[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]Hey Charley I’m pregnant
Living on 9th Street
Right above a dirty bookstore
Off Euclid Avenue
I stopped taking dope
And I quit drinking whiskey
And my old man plays the trombone
And works out at the track[/vc_message][/vc_column][/vc_row]
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]One of Tom Waits’ most beloved songs from one of his more obscure albums, Blue Valentine, “Christmas Card…” is a live standard. The song showcases Waits playing a barroom piano melody, weaving words together — in essence, doing what he does best in one long, bittersweet song. The lyrics are essentially a reading aloud of what the title says it is — a Christmas card from a hooker in Minneapolis. Waits takes the voice of the female character: “Hey Charley, I’m pregnant…”; you can guess the rest. The song is littered with characters with names like Mario. There are references to the track, a filling station, and a used car lot. There is whiskey, dope, grease, a trombone, and Little Anthony & the Imperials. What more could you want from a Tom Waits song?
– Denise Sullivan (allmusic.com)[/vc_message][/vc_column][/vc_row]
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]The streets are always wet with rain
After a summer shower when I saw you standin’
In the garden in the garden wet with rain[/vc_message][/vc_column][/vc_row]
[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]…armed and extremely dangerous The Jam stalk the decrepit grooves. If you don’t like them, hard luck they’re gonna be around for a long time. It’s been a long time since albums actually reflected pre-20 delusions and this one does
– Barry Cain (Record Mirror)[/vc_message][/vc_column][/vc_row]
In the City is the debut studio album of The Jam. It was released in 1977 by Polydor Records and featured the hit single and title track “In the City”. The album includes two cover songs, “Slow Down” and the theme to the 1960s television series, Batman, the latter of which had also been previously covered by The Who, The Kinks and Link Wray.
Paul Weller’s guitar style on the album is very much influenced by Wilko Johnson and Pete Townshend.
Tomorrow is Willie Nelson´s 85th birthday (born April 29, 1933).
He [Willie Nelson] takes whatever thing he’s singing and makes it his. There’s not many people who can do that. Even something like an Elvis tune. You know, once Elvis done a tune, it’s pretty much done. But Willie is the only one in my recollection that has even taken something associated with Elvis and made it his. He just puts his sorta trip on it…
~Bob Dylan (28 April 1993)
Here are 10 wonderful songs performed & most of them written by Mr. Nelson.
Always on My Mind
An American country music song by Johnny Christopher, Mark James and Wayne Carson, recorded first by Gwen McCrae (as “You Were Always On My Mind”) and Brenda Lee in 1972.
Willie Nelson recorded and released the song in early 1982. It raced to number one on Billboard magazine’s Hot Country Singles chart that May, spending two weeks on top and total of 21 weeks on the chart.
Maybe I didn’t treat you
Quite as good as I should have
Maybe I didn’t love you
Quite as often as I could have
Little things I should have said and done
I just never took the time
You were always on my mind
You were always on my mind
When this came out in 1974, it was roundly dismissed as Ziggy Stardust’s last strangled gasp. In hindsight, Diamond Dogs is marginally more worthwhile; its resigned nihilism inspired interesting gloom and doom from later goth and industrial acts such as Bauhaus and Nine Inch Nails.
~Mark Kemp (rollingstone.com in 2004)
All this hopelessness and annihilation would be suffocating if it weren’t for Bowie’s exuberance. He throws himself into Orwell’s draconian hell as if strutting around in Kansai Yamamoto’s Aladdin Sane-era bodysuit; it fits his skeletal contours. Determined to reaffirm his relevance in spite of his setbacks, the singer sparkled so brightly that he offset the darkness of his material. Just as Watergate was coming to a boil, singer-songwriters and prog-rockers were glutting the charts, and ’60s resistance was morphing into ’70s complacency, this sweet rebel (rebel) made revolution strangely sexy again. Glaring at you from Dogs’ cover with canine hindquarters and emaciated features like the circus sideshow Freaks he footnotes in the title cut, he served notice that rock’s outsiders remained more compelling than the softies who increasingly occupied its center, even as his ever-growing popularity chipped away at it. You can bet Patti Smith, the Ramones, and Television sat up and took notes.
-Barry Walters (pitchfork.com)
The music is the message, the message is the music. So that’s my little ministry that the Big Man upstairs gave to me – a little ministry called love and happiness.
“Green plays the boyish Sam Cooke supplicant–or maybe a smooth Otis Redding, or an assertive Smokey Robinson–with the startling is-that-a-synthesizer? high note…”
~Robert Christgau (in 1970 – review of “Gets next to you” album)