Song Lyric Sunday (26 July 2020) – Same Difference

Last week, NewEpicAuthor over at A Unique Title For Me set a theme of cake (my selection). This week, we are talking about the same difference.

Gonna stretch the theme a little this week, because my choice’s title is the same word, repeated. Do you fancy some Blues?

This song was written and recorded by John Lee Hooker, in 1961. Although the song has become synonymous with Hooker, it was panned at the time by music critics. It was a lukewarm chart hit, reaching only #60 on the Billboard Hot 100. It did, at least, reach #16 on the R&B Chart. In fact, this song was Hooker’s only Hot 100 hit. It must have had something, though, because it was recorded by many artists and was a staple cover for many Blues bands in the early Sixties.

The song went international a full three decades later. Picked up by a jeans commercial, the song was released in the UK and reached #16 here. Here’s Boom Boom.

That featured image, by the way, is me. Early Nineties/mid-twenties, on the steps of Sacre Coeur basilica in Paris, and the guy on the tee…John Lee Hooker. Don’t I look young?

Boom, boom, boom, boom
I’m gonna shoot you right down
Knock you off of your feet
And take you home with me
Put you in my house
Boom, boom, boom, boom

Ow ow ow ow ow
Hmm hmm hmm
Hmm hmm hmm hmm
I love to see you strut
Up and down the floor
When you’re talking to me
That baby talk
I like it like that
Oh yeah

Talk that talk
Walk that walk

Won’t you walk that walk?
And talk that talk
And whisper in my ear
Tell me that you love me
I love that talk
When you talk like that
You knock me out
Right off my feet
Ho ho ho ho

Well, talk that talk
And walk that walk
Oh yeah

John Lee Hooker

Song Lyric Sunday (19 July 2020) – In the Patisserie

Last week, Jim (NewEpicAuthor over at A Unique Title For Me) set the old elements (my selection) as the theme. This week, he gives us the topic of cake.

Well, as soon as I heard about cakes this week, it started off a train of thought.. I almost chose The King of Wishful Thinking, from the movie Pretty Woman, because,,,,me and cake…that’s me!

But back down on earth, I came up with one this week from the Motown stable – there’s still a cakey link, though. We all know Diana Ross, right? Well, this is one of her later recordings, actually written by a couple of band-members of Chic, Nile Rodgers and Bernard Edwards, and recorded by Ross in 1980.

This was a big hit, reaching #1 on the Billboard Hot 100, #1 in a host of other countries worldwide, and #2 in the UK. In the UK, it was Ross’s biggest hit since I’m Still Waiting, way back in 1971, and was kept off top spot by ABBA’s Winner Takes It All. So I hope this one brings back a few memories, this is Upside Down. A big shout-out for Eighties hair!

I said upside down
You’re turning me
You’re giving love instinctively
Around and round you’re turning me


Upside down
Boy, you turn me
Inside out
And round and round
Upside down
Boy, you turn me
Inside out
And round and round

Instinctively you give to me
The love that I need
I cherish the moments with you
Respectfully I say to thee
I’m aware that you’re cheatin’
When no one makes me feel like you do

Upside down
Boy, you turn me
Inside out
And round and round
Upside down
Boy, you turn me
Inside out
And round and round

I know you got charm and appeal
You always play the field
I’m crazy to think you’re all mine
As long as the sun continues to shine
There’s a place in my heart for you
That’s the bottomline

Upside down
Boy, you turn me
Inside out
And round and round
Upside down
Boy, you turn me
Inside out
And round and round

Instinctively you give to me
The love that I need
I cherish the moment with you
Respectfully I see to thee
I’m aware that you’re cheatin’
But no one makes me feel like you do

Upside down
Boy, you turn me
Inside out
And round, round
Upside down
Boy, you turn me
Inside out
And round and round

Upside down
Boy, you turn me
Inside out
And round and round
Upside down
Boy, you turn me
Inside out
And round, round

Upside down you’re turning me
You’re giving love instinctively
Around and round you’re turning me
I say to thee respectfully

Upside down you’re turning me
You’re giving love instinctively
Around and round you’re turning me
I say to thee respectfully

I said a upside down you’re turning me
You’re giving love instinctively
Around and round you’re turning me
I say to thee respectfully

Upside down you’re turning me

Song Lyric Sunday (12 July 2020) – The Elements

Last week, Jim (NewEpicAuthor over at A Unique Title For Me) set a theme of superlatives (my selection). This week, he gives us the theme of the the old elements of air, earth, fire and water.

I came up with a few this week, two of which were by former Beatles, but George got the nod over Paul – because his music was far and away my favourite.

So the track I will present today goes way back to 1973, the opening track on George’s album Living in the Material World. It was also released as a single, and topped Billboard’s Hot 100, although it only reached #8 in the UK. Unsurprisingly, it also appeared when George released his greatest hits album, and was performed by Jeff Lynne at the Concert for George, which commemorated George’s legacy, a year after his death. This is Give Me Love (Give Me Peace on Earth).

Give me love
Give me love
Give me peace on earth
Give me light
Give me life
Keep me free from birth
Give me hope
Help me cope, with this heavy load
Trying to, touch and reach you with,
heart and soul

OM M M M M M M M M M M M M M
M M M My Lord . . .

PLEASE take hold of my hand, that
I might understand you

Won’t you please
Oh won’t you

Give me love
Give me love
Give me peace on earth
Give me light
Give me life
Keep me free from birth
Give me hope
Help me cope, with this heavy load
Trying to, touch and reach you with,
heart and soul

OM M M M M M M M M M M M M M
M M M My Lord . . .

PLEASE take hold of my hand, that
I might understand you

George Harrison

Song Lyric Sunday (5 July 2020) – Superlatives

Last week, Jim over at A Unique Title For Me set a theme of heat (my selection). This week, he gives us the theme of superlatives.

Last weel I presented a blinding reggae track. If you can take it, I have another for you this week. But this week, I’m gonna take the temperature right down to ultra-chilled. This is a sub-genre known as Lovers’ Rock, and hopefully you’ll see why. As I started to collect reggae music, this one appeared on several compilations, and publishers obviously thought this track was pallatable to the music-buying public.

This song was written by The Corporation, a group of four guys who were responsible, collectively, for several of The Jackson’s hits such as I Want You Back and ABC. It was first perfomed by Michael, who used it as a B-side in 1972. My version, however, is a cover by Jamaican singer Sugar Minott, from 1981. It was a surprise hit in the UK, reaching #4. See what you think of Good Thing Going.

Ooh.. see that girl
She does something to my chemistry
And when I’m close I’m sure
She raise my temperature by three degrees
Every day everyday
In every way she makes my motor purr
And I reciprocate my life I dedicate to loving her

For we’ve got a good thing goin’
A real good thing goin’, yes, that girl and me
And I don’t have to ask
I know that it’s gonna last, eternally

Understanding whenever handing in the alibis
For you know what to do
Where you’ve been
So what’s the use in telling lies?

For we’ve got a good thing goin’
A real good thing goin’, yes, that girl and me
We’ve got it good, so let’s get it on
Let’s get it on, let’s get it on girl

So we’ve got a good thing goin’
A real good thing goin’, yes, that girl and me
And I don’t have to ask
I know that it’s gonna last, eternally

Yeah baby we’ve got it
We’ve got it good, we’ve got it good
So, so let’s get it on

So we’ve got a good thing goin’
A real good thing goin’, yes, that girl and me
And I don’t have to ask
I know that it’s gonna last, eternally

Yes we’ve got a good thing goin’
A real good thing goin’, yes, that girl and me..

The Corporation

Song Lyric Sunday (28 June 2020) – Temperature

Last week, Jim (NewEpicAuthor at A Unique Title For Me) set a theme of the names Mary or Marie (my selection). This week, he gives us the theme of temperature.

I’m going back to my home territory this week, this is one of my top reggae tracks – one of my favourite tracks from one of my favourite bands.

Aswad are a band from west London, UK, who started playing together in the mid-1970s. They originally played quite hardcore reggae but mellowed over the years to produce music with more popular appeal, even topping the UK chart in 1988. Funny, I have always thought that their early work is their best.

Bubbling was released in 1985, a couple of years before they hit the big time. In fact, far from going to the top of the charts, this track only reached #95. What a difference a few years make.

Two of the original band still play together as Aswad, mainly in the London area. Brinsley Forde, the lead vocalist and singer on this track, has a solo career. I still hear about all of them from time to time via a Facebook group (mainly made up of people like me, who still have a foot in the Eighties).

I know a place where we can go
Sweet music plays, turn the lights down low
Operator, play the music that we love so well,
Everyone is feeling irie far as I can tell.

The music takes control until the broad daylght
And I know that we can rock it ‘cos the time is right
Say, won’t you come on over, come on and dance little sista?
Now we could smoke a spliff, maybe have a drink or two
Cos there’s nothin’ I’d like better than to spend some time with you
So won’t you come on over, give me your answer

I and I feel like bubbling
You’re the one to bubble with me
I and I feel like jumping
how’s about you jumping with me.

I’m in a-waiting for your reply
I’m ready and waiting, my hopes are high
We’ve got what it takes and we’ve got all we need
So put on your coat, let the good vibes flow.

And when you hear the music there’ll be no regret
Stand up and listen to the music, we’re not ready yet
You and me now sista, dancing in the corner,
So tell me are you feeling like I’m feeling too?
There’s nothing I’d like better than to be here with you
Oh my little sista, dancing here together

[chorus]

oh, won’t you dance with me?

Aswad

Song Lyric Sunday (21 June 2020) – Marie or Mary

Last week, Jim (NewEpicAuthor, A Unique Title For Me) set the boys’ names of Jack or John (my selection). This week, he gives us the girls’ names of Marie, Maria or Mary.

Another name prompt, this week I thought I’d go with the performer. This, of course, allows me to choose any of their songs, and I thought given the ongoing climate, another fiery song. Probably the ultimate protest song, but with a twist.

Ultimate? Because this song ranked #14 on Rolling Stone’s 500 Greatest Songs of All Time. And has been recorded by hundreds of artists over the years. It is almost always used in the context of protest, and one of its first roles was as an anti-Viet Nam war song.

This song was originally a Bob Dylan tune, written in 1963. Dylan recorded the first version himself, and the song featured on his album The Freewheelin’ Bob Dylan. Since then, the song has been covered many times, and my twist is that I am presenting one of those covers today, from 1966. In fact, I always preferred this version to Dylan’s – and very few covers sound better than the original.

I’ve heard snippets from Peter, Paul and Mary over the years (lots of their music was released before I was born), but it was only quite recently that I bought some of their albums. They were a New York folk trio, formed in 1961, comprising Paul Stookey, Peter Yarrow, and Mary Travers. I always loved Mary’s crystal-clear voice, and this song is one that I remember from childhood.

This rendition of Blowin’ in the Wind, by Peter, Paul and Mary reached #2 on the Billboard Hot 100, kept off #1 by Stevie Wonder. Funnily enough, Stevie Wonder also covered this song, although I didn’t think it was very good.

How many roads must a man walk down
Before you call him a man?
How many seas must a white dove sail
Before she sleeps in the sand?
Yes, and how many times must the cannonballs fly
Before they’re forever banned?

The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Yes, and how many years can a mountain exist
Before it’s washed to the sea?
Yes, and how many years can some people exist
Before they’re allowed to be free?
Yes, and how many times can a man turn his head
And pretend that he just doesn’t see?

The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Yes, and how many times must a man look up
Before he can see the sky?
Yes, and how many ears must one man have
Before he can hear people cry?
Yes, and how many deaths will it take ’til he knows
That too many people have died?

The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Song Lyric Sunday (14 June 2020) – Jack or John

Last week, Jim (NewEpicAuthor, A Unique Title For Me) set a theme of size (my selection). This week, he gives us the theme of the names Jack or John.

I bet several of us will choose this one today, but it seems appropriate at the moment.

I’ve presented Marvin Gaye a few times before on Song Lyric Sunday and I can’t really do any better, so here is another song of his. It was written by Dick Hollis, in response to the assassinations of Martin Luter King Jr and Bobby Kennedy, in close succession in the spring/summer of 1968. The song itself is about the icons for social change, Abraham Lincoln, Martin Luther King, and John F Kennedy, and was first recorded by folk singer Dion, with whom it reached #4 on the Billboard Hot 100.

Marvin recorded a version in 1970, which reached #9 in the UK. It was not released as a single in the USA but later appeared on the album What’s Going On, in 1971. This is Abraham, Martin and John.

Has anyone here seen my old friend Abraham?
Can you tell me whe he’s gone?
Oh, he freed a lot of people
but it seems the good die young, yeah.
I just looked around and he was gone.

Hmmm

Has anyone here seen my old friend John?
Can you tell me whe he’s gone?
You know, he freed a lot of people
but it seems the good die young, yeah.
I just looked around and he was gone.

Oh yeah

Has anyone here seen my old friend Martin?
Can you tell me whe he’s gone?
He freed a lot of people
but it seems the good die young, yeah.
I just looked around and he was gone.

[Insrumental]

Has anyone here seen my friend Bobby?
Can you tell me whe he’s gone?
You know, he freed a lot of people
but the good, they die young, yeah.
I just looked around and he was gone.

Oh, I just looked around and they were gone, oh yes.

Dick Hollis

Song Lyric Sunday (7 June 2020) – Size

Last week, Jim over at A Unique Title For Me set a theme of spices (my selection). This week, he gives us the theme of size.

I got myself a Google speaker in the middle of last year, plus a Spotify subscription at Christmas, and I have to say I quite like the combination. Especially as I’m going to bed, I can tell it to play music by so-and-so, then instruct it to turn itself off after a set time.

Today I thought I’d present a song by one of my favourite night-time artists, Otis Redding. In fact this song dates from 1932, way before Otis, and was originally written by Jimmy Campbell, Reg Connelly and Harry M Woods, and originally performed by the Ray Noble Orchestra, with Val Rosing on vocals.

But Otis’s version, in 1966, is about the best-known. It was very “bluesy”, with Otis being backed by Booker T and the MGs. It peaked at #25 on the Billboard Hot 100, and came in at #204 on Rolling Stone’s list of the 500 Greatest Songs of All Time. This is Try a little Tenderness.

Oh, she may be weary
Young girls they do get weary
Wearing that same old shaggy dress, yeah yeah
But when she gets weary
Try a little tenderness, yeah yeah

You know she’s waiting
Just anticipating
For things that she’ll never, never, never, never possess, yeah yeah
But while she’s there waiting, without them
Try a little tenderness (that’s all you gotta do)

It’s not just sentimental, no, no, no
She has her grief and care, yeah yeah yeah
But the soft words, they are spoke so gentle, yeah
It makes it easier, easier to bear, yeah

You won’t regret it, no, no
Some girls they don’t forget it
Love is their only happiness, yeah
But it’s all so easy
All you gotta do is try, try a little tenderness, yeah
All you gotta do is, man, hold her where you want her

Squeeze her, don’t tease her, never leave her
Get to her, try, try
Just try a little tenderness, ooh yeah yeah yeah
You got to know how to love her, man, you’ll be surprised, man
You’ve got to squeeze her, don’t tease her, never leave
You’ve got to hold her and rub her softly
Try a little tenderness, ooh yeah yeah yeah
You’ve got to rub her gentle man, all you gotta do, no no
You’ve got to love her, squeeze her, don’t tease her
Gotta try nah nah nah, try
Try a little tenderness, yeah, watch her groove
You’ve gotta to know what to do, man
Take this advice

Jimmy Campbell, Reg Connelly, Harry M Woods