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Repo Man Iggy Pablo Burning
Repo Man is a 1984 American science fiction black comedy film written and directed by Alex Cox in his directorial debut. It stars Harry Dean Stanton and Emilio Estevez, with Tracey Walter, Olivia Barash, Sy Richardson, Vonetta McGee, Fox Harris, and Dick Rude among the supporting cast. Set in Los Angeles, the plot concerns a young punk rocker (Estevez) who is recruited by a car repossession agency and gets caught up in the pursuit of a mysterious Chevrolet Malibu that might be connected to extraterrestrials.
A satire of America under the Reagan administration, consumerism and the Atomic Age, Repo Man was developed by Cox in partnership with his fellow film school graduates from UCLA, independent producers Jonathan Wacks and Peter McCarthy. His inspiration for the film came from his own experiences working with repossession agent Mark Lewis. Originally conceiving of it as a road movie, Cox reconfigured the story to take place mostly in Los Angeles to maintain its budget. Michael Nesmith of The Monkees came on board the project as an executive producer, and secured a negative pickup deal with Universal Pictures. Principal photography ran through summer 1983, during which Cox encouraged improvisation from the cast; the film's ending notably differed from what had originally been written. The soundtrack, headlined by a main theme composed and performed by Iggy Pop, is noted as a snapshot of 1980s hardcore punk; Cox wanted the music to underscore the life of repo men.
Despite a troubled initial release due to Universal's skepticism towards the film's commercial viability, Repo Man received widespread acclaim, and was deemed by critics to be one of the best films of 1984. It has since gained a cult following, particularly surrounding Cox's re-edited version of the film for television due to its deliberate inclusion of surreal overdubs to replace profanity.
In the Mojave Desert, a policeman pulls over a 1964 Chevrolet Malibu driven by J. Frank Parnell. The policeman opens the trunk, sees a blinding flash of white light, and is instantly vaporized, leaving only his boots behind.
Otto Maddox, a young punk rocker in L.A., is fired from his job as a supermarket stock clerk. His girlfriend leaves him for his best friend. Depressed and broke, Otto is wandering the streets when Bud drives up and offers him $25 to drive a car out of the neighborhood, supposedly for his wife.
Otto follows Bud in the car to the Helping Hand Acceptance Corporation, where he learns the car he drove was being repossessed. He refuses to join Bud as a "repo man," and goes to his parents'. After learning that his burned-out ex-hippie parents have donated the money that they promised him as a reward for graduating from high school to a televangelist, he decides to take the repo job.
After repossessing a flashy red Cadillac, Otto sees Leila running down the street. He gives her a ride to her workplace, the United Fruitcake Outlet. On the way, she shows him pictures of aliens that she says are in the trunk of a Chevy Malibu. She says they are dangerous due to the radiation they emit. Meanwhile, Helping Hand is offered a $20,000 bounty notice for the Malibu. Most assume that the repossession is drug-related because the bounty is far above the actual value of the car.
Parnell arrives in L.A. driving the Malibu, but he is unable to meet his waiting UFO compatriots because of a team of government agents led by a woman with a metal hand. When Parnell pulls into a gas station, Helping Hand's competitors, the Rodriguez brothers, take the Malibu. They stop for sodas because the car's trunk is hot. While they are out of the car a trio of Otto's punk friends, who are on a crime spree, steal it.
After visiting a nightclub, Parnell appears and tricks the punks into opening the trunk, killing one of them and scaring the other two away. Later, he picks up Otto and drives aimlessly, before collapsing and dying from radiation. After surviving a convenience store shootout with the punks that leaves Bud wounded and punk Duke dead, Otto takes the Malibu back to Helping Hand and leaves it in the lot. The car is stolen again, and a chase ensues. By this time, the car is glowing bright green.
Eventually, the Malibu reappears at the Helping Hand lot with Bud behind the wheel, but he ends up being shot. The various groups trying to acquire the car soon show up; government agents, the UFO scientists, and the televangelist. Anyone who approaches it bursts into flames, even those in flame-retardant suits.
Only Miller, an eccentric mechanic at Helping Hand who had explained earlier to Otto that aliens exist and can travel through time in their spaceships, is able to enter the car. He slides behind the wheel and beckons Otto into the Malibu. After Otto settles into the passenger seat, it lifts straight up into the air and flies away, first through the city's skyline and later into space.
Burning Sensations was a short-lived Los Angeles area rock band...
A satire of America under the Reagan administration, consumerism and the Atomic Age, Repo Man was developed by Cox in partnership with his fellow film school graduates from UCLA, independent producers Jonathan Wacks and Peter McCarthy. His inspiration for the film came from his own experiences working with repossession agent Mark Lewis. Originally conceiving of it as a road movie, Cox reconfigured the story to take place mostly in Los Angeles to maintain its budget. Michael Nesmith of The Monkees came on board the project as an executive producer, and secured a negative pickup deal with Universal Pictures. Principal photography ran through summer 1983, during which Cox encouraged improvisation from the cast; the film's ending notably differed from what had originally been written. The soundtrack, headlined by a main theme composed and performed by Iggy Pop, is noted as a snapshot of 1980s hardcore punk; Cox wanted the music to underscore the life of repo men.
Despite a troubled initial release due to Universal's skepticism towards the film's commercial viability, Repo Man received widespread acclaim, and was deemed by critics to be one of the best films of 1984. It has since gained a cult following, particularly surrounding Cox's re-edited version of the film for television due to its deliberate inclusion of surreal overdubs to replace profanity.
In the Mojave Desert, a policeman pulls over a 1964 Chevrolet Malibu driven by J. Frank Parnell. The policeman opens the trunk, sees a blinding flash of white light, and is instantly vaporized, leaving only his boots behind.
Otto Maddox, a young punk rocker in L.A., is fired from his job as a supermarket stock clerk. His girlfriend leaves him for his best friend. Depressed and broke, Otto is wandering the streets when Bud drives up and offers him $25 to drive a car out of the neighborhood, supposedly for his wife.
Otto follows Bud in the car to the Helping Hand Acceptance Corporation, where he learns the car he drove was being repossessed. He refuses to join Bud as a "repo man," and goes to his parents'. After learning that his burned-out ex-hippie parents have donated the money that they promised him as a reward for graduating from high school to a televangelist, he decides to take the repo job.
After repossessing a flashy red Cadillac, Otto sees Leila running down the street. He gives her a ride to her workplace, the United Fruitcake Outlet. On the way, she shows him pictures of aliens that she says are in the trunk of a Chevy Malibu. She says they are dangerous due to the radiation they emit. Meanwhile, Helping Hand is offered a $20,000 bounty notice for the Malibu. Most assume that the repossession is drug-related because the bounty is far above the actual value of the car.
Parnell arrives in L.A. driving the Malibu, but he is unable to meet his waiting UFO compatriots because of a team of government agents led by a woman with a metal hand. When Parnell pulls into a gas station, Helping Hand's competitors, the Rodriguez brothers, take the Malibu. They stop for sodas because the car's trunk is hot. While they are out of the car a trio of Otto's punk friends, who are on a crime spree, steal it.
After visiting a nightclub, Parnell appears and tricks the punks into opening the trunk, killing one of them and scaring the other two away. Later, he picks up Otto and drives aimlessly, before collapsing and dying from radiation. After surviving a convenience store shootout with the punks that leaves Bud wounded and punk Duke dead, Otto takes the Malibu back to Helping Hand and leaves it in the lot. The car is stolen again, and a chase ensues. By this time, the car is glowing bright green.
Eventually, the Malibu reappears at the Helping Hand lot with Bud behind the wheel, but he ends up being shot. The various groups trying to acquire the car soon show up; government agents, the UFO scientists, and the televangelist. Anyone who approaches it bursts into flames, even those in flame-retardant suits.
Only Miller, an eccentric mechanic at Helping Hand who had explained earlier to Otto that aliens exist and can travel through time in their spaceships, is able to enter the car. He slides behind the wheel and beckons Otto into the Malibu. After Otto settles into the passenger seat, it lifts straight up into the air and flies away, first through the city's skyline and later into space.
Burning Sensations was a short-lived Los Angeles area rock band...
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KELLY
Kelly's-Heros-Find-A-Bridge
It's a mother beautiful bridge...
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PEOPL
People-are-Strange-Break-on-Through-The-Doors
Break on Through (to the Other Side) The Doors
This was the first song on The Doors first album, and also their first single. It got some airplay on Los Angeles radio stations after their friends and fans kept requesting it.
In 1966, he said: "I like ideas about the breaking away or overthrowing of established order. I am interested in anything about revolt, disorder, chaos, especially activity that seems to have no meaning."... and then I was born.
The original line in the chorus was "she gets high," but their producer Paul Rothchild thought that would limit the song's airplay potential, and convinced the group to leave it out. Instead, "high" was edited out, making it sound like, "she get uuggh," but the "high" line can be heard in live versions. You can also hear the song as intended in the 1999 reissue of the album, which was overseen by their original engineer Bruce Botnick. He also replaced Jim Morrison's "f--k"s on "The End." These edits went over about as well as the digital revisions to Star Wars.
Jim Morrison got some of the lyrics from John Rechy's 1963 book City of Night. In that book, Rechy writes about "the other side" in reference to Hollywood. There's also a passage where he writes, "place to place, week to week, night to night," which Morrison appropriated in the lyrics:
Made the scene
Week to week
Day to day
Hour to hour
Robby Krieger's guitar melody was inspired by the Paul Butterfield Blues Band of "Shake Your Money Maker," which was released on the group's debut album in 1965. Krieger was a huge fan of Butterfield, and found himself emulating the riff when they were working on "Break On Through."
The Doors didn't have a bass player, so their keyboard player Ray Manzarek created most of the low-end sounds. On this track, he borrowed the bass notes from the Ray Charles song "What'd I Say."
In 1967, Jim Morrison did an interview with Hit Parader magazine where he said that he wrote this song while crossing canals in Venice. "I was walking over a bridge," he said. "I guess it's one girl, a girl I knew at the time."
John Densmore added the knocking drum sound by hitting his drum stick sideways across the snare.
Elektra Records boss Jac Holzman commissioned a promotional film for this song - later known as a music video. The video, directed by Mark Abramson, is fairly basic but with excellent production value, centering on the very photogenic Morrison singing the song. The video was sent to many broadcast outlets in hopes they would air it. The group was an unknown commodity so very few did, but they did get some use out of the clip, playing it at concerts in 1967 and 1968. It was later used in various Doors video compilations and played on networks like MTV. Like The Beatles, The Doors were innovators in the music video medium, creating films of various kinds to accompany some of their songs.
The vocals are a mix of two of Morrison's takes.
Elektra Records promoted the album with a billboard on Sunset Boulevard in Hollywood with a photo of the band and the headline, "The Doors Break On Through With An Electrifying Album." It was likely the first billboard advertising a rock band ever displayed in that area, and it got lots of attention for the band.
This was one of six songs The Doors recorded for a demo on Aura Records while they were trying to get signed in 1965. Robby Krieger was not yet with the group.
As John Densmore states in The Doors Box Set, the beat of this song was inspired by Brazilian Bossa Nova like Joao Gilberto and Tom Jobim.
In The Doors box set, Ray Manzarek said this was the last song they played live. It was during the Isle of the Wight Festival in the summer of 1970. The festival occurred while Morrison was on trial in Miami faced with charges of indecent exposure, and the band got a special five days of recess to be in England and get back to US. "This was to be the first gig of an European tour just as Miami was to be the first gig of a 20-city US tour. We never got beyond the first date of either one," said Ray.
This is one of a few Doors tunes used in Forrest Gump as Forrest becomes adept at ping pong, and the only one included on the two-disc soundtrack.
Break On Through
The Doors
Written by: Jim Morrison
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side
We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried?
Break on through to the other side
Break on through to the other side
Everybody loves my baby
Everybody loves my baby
She gets high, she gets high, she gets high
She gets high
I found an island in your arms
A country in your eyes
Arms that chain us
Eyes that lied
Break on through to the other side
Break on through to the other side
Break on through oh yeah
Made the scene, week to week
Day to day, hour to hour
The gate is straight
Deep and wide
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JENNY
Nikki-Nikki-Tommy-Tutone
"867-5309/Jenny" is a 1981 song written by Alex Call and Jim Keller and performed by Tommy Tutone that was released on the album Tommy Tutone 2, on the Columbia Records label. It peaked at No. 4 on the Billboard Hot 100 chart in May 1982, and No. 1 on the Billboard Hot Mainstream Rock Tracks chart in April 1982.
The song led to a fad of people dialing 867-5309 and asking for "Jenny".
Lead guitarist Jim Keller, interviewed by People in 1982, said: "Jenny is a regular girl, not a hooker. Friends of mine wrote her name and number on a men's room wall at a bar. I called her on a dare, and we dated for a while. I haven't talked with her since the song became a hit, but I hear she thinks I'm a real jerk for writing it."
On March 28, 2008, Tommy Tutone lead singer Tommy Heath stated on the WGN Morning News that the number was real and it was the number of a girl he knew. As a joke, he wrote it on a bathroom wall in a motel where they were staying. "We laughed about it for years," he said.
However, in a June 2004 interview with Songfacts, co-writer Alex Call explained his version of the song's real origins:
Despite all the mythology to the contrary, I actually just came up with the 'Jenny,' and the telephone number and the music and all that just sitting in my backyard. There was no Jenny. I don't know where the number came from, I was just trying to write a 4-chord Rock song and it just kind of came out. This was back in 1981 when I wrote it, and I had at the time a little squirrel-powered 4-track in this industrial yard in California, and I went up there and made a tape of it. I had the guitar lick, I had the name and number, but I didn't know what the song was about. This buddy of mine, Jim Keller, who's the co-writer, was the lead guitar player in Tommy Tutone. He stopped by that afternoon and he said, 'Al, it's a girl's number on a bathroom wall,' and we had a good laugh. I said, 'That's exactly right, that's exactly what it is.'
Tommy Tutone's been using the story for years that there was a Jenny and she ran a recording studio and so forth. It makes a better story but it's not true. That sounds a lot better than I made it up under a plum tree in my backyard.
I had the thing recorded. I had the name and number, and they were in the same spots, 'Jenny... 867-5309.' I had all that going, but I had a blind spot in the creative process, I didn't realize it would be a girl's number on a bathroom wall. When Jim showed up, we wrote the verses in 15 or 20 minutes, they were just obvious. It was just a fun thing, we never thought it would get cut. In fact, even after Tommy Tutone made the record and '867-5309' got on the air, it really didn't have a lot of promotion to begin with, but it was one of those songs that got a lot of requests and stayed on the charts. It was on the charts for 40 weeks.
I've met a few Jennys who've said, "Oh, you're the guy who ruined my high school years." But for the most part, Jennys are happy to have the song.
"There was no Jenny," Call also told a Tampa, Florida, columnist in June 2009. "The number? It came to me out of the ether."
In the music video, the "Jenny" character is played by Karen Elaine Morton.
The song, released in late 1981, initially gained popularity on the American West Coast in January 1982; many who had the number soon abandoned it because of unwanted calls.
When we'd first get calls at 2 or 3 in the morning, my husband would answer the phone. He can't hear too well. They'd ask for Jenny, and he'd say "Jimmy doesn't live here any more." ... Tommy Tutone was the one who had the record. I'd like to get hold of his neck and choke him.
— Lorene Burns, an Alabama householder formerly at +1-205-867-5309; she changed her number in 1982.
Asking telephone companies to trace the calls was of no use, as Charles and Maurine Shambarger (then in West Akron, Ohio at +1-216-867-5309) learned when Ohio Bell explained: "We don’t know what to make of this. The calls are coming from all over the place." A little over a month later, they disconnected the number and the phone became silent.
In some cases, the number was picked up by commercial businesses or acquired for use in radio promotions.
In 1982, WLS radio obtained the number from a Chicago woman, receiving 22,000 calls in four days.
In 1982, Southwest Junior High School received up to two hundred calls daily asking for Jenny in area code 704.
Brown University obtained the +1-401-867 prefix in 1999, assigning 867-5309 to a student dormitory room which was promptly inundated with nuisance calls.
A February 2004 auction for the number in a New York City code was shut down by eBay after objections from Verizon; bidding had reached $80,000. The US Federal Communications Commission takes the position that most phone numbers are "public resources" that "are not owned by carriers or their customers" but did not rule out the number being sold as part of a business.
A subsequent February 2004 auction for the number in area code
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YOU B
You-Better-You-Bet-Don't-Let-Go-The-Coat-Another-Tricky-Day-The-Who
The Who Album: Face Dances (1981)
Face Dances was originally released in the UK on 16 March 1981 (Polydor 2302 106 WHOD 5037) and as a remastered CD in 1997 (Polydor 537 695-2). It was reissued on heavyweight vinyl in 2012 (Polydor 3715712).
It was released simultaneously in the US by Warner Bros (WB HS 3516) and as a CD (WB 3516-2), later reissued by MCA (MCAD 25-25987, MFSL 1-115). It is currently available as a remixed and remastered CD (MCA MCAD-11634) issued in 1997.
After the death of Keith Moon, The Who re-grouped with Kenney Jones on drums and, initially, concentrated on live work. The new look Who launched themselves in a barrage of publicity, playing their first concert at London’s Rainbow Theatre on 2 May 1979. It wasn’t until over a year later that work began on Face Dances. Aside from the arrival of Kenney Jones, there were other changes in the traditional Who modus operandi: John ‘Rabbit’ Bundrick played keyboards on stage and on some of the newer numbers Roger played guitar on stage for the first time since the days of The Detours in 1962.
The album was originally to be titled The Who, but the name Face Dances replaced it just before release. The phrase was inspired by a friend of Pete Townshend's who was rhythmically moving a match between her teeth, an action that Townshend jokingly termed "face dances". This incident is described in the first verse of Townshend's song "Face Dances, Pt. 2". He later realised that he had been inspired by the Face Dancers in Frank Herbert's Dune series: "It was only later that someone pointed out to me that in the Dune trilogy there are a group of characters called 'face dancers,' sort of like chameleons; they can change completely for special purposes. That must have stuck in my head because I really loved the first one."
"You Better You Bet" was the first single released from the album; its music video was one of the first music videos aired on MTV in 1981, and was the first to be repeated on the channel. "Don't Let Go the Coat" was the second single to be released from the album, and it also had its own music video. While a video was shot for "Another Tricky Day", the song was not released as a single commercially but it was a US Album Rock Top 10 track.
You Better You Bet is a love song written from the perspective of a guy who drinks and smokes too much. He and his girl have a clever rapport: when he tells her he loves her, she says, "You better."
Pete Townshend wrote it "over several weeks of clubbing and partying" while the still-married guitarist was dating a younger woman. He said: "I wanted it to be a great song, because the girl I wrote it for is one of the best people on the planet."
This was also the first Who single recorded with drummer Kenney Jones, who had replaced Keith Moon after his death three years earlier. Speaking to Uncut magazine in 2001, lead singer Roger Daltrey commented: "A wonderful, wonderful song. The way the vocal bounces, it always reminds me of Elvis. But it was a difficult time, yeah. The Moon carry-on was much harder than carrying on after John, because we're more mature now. I hate going over this but, in retrospect, we did make the wrong choice of drummers. Kenney Jones – don't get me wrong, a fantastic drummer – but he completely threw the chemistry of the band. It just didn't work; the spark plug was missing from the engine."
"The first tour Kenney did with us, though, he was absolutely f--king brilliant," Daltrey added. "But after that he settled into what he knew, which was his Faces-type drumming, which doesn't work with The Who. In some ways I'd like to go back and re-record a lot of the songs on Face Dances, but 'You Better, You Bet' is still one of my favorite songs of all."
The lyric, "I drunk my self blind to the sound of old T-Rex," refers to the '60s/'70s British glam rock band T-Rex, fronted by Marc Bolan.
The lead single from The Who's Face Dances album, this was the last single by the band that reached the Top 20 on the Billboard Hot 100 and the Top 10 in the UK.
The keyboard line came from a Yamaha E70 organ Pete Townshend played using the Auto Arpeggio setting. He used the same setup to create the keyboard riff in "Eminence Front."
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WILLI
Willie-And-The-Hand-Jive-George-Thorogood
Willie and the Hand Jive Album: Mavrick (Recorded July 1984 released January 25, 1985)
George Thorogood and the Destroyers
Maverick is the sixth album by George Thorogood and the Destroyers. It was produced by Terry Manning and released in January 1985. Some of its songs are among Thorogood's best-known, including "I Drink Alone" and "Willie and the Hand Jive", the latter being his only single to reach the Billboard Hot 100 chart.
"Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart. The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation, though Otis always denied it. It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead. Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the Billboard Rock Tracks chart.
The Johnny Otis original version of the song produced by Tom Morgan has an infectious Bo Diddley beat, similar to the hit "Bo Diddley" of Bo Diddley, much of it provided by drummer Earl Palmer. Johnny Otis biographer George Lipsitz describes Jimmy Nolen's guitar riff on the song as "unforgettable". The music was based on a song Otis had heard a chain gang singing while touring, combined with work Otis did as a teenager when he was performing with Count Otis Matthews and the West Oakland House Stompers.
Thorogood included the song on his 2000 compilation album Anthology, his 2002 compilation album On Tap Plus, his 2003 compilation album The George Thorogood Collection and his 2008 compilation The Best of George Thorogood & the Destroyers.
George Thorogood – guitar, vocals
Hank Carter – saxophones, harmony vocals
Billy Blough – bass
Jeff Simon – drums, percussion
Willie and the Hand Jive
Johnny Otis
Written by: Johnny Otis
Album: Presenting Johnny Otis
Released: 1959
I know a cat named Way-Out Willie
Had a cool little chick named Rockin' Billie
Made a heart of stone Susie-Q, doin' that crazy hand jive too
Papa said "You will ruin my house.
You and that hand jive have got to go"
Willie said "Papa, don't you put me down,
Been doin' that hand jive all over town."
Hand jive, hand jive, hand jive, doin' that crazy hand jive
I don't want you to get on the floor
Gettin' low, getting down with sister go
Come on, get baby, little sister'll die
Said doin' that hand jive one more time
Hand jive, hand jive, hand jive, doin' that crazy hand jive
Doctor getting low and he getting check
Now they're all digging that crazy beat
Way-Out Willie gave 'em all a treat
Been doin' that hand jive with his feet
Hand jive, hand jive, hand jive, doin' that crazy hand jive
Willi and Billie got married last fall
Had to live with his sisters and that ain't all
Daddy got famous it's plain to see
Been doin' that hand jive on his knees
Hand jive, hand jive, hand jive, doin' that crazy hand jive
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CHEEC
Cheech---Chong-Lost-Due-To-Incompetence-(Theme-For-A-Big-Green-Van)
Cheech & Chong Lost Due To Incompetence (Theme For A Big Green Van)
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WALK
Walk-Like-An-Egyptian-The-Bangles-432
"Walk Like an Egyptian" is a song recorded by the American band the Bangles. It was released in 1986 as the third single from the album Different Light. It was the band's first number one single, being certified gold by the RIAA, and became Billboard's number-one song of 1987.
Liam Sternberg claims he was inspired to create the song while on a ferry crossing the English Channel. When the vessel hit choppy water, passengers stepped carefully and moved their arms awkwardly while struggling to maintain their balance, and that reminded Sternberg of the depiction of human figures in ancient Egyptian tomb paintings. He wrote the words "Walk like an Egyptian" in a notebook. Later, Sternberg looked back in the notebook, and composing the melody with a guitar, he put together an up-tempo song with lyrics about Egyptian hieroglyphs, the Nile River, crocodiles, desert sand, bazaars and hookah pipes and then segued into modern scenes of blond waitresses, school kids and police officers.
Sternberg finished a demo version by January 1984 with singer Marti Jones. He offered it to Toni Basil, who turned it down. Lene Lovich recorded the first version of the song, but it went unreleased when she decided to take a break from music to raise her family. David Kahne from Peer Southern Publishing was the producer of Different Light; he received a copy of the demo and liked it, especially Jones's "offhand quality".
Kahne took the song to the Bangles, who agreed to record it. He had each member of the group sing the lyrics to determine who would sing each verse; Vicki Peterson, Michael Steele, and Susanna Hoffs sang lead vocals in the final version on the first, second, and third verses, respectively. Kahne disliked Debbi Peterson's leads, so she was relegated to backing vocals, which angered her and caused tension within the group. The situation was exacerbated by the use of a drum machine in place of her drumming, further diminishing her role in the song.[5] She can be seen playing the tambourine during their 1986 performance on The Old Grey Whistle Test.[6] The whistling in the song was played by a machine.
"Walk Like an Egyptian" was one of the songs which were claimed to have been banned by Clear Channel following the September 11, 2001 attacks. It was also included in a "list of records to be avoided" drawn up by the BBC during the Gulf War.
Walk Like an Egyptian
The Bangles
All the old paintings on the tomb
They do the sand dance, don't you know
If they move too quick (oh way oh)
They're falling down like a domino
All the bazaar men by the Nile
They got the money on a bet
Gold crocodiles (oh way oh)
They snap their teeth on your cigarette
Foreign types with the hookah pipes say
Way oh way oh, way oh way oh
Walk like an Egyptian
The blonde waitresses take their trays
They spin around and they cross the floor
They've got the moves (oh way oh)
You drop your drink
Then they bring you more
All the school kids so sick of books
They like the punk and the metal band
When the buzzer rings (oh way oh)
They're walking like an Egyptian
All the kids in the marketplace say
Way oh way oh, way oh way oh
Walk like an Egyptian
Slide your feet up the street
Bend your back
Shift your arm, then you pull it back
Life is hard you know (oh way oh)
So strike a pose on a Cadillac
If you wanna find all the cops
They're hanging out in the donut shop
They sing and dance (oh way oh)
They spin the clubs, cruise down the block
All the Japanese with their yen
The party boys call the Kremlin
And the Chinese know (oh way oh)
They walk the line like Egyptian
All the cops in the donut shop say
Way oh way oh, way oh way oh
Walk like an Egyptian
Walk like an Egyptian
Written by: Liam Hillard Sternberg
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FACTO
Factory-Girl-The-Rolling-Stones-II
"Factory Girl" is a song by the Rolling Stones which appears on their 1968 album Beggars Banquet.
It is very similar to an Appalachian folk tune, especially due to its minimal arrangement, featuring Mick Jagger on vocals, Keith Richards on acoustic guitar, Rocky Dijon on conga drums, Ric Grech of Family on fiddle/violin, Dave Mason on Mandolin and Charlie Watts on tabla.
This song is a great example of Mick Jagger taking on a persona, which he often did in his lyrics. Here, he sings from the perspective of a guy who is waiting for his girlfriend - a destitute, disheveled sort - to get out of work at the factory. It's quite a contrast to Jagger's reality: a glamorous rock star who often dated models.
On his performance, Watts said in 2003, "On 'Factory Girl', I was doing something you shouldn't do, which is playing the tabla with sticks instead of trying to get that sound using your hand, which Indian tabla players do, though it's an extremely difficult technique and painful if you're not trained."
The song is composed of lyrics musing on the singer's relationship with a young woman, all while he is waiting for her to come out to meet him;
Waiting for a girl who's got curlers in her hair Waiting for a girl, she has no money anywhere We get buses everywhere, waiting for a factory girl
Richards said of the song in 2003, "To me 'Factory Girl' felt something like 'Molly Malone', an Irish jig; one of those ancient Celtic things that emerge from time to time, or an Appalachian song. In those days I would just come up and play something, sitting around the room. I still do that today. If Mick gets interested I'll carry on working on it; if he doesn't look interested, I'll drop it, leave it and say, 'I'll work on it and maybe introduce it later.'"
Jagger countered, saying, "The country songs, like 'Factory Girl' or 'Dear Doctor' on Beggars Banquet were really pastiche. There's a sense of humour in country music anyway, a way of looking at life in a humorous kind of way - and I think we were just acknowledging that element of the music. The 'country' songs we recorded later, like "Dead Flowers" on Sticky Fingers or "Far Away Eyes" on Some Girls are slightly different. The actual music is played completely straight, but it's me who's not going legit with the whole thing, because I think I'm a blues singer not a country singer."
Jim Beviglia ranked "Factory Girl" the 163rd best Rolling Stones song in Counting Down the Rolling Stones: Their 100 Finest Songs. Paste commented, "The Rolling Stones did an impressive job stepping outside their usual rockers to create this folk number" and ranked it 29th in its Top 50 Rolling Stones songs. Rolling Stone ranked it 91st in its countdown of the band's top 100 songs, calling it an "oddity that feels like a country song yet incorporates tablas, mandolins and a fiddle solo."
The song has been performed live in 1990, 1997 and 2013. A live recording from the Steel Wheels/Urban Jungle Tour made its way onto the 1991 live album Flashpoint. The song was also featured during the 1997 Bridges to Babylon Tour It was played in Los Angeles on 3 May 2013 and then a version of the song with different lyrics called "Glastonbury Girl" was performed at the Glastonbury festival on 29 June 2013.
Mick Jagger – vocals Keith Richards – acoustic guitar Charlie Watts – tabla Rocky Dijon – conga drum Dave Mason – mandolin Ric Grech – violin
"Factory Girl"
Waiting for a girl who's got curlers in her hair Waiting for a girl she has no money anywhere We get buses everywhere
Waiting for a factory girl
Waiting for a girl and her knees are much too fat Waiting for a girl who wears scarves instead of hats Her zipper's broken down the back
Waiting for a factory girl
Waiting for a girl and she gets me into fights Waiting for a girl we get drunk on Friday night She's a sight for sore eyes
Waiting for a factory girl
Waiting for a girl she's got stains all down her dress Waiting for a girl and my feet are getting wet She ain't come out yet
Waiting for a factory girl
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VIDEO
ROADH
Roadhouse-Blues-The-Doors-Live-In-NY-1970
I am the Prince of Pensacola.
"Roadhouse Blues" is a song by the American rock band the Doors from their 1970 album Morrison Hotel. It was released as the B-side of "You Make Me Real", which peaked at No. 50 on the U.S. Billboard Hot 100. "Roadhouse Blues" charted in its own right on the Cash Box Top 100, peaking at No. 76. The song became a concert staple for the group and it has been covered by numerous artists.
Hailed by sound engineer Bruce Botnick as "the all-time American bar band song," "Roadhouse Blues"–despite its relatively unsuccessful chart peak–received strong airplay on rock radio stations. The song's title was considered for the name of the album, but it was eventually changed. It was ranked the 153rd top classic-rock song by Q104,3, and the eleventh best rock song of all time by Time Out.
The song was recorded over two days, from November 4 to 5, 1969. Producer Paul A. Rothchild insisted on several takes, some of which were included on the 2006 remastered album. Jim Morrison, who was intoxicated during the sessions, flubbed several lyrics and kept repeating the phrase "Money beats soul every time".
There was more progress on the second day when resident guitarist Lonnie Mack (then employed as an Elektra Records A&R representative) joined in to play bass; Ray Neapolitan, the regular bassist during the Morrison Hotel sessions, was stuck in traffic. Although there has been speculation that Mack also contributed the guitar solo, he confirmed that he had played bass and nothing else. While Mack had stopped working as a professional musician at the time, he decided to return to his career following the session.
Guitarist Robby Krieger is responsible for all guitar parts on "Roadhouse Blues"; Morrison shouts "Do it, Robby, do it!" at the start of the guitar solo. Ray Manzarek switched from a Wurlitzer electric piano to a tack piano. Ex–Lovin' Spoonful frontman John Sebastian contributed harmonica (listed as "G. Puglese" for contractual reasons).
Alice Cooper claimed that he was the inspiration for the line "Woke up this morning and I got myself a beer", as stated on his Planet Rock morning show: "We were sitting there drinking and Jim comes in and he flops down ... I said that I had got up this morning and got myself a beer and while we're talking he just writes that down. So they go in and they're doing the song and the next thing I hear is 'Woke up this morning and I got myself a beer' and I went 'I just said that a second ago!'"
Jim used to sing to his girlfriend when they were driving, before the song was written... "Keep your eyes on the road, your hands upon the wheel"
James Douglas Morrison was born on December 8, 1943 in Melbourne, Florida, to Clara Virginia (née Clarke; 1919–2005) and Lt.(j.g.) George Stephen Morrison (1919–2008), a future Admiral in the United States Navy.
Admiral Morrison was commander of United States Navy forces during the Gulf of Tonkin Incident of August 1964, which was the blue torch that created an escalation of American involvement in the Vietnam War.
The Doors
Jim Morrison – vocals
Robby Krieger – guitar
Ray Manzarek – tack piano
John Densmore – drums
Additional musicians
Lonnie Mack – bass
John Sebastian – harmonica
Written by: written by Robby Krieger & Ray Manzarek
Album: Morrison Hotel
Released: 1970
Hi, how you doin' there? Y-e-ah. Looking good. Everything is fucked up as usual... you know...
WHOOOOOAAAAAAOOOO - C´MON!
A-keep your eyes on the road, your hands upon the wheel
A-keep your eyes on the road, your hands upon the wheel
Come to the Roadhouse, gonna have a real, a good time.
Yeah, at the back of the Roadhouse they got some bungalows.
Ah, at the back of the Roadhouse they got some bungalows.
That's for the people... like to go down slow.
Let it roll, baby, roll,
Let it roll, baby, roll,
Let it roll, baby, roll,
Let it roll — all night long.
Ashen lady, Ashen lady,
Give up your vows,
Give up your vows.
Save our city, save our city
Right now!
Yeah, I woke up this morning, I got myself a beer.
Well, I woke up this morning, I got myself a beer.
Future's uncertain and the end is always near.
Let it roll, baby, roll,
Let it roll, baby, roll,
Let it roll, baby, roll,
Let it roll — all night long.
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