Clarence Carter – Patches

The first part of this song reminds me of my grandfather. He was a sharecropper during the depression in rural Tennessee. He and my grandmother had 5 kids, and they literally lived in shacks. The Waltons were well off in comparison. At some point when the kids got older, they moved into a regular house and also owned and operated a small grocery store. A few years after that they moved to the big city, Nashville and lived next to my uncle in a duplex. My grandfather died at the age of 80 in 1975. My grandmother would go on to live until 1992 and died at the age of 95.

The song peaked at number 04 on Billboard’s Hot 100 chart on September 19, 1970.

From Wikipedia,

The song was written by General Johnson, the lead singer of Chairmen of the Board, with Ron Dunbar, who worked in A&R and record production at the Invictus record label, owned and overseen by Brian HollandLamont Dozier, and Eddie Holland, formerly of Motown. Dunbar was often credited with co-writing hit songs at Invictus with “Edyth Wayne”, a pseudonym used by Holland-Dozier-Holland during the time when they were in legal dispute with Motown and its music publishing arm Jobete to which they had been contracted.

The song tells a story about a boy born and raised in poverty on a backwoods farm in Alabama by a father who endured much suffering in life; the father dies before the boy is 13, entrusting the boy with the family and estate. The boy is forbidden from quitting school (as the father never could attend), so he must do all of the farm work before and after school so that he and his family have food. The burden is almost too much for the boy, especially after a flood wipes out a crop, but determination not to let his father down, along wth his mother’s prayers, keep him going. Years later, his mother has died and he and his younger siblings are adults, and he looks back on his father’s words as what helped him pull through those hard times.

The blind blues singer Clarence Carter heard the song, later saying: “I heard it on the Chairmen of the Board LP and liked it, but I had my own ideas about how it should be sung. It was my idea to make the song sound real natural…” Initially he thought “that it would be degrading for a black man to sing a song so redolent of subjugation,” but was persuaded to do so by record producer Rick Hall.

Carter recorded the song at the FAME Studios in Muscle Shoals, Alabama, with Hall as producer and musicians including Junior Lowe (guitar), Jesse Boyce (bass), and Freeman Brown (drums). Carter’s recording was released in July 1970 and was described by a Billboard reviewer as a “powerful blues item” featuring a “blockbuster vocal work-out.” The record rose to No. 4 on the Hot 100, No. 2 on the R&B chart, and No. 2 on the UK singles chart.

Following Carter’s success, the song won the 1971 Grammy Award for Best Rhythm & Blues Song for its writers, Johnson and Dunbar.

Clarence Carter – Patches

I was born and raised down in Alabama
On a farm way back up in the woods
I was so ragged that folks used to call me Patches
Papa used to tease me about it
‘Cause deep down inside he was hurt
‘Cause he’d done all he could

My papa was a great old man
I can see him with a shovel in his hands, see
Education he never had
He did wonders when the times got bad
The little money from the crops he raised
Barely paid the bills we made

For, life had kick him down to the ground
When he tried to get up
Life would kick him back down
One day Papa called me to his dyin’ bed
Put his hands on my shoulders
And in his tears he said

He said, Patches
I’m dependin’ on you, son
To pull the family through
My son, it’s all left up to you

Two days later Papa passed away, and
I became a man that day
So I told Mama I was gonna quit school, but
She said that was Daddy’s strictest rule

So every mornin’ ‘fore I went to school
I fed the chickens and I chopped wood too
Sometimes I felt that I couldn’t go on
I wanted to leave, just run away from home
But I would remember what my daddy said
With tears in his eyes on his dyin’ bed

He said, Patches
I’m dependin’ on you, son
I tried to do my best
It’s up to you to do the rest

Then one day a strong rain came
And washed all the crops away
And at the age of 13 I thought
I was carryin’ the weight of the Whole world on my shoulders
And you know, Mama knew What I was goin’ through, ’cause

Every day I had to work the fields
‘Cause that’s the only way we got our meals
You see, I was the oldest of the family
And everybody else depended on me
Every night I heard my Mama pray
Lord, give him the strength to make another day

So years have passed and all the kids are grown
The angels took Mama to a brand new home
Lord knows, people, I shedded tears
But my daddy’s voice kept me through the years

Saying
Patches, I’m dependin’ on you, son
To pull the family through
My son, it’s all left up to you

Oh, I can still hear Papa’s voice sayin’
Patches, I’m dependin’ on you, son
I’ve tried to do my best
It’s up to you to do the rest

I can still hear Papa, what he said
Patches, I’m dependin’ on you, son
To pull the family through
My son, it’s all left up to you

Source: LyricFind

Songwriters: General N. Johnson / Ronald Dunbar

Night – Hot Summer Nights

From their 1979 self-titled album. The song reached number 18 on Billboard’s Hot 100 chart on September 01, 1979.

From Wikipedia,

Night’s vocalists Stevie Vann (aka Stevie Lange) and Chris Thompson had met when Vann had provided backing vocals for the 1978 album Watch by Manfred Mann’s Earth Band then fronted by Thompson. Soon afterwards Thompson invited Vann to join him in a new outfit, Vann’s session group known as Bones having recently disbanded and Thompson having reduced his involvement with Manfred Mann’s Earth Band. Before officially forming as “Night” in LA, the new group toured the London pub-rock scene in 1978 under the name “Filthy McNasty” performing the mix of originals and covers that became their first album. They are recorded on “A Week at the Bridge” (The Bridge House, Canning Town) and had their UK release event at The Golden Lion, Fulham.

Richard Perry produced two albums by Night for his Planet label; the group’s eponymous 1979 debut album yielded two US Top 40 hits: “Hot Summer Nights” (No. 18) and “If You Remember Me” (No. 17).

“Hot Summer Nights”, a cover of a minor Walter Egan hit, featured Lange on lead vocals and gave Night their one international hit most significantly in Australia at No. 3 with more moderate success in Canada (No. 23), the Netherlands (No. 21), New Zealand (No. 28) and South Africa (No. 13).

Hot Summer Nights

There was a time, not too far gone

When I was changed by just a song

On the radio and in the car

The pounding of an electric guitar

Then the time came to make our stand

We started up a four-piece band

And the heat felt like spotlights

In the heart of a hot summer night, yeah

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights

Return with me to when times were best

We were friends that could pass any test

We shared our hopes, our dreams, our goals

And other fundamental roles

As we sang in the hot, dark rooms

Happy just to play our tunes

It felt good when we got it right

It felt good on a hot summer night, yeah

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights, yeah

(Guitar solo)

So it lives, and it always will

Those songs we sung are in us still

Ringing out with all their might

In the heart of a hot summer night, yeah

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights, yeah

wooo.ooo.ooo .oooooo… ooo… ooo… oooh

Hot summer nights, yeah

Writer(s): Walter Lindsay Egan

Donny Hathaway – This Christmas

The song was released as a single on December 9, 1970.  The song had reached #38 on Billboards Hot 100 chart on December 13, 2019. This is the very first time the original version has been on the Hot 100 chart.

From Songfacts

Hathaway wrote this soulful Christmas song with Nadine McKinnor. It evokes the spirit of the holiday, as he’s looking forward to spending the season with friends and family. In the memorable chorus, he sings:

And this Christmas, will be
A very special Christmas, for me
Like many Christmas songs, this one took a while to find an audience. Released as a single in 1970, it went nowhere, but later became a modern holiday standard, covered by a wide range of artists including Destiny’s Child, Aretha Franklin and Lady Antebellum. Chris Brown.

This Christmas

Hang all the mistletoe
I’m gonna get to know you better
This Christmas
And as we trim the tree
How much fun it’s gonna be together
This Christmas
Fireside’s blazing bright
We’re caroling through the night
And this Christmas will be
A very special Christmas for me
Presents and cards are here
My world is filled with cheer, and you
This Christmas
And as I look around
Your eyes outshine the town, they do
This Christmas
Fireside’s blazing bright
We’re caroling through the night
And this Christmas will be
A very special Christmas for me, Yeah
Shake a hand, shake a hand now
Fireside’s blazing bright
We’re caroling through the night
And this Christmas will be
A very special Christmas for me
Merry Christmas
Shake a hand, shake a hand now
Wish your brother Merry Christmas
All over the land now
Yeahhh
Merry Christmas
Merry, Merry Christmas
Yeahhh
Source: Musixmatch
Songwriters: HATHAWAY DONNY E / MC KINNOR NADINE

The Kinks – Low Budget

The title cut from their 1979 album. The song did not chart, but the album became their best-selling non-compilation album in the U.S. It was a flop in the U.K. I’m always on a low budget.

From Wikipedia

“Low Budget” was recorded in January 1979. It describes a man giving up his “expensive tastes” in order to save money. Like many of the tracks on Low Budget, it applies to the economic troubles occurring during the time that the album was released, such as strikes in Great Britain. However, AllMusic‘s Richard Gilliam claimed that the track’s theme could “easily apply to just about any modern recession”.

Although “Low Budget” refers to economic problems of the times in general, it also refers to some of Ray Davies’ own personal concerns. In the song, Davies mocks his own fear of not having money and his frugality. The song also references Davies’ vanity. The singer describes himself as once being well dressed and able to afford cigars, but now has to buy discount clothes and chew mints. He describes himself as “a cut-price person in a low-budget land.” But despite being reduced to poverty, the singer expresses pride in his hair and his teeth. Author Thomas Kitts notes that even the title, used in the refrain “I’m on a low budget” could refer to Davies keeping himself on a tight budget.

When asked which guitar performance he was most proud of, The Kinks’ guitarist Dave Davies noted “Low Budget,” as well as “You Really Got Me,” as a favorite. He said of this:

I like “Low Budget” [1979]. It’s wild. I like that kind of, almost country-style playing. It’s like a shape; I don’t even worry about what notes I play as I’m doing it. And if you catch a few open strings, you might get lucky with a weird clunk or a harmonic or something. I think all the best stuff is the stuff that happens before you’ve even realized what you’ve done. So “Low Budget” and, obviously, “You Really Got Me.”

— Dave Davies, Guitar World, 2014

Low Budget

Cheap is small and not too steep
But best of all cheap is cheap
Circumstance has forced my hand
To be a cut price person in a low budget land
Times are hard but we’ll all survive
I just got to learn to economize

I’m on a low budget
I’m on a low budget
I’m not cheap, you understand
I’m just a cut price person in a low budget land
Excuse my shoes they don’t quite fit
They’re a special offer and they hurt me a bit
Even my trousers are giving me pain
They were reduced in a sale so I shouldn’t complain
They squeeze me so tight so I can’t take no more
They’re size 28 but I take 34

I’m on a low budget
What did you say
I’m on a low budget
I thought you said that

I’m on a low budget
I’m a cut price person in a low budget land

I’m shopping at Woolworth and low discount stores
I’m dropping my standards so that I can buy more
Low budget sure keeps me on my toes
I count every penny and I watch where it goes
We’re all on our uppers we’re all going skint
I used to smoke cigars but now I suck polo mints

I’m on a low budget
What did you say
Yea I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Low budget
Low budget

Art takes time, time is money
Money’s scarce and that ain’t funny
Millionaires are things of the past
We’re in a low budget film where nothing can last
Money’s rare there’s none to be found
So don’t think I’m tight if I don’t buy a round

I’m on a low budget
What did you say
Yes, I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Say it again
Low budget
One more time
Low budget

Source: Musixmatch

Songwriters: Raymond Douglas Davies

Dorothy Moore – Misty Blue

I came across this song last year, I barely remembered it. Even though several artists have recorded it I believe this is the best version. This was the most successful recording of the song. The song peaked at number 3 on Billboards Hot 100 chart on June 12, 1976.

From Wikipedia

Misty Blue” is a song written by Bob Montgomery that has been recorded and made commercially successful by several music artists. Although Montgomery wrote the song for a different artist in mind, it was brought first to the attention of Wilma Burgess in 1966. It was recorded by Eddy Arnold the following year, both versions were top 5 Country Hits. A decade later, blues artist Dorothy Moore released the highest-charting version of the song and it reached the top ten in several different radio formats. Following Moore’s revival of the track, numerous artists re-covered the tune, including country artist Billie Jo Spears. Spears’s version would also go on to become a successful single release. Numerous other artists and musicians of different genres have recorded their own versions of “Misty Blue”. The song is now considered both a country music and blues standard.

Bob Montgomery originally wrote the song for Brenda Lee, recalling, “I wrote ‘Misty Blue’ in about twenty minutes. It was a gift and it was perfect for Brenda Lee, but she turned it down. Her producer Owen Bradley loved the song and as he couldn’t push her to do it.

Prior to Moore’s blues version of “Misty Blue”, fellow blues singer Joe Simon cut the song. Released in 1972, Simon’s version of the song only became a regional hit.

It was through the Joe Simon version that Malaco Records owner Tommy Couch was familiar with “Misty Blue” which Couch would record in 1973 with Dorothy Moore, a native of Jackson MS who had recorded a number of tracks at the Malaco Studios in Jackson. Moore would recall receiving a morning call at her home from Couch inviting Moore to Couch’s studio to hear a song he deemed perfect for her: (Dorothy Moore quote:)“I didn’t have a car at the time, so I took the bus to Malaco [where] I listened to the song [and] liked itThe rhythm section [was] there [so] we decided to record it. They had the lyrics typed out and [put] in front of me. And we did that record in one take. ‘Misty Blue’ was meant for me” – although Moore admits: “I recorded it just like I did any other. I didn’t say: ‘This is a hit.’ I never saw [great success] coming.”

Evidently reluctant to release the track themselves, Malaco Records shopped Moore’s “Misty Blue” to major labels without success, with the track remaining “in the can” until November 1975 when the cash-strapped Malaco Records used the last of its resources to press Moore’s “Misty Blue” which they released themselves. When Moore was advised of her recording’s belated release by Couch (Dorothy Moore quote:)“I [asked to] come in [to the studio] and add one thing to it. I had a copy of the recording [and had realized] the intro was too long – and [so] I put that ‘mmmm-ooh-a-ooh’ over the first few notes.” Also Muscle Shoals Rhythm Section veteran Jimmy Johnson overdubbed his rhythm guitar work on to the 1973 track. Malaco Records did shop the updated track to Florida-based TK Records whose owner Henry Stone passed on releasing Moore’s “Misty Blue” while agreeing for TK to act as national distributor for Malaco’s own release of the track which Stone began promoting heavily via his own independent network.

After receiving its initial airplay in Chicago and Washington DC, Moore’s single broke in the southern states in April 1976 and three months later it was nominated for a Grammy Award. In 1976 the single reached number 2 on the R&B chart and 3 on the Billboard Hot 100, as well as number 14 on the Adult Contemporary chart. Billboard ranked it as the No. 19 song for 1976.

Misty Blue

Oh, it’s been such a long, long time
Look like I’d get you off of my mind
But I can’t
Just the thought of you (just the thought of you)
Turns my whole world misty blue (misty blue)

Oh honey, just the mention of your name (just your name)
Turns the flicker to a flame
Listen to me good, baby
I think of the things we used to do
And my whole world turns (misty blue) misty blue

Oh baby, I should forget you
Heaven knows I tried (you know I tried)
Baby, when I say that I’m glad we’re through
Deep in my heart I know I’ve lied
I’ve lied, I’ve lied (just the thought of you, misty blue)

Oh honey, it’s been such a long, long time
Looks like I’d get you off of my mind
But I can’t
Just the thought of you (just the thought of you), my love
My whole world turns misty blue (misty blue)

Oh, oh, I can’t, oh, I can’t
Oh, I can’t forget you
My whole world turns misty blue
Oh, oh, my love
My whole world turns misty blue (misty blue)
Baby, baby, baby, baby
Baby, I can’t forget you
My whole world turns misty blue

Source: LyricFind

Songwriters: Bob Montgomery

Jethro Tull – Bungle In The Jungle

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Alligator/Crocodile/Lizard/Snake/Turtle.

From their 1974 album, War Child. The song reached #12 on Billboard’s Hot 100 chart on January 10, 1975.

From Songfacts

  • This is perhaps the best-known song from Jethro Tull’s War Child album. War Child was originally written to be the soundtrack for a film which never got made. The outline of the movie, posted on the official Jethro Tull website, goes into details of the film: A black comedy about a dead teenage girl visiting Heaven and her various misadventures in the afterlife. May we humbly recommend Terry Gilliam to direct?

    “Bungle in the Jungle” actually came from an earlier project. Ian Anderson told us in a Songfacts interview: “It was actually late ’72 or early ’73 when I was in Paris recording an album that never got released, although one or two of the tracks made it out in 1974, but that was at a time when I was writing an album that was exploring people, the human condition, through analogies with the animal kingdom. And that particular song was perhaps the more obvious and the more catchy of the tunes. Eventually it was finished and saved in time for the War Child album, sometime later.”

    The War Child album peaked at #2 on the Billboard Albums chart.
  • In the same interview, Anderson also clears up the matter of which came first: this song, or the World Heavyweight Championship boxing match between George Foreman and Muhammad Ali, known as “Rumble in the Jungle” because of its Zaire location. While he’s not sure if the song was released before the boxing match, Anderson knows that the song was written well ahead of it. He says, “Since ‘Bungle in the Jungle’ had been released in the year 1974 on the War Child album, ‘rumble in the jungle’ may have been taken from that. Because that took place on the 30th of October in 1974. Maybe they were alluding to what was a well-played song, even on AM radio.”

Bungle In The Jungle

Walking through forests of palm tree apartments
Scoff at the monkeys who live in their dark tents
Down by the waterhole
Drunk every Friday
Eating their nuts
Saving their raisins for Sunday.
Lions and tigers
Who wait in the shadows
They’re fast but they’re lazy, and sleep in green meadows

Let’s bungle in the jungle
Well, that’s all right by me
I’m a tiger when I want love
But I’m a snake if we disagree

Just say a word and the boys will be right there
With claws at your back to send a chill through the night air
Is it so frightening to have me at your shoulder?
Thunder and lightning couldn’t be bolder
I’ll write on your tombstone,I thank you for dinner
This game that we animals play is a winner

Let’s bungle in the jungle
Well, that’s all right by me
I’m a tiger when I want love
But I’m a snake if we disagree

The rivers are full of crocodile nastiest
And He who made kittens put snakes in the grass
He’s a lover of life but a player of pawns
Yes, the King on His sunset lies waiting for dawn
To light up His Jungle as play is resumed
The monkeys seem willing to strike up the tune

Let’s bungle in the jungle
Well, that’s all right by me
I’m a tiger when I want love
But I’m a snake if we disagree

The Boomtown Rats – I Don’t Like Mondays

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Days of the Week.

From their 1979 album, The Fine Art of Surfacing. The song reached #73 on Billboard’s Hot 100 chart and #1 on the UK’s singles chart.

From Songfacts

This is about Brenda Spencer, a 16-year-old high school student who lived across the street from Cleveland Elementary School in San Diego, California. On Monday, January 29, 1979, she opened fire on the school with a rifle her father had given her for Christmas, killing two adults (including the principal) and injuring nine children before going back to her home. Police surrounded her home and waited for seven hours until she gave herself up. In that time, she spoke with a reporter on the phone. When asked why she did it, she replied, “I just started shooting, that’s it. I just did it for the fun of it. I just don’t like Mondays. I just did it because it’s a way to cheer the day up. Nobody likes Mondays.”

This was #1 hit in 32 different countries, but it flopped in America, probably because the subject matter hit too close to home. Gun violence is a big problem in America.

At a basic level, this is often heard as a song lamenting the beginning of the work week. Some radio stations play it every Monday at a certain time.

Group leader Bob Geldof wrote this. He went on to organize charity efforts Band Aid, Live Aid and Live 8, earning a KBE (the equivalent of knighthood given to people born outside of England) for his efforts. The Boomtown Rats played this as part of their set at Live Aid.

While in Atlanta touring, Bob Geldof heard the news story about Brenda Spencer. Geldof composed the song on the spot, originally as a reggae number. Back in Los Angeles after the tour, a studio demo was recorded with grand piano and vocals. By the time ‘I Don’t Like Mondays’ was introduced onstage in Loch Lomond, Scotland, the song had been transformed dramatically.

 

I Don’t Like Mondays

The silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s going to make them stay at home
And daddy doesn’t understand it
He always said she was as good as gold
And he can see no reason
‘Cause there are no reasons
What reason do you need to be sureOh, oh, oh tell me why
I don’t like MondaysTell me why
I don’t like MondaysTell me why
I don’t like Mondays
I want to shoot
The whole day downThe Telex machine is kept so clean
As it types to a waiting world
And mother feels so shocked
Father’s world is rocked
And their thoughts turn to their own little girl
Sweet sixteen ain’t that peachy keen
Now, it ain’t so neat to admit defeat
They can see no reasons
‘Cause there are no reasons
What reason do you need oh, woahTell me why
I don’t like MondaysTell me why
I don’t like MondaysTell me why
I don’t like Mondays
I want to shoot
The whole day down
Down, down
Shoot it all downAll the playing’s stopped in the playground now
She wants to play with her toys a while
And school’s out early and soon we’ll be learning
And the lesson today is how to die
And then the bullhorn crackles
And the captain tackles
With the problems and the how’s and why’s
And he can see no reasons
‘Cause there are no reasons
What reason do you need to die, dieOh, oh, oh and the silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s going to make them stay at home
And daddy doesn’t understand it
He always said she was as good as gold
And he can see no reason
‘Cause there are no reasons
What reason do you need to be sureTell me why
I don’t like Mondays
Tell me whyI don’t like Mondays
Tell me whyI don’t like, I don’t like, I don’t like Mondays
Tell me why
I don’t like, I don’t like, (tell me why) I don’t like Mondays
Tell me why
I don’t like Mondays
I want to shoot, the whole day down, uh, uh, uh

Source: LyricFindSongwriters: Bob Geldof

Elvis Presley – The Next Step Is Love

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Baking/Bread/Cake/Pie/Picnic.

From his 1970 album, That’s The Way It Is. The song reached #32 on Billboard’s Hot 100 chart on August 28, 1970. It was recorded on June 7, 1970, at RCA Studio B in Nashville.

From Songfacts

Released as a single with “I’ve Lost You,” this was the last song Paul Evans wrote for Elvis (he co-wrote it with Paul Parnes). Evans is a prolific songwriter who had novelty hits as an artist with “Seven Little Girls (Sitting In The Back Seat)” and “Happy-Go-Lucky Me.” When writing for Elvis, Evans points out that he had to be very careful with the demos because Elvis’ producers would often use the whole arrangement, not just the song. In this song, he used piccolo trumpets on the demo, which made it to the record. Says Evans: “Who knows? If we had put a tuba on it and they liked it, they would have put a tuba on it. Or if they didn’t like it, they wouldn’t have done the song. They had to like the package, the ambience of the demo, so we would have to do our best to give them our interpretation of what they would do, with a smaller group of people.

The Next Step Is Love

Yesterday I slipped away
The sun is welcoming the evening shadows
On a perfect day and the next step is love
The next step is love
We walked barefoot through the misty meadows
Laughing at each other in the rain
Made some faces at some people in the park
Didn’t bother to explain
Fun, fun, look at us run
Going nowhere special really fast
But we’ve yet to taste the icing on the cake
That we’ve been baking with the past
And the next step is love
So what are we waiting for?
The next step is love
Girl, it’s for sure
Love will be a place to run to
From the world they’ve built to you and me
We’ll be closer than we’ve ever been
Though, looking back, it’s so hard to believe
Hang it all out or bring it all in
The best we’ve picked upon the way tonight
Changes are coming, but together
We can make it through somehow
Yes, the next step is love
Source: LyricFind
Songwriters: Paul Evans / Paul Parnes

Moon Martin – Rolene

From Bestclassicbands.com

Moon Martin, a singer-songwriter, guitarist and power pop performer best known for his song “Bad Case of Loving You,” a 1979 hit for Robert Palmer, died on May 11, 2020. Neither the location nor cause of death was known. His death was confirmed by Tulsa World and Craig Leon, who produced several of his albums. Martin was 74 (though some reports say he was 69).

Born John David Martin on Oct. 31, 1945 – the nickname “Moon” came from his propensity to use the word in his song lyrics – Martin released a series of albums for Capitol Records, beginning in the late ’70s. The power pop artist earned a pair of modest chart hits in 1979, “Rolene” (#30) and “No Chance” (#50), both from his Escape From Domination album.

Martin was born in Altus, Okla. After attending the Univ. of Oklahoma, he went to Los Angeles, where his scant biographical materials indicated that he briefly performed with Linda Ronstadt’s band. Her longtime producer and manager, John Boylan, confirmed this to blogger Bob Lefsetz:

“At Linda’s suggestion, I hired him to be in her band for one Troubadour gig in 1971,” he wrote. “The rest of the band consisted of Glenn Frey, Don Henley, Michael Bowden (on bass), Byron Berline on occasional fiddle, and me on occasional acoustic guitar or Wurlitzer electric piano. I recorded three or four sets for a possible live album, using the old Wally Heider truck, but nothing came of it. We did release one track – a version of “Rescue Me,” and it shows Moon’s uncanny ability to add something fresh while still fitting in. He takes a very rock and roll approach to an R and B song and it works great.”

The song reached #30 on Billboards Hot 100 chart in 1979. Moon Martin also wrote the song “Bad Case of Loving You” that Robert Palmer had a big hit with that went to #14 on the Hot 100 charts also in 1979.

 

Rolene

Come on operator gimme Rolene on my line
She knows what I need to ease a cravin’ in my spine
A cheerleaders smile
Tijuana style
Your daddy might be judge
Sure know how to nudge

All right Rolene
Rolene
Rolene

Well, I’ve been livin’ so white and clean
Jack, it’s made me mean
I need Rolene’s smooth, round thigh
It’s like a rush to get me high
I give it my best shot
Honey, all I got
My name may not be Hud
But I’ll show you I’m no dud

All right Rolene
Rolene
Rolene

You know my baby’s love
Just like a sweet velvet glove
Honey, crack that whip
Ya make me bite my lip

Paul McCartney and Wings – With A Little Luck

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Big/Large/Little/Small/Tall/Tiny.

From his 1978 album, London Town. The song peaked at #5 on Billboard’s Hot 100 chart on May 19, 1978.

From Songfacts

The song was long, 5:45, but radio stations were for the most part content to play the unedited single, even though edited promos were sent out.
There were 2 versions of the song, the original unedited 5:45 album version, which radio stations were for the most part content to play and the edited DJ version, which only runs for 3:13.
This was written on Paul McCartney’s farm in Scotland. Most of this song was recorded on a motor yacht called the Fair Carol in the Virgin Islands along with several other tracks on London Town. The yacht had a mobile 24-track recording studio installed on it, and when they weren’t recording McCartney, his family and the band lived on three other yachts. The song was then finished off back in London.

Thinking of the water bound sessions, they planned to call the album “Water Wings.”

The lyrics do not convey a political or social message, but McCartney has no problem with Silly Love Songs.

With A Little Luck

With a little luck we can help it out
We can make this whole damn thing work out
With a little love we can lay it down
Can’t you feel the town exploding

There is no end to what we can do together
There is no end
The willow turns his back on inclement weather
And if he can do it we can do it

Just me and you
And a little luck we can clear it up
We can bring it in for a landing
With a little luck we can turn it on
There can be no misunderstanding

There is no end to what we can do together
There is no end
The willow turns his back on inclement weather
And if he can do it

Just me and you
With a little push we could set it off
We can send it rocketing skywards
With a little love we could shake it up
Don’t you feel the comet exploding

With a little luck, with a little luck
With a little luck, a little luck, a little luck

With a little love, we can lay it down
Can’t you feel the town exploding
With a little push, we could set it off
We could send it rocketing skywards

With a little love, we could shake it up
Don’t you feel the comet exploding forwardsWriter/s: PAUL MCCARTNEY
P