David Bowie – Come And Buy My Toys

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Cinnamon/Mint/Parsley/Pepper/Rosemary/Sage/Salt/Thyme.

From his 1967 self titled debut album. The song did not chart.

From the Bowiebible.com

One of the simplest recordings on David Bowie’s 1967 debut album, ‘Come And Buy My Toys’ features just vocals, acoustic guitar and bass.

The song was recorded at Decca’s north London studios on 12 December 1966. It featured on guitar John Renbourn, with whom Bowie also recorded the unused album track ‘Bunny Thing’ on the same day.

Although many of the songs on David Bowie bore a dark heart at the centre of an outwardly innocent tale, ‘Come And Buy My Toys’ is pure nostalgic joy at the pleasures of childhood. Bowie presents an idyllic picture of youth, a blissful utopia before the toils of adulthood.

You’ve watched your father plough the fields with a ram’s horn
Sowed it wide with peppercorn and furrowed with a bramble thorn
Reaped it with a sharpened scyth, threashed it with a quill
The miller told your father that he’d work it with the greatest will
Now your watching’s over you must play with girls and boys
Leave the parsley on the stalls
Come and buy my toys

John Renbourn founded the folk group Pentangle shortly after recording with Bowie. ‘Come And Buy My Toys’ was a rare excursion into the genre for Bowie, whose acoustic guitar-led recordings tended to owe more to the likes of Dylan than the English folk tradition.

One source of inspiration may have been Simon and Garfunkel, whose album Parsley Sage Rosemary and Thyme had been released in October 1966. A number of words and phrases in ‘Come And Buy My Toys’ also appear in ‘Scarborough Fair’, including ram’s horn, parsley, peppercorn, and cambric shirt.

A more definite antecedent was the poem ‘A Toyman’s Address’, which appeared in volume 42 (1816) of The Monthly Magazine, a London publication to which, at various times, Charles Dickens, William Blake, and Samuel Taylor Coleridge contributed.

‘A Toyman’s Address’ was credited to “G.N.” in the issue, and subtitled “In the style of modern poetry”.

Smiling girls, rosy boys,
Here – come buy my little toys.
Mighty men of gingerbread
Crowd my stall, with faces red
A Toyman’s Address

Bowie made some minimal alterations before presenting the lines as his own:

Smiling girls and rosy boys
Come and buy my little toys
Monkeys made of gingerbread
And sugar horses painted red
‘Come And Buy My Toys’

‘A Toyman’s Address’ was also published in The Lady’s Magazine in 1816, and the opening lines became a traditional nursery rhyme, although how Bowie came to know them is not known.

 

Come And Buy My Toys

Smiling girls and rosy boys
Come and buy my little toys
Monkeys made of gingerbread
And sugar horses painted red
Rich men’s children running past
Their fathers dressed in hose
Golden hair and mud of many acres on their shoes
Gazing eyes and running wild
Past the stocks and over stiles
Kiss the window merry child
But come and buy my toys
You’ve watched your father plough the fields with a ram’s horn
Sowed it wide with peppercorn and furrowed with a bramble thorn
Reaped it with a sharpened scyth, thrashed it with a quill
The miller told your father that he’d work it with the greatest will
Now your watching’s over you must play with girls and boys
Leave the parsley on the stalls
Come and buy my toys
You shall own a cambric shirt
You shall work your father’s land
But now you shall play in the market square
Till you’ll be a man
Smiling girls and rosy boys
Come and buy my little toys
Monkeys made of gingerbread
And sugar horses painted red
Source: LyricFind
Songwriters: David Bowie

Loverboy – When It’s Over

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…End/Finish/Over/Stop.

From their 1981 album, Get Lucky. The song reached #26 on Billboard’s Hot 100 chart in June of 1982.

Note, Billboard’s chart history page for Loverboy is down so I had no exact date that the song peaked.

When It’s Over

When you look into his eyes
Comes to you as no surprise
It’s always the same
Every time he’s out with you
He tries to tell you what to do
You don’t need it that way
Sometimes you think you’re playing the fool
He’s running around breaking all the rules
Somehow that don’t seem fair
There’s got to be a better way
You know what I’m trying to say
‘Cause deep, deep down inside
You’re living in a life in total lies
What did he ever do for you
What’s he trying to put you through
I just don’t understand
You showed him love and tenderness
Touched him with your sweet caress
Now he’s leaving you
So what’s the point in working it out
Tell me what it’s all about
That’s why I’m saying
I hope you’re with me
I hope you’re with me when it’s over
I hope you’re with me
I hope you’re with me when it’s over
You won’t be lonely
You won’t be lonely when it’s over
You won’t be lonely (you)
When it’s over
It’s over, it’s over, it’s over
It’s over, it’s over, it’s over
And in the morning when he’s gone
Please don’t sing that sad, sad song
I don’t want to hear it
Forget about him
Let him go
It won’t hurt what he don’t know
What’s he trying to say to you
What’s he trying to tell you
He don’t really care
Face the truth and realize
You don’t need his alibi’s
No more
I hope you’re with me
I hope you’re with me when it’s over
I hope you’re with me
I hope you’re with me when it’s over
You won’t be lonely
You won’t be lonely when it’s over
You won’t be lonely (you)
When it’s over
It’s over, it’s over, it’s over
It’s over, it’s over, it’s over
Source: LyricFind
Songwriters: Mike Reno / Paul Warren Dean

Meat Loaf – Two Out Of Three Ain’t Bad

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…A song that includes a number.

From his 1977 album, Bat Out Of Hell. The song reached #11 on Billboard’s Hot 100 chart on August 7, 1978.

From Songfacts

“Two out of three ain’t bad” is a trite cliché often used for comic effect. (“How was your date?” “He was tall, handsome, and incredibly boring.” “Well, two out of three ain’t bad.)

Jim Steinman, who was Meat Loaf’s songwriter, turned the saying into a song about the elusive nature of love. The song begins with Meat Loaf getting kicked to the curb by his girl, presumably because he won’t tell her he loves her. He makes the case that even though he will never love her, he’s good enough, since after all he does want her and need her, and happy endings are only for fairy tales.

We then learn that his commitment issues step from a previous relationship – one with the only woman he will ever love. She once left him with the same explanation: I want you, I need you, but I’ll never love you.

Jim Steinman wrote this song after his friend, the actress Mimi Kennedy, suggested that he write a ballad along the lines of the Elvis Presley song “I Want You, I Need You, I Love You.” She was implying that he should write something straightforward and simple, but Steinman doesn’t work that way. He used the phrase, but added a degree of Shakespearean drama that was typical of his work.

In America, this was the second single released from the Bat Out Of Hell album. The first single, “You Took the Words Right Out of My Mouth,” didn’t chart, but by the time “Two Out of Three” was issued in March 1978, the album was picking up steam and the song rose up the charts, peaking at #11 on July 8.

The single was edited down to 3:58 from the 5:23 album version.

Todd Rundgren produced the Bat Out Of Hell album. On this song, he used the other three members of his band Utopia: Kasim Sulton on bass, Willie Wilcox on drums, and Roger Powell on synthesizer. Rundgren played guitar and also sang backup on this one.
This song got a big boost when Meat Loaf performed it on Saturday Night Live on March 25, 1978.

Two Out Of Three Ain’t Bad

Baby we can talk all night
But that ain’t getting us nowhere
I told you everything I possibly can
There’s nothing left inside of here

And maybe you can cry all night
But that’ll never change the way that I feel
The snow is really piling up outside
I wish you wouldn’t make me leave here

I poured it on and I poured it out
I tried to show you just how much I care
I’m tired of words and I’m too hoarse to shout
But you’ve been cold to me so long
I’m crying icicles instead of tears

And all I can do is keep on telling you
I want you
I need you
But there ain’t no way
I’m ever gonna love you
Now don’t be sad
‘Cause two out of three ain’t bad
Now don’t be sad
‘Cause two out of three ain’t bad

You’ll never find your gold on a sandy beach
You’ll never drill for oil on a city street
I know you’re looking for a ruby
In a mountain of rocks
But there ain’t no Coupe de Ville hiding
At the bottom of a Cracker Jack box

I can’t lie
I can’t tell you that I’m something I’m not
No matter how I try
I’ll never be able to give you something
Something that I just haven’t got

There’s only one girl that I have ever loved
And that was so many years ago
And though I know I’ll never get her out of my heart
She never loved me back, ooh I know
I remember how she left me on a stormy night
She kissed me and got out of our bed
And though I pleaded and I begged her
Not to walk out that door
She packed her bags and turned right away

And she kept on telling me
She kept on telling me
She kept on telling me
I want you
I need you
But there ain’t no way
I’m ever gonna love you
Now don’t be sad
‘Cause two out of three ain’t bad
I want you
I need you
But there ain’t no way I’m ever gonna love you
Now don’t be sad
‘Cause two out of three ain’t bad
Don’t be sad
‘Cause two out of three ain’t bad

Baby we can talk all night
But that ain’t getting us nowhere

Writer/s: JIM STEINMAN

Grover Washington, Jr. With Bill Withers – Just The Two Of Us

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Couple/Together/Us.

From his 1980 Album, Winelight. The song peaked at #2 on Billboard’s Hot 100 chart on May 1, 1981.

From Songfacts

This smooth, soulful favorite expresses a deep connection between a couple: whatever happens, they can get through it together. It was a huge hit when it was released in 1980, but has endured as a timeless classic, played at many weddings and other events to indicate a lasting bond.
This song is a collaboration between the renowned jazz saxophone player Grover Washington, Jr. and the mighty soul singer Bill Withers. Washington crossed over in the ’70s with a cover of “Inner City Blues (Make Me Wanna Holler)” and an original song called “Mister Magic,” both instrumentals. For “Just The Two Of Us,” he brought in Withers to sing and to add lyrics – Withers was known for his hits “Lean On Me” and “Ain’t No Sunshine.” In a Songfacts interview with Withers, he explained:

“I’m a little snobbish about words, so they sent me this song and said, ‘We want to do this with Grover, would you consider singing it?’ I said, ‘Yeah, if you’ll let me go in and try to dress these words up a little bit.’ Everybody that knows me is kind of used to me that way. I probably threw in the stuff like the crystal raindrops. The ‘Just The Two Of Us’ thing was already written. It was trying to put a tuxedo on it. I didn’t like what was said leading up to ‘Just The Two Of Us.'”

Grover Washington, Jr. wrote this with his musical partner Bill Salter before Withers added lyrics. It was produced by Ralph MacDonald, a percussionist who played on many of Washington’s tracks. MacDonald was friends with Withers and made the connection.

Just The Two Of Us

I see the crystal raindrops fall
And the beauty of it all
Is when the sun comes shining through
To make those rainbows in my mind
When I think of you sometime
And I wanna spend some time with you
Just the two of us
We can make it if we try
Just the two of us
(Just the two of us)
Just the two of us
Building castles in the sky
Just the two of us
You and I
We look for love, no time for tears
Wasted water’s all that is
And it don’t make no flowers grow
Good things might come to those who wait
Not for those who wait too late
We gotta go for all we know
Just the two of us
We can make it if we try
Just the two of us
(Just the two of us)
Just the two of us
Building them castles in the sky
Just the two of us
You and I
I hear the crystal raindrops fall
On the window down the hall
And it becomes the morning dew
And darling when the morning comes
And I see the morning sun
I wanna be the one with you
Just the two of us
We can make it if we try
Just the two of us, just
(Just the two of us)
Just the two of us
Building big castles way up high
Just the two of us
You and I
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
Source: LyricFind
Songwriters: Ralph Macdonald / William Salter / William Harrison Jr Withers

Smokie – Mexican Girl

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Burrito/Fajita/Mexican/Tequila

From their 1978 album, The Montreux Album. The song reached #19 on UK’s singles chart.

Mexican Girl

Juanita came to me last night and she cried over and over
Ooh, Daddy I love you you know and I think it’s the moonlight
She looked so fine, well she looked alright and she moaned
Ooh, Daddy move over
Oh, baby you know what I like and I think it’s the moonlight
Made in Mexico, schooled in France ooh la lovin’
She needed no teachin’
Oh man, I can say international ways, I believe in
Mexican girl, don’t leave me alone
I got a heart as big as a stone and I need you, believe me
To be here and love me tonight
Mexican girl, I want you to stay, you know my heart is
Longing to say that as long as I live I will always
Remember the one that I called my Mexican girl
Her skin was soft as the velvet sky
And her hair it shone in the moonlight
As the music did play well the night turned to day
And I held her tight
Then she looked at me with her dark brown eyes and she
Whispered, “Hasta La Vista!”
I don’t know what it means but it sounded so good so
I kissed her
Mexican girl, don’t leave me alone
I got a heart as big as a stone and I need you, believe me
To be here and love me tonight
Mexican girl I want you to stay, you know my heart is
Longing to say that as long as I live I will always
Remember the one that I called my
Mexican girl, don’t leave me alone
I got a heart as big as a stone and I need you, believe me
To be here and love me tonight
Mexican girl I want you to stay, you know my heart is
Longing to say that as long as I live I will always
Remember the one that I called
My Mexican girl
Source: LyricFind
Songwriters: Alan Silson / Christopher Ward Norman / Peter David Spencer / Terence David Littley

Cheap Trick – I Can’t Take It

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Alone/Confined/Depressed/Isolated/Restless/Solo

From their 1983 album, Next Position Please. The song did not chart but the video was in pretty heavy rotation on MTV.

I Can’t Take It

Well I saw you today and realized
How I missed my peace of mind
I feel your breath in my ear
But late at night it’s you I always think about
That little girl inside of you I once knew
I should have known better
Still the smell of you was on my face
But you were too busy
To notice me last night
Now I can’t take it alone
I can’t make it alone
I can’t take it
I can’t make it alone
Oh no, ooh, oh no
Then I tell myself I’ll put you down
Don’t want to see your face around
Don’t call me up anymore
When I hear your voice it’s in my ear
You’re kissing on the phone
It makes it all come clear
Now I can’t take it alone
I can’t make it alone
I can’t take it
I can’t make it alone
Oh no, ooh, oh no
I try to tell myself
Don’t need you anymore
Don’t want you hanging around my door, oh no
Now I can’t take it alone
I can’t make it alone
I can’t take it alone
I can’t make it alone
I can’t take it alone
I can’t make it alone
If it’s wrong or right
I can’t take it, I can’t make it alone
You know how I tried
I can’t take it, I can’t make it alone
I try tell myself don’t need you anymore
I can’t take it alone, I can’t make it alone
Oh baby, my pretty baby
I can’t take it alone, I can’t make it alone
Source: LyricFind
Songwriters: Robin Zander / Robin W Zander

Cecil Gant – Nashville Jumps

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Home Town or City where you were born, or where lived

The song was released in 1948. Cecil Gant was a big influence on Jerry Lee Lewis. Some people consider the song “Rocket 88′ by Ike Turner and Jackie Brenston as the first Rock “n” Roll song but Cecil Gant released the song “We’re Gonna Rock” in 1950 a year earlier than “Rocket 88”.

From Wikipedia

Gant was born in Columbia, Tennessee, but was raised in Cleveland, Ohio. He returned to Nashville, Tennessee and worked there as a musician, as well as touring with his own band, from the mid-1930s until he joined the army during World War II. In 1944, after performing at a War Bond rally in Los Angeles, California, he recorded his composition “I Wonder” for the tiny black-owned Bronze record label. When it started to become locally popular, he re-recorded it for the newly established white-owned independent Gilt-Edge record label.[7][2] His recording of “I Wonder” was released under the name “Pvt. Cecil Gant”, as were later releases on the label.[6]

The Gilt-Edge release of “I Wonder” sold well. It reached number one on the Billboard Harlem Hit Parade (the former name of the R&B chart), and number 20 on the national pop chart (as synthesized by Joel Whitburn); and its B-side, the instrumental “Cecil Boogie”, reached number 5 on the R&B chart.[9] Gant wrote most of his own songs. Billed as “The GI Sing-sation”, his two follow-up records on Gilt-Edge, “The Grass Is Getting Greener” and “I’m Tired”, also made the R&B chart. Arnold Shaw identified “I Wonder” as the song that “ignited the postwar blues explosion”,[7] and the success of Gant’s records helped stimulate the establishment of other independent labels immediately after the war.

He also released material through King Records (1947), and recorded for Bullet Records in Nashville until 1949. His 1948 recording of “Nashville Jumps” opens the 2004 compilation Night Train to Nashville. The co-founder of Bullet, Jim Bulleit, said of Gant:

He drank too much… He would say, “I want to do a session” when he ran out of money. We would get a bass player and a guitarist and get him a piano, and I’d go sit in the control room, and he’d tinkle around on it, and then he’d say “I’m ready,” and tap that bottle; and if we didn’t get it the first time, we didn’t get it, ’cause he couldn’t remember what he did. He’d dream up and write a song while he sat there, and he’d give me the title of it. And the uniqueness of the thing is that all of them sold.

Unfortunately, the lyrics were not available.

Rossington Collins Band – Tashauna

From their 1981 album, This is The Way. The song was a tribute to Ronnie Van Zant and John Lennon. The song did not chart but was played on AOR stations all across the U.S.

Tashauna

He called himself a free bird, they pulled him from the sky
He called himself a sharpshooter, by the gun he died
Well, he called himself a lonely man, then he took his life
But everyone of them, was one of a kind
Tashauna, Tashauna, where are you now
Tashauna, Tashauna, one of a kind
She called herself his woman, she called herself his wife
She gave him love and children, she gave the man her life
Well, he called himself a strong man as he left them all behind
I’ve yet to see him shed a tear, he is one of a kind
One of a kind, yeah, one of a kind
You know he is, he is one of a kind, yeah
Tashauna, Tashauna, where are you now
Tashauna, Tashauna, one of a kind
Now I believe that every man can choose his destiny
If you believe that you are weak, then weak you’ll surely be
Oh, but if you live for love and truth, and live for peace of mind
Just hold fast to your dreams friend, that’s just what you’ll find
One of a kind, yeah, one of a kind
All of us, everyone of us is one of kind, yeah
Tashauna, Tashauna, where are you now
Tashauna, Tashauna, one of a kind
Tashauna, Tashauna, where are you now
Dear Sir Lennon, where are you now?
He was one of a kind
You are one of a kind
All of us, one of a kind
Source: Musixmatch
Songwriters: Gary Rossington / Dale Krantz

Paul Simon – Diamonds On The Soles Of Her Shoes

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Diamond/Emerald/Jade/Pearl/Ruby/Sapphire.

From his 1986 album, Graceland. The song peaked at #2 on Canada’s Adult Contemporary chart and #77 on UK’s singles chart. It did not chart in the U.S.

From Songfacts

Paul Simon traveled to South Africa in 1985 and recorded with various local musicians, gathering tracks that would be used on the Graceland album. While he was there, he met with the leader of a vocal group called Ladysmith Black Mambazo, and he flew them to London to record the song “Homeless.” Simon and the group bonded at these sessions, and when Paul was finishing the album in New York, he brought them in to back him on his Saturday Night Live appearance on May 10, 1986. Also in town for the show were some of the musicians he recorded with in South Africa, including guitarist Ray Phiri, bass player Bakithi Kumalo and drummer Isaac Mtshali. This was quite an experience for these musicians, who lived under the racist Apartheid rule in their home country. Getting picked up in limos driven by white men was a culture shock. When they asked about visiting Central Park, Simon had to explain that they didn’t need a permit – they could just walk in.

The album was originally scheduled for release that spring, but was pushed back to August. Simon figured, “Well, we’re all here, we might as well do another track.” Simon worked up the song with Ladysmith leader Joseph Shabalala, and they recorded it at the Hit Factory in New York.

Ladysmith Black Mambazo sing in Zulu on this track. Their refrain roughly translates to: “It’s not usual but in our days we see those things happen. They are women, they can take care of themselves.”
Youssou N’dour, who is a popular singer from Senegal, also performed on this track.
If you’re looking for a social statement or deeper meaning in the lyrics, you might be disappointed. Paul Simon considered writing political songs for Graceland, but decided against it, since he wasn’t very good at it and the point of the project was to bring the sound of South Africa to the world, not the politics. He worked very hard to lace the lyrics around the tracks, which was tricky since there was so much going on in the rhythms. The result on this song was a lot of clever wordplay and an abstract story about a rich girl in New York City and her suitors. A clue that there might not be too deep a meaning here is in the line, “and I could say ‘ooo ooo ooo’ as if everybody knows what I’m talking about.”

 

Diamonds On The Soles Of Her Shoes

o kodwa you zo-nge li-sa namhlange
(A-wa a-wa) si-bona kwenze ka kanjani
(A-wa a-wa) amanto mbazane ayeza
She’s a rich girl
She don’t try to hide it
Diamonds on the soles of her shoes
He’s a poor boy
Empty as a pocket
Empty as a pocket with nothing to lose
Sing ta na na
Ta na na na
She got diamonds on the soles of her shoes
She got diamonds on the soles of her shoes
Diamonds on the soles of her shoes
Diamonds on the soles of her shoes
Diamonds on the soles of her shoes
Diamonds on the soles of her shoes
People say she’s crazy
She got diamonds on the soles of her shoes
Well that’s one way to lose these
Walking blues
Diamonds on the soles of her shoes
She was physically forgotten
Then she slipped into my pocket
With my car keys
She said you’ve taken me for granted
Because I please you
Wearing these diamonds
And I could say ooh ooh ooh
As if everybody knows
What I’m talking about
As if everybody would know
Exactly what I was talking about
Talking about diamonds on the soles of her shoes
She makes the sign of a teaspoon
He makes the sign of a wave
The poor boy changes clothes
And puts on after-shave
To compensate for his ordinary shoes
And she said honey take me dancing
But they ended up by sleeping
In a doorway
By the bodegas and the lights on
Upper Broadway
Wearing diamonds on the soles of their shoes
And I could say ooh ooh ooh
As if everybody here would know
What I was talking about
I mean everybody here would know exactly
What I was talking about
Talking about diamonds
People say I’m crazy
I got diamonds on the soles of my shoes
Well that’s one way to lose
These walking blues
Diamonds on the soles of our shoes
Source: LyricFind
Songwriters: Paul Simon / Joseph Shabalala / Dp

Dan Auerbach – Waiting On A Song

The title song from his 2017 album. Dan Auerbach wrote this song with John Prine who is also in the music video. The song has a Grateful Dead feel to it. The music video is set in the ’70s and they really did a good job. The music video was shot in Nashville where the song was recorded at Dan’s Easy Eye Sound Studios. The girl in the video is played by Hayley Orrantia who plays the daughter in the TV show The Goldbergs.

RIP… John.

 

 

Waiting On A Song

I been thinking and been hummin’
I been pickin and I been strumming
Just waiting, waiting on a song
I been hitching and I been thumbin’
I can almost hear one coming
I’m just waiting, waiting on a song
I looked down in my pocket
Underneath the bed
Walked under the lamp post
And one hit me on the head
Am I blind or too dumb to see
All the sound surrounding me?
I’m just waiting, waiting on a song
You can look up at the stars
Bow your head and count the cars
You’ll still be waiting, waiting on a song
Might be a blue bird or a crow
On a cord between two poles
They’re just waiting, waiting on a song
Songs don’t grow on trees
You gotta pick em’ out the breeze
Fall down on your knees
And pray one comes along
When those railroad gates come down
You gotta stop and turn around
Or you’ll be waiting, waiting on a song