concerts to prestigious awards, Chicago’s impact on the music industry is undeniable. Inducted into the Rock and Roll Hall of Fame in 2016, the band has received numerous accolades for its contributions to music, including multiple Grammy Awards and a star on the Hollywood Walk of Fame. Despite facing adversity and tragedy, including the untimely death of guitarist Terry Kath in 1978, Chicago persevered, demonstrating resilience and fortitude in the face of adversity.

Conclusion:

In the ever-changing landscape of popular music, few bands have left as profound a mark as Chicago. Their innovative fusion of rock, jazz, and pop reshaped the musical landscape, inspiring generations of artists and captivating audiences with their timeless melodies and infectious grooves. As they continue to enthrall listeners with their electrifying performances and enduring hits, Chicago stands as a testament to the power of music to transcend boundaries and unite hearts across the globe.

One of my favorites

Late Night Groove #37

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This is one of my favorite songs of all time. I remember being a kid snapping my fingers to this track. I didn’t have a clue this Stevie Wonder. It certainly wasn’t the Stevie Wonder I had heard previously.

Music Mixed Bag – Week 5

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ARTICLE – TUNAGE

My response to Glyn’s Mixed Music Bag

For this week’s challenge, I couldn’t decide which band to feature, so I chose to feature two bands I had the privilege of watching on the same day. Let’s get to it, shall we?

Band Maid

Band Maid, an all-female rock band hailing from Japan, has been creating a significant impact on the international music scene with their unique fusion of hard rock, pop, and traditional Japanese music. The band is known for their distinctive aesthetic, which blends traditional maid outfits’ visual elements with rock and roll’s edginess.

Their powerful performances and energetic live shows have earned them wide acclaim. Each member of Band Maid is a skilled musician, and their concerts are known to showcase their musical prowess, defying the stereotypical image of a “maid.” The band’s sound, characterized by heavy guitar riffs, powerful drums, and catchy melodies, is familiar and fresh to the listeners.

Their stage presence is charismatic, engaging audiences worldwide and earning them a cult following. Their music and unique aesthetic set them apart in the rock scene, making them stand out.

Band Maid has also made significant strides in spreading their music globally. They have toured extensively, performing in countries like the US, UK, and Germany, and have released several albums that have been well-received by critics and fans alike. Their unique blend of hard rock, pop, and Japanese music, coupled with their distinct aesthetic, has made them a standout act in the world of rock music.

In conclusion, Band Maid is not just a novelty act. They are skilled musicians with a unique sound and look that sets them apart from other bands. Their music is powerful and catchy, and their performances are energetic and engaging. Band Maid’s unique blend of hard rock, pop, and traditional Japanese music is a breath of fresh air in the rock scene, and their increasing popularity worldwide is a testament to their talent and appeal.

Personal Reaction:

I take my metal seriously. I’ve been a metalhead before It was cool. So, I will not be swayed by attractive women dancing around in maid uniforms. I’m not having such foolishness. It’s no different with male bands that bolster some gimmick. However, my brother said they were good, and he hadn’t let me down yet, so I listened. Armed with skepticism by God.

All I can say is those ladies threw down. Totally blown away. If you get a chance, check them out.

Badflower

Badflower, the Los Angeles based American rock band, is making significant strides in redefining the rock genre with their unique and raw sound that resonates deeply with listeners. Their gritty and emotionally resonant music is a stark contrast in an era dominated by synthesized pop and electronic music, reminding listeners of the visceral energy of early punk rock bands, further enriched by the sophistication of modern alternative music.

Their rise to fame was not simply overnight. It resulted from relentless touring, engaging live performances, and their compelling sonic experience. Their debut album, “OK, I’m Sick,” was a turning point, receiving critical acclaim upon its release in 2019. This album propelled them to the forefront of the rock scene. The album’s lead single, “Ghost,” was a commercial success, earning a gold certification from the RIAA and reaching the top of the Billboard Mainstream Rock chart. This success has been consistent with their subsequent releases, solidifying their status as one of the decade’s most exciting new rock bands.

Badflower’s success proves the continued relevance and demand for rock music in an era when pop and hip-hop typically dominate the charts. Their raw and emotive sound and thought-provoking lyrics have resonated with a new generation of rock fans, showing that rock music can still be fresh, innovative, and impactful.

Personal Reaction:

Badflower’s set was after Band-Maid- not directly after, but after. Now, we had seen Badflower previously and were excited to see them again. This show was great, but something happened during the set that sticks with me.

So, the band was playing Ghost, and something was happening in the audience. They stopped the show. They made sure the fan was okay before continuing. I’ve seen that before. Badflower is a definite class act.

Bonus Feature:

Twenty or so years ago, I had the privilege of watching the legendary B.B. King. My late wife was a tremendous fan, and I was like, he got a couple songs I like. I’ve always been more of a John Lee Hooker fan. So, one year, I had just returned from a very long assignment and wanted to do something special for my wife. I had no idea what special would be, but I wanted to do something. I kept looking for something and wasn’t having any luck. Then, one of the soldiers left a newspaper on the desk, and I found what I looking for.

B.B. King was giving a Mother’s Day special concert. So I bought tickets. I told her the three hours before the concert. She didn’t believe me. I produced the tickets, and she got dressed. Mind you, I never saw my wife get dressed that fast the entire time we were married. She even had to lay out some appropriate attire for me. Apparently, jeans, t-shirts, and boots wouldn’t cut it to see B.B. King. I protested and then quickly got dressed.

Did you know B.B. King had a jazz band? His band played a full set of jazz standards before King joined them on the stage. The show was about three hours long. It was one of the best shows I have seen. Yeah, but I’m still more of a John Lee fan.

Here is a version of a classic my wife and I both loved

Evening Writing Groove – 01282024

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I’ve felt pretty good these last few days and am strong enough to do some chores. Well, let me just say I’m as strong as I thought. This song came on and recharged me. I felt I would share with you guys as I’m doing a little writing this evening. I promise not to get carried away.

Glyn’s Mixed Music Bag: Week 3 – Billy Preston

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ARTICLE – MINI BIOGRAPHY

Here is my choice for Glyn’s Challenge for January – Week 3

The Musical Journey of Billy Preston

Billy Preston, often dubbed the “Fifth Beatle,” was an American musician whose impact on rock and soul music is immeasurable. His collaborations with some of the most iconic bands and artists of the 20th century, including The Beatles and The Rolling Stones, helped shape the sound of modern music.

Early Life
Born on September 2, 1946, in Houston, Texas, Billy Preston started his musical journey at a young age. He was a prodigy, playing the piano and organ in his church by age three. At ten, he debuted on the big screen, portraying young W.C. Handy in a biographical film about the blues musician. His early exposure to music set the foundation for his future career.

Notable Collaborations
Preston’s first significant collaboration came in 1962 when he joined Little Richard’s band as an organist. During this stint, he met The Beatles in Hamburg, Germany, beginning a long-standing relationship. In 1969, Preston joined the legendary band in the studio, contributing to their final two albums, “Abbey Road” and “Let It Be.” His skill on the keyboard earned him the nickname the ‘Fifth Beatle.’ Preston also worked with The Rolling Stones on several of their albums in the 70s, infusing their music with his unique soulful touch.

Lasting Legacy
Billy Preston’s contributions to music extended beyond his collaborations. As a solo artist, he charted numerous hits, including “Outa-Space” and “Nothing from Nothing.” His work earned him several awards, including a Best Pop Instrumental Performance Grammy. Even after he died in 2006, Preston’s influence can still be heard in modern music. His blend of rock, soul, and funk has inspired countless musicians, testifying to his enduring legacy.

Conclusion
Billy Preston’s life was a testament to his immense talent and musical versatility. From his early start in the church to his collaborations with some of the biggest names in rock and roll, his impact on music is undeniable. His legacy continues to inspire, making him a true icon in music history.

Evening Writing Grooves – 01122024

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TUNAGE – EVENING WRITING GROOVES

Often, I write with music playing in the background. Its purpose is not to inspire but to soothe. It helps focus my mind and lets me get out of my way. Most of you know I have an eclectic taste in music. So, I decided to share a few cuts with you. I hope you enjoy it. Perhaps you’ll remember some favorites or discover something you have never heard before.

Late Night Grooves #31

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Tonight, on Late Night Grooves, we are featuring Elton John. I’m posting a few of my favorites.

Late Night Groove #30

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I’ve been in an oldies mood lately, so tonight on Late Night Grooves we are traveling back to 1972. May I present The Hollies.

Late Night Groove – Holiday Edition #2

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Twelve Days of Christmas Lyrics:


Bob- Okay, good day, this is our Christmas part of the album,
and you can play this at your Christmas parties, uh,
or to yourself on Christmas Eve, if there’s nothing else to do.

Doug- Good day, eh?
In case you thought, like, I wasn’t on this part!

Bob- Oh, I guarantee ya, you’d be on.
Okay, so, good day, this is the Christmas part, and,
we’re gonna tell you what to get, uh, your true love for Christmas.

Doug- Look out the window!

Bob- Where?! Whadda ya doing?

Doug- Snow, hosehead.

Bob- Wha? Oh, it’s the Great White North, and it’s snowing,
cause it’s Christmas time.
Hey, hoser!

Doug- What?

Bob- Here’s a quiz. Quiz for Doug.

Doug- Okay, I have my thinking touque on.

Bob- Yeah, right. What are the twelve days of Christmas?
Cause, figure it out, right. Christmas is when?

Doug- Uh, the 25th.

Bob- Right, and what’s the 24th, Christmas Eve, right?
So, that’s two. And then, what’s after that?

Doug- Um… Uh, Wrestling Day.

Bob- No. Get out.

Doug- Boxing Day, yeah, yeah.

Bob- That’s three. Then what’s after that? Nothing.

Doug- New Year’s.

Bob- Four. And what’s…

Doug- New Year’s Eve.

Bob- Five. Where do you get twelve?

Doug- Uh… There’s two Saturdays and Sundays in there, that’s four.
That’s nine. And, three other days, which I believe are the mystery days.
(Music starts.)

Bob- Okay now. This is our Christmas song,
in case you don’t know what to get somebody for Christmas.

Doug- There’s lots of ideas in here, so, listen, and don’t get stuck.

Bob- Okay.

Doug- By the way, that’s me on the organ.

Bob- Aw, geez.

Doug- You start.

Bob- Okay. On the first day of Christmas,
my true love gave to me: a beer.

Doug- On the second day of Christmas,
my true love gave to me: two turtlenecks,

Bob- And a beer. (Okay…) On the third day of Christmas,
my true love gave to me: three French toast,

Doug- Two turtlenecks,

Bob- And a beer. (Okay…)

Doug- There should be more there, eh?

Bob- Where? On the… go.

Doug- Fourth day of Christmas,
my true love gave to me: four pounds of backbacon,

Bob- Three French toast,

Doug- Two turtlenecks,

Bob- And a beer.

Doug- In a tree. See, you need more.

Bob- Fifth day of Christmas, my true love gave to me: five golden touques!

Doug- Four pounds of backbacon,

Bob- Three French toast,

Doug- Two turtlenecks,

Bob- And a beer, what was it?

Together- In a tree!

Bob- Okay, on the sixth… go.

Doug- Of Christmas, my true love gave to me: six packs of two-four,

Bob & BG Singers- Five golden touques!

Doug- Four pounds of backbacon,

Bob- Three French toast,

Doug- Two turtlenecks,

Bob- And a beer,

Together- In a tree!

Bob- Okay.

Doug- Okay.

Bob- On the seventh day of Christmas,
my true love gave to me: seven packs of smokes,

Doug- (Nice gift…) Oh, six packs of two-four!
(BG Singers also sing “nice gift”.)

Bob & BG Singers- Five golden touques!

Doug- Four pounds of backbacon,

Bob- Three French toast,

Doug- Two turtlenecks,

Bob- And a beer,

Together- In a tree!

Bob- Right, I keep forgetting.

Doug- Phew! This should just be the two days of Christmas,
it’s too hard for us!

Bob- Um…

Doug- Go, hoser.

Bob- Oh.

Together- Eigth day of Christmas, my true love gave to me:

Doug- Eight comic books,

All- Seven packs of smokes, six packs of two-four,
(Bob and Doug become unsynchronized with the BG Singers, and quit singing.)

BG Singers- Five golden touques!
Four pounds of backbacon,
three French toast,
two turtlenecks,

All- And a beer,

Doug- On my tree!

Bob- Yeah. That beer’s empty. Okay. Day,

BG Singers- Twelve!

Bob- Uh, twelve.

Doug- Good day, and welcome to day twelve.

BG Singers- Five golden touques!

All- Four pounds of backbacon,
three French toast,
two turtlenecks,
and a beer, in a tree!

Bob- Beauty, eh?

Doug- Where’d you learn to do that?

Bob- Uh, albums.

Doug- Boy. So, like, that’s our song, Merry Christmas…

Bob- Merry Christmas!

Doug- And good day!

Bob- Good day, everybody. Happy New Year, too.
Sheesh. Okay, you know what you left out?

Doug- What?

Bob- Donuts – I told you to get me donuts!
Either on the ninth day or the tenth day,
or the eleventh day, I wanted donuts!

Doug- Okay, the song’s over.

Bob- But I want…

Doug- Merry Christmas, everybody!

Bob- Or on the twelfth day, you coulda got me a dozen donuts.

Doug- So, go out to the stores, and get some presents.

Bob- You coulda gone down to, like, the good donut shop,
where if you buy a dozen, you get another one free,
and then thirteen for the thirteen days of Christmas.

Doug- Well, next Christmas, I’ll get me a chainsaw…

Bob- Take off!

Doug- Boy, that song was a beauty. It moved me…

Bob- Yeah, I think it ranks up there with Stairway to Heaven…

Doug- Wha-?

— Bob & Doug McKenzie

Late Night Groove #29

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I remember when the kids were home; then, the grandkid’s Christmas was absolutely chaotic. The wife and I needed a break at times. Then this episode, I’m featuring an old classic that will allow you to relax for a few moments.

Late Night Groove – Holiday Edition

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Happy Holidays Everyone! As you might have figured, I’m not a traditional Christmas person. That fact used to drive my wife crazy. Gingerbread houses, candy canes, and everything was never my thing. Wait, those soft peppermint sticks and puffs are amazing so I make an exception for them. My alternate view of Christmas extends to Christmas music. So, over the next few days, I will be featuring some of my favorite non-traditional Christmas tunes on Late Night Grooves.

Tonight, we have the Run DMC Christmas classic, Christmas in Hollis.

Late Night Groove #27

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One of my favorite instrumentals. Enjoy!

Late Night Groove #26

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Today, I’m feeling the Rolling Stones, so tonight, I’m featuring one of my favorites from the band.

Late Night Groove #22

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I became a fan of Johnny Cash late in life. He was Country and all that hooey. When I started deploying, we only had the music we brought. There wasn’t a public internet or any of the conveniences we have become accustomed to. So, we all listened to each other’s music over and over. Some were painful, but others not so much.

Ladies and Gentleman … Johnny Cash

One of my favorite songs

Mixed Music Bag – Wk 38 – Nazareth

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I found this challenge during my daily reading.

My response to Glyn’s challenge. N for November

Nazareth is a Scottish hard rock band formed in Dunfermline in 1968. My favorite jam from them is Love Hurts