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KUNG
Kung-Fu-Fighting-Carl-Douglas
Kung Fu Fighting Album: Kung Fu Fighting And Other Great Love Songs (1974)
by Carl Douglas
Kung Fu and disco come together on this song, merging two of the biggest trends of the '70s. Disco was just finding its groove when the song was released in 1974, but Kung Fu had been kicking for a while, with Bruce Lee movies like Fist Of Fury (1972) and Enter The Dragon (1973), and a popular TV series called Kung Fu starring David Carradine that ran from 1972-1975. The combination proved irresistible: "Kung Fu Fighting" was a global hit, going to #1 in most countries where it was released, including America, where it spent two weeks at the top in December 1974.
Carl Douglas was working as a session singer for Pye Records in London when he wrote this song. He got the idea one night in Soho when he walked by a pinball arcade and saw some kids using Kung Fu moves in a mock fight, moving in time to the music. He turned to his buddy and said, "Damn, looks like everybody's Kung Fu fighting."
"At that moment, I heard it all in my head, melody line as well, so I had to rush home and write it down," he explained in the Billboard Book Of #1 Hits.
Douglas was born in Jamaica - you'll hear a bit of reggae in this song as a nod to his heritage. He was the first Jamaican-born singer to have a #1 hit in the US. He also became the first British-based singer to land a #1 hit on the R&B chart when "Kung Fu Fighting" topped that tally.
"Kung Fu Fighting" seems like a glaringly obvious hit, but it was banished to a B-side when Douglas recorded it with the Asian producer Biddu (last name: Appaiah) and sent it to Pye Records with a far more generic song called "I Want To Give You My Everything" as the A-side.
"'Kung Fu Fighting' was not meant to be a hit," Biddu told the Metro newspaper August 6, 2004. "Carl Douglas recorded something for an A-side of a single and every session was three hours long. We spent two hours on the first song and then took a break and I said: 'Quick guys, we need to record the B-side in two takes.' Kung Fu Fighting was the B-side so I went over the top on the 'huhs' and the 'hahs' and the chopping sounds. It was a B-side: who was going to listen? I played the A-side to the guy at Pye Records, Robin Blanchflower, and he said: 'Can I listen to the rest of the reel?' When he heard it, he said: 'This should be the A-side.'"
Biddu became the first Asian producer at the helm of a UK #1 hit.
The song was first released in the UK, where Douglas was based. After a slow start, it began selling and rose to #1 in September 1974. Pye then teamed with the US label 20th Century to release it in America, where it hit the top spot three months later.
Douglas donned a bandana and robe when he performed this song, doing the kicks and chops to demonstrate the dance that came to be known as the "Kung Fu." The dance was a little dangerous but very popular - anyone can do it.
The follow-up single was "Dance The Kung Fu," which didn't have nearly as much punch, topping out at #48 in America and #35 in the UK. Carl Douglas never again charted in America and had just one more entry in the UK: "Run Back" in 1977, which went to #25.
Of course this was used in the 2008 kids' movie Kung Fu Panda, performed by Cee-Lo Green and Jack Black. The original Carl Douglas version was used in the movies City of God (2002), Wayne's World 2 (1994), Beverly Hills Ninja (1997), Daddy Day Care (2003), and Bowfinger (1999).
In 1998 "Kung Fu Fighting" returned to the UK chart, peaking at #8 in a rendition by the British dance act Bus Stop. Their version sampled Carl Douglas' original vocals. Bus Stop members included Mark Hall and Graham Turner, who later recorded as Flip & Fill. Daz Sampson, who later represented the UK in the 2006 Eurovision Song Contest, was also a member of the group.
Everybody was kung-fu fighting
Those kicks were fast as lightning
In fact it was a little bit frightening
But they fought with expert timing
They were funky China men from funky Chinatown
They were chopping them up and they were chopping them down
It's an ancient Chinese art and everybody knew their part
From a feint into a slip, and kicking from the hip
Everybody was kung-fu fighting
Those kicks were fast as lightning
In fact it was a little bit frightening
But they fought with expert timing
There was funky Billy Chin and little Sammy Chung
He said here comes the big boss, let's get it on
We took a bow and made a stand, started swinging with the hand
The sudden motion made me skip now we're into a brand knew trip
Everybody was kung-fu fighting
Those kicks were fast as lightning
In fact it was a little bit frightening
But they did it with expert timing
Keep on, keep on, keep on, keep on
Everybody was kung-fu fighting
Those kicks were fast as lightning
In fact it was a little bit frightening
Make sure you have expert timing
Kung-fu fighting, had to be fast as lightning
Keep on, keep on, keep on
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THE J
The-Jack-And-Jailbreak-Acdc
The Jack and Jailbreak AC/DC
Pictures from https://oldworld.althist.com/
"The Jack" is Australian slang for Gonorrhea, which is also known as "The Clap." AC/DC lead singer Bon Scott explained the origin of the song in a 1976 interview with Sounds. Said Scott: "We were living with this houseful of ladies who were all very friendly and everyone in the band had got the jack. So we wrote this song and the first time we did it on stage they were all in the front row with no idea what was goin' to happen. When it came to repeatin' 'She's got the jack' I pointed at them one after another." Added guitarist Angus Young: "After that, wherever we did the song the girls in the audience would run to the back of the hall."
Bon Scott was known for his outrageous behavior both on and off stage. He told this story in the same Sounds interview: "One time I had the jack and this girl wanted f--kin' and she was so ugly I figured, s--t! Nobody else would have her so she wouldn't spread it. But when we'd finished she went next door to Phil (Rudd, their drummer) and gave it to him. And a few weeks later she sent him a doctor's bill for 35 dollars for the cure. Well, next time she came to a show I got her up on stage in the middle of 'The Jack' and explained how she'd got it wrong and it was me owed her the money." On mike that was.
This was released in Australia in 1975 on AC/DC's second album, T.N.T. Their first two Australian releases were combined to form High Voltage in 1976, which was their first album released worldwide.
In concert, Bon Scott would sometimes share with the crowd a more direct set of lyrics than the one on the recording. He also did a bit where he would introduce the song by singing (to the tune of "Maria" from West Side Story):
AC/DC played this before a crowd of 500,000 at show in Toronto in 2003. The concert, which also featured The Rolling Stones, Rush, and others, was a benefit for the city, which suffered a drop in tourism due to the spread of a rare disease called SARS (Sudden Acute Respiratory Syndrome). AC/DC had no problem singing about one disease at a benefit for another, and the fans didn't mind either.
The Jack
AC/DC
Written by: Ronald Belford Scott, Angus Young, Malcolm Young
Album: High Voltage
Released: 1976
On February 19th, 1980, the body of Bon Scott, lead singer of the Australian hard rock band AC/DC, was found in his car having asphyxiated on his own vomit after a night of drinking. Nothing seemed particularly off the night previous. A mate of his, Alistair Kinnear, was driving him home when he noticed Scott had fallen asleep, not surprising since they had been drinking. So, he called Silver Smith and they lowered the seat so that Scott could sleep on his back. In the morning, Kinnear found Scott still asleep, brought him to the hospital in a panic, and learned he was already dead shortly after.
By this point, Scott had been with AC/DC for six years and the band was rising ever higher. Their sixth album, Highway to Hell, had just broken the US Top 100, a first for the band. A successful promotional tour had just ended and Malcolm and Angus Young were just beginning to play around with songs for the next album. Scott was supposed to start singing the next day.
Scottish Brothers Malcolm and Angus Young might be larger-than-life, but in person, it's a bit of a different story. Older brother Malcolm is the taller of the two, at only 5-foot-3. Angus stands all of 5-foot-2.
One suspects Bonn Scott was murdered prior to the production of Maximum Overdrive and that the direction Scott wanted to go was perhaps somewhat different than the record company wanted. What Tavistock wants, Tavistock gets. Scottish Brothers indeed... the original Jailbreak Video did it for me. Stephen King and Maximum Overdrive are the cherry topping the dessert.
Jailbreak 1974
AC/DC
Written by: Ronald Belford Scott, Angus Young, Malcolm Young
There was a friend of mine on murder
And the judge's gavel fell
Jury found him guilty
Gave him 16 years in Hell
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ABRAC
Abracadabra-The-Joker-Take-The-Money-And-Run-Steve-Miller-Band
Abracadabra Album: Abracadabra (1982)
The Joker Album: The Joker (1973)
Take The Money And Run Album: Fly Like An Eagle (1976)
by Steve Miller Band
Abracadabra written entirely by Steve Miller.
Yes, the man who once spoke of the pompatus of love was now rhyming "abracadabra" with "reach out and grab ya."
Of The Joker, the line in this song, "I speak of the pompatus of love," has baffled listeners for some time. The word "Pompatus" does exist in the Oxford English Dictionary, and it means "to act with pomp and splendor." Miller most likely heard the word on a song called "The Letter," released by the Los Angeles doo-wop group The Medallions in 1954. It was written by their lead singer, Vernon Green, who was 16 at the time and crippled with polio. The song is a love letter to the woman of his dreams, and includes these spoken-word lyrics:
Let me whisper sweet words of pizmotality
and discuss the pompatus of love
Put it together and what do you have?
Matrimony
Except "pompatus" is really "puppetutes," according to Green. He defines it as "A secret paper-doll fantasy figure who would be my everything and bear my children." A variation of the word "puppet."
We only know this because there is a 1995 movie directed by Richard Schenkman and starring Jon Cryer called The Pompatus Of Love, titled after the line in "The Joker." In the film, the main characters analyze the line and draw connections to their love lives. They posit that Miller could be singing "pompadours," "impetus," or "prophetess" of love.
Schenkman's friend told him about "The Letter," so Cryer knew it was likely the origin of the phrase "pompatus of love." When Cryer was promoting the movie he appeared on CBS This Morning, where he talked about The Medallions song. Vernon Green was watching and contacted Cryer's publicist, who set up a call. In his memoir So That Happened, Cryer recounts his conversation with Green, where he learned about "puppetutes." Green had never heard "The Joker," so Cryer played it for him over the phone.
As for Miller, he admitted the line came from "an old doo-wop song." Appearing on The Tonight Show Starring Jimmy Fallon in 2019, he said, "It was a different term and I misunderstood it, so I made up the word pompatus."
Miller gave a more oblique expository on the lyric during his 2022 Songwriters Hall of Fame induction ceremony. "'Pompatus of love?' My attorney is here tonight and he will explain what it is and how much it costs when you say it," he said of the line.
Miller got the line at the end, "I really love your peaches want to shake your tree, lovey dovey, lovey dovey..." from "Lovey Dovey," a 1953 song by the R&B group The Clovers. That song's co-writer was Ahmet Ertegun, who later became head of Atlantic Records. Ertegun sued Miller for plagiarism. Miller recalled to Mojo magazine in 2012: "To me, it was an old blues double entendre, but I had to give him credit. I don't mind having Ahmet's name beside mine though."
Miller won a lawsuit against rap group The Geto Boys when they used this without his permission in 1990. In 2000, he let Shaggy use the bass line from this on his hit, "Angel." A year later, Miller let Run-D.M.C. sample "Take The Money And Run."
The line "I'm a midnight toker" is a marijuana reference (as is the "toke" in Brewer & Shipley's hit "One Toke Over The Line" from 1970). Many stoners related to this song, and in 2012, Spin magazine named it the most commercially successful pot song of all time.
Steve Miller told the story of the song in November 2012: "I got this funny, lazy, sexy little tune," he recalled, "but it didn't come together until a party in Novato, north of San Francisco. I sat on the hood of a car under the stars with an acoustic guitar making up lyrics and 'I'm a joker, I'm a smoker, 'I'm a midnight toker' came out. My chorus! The 'some people call me the space cowboy' and 'the gangster of love' referred to earlier songs of mine and so did 'Maurice' and 'the propitious of love.' You don't have to use words. It was just a goof.
Miller wrote Take the Money and Run as a road trip song.
Another characteristic of Miller's road songs is mention of various places - El Paso shows up in this one.
This was the first song Miller let a rap group sample; he let Run-D.M.C. use it in 2001 with Everlast also on vocals. Miller, who had turned down many previous requests to sample his songs, agreed only after hearing the song and liking what they did with it.
The group was only drawing a few thousand fans to their big arena shows, marking the end of their run as a huge concert draw. Miller took six years off from touring, but resumed again in 1988 ("I was just bored to tears," he said). By this time, he had entered the realm of classic rock, and was once again filling arenas. Over the next few decades, he kept a consistent but reasonable touring schedule, playing about 50 shows a year, mostly in the US.
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IS IT
Is-It-My-Body-Clones-Billion-Dollar-Babies-Alice-Cooper
Is It My Body Album: Love It to Death (1971)
Clones Album: Flush The Fashion (1980)
Billion Dollar Babies Album: Billion Dollar Babies (1973)
by Alice Cooper
In 1971, Alice Cooper released the breakthrough album, Love It To Death. It has become one a quintessential rock and roll album.
“Is It My Body,” the fifth track on Love It To Death, asks a critical question – “have you got the time to find out who I really am?” It may seem simple and to the point, but the question begs a deeper, more complex answer.
Alice inquires what it is about him that has captured the affection of his admirer. And, as the song continues, it’s evident that the real question pertains more to an actual, deeper, more genuine connection than just some random fling, hookup, or acquaintance.
What is it that attracts us to the opposite sex? Is it purely physical, or is it more than that? “Is it (their) body, someone (they) might be; somethin’ inside (them)?” What makes us want to be connected to that other person?
One of the fascinating things about the Alice Cooper phenomenon is the cerebral nature of the music and lyrics. Buried underneath the lines and chords, a story is being told. Some are to the point, and some are a little more hidden.
“Is It My Body” is to the point, “what is it about me that makes you want to love me?” The question is straightforward and demands an answer. The answers to such a question are different for each listener.
"Clones" is an attack on forced conformity - it was very popular with high school students. The lyrics paint a future where all traces of the human race have been replaced by dehumanized clones: "We've destroyed the government, we're destroying time. No more problems on the way."
Clones was written by the late guitarist/vocalist/songwriter David Carron, who had been a member of Arlo Guthrie's touring band, Shenandoah, in the 1970s. He was also a member of the short-lived band Gulliver after that.
Clones song peaked at #40 on the US Hot 100. It was Cooper's first single to reach the Top 40 in two years. The track also saw some chart action in other parts of the world. It climbed to #36 on the singles chart in Australia and reached #58 in Germany.
This was the first single from Cooper's album Flush the Fashion. Due to the sluggish sales of his previous album, From the Inside, Cooper decided to take his sound in a new direction. With that goal in mind, he tapped Roy Thomas Baker to produce album. Baker was best known for his production work with Queen (he co-produced A Night at the Opera with the band) and The Cars. Under his production, the tracks on Flush the Fashion have a synth-laced New Wave sound, which was a significant departure from the rougher-edged hard rock and glam metal of Cooper's previous records. This sonic makeover proved successful in boosting Cooper's record sales; the album was his most successful LP in three years, climbing to #44 in America and #56 in the UK.
The Smashing Pumpkins covered Clones. Their version appears on the The Aeroplane Flies High collection.
Billion Dollar Babies is about the dangers of overindulgence. It came just as Cooper was getting famous and exposed to rock star excess, and accordingly it helped make him rich and famous. Alice used the cash to buy a house in Los Angeles and finance more elaborate stage shows and videos. He lived the rock star lifestyle for a while, but in later years settled into a very sensible upper class lifestyle, living in Arizona, playing lots of golf, and making shrewd business decisions. He never became a billionaire, but he did very well for himself.
Cooper and his band recorded Billion Dollar Babies at a mansion they rented out to record the album in Greenwich, Connecticut, which is a very wealthy suburb of New York City.
Billion Dollar Babies is credited as written by Cooper, his guitarist Michael Bruce, and a session guitarist they worked with named Reggie Vinson.
The Billion Dollar Babies album was re-released with new packaging as a DVD in 2000. It contains all the songs plus interviews and bonus tracks.
As part of his stage show, Cooper would mutilate dolls when he performed Billion Dollar Babies. The tour for the album introduced the props Cooper became famous for, including the guillotine, the snake, and hundreds of cans of beer.
Billion Dollar Babies took on new meaning when Cooper started playing casinos in the '90s.
1973 was the last year that Alice Cooper was recognized as a group, rather than just the lead singer. Since the singer, Vincent Furnier, drew most of the attention, many fans did not know the difference between him and the Alice Cooper Band. Muscle of Love was the last album as the group.
As lead singer Vincent Furnier became the known as Alice Cooper and sucked up all the notoriety the band received, the guitarist, bass player, and drummer from The Alice Cooper Band left and formed a group called The Billion Dollar Babies. They released an album called Battle Axe in 1977.
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ITS T
Its-The-End-Of-The-World-As-We-Know-It-And-I-Feel-Fine-Rem
It's the End of the World As We Know It (And I Feel Fine) Album: Document (1987)
by R.E.M.
“Come then, and let us pass a leisure hour in storytelling, and our story shall be the education of our heroes.”
― Plato, The Republic
Explaining this song to Q magazine in 1992, lead singer Michael Stipe said: "The words come from everywhere. I'm extremely aware of everything around me, whether I am in a sleeping state, awake, dream-state or just in day to day life. There's a part in 'It's The End Of The World As We Know It' that came from a dream where I was at Lester Bangs' birthday party and I was the only person there whose initials weren't L.B. So there was Lenny Bruce, Leonid Brezhnev, Leonard Bernstein... So that ended up in the song along with a lot of stuff I'd seen when I was flipping TV channels. It's a collection of streams of consciousness."
This was heavily influenced by Bob Dylan, especially the way Dylan sang "Subterranean Homesick Blues." Stipe had once imitated Dylan in a low-budget film called Just Like a Movie, which was a play on the Dylan song "Just Like A Woman."
Stipe claims to have a lot of dreams about the end of the world, destroyed buildings and the like. His stream-of-consciousness writing style in this is very similar to the way a dream moves.
This started off as a song called "Bad Day," and had lyrics decrying the politics of the Reagan administration. R.E.M. finally released "Bad Day" on their 2003 hits compilation album, In Time: The Best of R.E.M. 1988-2003.
When R.E.M. played this live, the audience reacted with a party vibe that threw off the band. They thought the apocalyptic lyrics would create a more subdued response.
Michael Stipe said that the lyrics were written to make people smile. The words he used tend to make your mouth smile when you speak them.
In the last verse, the line, "The other night I tripped at Knox" refers to Knox College in Galesburg, Illinois, where the band had a night of fun.
This appears in the movies Dream A Little Dream, Independence Day, Tommy Boy and Chicken Little.
The government of the Soviet Union allowed this to appear on a 1990 Greenpeace album that was distributed there.
Billy Joel had a huge hit two years later when he used the rapid-vocal, stream-of-consciousness lyric style on "We Didn't Start The Fire."
This appeared in an episode of The Simpsons when Homer and Moe are fighting about Moe's new bar. Homer opens his own bar in his garage and then lies to REM about why they are playing there.
Brett Anderson, lead singer of the all-girl band The Donnas, told Rolling Stone magazine that she is an "R.E.M. geek" and can recite all of the lyrics to the song.
The song's title was used as the name of a two-part episode in season 2 of Grey's Anatomy.
The opening lyrics, "That's great; it starts with an earthquake," could be a biblical reference, as earthquakes are sometimes seen a sign of the end times. It could also be REM's interpretation of the Book of Revelations. Here's Revelation 11:19 - "And the temple of God which is in heaven was opened; and the ark of His covenant appeared in His temple, and there were flashes of lightning and sounds and peals of thunder and an earthquake and a great hailstorm."
Although the official lyrics are "Don't get caught in foreign tower," many students at Boston University heard this line as, "Don't get caught in Warren Towers," which is an undesirable dorm where many freshmen at the university end up living.
The Mayans' doomsday prophesy of the end of the world for December 21, 2012, may not have happened, but this song registered a hefty surge in sales and airplay in the days before the potentially apocalyptic event. Most notably in Calgary, Canada, where according to a tweet of theirs, the alternative CFEX (X92.9) station played this tune "156 times in a row by our count."
Peter Buck tells a different story about the "jelly bean. Lester Bangs, boom" reference in the song. In the liner notes for Part Lies, Part Heart, Part Truth, Part Garbage 1982-2011, he writes that he and Stipe went to a party at a journalist's house in 1980 when they first came to New York. "The guys from Joe King Carrasco and Lester Bangs were there. And all they had was birthday cake and jelly beans, and we were starving and ate that. A random story that popped into a song eight years later. At the time, I was really proud of that song."
Stipe remembers writing the lyrics while the rest of the guys went out for dinner. "It was pretty much done by the time they got back, and Peter hated it. He capitulated finally and it made the record. Thank God we have always had each other to convince ourselves how wrong and right we can be. He got me back with 'Electrolite.'"
The first major usage of the title phrase appears to be in the 1972 film Conquest of the Planet of the Apes, where a human says in preparation for battle with apes: "If we lose this battle, that's the end of the world as we know it."
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ACHIL
Achilles-Last-Stand-Led-Zeppelin
Achilles Last Stand by Led Zeppelin
"Achilles Last Stand" is a song by Led Zeppelin released as the opening track on their seventh studio album, Presence in 1976
According to Lore, Achilles was dipped in the river Styx to make him immortal. His mother held him by the heel, however, leaving it vulnerable. Paris killed him in the Trojan War by hitting him in the heel with an arrow.
Robert Plant wrote the lyrics about his travels throughout Morocco, Greece, and Spain. The music was inspired by Flamenco and Moroccan traditions. The lyrics were inspired not only by the travels but also by some of the poetry Robert was reading at the time, which includes William Blake. "Albion remains/sleeping now to rise again" is a reference to Blake's engraving The Dance Of Albion. The following is an excerpt from the poem that goes with the song:
Albion rose from where he labour'd at the Mill with Slaves
Giving himself for the Nations he danc'd the dance of Eternal Death
The references to the Atlas mountains, "The mighty arms of Atlas hold the heavens from the Earth," are simply a clever double-meaning to imply the Atlas mountains in a physical sense seeming to hold up the sky, as well as the reference to the titan Atlas and his task to hold the world on his shoulders.
Robert Plant and his wife were in a car crash while on holiday in Greece which broke Plant's ankle. Instead of touring the US, Plant and Jimmy Page wrote material for Presence, then recorded it at Musicland Studios in Munich, Germany with Plant in a wheelchair. Plant got so excited while recording this that he fell and re-injured his ankle, similarly to the song's namesake, Achilles. The title was both an acknowledgment of Plant's broken ankle as well as to the mystic location in the Atlas Mountains of Morocco which inspired the lyrics.
Jimmy Page overdubbed 6 guitar tracks to create a huge sound. In a 2007 interview with Rolling Stone magazine, Jimmy Page was asked about his memories of how he overdubbed the guitars in the studio: "It was done in one evening, the whole of the arrangement. To be honest with you, the other guys didn't know: 'Has he gone mad? Does he know what he's doing?' But at the end of it, the picture became clear. It was like a little vignette, every time something comes around."
Page takes particular pride in this track. He told Guitar Player magazine in 1977: "Presence and my control over all the contributing factors to that LP – the fact that it was done in three weeks, and all the rest of it – is so good for me. It was just good for everything really, even though it was a very anxious point, and the anxiety shows, group-wise – you know, 'Is Robert going to walk again from his auto accident in Greece?' and all this sort of thing. But I guess the solo in 'Achilles' Last Stand' on Presence is in the same tradition as the solo from 'Stairway to Heaven' on the fourth LP. It is on that level to me."
Led Zeppelin played this at the remainder of their live shows.
This is one of the longest Led Zeppelin songs. It runs 10:26.
Robert Plant described "Achilles Last Stand" as "us at our least charming, and most proficient - a Bonzo track where nobody could even believe a human could do it."
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MY MY
My-My-Hey-Hey-Out-Of-The-Blue-Into-The-Black-With-Acortez-Killer-Cinimon-Girl-Neil-Young---Crazy-Horse
My My Hey Hey (Out Of The Blue) Album: Rust Never Sleeps (1979)
Hey Hey, My My (Into The Black) Album: Rust Never Sleeps (1979)
Cortez the Killer Album: Zuma (1975)
Cinnamon Girl Album: Everybody Knows This Is Nowhere (1969)
Neil Young & Crazy Horse
Young alludes to three specific artists in the lyrics of My My Hey Hey (Out Of The Blue):
"Rock and roll is here to stay" - This is the title of a 1958 song by Danny & the Juniors, a vocal group best known for their hit "At The Hop." They proclaim, "Rock 'n roll is here to stay, it will never die."
"The king is gone but he's not forgotten" - "The King" is Elvis Presley, who died in 1977, two years before this song was released.
"This is the story of a Johnny Rotten" - Johnny Rotten (real name: John Lydon) was lead singer of punk rock pioneers The Sex Pistols. He often seemed hell-bent on self destruction to ensure he would burn out and not fade away, but ended up having a very long and productive career.
Around 1977 Neil Young formed a band called The Ducks that included Jeff Blackburn. The band played for a $3 cover charge in the hip Santa Cruz club environment. "My My, Hey Hey (Out Of The Blue)" came out of this period and Jeff Blackburn received co-writing credit on the track with Young.
Jeff Blackburn recalled to Uncut magazine: "We were old friends going back to the '60s. I was playing in Santa Cruz with John Craviotto and Bob Mosley (Moby Grape) who were a great rhythm section, when Neil ducked into it. That was a great summer. We played about 30 shows with The Ducks, we played every night. It really was a mighty month.
Neil and I swapped ideas. We both had material, we had ideas and things came together as we were rocking together pretty good. I had a song with the line, 'Ashes to ashes, dust to dust. It's better to burn out than it is to rust.' Neil liked that and the whole rust thing came from that line - rust never sleeps. Not many people share a credit with Neil Young. It's hard to say why I got one, you'd need to ask Neil. But you never know what he's going to do next."
Young released two versions of the song on the album: an acoustic rendition called "My My, Hey Hey (Out Of The Blue)," and an electric version called "Hey Hey, My My (Into The Black)" that he recorded with his band, Crazy Horse. Both versions were included on the single, with "Hey Hey, My My" the A-side, which is what most radio stations play. The electric version has slightly different lyric and omits the famous line, "It's better to burn out than to fade away."
"My My, Hey Hey" is on the first side of the album, which is all acoustic.
My My Hey Hey (Out Of The Blue) was the first track on Rust Never Sleeps. Young released a concert documentary with that title the same day as the album.
Kurt Cobain's suicide note contained a line from My My Hey Hey (Out Of The Blue): "It's better to burn out than to fade away." That line has become one of the most famous song lyrics of all time. When Young was asked by Time magazine in 2005 about the line and Cobain's death, he said: "The fact that he left the lyrics to my song right there with him when he killed himself left a profound feeling on me, but I don't think he was saying I have to kill myself because I don't want to fade away. I don't think he was interpreting the song in a negative way. It's a song about artistic survival, and I think he had a problem with the fact that he thought he was selling out, and he didn't know how to stop it. He was forced to do tours when he didn't want to, forced into all kinds of stuff. I was trying to get a hold of him - because I had heard some of the things he was doing to himself - just to tell him it's OK not to tour, it's OK not to do these things, just take control of your life and make your music. Or, hey, don't make music. But as soon as you feel like you're out there pretending, you're f--cked. I think he knew that instinctively, but he was young and he didn't have a lot of self-control. And who knows what other personal things in his life were having a negative impression on him at the time?"
Def Leppard used the burn out/fade away line at the beginning of their song "Rock of Ages."
This was included on Live Rust, a concert album recorded later that year. Young performed these concerts with giant amps and microphones on stage as props.
A line from this song, "rust never sleeps," was used as the album title. Young got the line from Mark Mothersbaugh, who is a member of the band Devo.
Neil Young performed My My Hey Hey (Out Of The Blue) as a duet with Devo and Booji Boy in his movie Human Highway. The full duet is about twelve minutes, and takes place during a hallucination scene in the movie. The movie itself is only good as a B-grade movie, but the live footage of Devo in costume and Neil Young together is worth the price on the video.
In the 1986 movie Highlander, the villain Kurgan quotes this song to people inside a church: "I have something to say! It's better burn out, textlimi
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The song tells of the meeting of two great chess players, one Soviet and one American, in Bangkok, which is the capital of Thailand. Chess is a musical production that uses a US-USSR chess rivalry as a metaphor for the Cold War, but this song just contains double-entendres about the game of Chess compared to the Bangkok nightlife. The example often used is "I would invite you, but the queens we use would not excite you."
Chess was a musical that premiered in London's West End. This song was written for the 1984 concept album, which was recorded well ahead of the production. The album was very successful considering it was for a musical. The album charted in the Top 10 in the UK, #47 in the US, and #1 in Sweden. Another song from the album, "I Know Him So Well," held the #1 spot in the UK for four weeks in February 1985, being deposed by "You Spin Me Right Round" by Dead or Alive. The Broadway production of Chess was heavily altered and unsuccessful. >>
Along with the rest of the songs from Chess, the music was written by Björn Ulvaeus and Benny Andersson of ABBA, and Tim Rice wrote the lyrics. Rice has written for many film and theatrical productions, including the song "Can You Feel The Love Tonight" from The Lion King.
A little over 2 minutes into this song, there is a flute solo using a difficult flutter tongue technique similar to that used on many Jethro Tull songs. It was played by a Swedish musician named Bjorn Jason Lindh.
Murray Head is an actor who has been in several movies and stage productions. He is barely out of the one-hit-wonder category because of his 1971 version of "Superstar" from the Jesus Christ Superstar production where he played Judas. It his #14 in the US in 1971.
Before Murray went to Mill Hill he had been at Hampton Grammar School with Paul Samwell-Smith (ex-Yardbirds & Cat Stevens' producer) In 1975 Paul Samwell Smith made a record of Murray's songs for Islands Records. The album Say It Ain't So became a cult album in France. His father was Seafield Head, a documentary maker, and is Mother was Helen Shingler, an actress who played Mrs. Maigret alongside Rupert Davies as Maigret in the 60's TV series of the same name. His younger brother is Anthony 'Little Britain' Head. >>
A dance remix by the German production team Vinylshakerz was released in 2005.
Mike Tyson performs this in the 2011 movie The Hangover 2, which of course takes place mostly in Bangkok. Tyson appears as a surprise wedding guest and takes the stage near the end of the movie.
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Crazy Little Thing Called Love Album: The Game (1979)
Keep Yourself Alive Album: Queen (1973)
Another One Bites The Dust Album: Greatest Hits (1980)
by Queen
Freddie Mercury wrote Crazy Little Thing Called Love while Queen were recording The Game in Germany. He wrote it while taking a bubble bath in his room at the Munich Hilton. Peter Hince, the head of Queen's road crew, recalled to Mojo magazine September 2009: "The idea for the song came to him while he was in the bath. He emerged, wrapped in a towel, I handed him the guitar and he worked out the chords there and then. Fred had this knack of knowing a great pop song."
Freddie acknowledged that perhaps his limited talent on the guitar helped shape the song: "'Crazy Little Thing Called Love' took me five or ten minutes. I did that on the guitar, which I can't play for nuts, and in one way it was quite a good thing because I was restricted, knowing only a few chords. It's a good discipline because I simply had to write within a small framework. I couldn't work through too many chords and because of that restriction I wrote a good song, I think."
Crazy Little Thing Called Love sounded a lot more like Elvis Presley than Queen. It was a different sound for the group, but their fans loved it.
Crazy Little Thing Called Love was the first song on which Freddie Mercury played rhythm guitar. He was keen to keep the song minimal, despite his limited guitar knowledge, and producer Mack claimed that he rushed into the studio to record it "before Brian could get there!"
He also played the guitar solo on the original recording of Crazy Little Thing Called Love, but the tapes were lost so Brian May played the solo instead, using a Fender Telecaster to achieve the period sound. May didn't seem to like playing another guitar, and even when playing live, after performing the solo on the Telecaster he would immediately switch back to his Red Special.
At first, this was not released in the US. Since the album was not out yet, radio stations there started playing import copies of the single. This led Queen's record company to release it in America, about 3 months after it came out in England.
Mercury's name is in the lyrics. He sings, "Are you ready," and the band sings, "Ready Freddie."
This section took on a poignant edge after Mercury's death when the song was performed with guest singers, as the lyric was never altered regardless of the vocalist. Fans would take this opportunity to bellow the 'Ready, Freddie!' lyric back at the band in remembrance of the singer.
On stage, Crazy Little Thing Called Love was an important part of the show. Brian May often used three different guitars during the song: the first verse was played by Freddie alone with his guitar, then Brian joined with another Ovation Acoustic; before the third verse he had already switched to a Telecaster on which he performed the solo. During the singalong part (famous for its "ready Freddie" line) Brian again changed instruments to his homemade Red Special. From 1984 onwards Mercury replaced the acoustic with another Telecaster.
The single was very successful for the band, hitting #2 in the UK and becoming their first US #1 hit, There's an unconfirmed legend (commented on by Roger Taylor on the radio show In The Studio, and by Brian May on his website) that declares John Lennon was inspired by this song to go back to the music business. Whether it's true or false is still unknown, but it is a fact that Lennon listened to Queen and he did try new influences on his Double Fantasy album.
Josh Kelley recorded Crazy Little Thing Called Love for the 2005 Queen tribute album Killer Queen.
Keep Yourself Alive is a song about simply staying alive. The message of the song: Staying alive is more important than being rich or famous. It boils down to "being yourself" instead of what everyone else wants you to be.
Queen guitarist Brian May wrote the words and music for Keep Yourself Alive, which was Queen's first single. It highlighted what would become a common facet of Queen's studio work: May's perfectionism. He noted in a 1983 interview with BBC Radio 1: "The first recording of it ever was in De Lane Lea when we did it ourselves and I've still got that recording and I think it's very good and has something which the single never had. But THEY pressurized us very strongly to redo all the tracks and we redid 'Keep Yourself Alive' with Roy and it was pretty awful, actually. I thought it was terrible and I was very unhappy about it and I thought the De Lane Lea one was better and I eventually managed to persuade Roy that it was better as well. So, we went back in and did it again in a way that was a bit more true to the original. But there is no way that you can ever really repeat something. I have this great belief that the magic of the moment can never be recaptured and, although we ended up with something that was technically in the playing and perhaps even in the recording a bit better than the text limit
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