Livin’ It Up (Friday Night) By Bell & James (A&M, 1979)


Countless songs have been written about how much it sucks to work. Musicians know this subject all too well. From Sixteen Tons to Five O’Clock World, almost everyone can relate to that feeling of hating their job and waiting for the moment they can do a Fred Flintstone slide down a dinosaur’s back. The times usually dictate what the solution is. In Tennessee Ernie Ford’s downtrodden classic, the main character just gives up. The Vogues sing of the time of day where everything magical happens and the day really begins. The rise of disco and bar culture in the late 70s gave songwriters the idea of escapism. Don’t give up, give in. And rather than ‘fight the man’, live it up.

Casey James & Leroy Bell were songwriters in the mid-70s that rode this concept onto the charts in 1979. They were songwriters in the mid-70s for Philadelphia International. How did they get that cushy job? Didn’t hurt that Leroy’s uncle was producer Thom Bell. But they also wrote some catchy songs in the Philly soul vein. A few were recorded by the soul-curious Elton John in 1977, who eventually had a Top 10 hit with one them, Mama Can’t Buy You Love, in 1979. Bell & James, like many songwriting duos of the late 70s, got a recording contract from A&M records and began writing a mood ring adorned middle finger to the man.

Livin’ It Up (Friday Night) reached #15 in 1979 and went Top 10 Soul as well. It had all the fancy trimmings of a 1979 pop disco hit – slow-building intro to give you time to get on the floor, just enough funk to move you without having to learn any new steps and lyrics that talk about how repressed you are during the day so that you need a release when Friday night comes along. Just pray the boss doesn’t ask you to work on the weekend.

But a deeper look at the lyrics tells me that maybe this guy is fighting the man after all, albeit in a passive-aggressive, way.

Up in the morning at six o’clock
Head for the city
Turn on the music, the radio
Nobody’s hurrying

That’s pretty damn early to get up. Are you a baker? How far away do you work from your job?

Day after day
Slaving away
Punching the time
I’m late again
Sneak in the back way

This is starting to sound like the plot from Office Space. This song should have been on the soundtrack.

I count the hours, minutes too
So glad it’s Friday
Jump in my ride
It’s Friday night

I know I should be on the side of the worker. But it sounds like this dude needs to get fired.

Only on a Friday
Never on a Sunday
Never on a Monday

Wait. What happened to Saturday? Can’t party on Saturday? Are you a cantor at Sunday mass? Knock all this Catholic shit off and get your groove on.

Same situation every day
Some kind of voodoo
Same complications
Stand in the way
Nowhere to run to

Does this guy really think his boss has a doll of him in his office that he sticks pins in every day?

My mind is dreaming
I’m somewhere else
Can’t seem to shake it
I miss the feeling of having fun
No way to fake it

Hey, do you know the difference between prison and your job? You can quit your job. Maybe he should be more appreciative of what he has. Especially since he got his job via nepotism.

OK, I’m being harsh. Jump in your ride and turn it up at 5:00 next Friday on your way to the club with your friends. Slaving away is just another day away.

Just A Song Before I Go By Crosby, Stills & Nash (Atlantic, 1977)


When Crosby, Stills, and Nash took the stage at Woodstock in August of 1969, would anyone have guessed that it would be 8 more years before trio recorded an album together? Sure they released the landmark, Deja Vu in early 1970, but that was with Neil Young touring them into a quartet. And any time you add Neil to a drink, it’s stronger and darker. Besides CSN won the new artist Grammy in 1969, not CSNY. People wanted to sway and smile to Suite: Judy Blue Eyes, not be filled with fear and paranoia with Ohio.

All kidding aside, CSN was in a great position to conquer the folk-rock world and instead splintered in many subsets – Crosby-Nash, Stills-Young, Stills, Manassas. And David Crosby was embarked on a drug-fueled lifestyle that would only come to light in the early 80s. These guys just needed to get together before it was too late and chill. Which is what they did in 1977 with the CSN LP and its lead-off track, Just A Song Before I Go. They even posed on a boat for the album cover, just to let you it was smooth sailing from here on out (of course, it was anything, but).

This 45, written by Graham Nash, has to be one of the saddest to ever hit the Top 10. It makes Along Again (Naturally) come off like Disco Duck. I always found it to be a heartbreaking song and thankfully it ends just after 2 minutes, even though they pack a lot in that 2 minutes –  a couple of choruses, verse and 2 guitar solos.

Maybe hearing it connects me to something deeper in my life, someone who left who didn’t come back, either physically or emotionally. I still have this image of hearing the song as a backdrop to an early morning, when it’s cold and still dark out, but you’re trying to get ready for the day in spite of wanting to stay and keep warm.

I think the reason why it became CSN’s biggest hit, outside of fans welcoming them back, is the fact that we all leave or get left by someone or something at some point in our lives. And regardless of which party feels the hurt more, it’s never easy to say goodbye, but truly the pain is in the fear of permanence that goodbye represents. After 35 years of living with this song, I’ve only recently found out why it was written – a dare. Graham had some time to kill before he went to the airport and back on tour, so he sat down at the piano and quickly wrote about the next hour of his life at that point, literally. Graham’s packed his suitcase, gonna be taken to the airport, go through security and fly United (the friendly skies, I assume. Of course if he’s traveling twice the speed of sound, maybe he booked his ticket on Yeager Air)

I listened to it again with this knowledge and it still has this melancholy sadness that hits me deeply. Maybe Graham had tons of emotions that he needed to write down and record. Maybe he was saying farewell to happiness or so long to a friend. Maybe he was writing about what happened in 1970 when the group fell apart. All I know is that he needed Stills & Crosby back with him so that he could say goodbye once again.

Mr. Jaws by Dickie Goodman (Cash, 1975)


The nostalgia for the 50s that became popular once again in the early to mid-70s brought us many cultural phenomena during that decade: sock hops, Happy Days, Grease, American Graffiti, even Wolfman Jack. A curious by-product of this retro look at a simpler time was created by a man named Dickie Goodman. In 1956, he created the first cut-in record when he released with Bill Buchanan (as Buchanan & Goodman), The Flying Saucer Part 1 & 2. It hit #3 and was the biggest hit of his career. He would only hit the Top 10 once more, almost 20 years later, with Mr. Jaws. But what precisely is a cut-in record?

A cut-in record or break-in, as some call it, was a technique created by some fooling by Dickie & Bill and was an early precursor to sampling, albeit in a roundabout way. Dickie’s cut-in record records had a simple formula. One person would be a reporter, such as a TV anchor or on-the-scene broadcaster. They would ask the person with whom they were speaking a question, in which the response would be a piece of a popular song. The subject would always be something very current, as would the song response. Flying saucers and the promise of space travel were a significant curiosity in the 50s. Jaws, the movie, was an unprecedented Summer blockbuster in 1975, so much so that even the John Williams duh-nuh duh-nuh duh-nuh theme made the Top 40.

Back then, media backlash or spoof wasn’t nearly as instantaneous as it is now. Outside of Saturday Night Live, which debuted in late 1975, all you had was a novelty artist like Ray Stevens or Dickie Goodman. Jaws became so popular so fast, it was only a matter of time. (SNL eventually got their chance too, with the classic Candygram sketch).

If you never heard this 45 before, you may not understand why it’s so funny. I thought it was hilarious, the first time I heard on the Dr. Demento show. I would sit around with my friends huddled by a little tape recorder playing and rewinding the song over and over, anticipating each song’s response as if it were the funniest punchline in the world. Dickie interviews Mr. Jaws, Brody, Hooper, and Capt Quint and finishes up with the shark who eats finally eats Dickie and pulls him underwater.

They don’t make songs like this anymore for 2 big reasons. The first being that in the early 80s, radio stations began broadcasting ‘morning zoos’ which pump up out a few parody pieces a day, quicker, funnier, and sometimes racier. The second reason has to do with sampling itself. Damn those artists who wanted publishing and songwriting credits for using pieces of their material in someone else’s. What was once an aural collage became thievery, with precedents set in the legal system (look up Biz Markie V. Gilbert O’Sullivan or Beastie Boys V. Jimmy Castor) Which makes a record like this, ‘written’ by Dickie Goodman a rarity in itself.

SPOILER ALERT – Here’s a list of the records that Dickie samples, none of which received a dime for the over 1 million sales of this 45:

Theme From ‘Jaws’ by John Williams
Dynomite by Bazuka [which was a sample of sorts of Jimmie Walker]
Please Mr. Please by Olivia Newton-John
How Sweet It Is (To Be Loved by You) by James Taylor
Why Can’t We Be Friends by War
Get Down Tonight by KC and the Sunshine Band
The Hustle by Van McCoy
Love Will Keep Us Together by Captain & Tennille
Rhinestone Cowboy by Glen Campbell
One Of These Nights by Eagles
Jive Talkin’ by Bee Gees
I’m Not in Love by 10cc
Midnight Blue by Melissa Manchester

Tie A Yellow Ribbon Round The Old Oak Tree by Dawn Featuring Tony Orlando (Bell, 1973)


Tony Orlando & Dawn. You say the name and it just reeks of avocado shag and Love’s Baby Soft. But what always struck me was the fact that this anonymous studio concoction, whose members weren’t even fully formed until after their first few hits, became such a visual presence and representation of the 70s. In fact, Tony Orlando & Dawn wasn’t even used until after seven Top 40 hits and two #1 song were racked up, including their biggest, Tie A Yellow Ribbon Round the Old Oak Tree. They actually had as many hits with their iconic name than without. I don’t think Tony Orlando minds at all because without this weird run of luck, he would have just been a guy who had a Top 20 hit called Bless You, way back in 1961.

All of this was luck and timing, for the artists, writers, producers, anyone who made a living off of this record. The history before this song hit #1 for 4 weeks in 1973 is amazing, but its impact afterward is truly astonishing. It propelled the group in having 7 more Top 40 hits, 3 of them Top 10s, one of which hit #1 (He Don’t Love You). It gave America a visual to match the songs when they were given their own variety show, which ran from 1974-1976. Tony had his own theatre in Branson called the Yellow Ribbon Theatre and while some may roll their eyes at it, it nevertheless kept Tony performing through the 90s & 00s. You may even recognize Telma Hopkins, one half of Dawn, as Steve Urkel’s Aunt Rachel or from the other various TV roles she landed from the 80s’ Bosom Buddies & Gimme A Break to the current version of Are We There Yet.

The song itself may have brought on the 20’s/40’s revival of musical styles, which the group expanded on with their next album, Dawn’s New Ragtime Follies (see, still clinging to the Dawn name, even after a mega-smash). It’s the kinda song you’d imagine you’d hear in Shakey’s Pizza or during a carousel ride. The Great Gatsby movie was only a year away and platform shoes, a 40’s throwback, was becoming more mainstream fashion. When you hear that organ and banjo intro, you either want to dance the Lindy or jam metal rods in your ears. What are you gonna do? Irvin Levine & L. Russell Brown wrote a catchy tune. And they had already had some Dawn hits, Knock Three Times & Candida. Irvin also co-wrote This Diamond Ring with Al Kooper, a hit with Gary & the Playboys in 1965.

The meaning and origin of the lyrics have taken on a life of their own. Supposedly inspired by a true story from a New York Post article about a convict riding a bus home from prison awaiting a yellow handkerchief on his arrival, this was also been widely disputed. In fact, the songwriters were sued by the author of that newspaper story until they proved that they got the idea from additional sources in the military. The significance of a yellow ribbon has its origins date back to the Civil War. A woman would wear a yellow ribbon in her hair in honor of husband or ‘sweetheart’ who’d be off to war. In this song, a guy is getting released from a 3-year prison stint. He writes his lover ahead of time to let her know and ask if she still wants him. Rather than await an answer, he asks her to tie a yellow ribbon round the old oak tree. I’ll assume she knows which one. That’s pretty much the song. And during a time of military strife in Vietnam, I wonder how many soldiers coming home, facing the scorn of many for their duty served, heard the song and asked the same request. It’s a simple song of redemption and forgiveness, such by a guy who only 3 years before used an alias on a song which hit the Top 10, because he was afraid of what folks might think.

Hearing this song as a kid appealed to me because of its childlike musicality and it’s sing-song nature, even though the lyrics are better fully understood by adults. But the part near the end which slows down and the whole damn bus is cheering cause the guy can’t believe that not only did he get one yellow ribbon, he got 99 more….damn that still gets me. I have no idea why. But if it gets to a hardened soul like me, it makes sense why it got 2 million others that year. And why the yellow ribbon symbol was used during the Iran Hostage crisis, during the Gulf War and for suicide awareness as well as a symbol used around the world.

Oh, I forgot the best part. Tony was about to give up the music business after the hits starting drying up in 1972. But he decided to give it one final try with a song he wasn’t that thrilled about recording – a song which 40 years later continues to have a global impact.

Sometimes When We Touch by Dan Hill (20th Century, 1978)


Blame it on Alan Alda. The poster man-child for all things sensitive embodied the soft introspective and liberal kindness that the media pushed on males to become during the 70s. Alda’s squint and smirk stayed with us throughout the decade via the TV show, M*A*S*H and, after decades of bottled up feelings, became the go-to guy for the ‘new’ man. Some guys took this soul searching to hilarious new depths, but not many traveled in an emotional diving bell like Dan Hill and his Top 3 hit, Sometimes When We Touch, from his 3rd LP, Longer Fuse (good one, Dan)

Dan Hill is Canadian, which is French for either polite or passive, I can’t remember which. And even if Dan wanted to convey a feeling of warmth and intimacy, it feels like he wrote this song in a remote cabin somewhere on the Manitoba tundra, miles from civilization. Or maybe he was in a large Shining-like hotel, typing ‘subsides’ over and over on an old typewriter, until he went nuts. He may want you to think he’s a sensitive soul but instead, he comes off like a guy with a lot of restraining orders against him. How does anyone take these lyrics seriously?

You ask me if I love you
And I choke on my reply

Yikes! That’s not a good sign. Of course, I (cough, cough), love, er, ummm, you…or something…what?

I’d rather hurt you honestly
Than mislead you with a lie

Here’s some of that sensitive crap coming out. See he’s a good guy cause he’s being honest even if he’s crushing your soul in the process. Don’t get mad, the truth hurts. And yeah, I need you out of my house at the end of the week.

And who am I to judge you on what you say or do?
I’m only just beginning to see the real you

Is this a back-handed compliment? Is he saying that everything was cool until he found out who you really were? But hey if that’s your thing to be a total bitch all the time, that’s your trip, man. That’s a YP, not a MP.

And sometimes when we touch
The honesty’s too much
And I have to close my eyes and hide

Uh, wait. I thought you wanted honesty here. And now you’re saying it’s too much? And you wanna make like an ostrich?

I wanna hold you til I die
Til we both break down and cry
I wanna hold you til the fear in me subsides

This guy would like to hold you til he dies…ladies, the line forms to the left.

Ok, this is where Mr. Crazy shows up. Hold you til I die? I thought he was breaking up with her and now he’s getting all Single White Female on her. And who doesn’t want a boyfriend that’s so clingy that you have an emotional breakdown?

Romance and all its strategy leaves me battling with my pride.
But through the insecurity, some tenderness survives

Basically, he’s saying that he doesn’t want to work at a relationship, is he not? And even if he is a dick to her, she still loves him. Or maybe he’s saying something else? It’s vague, in a very non-cryptic, lazy way.

I’m just another writer still trapped within my truth

No, you’re not.

A hesitant prize fighter still trapped within my youth

When looking for an adjective that describes winning boxers, hesitant would not be on the list. Nor would childlike. Except for Mike Tyson.

At times I’d like to break you and drive you to your knees
At times I’d like to break through and hold you endlessly

Now there’s some brutal honesty. Dan admits he wants to smack his girl around. And then when he calms down or has what he calls, a breakthrough, then hold you and never let go. Ladies, are you getting excited yet?

At times I understand you
And I know how hard you’ve tried
I’ve watched while love commands you
And I’ve watched love pass you by

Doesn’t this sound condescending to you? It should be to the girl that’s he’s breaking up with.? Or to the girl that he’s letting know that he wants to keep an open relationship with.

At times I think we’re drifters
Still searching for a friend
A brother or a sister
But then the passion flares again

Ok, I get the ‘wanting’ companionship part. But comparing looking for a sister or a brother to ‘passion flaring’ is beyond creepy.

So to recap, Dan’s not in love with you. Dan doesn’t really want a commitment. And Dan wants you to respect that. But Dan doesn’t want you to go anywhere or be with anyone else. Or Dan is gonna get mad. Real mad.

We had this 45 in our house, which explains a lot of what I had to overcome in the relationship arena. Think about all kids born in late 78/early 79 whose parents had this gem on the hi-fi while they got busy. Now that honesty is way way too much.

Black Betty by Ram Jam (Epic, 1977)


Imagine you had an older brother and/or sister growing up in the early 70s or maybe you truly did. It’s 1973 and you’re 12-year-old self is riding around with them in their shiny black Firebird with Led Zeppelin’s Houses of The Holy 8 track in the dash, the V8 motor struggling to overcome Jimmy Page’s guitar crunches during The Ocean. You sit back and think, ‘man when I can drive, I’m gonna burn rubber and crank some tunes’.

Flash forward to 1977. You got a brand spanking new driver’s license, your parent’s beat-up Dodge Dart and an empty 8-track player just waiting to be abused. You drive to your local mall, run into Record World and look for the hottest band with the hottest song. As you walk through the parking lot unwrapping your latest purchase, you push that clunky piece of plastic into the player, start the engine and take off down the street to the clanging of a gong a four on the floor bass drum, screeching guitar chords and “whoah-oh black betty, bam-a-lam, whoah-oh, black betty, bam-a-lam…”. Not exactly Dancing Days, but hey you can call Ram Jam you’re very own. Who’s Ram Jam, you ask? Exactly my point. I’m not even sure if Ram Jam knows who Ram Jam is, what a Black Betty is or why I need to even write about them in the first place, but I will.

Ram Jam was a band formed out of necessity rather than a struggling band trying to make it. Guitarist Bill Bartlett, who egged us on to watch him play his Green Tambourine in 1968 as a member of the Lemon Pipers, had formed a new band with 2 other former band members called Starstruck, not be confused with Starbuck. Between personnel changes and a lack of momentum to get a recording contract, Bill decided to play around with the Leadbelly song, Black Betty. He thought a one-minute long would be a good remake especially if you added some hard rock guitars to a disco drum beat. Not thinking much more about it, he recorded it with his bandmates and released it locally. It was actually a nice regional hit around Ohio and Jim was pleased.

That’s when Jerry Kasenetz & Jeff Katz, pop producers who were considered the purveyors of the Bubblegum sound of the late 60s, picked up on it. They invited Jim to New York, tweaked it a bit and re-released it nationally on the Epic Records label. Not only did it become a surprise Top 20 hit in the US, peaking at #18 on Labor Day weekend 1977, but it was also a bigger hit in England and Australia where it climbed into the Top 10. So the guts in Starstruck should have been ecstatic, right? Only if we’re not talking about the record industry, who decided the Ram Jam should be Bill Bartlett and a stable of New York musicians. I call it the Alan Dennison effect.

Maybe they thought the playing on the track was sub-par. They may have a point as the recording is stiffer than a starched Arrow shirt at the North Pole. Listen to that drum solo. This guy makes Carmine Appice come off like Steve Gadd. He can barely keep up with everyone. And the 45 edit doesn’t do him any favors since they cut out the little honkytonk jam section and left in the licks that wouldn’t cut it in an 8th-grade battle of the bands. But I digress….

The song, while definitely inane, probably benefited from the controversy of the lyrics, which were openly boycotted by the NAACP, even though they were written more than 40 years earlier. This song was originally made popular in the 30’s being sung by convicts in State prison farms. It may have been lost altogether had not John & Alan Lomax recorded a version in the field a prison in Sugar Land, Texas. Leadbelly recorded his version in 1939 and was credited from there on and out as the songwriter. Many have debated what or who Black Betty was: a musket, whiskey, a slave whip or even a motorcycle. When sung by Ram Jam, it could’ve been anything from a prostitute to heroin. Nowadays it’s just used to artificially pump up the crowd at sporting events. Except for that one dude way down in Alabam’, windows down, Dodge Dart kickin’ out gravel down a dusty country road til it can’t bam-a-lam no more.

Back Stabbers by the O’Jays (Philadelphia International, 1972)


I will never understand the last meal request for death row inmates. Seriously, does it matter what you’re gonna eat before you die? Food is one of the few things you get to have as a prisoner. After eating tasteless mush for 10 years, you could throw a guy a stale cracker and, in the words of Eddie Murphy, he’d ask, ” Is that a Ritz?” If you’re doing it to be humane, surely there are other things that an inmate could experience one last time: a good book, a piece of art, a moving photograph, even a round of video games. For me, if I am ever on death row (for a crime I was obviously framed for), I would have one request – a pair of headphones, a record player and the 45 of the O’Jays’ Back Stabbers.

Back Stabbers is the crowning achievement by Gamble & Huff, who as a team with Thom Bell created such a distinctive style of music, they had to create a new genre for it – Philadelphia Soul. From the opening Ellery Queen piano roll to build of the strings and horn hits – Da-da-da. Da-da. Da. – you are placed into a world of deception and paranoia, one where your neighbor might be the one with a long blade clenched tight in his fist, not unlike the world in 1972 where the Watergate scandal was beginning to brew. The music is at once hip and dangerous. You can imagine John Shaft strutting down the street on his way to a capture a bad dude just as you can imagine the criminal getting down to the same beat.

If there is a note out of place, I can’t hear it. They may have buried it so far into the mix, it can’t be heard. But considering the audiophile quality of the recording, I highly doubt it. The vocal sparring between Eddie Levert & William Powell is a double blast kill shot, like two excited witnesses of a happening trying to outdo each other retelling what they saw. (The third O’Jay, Walter Williams, must have been out brokering deals with the Minute Maid Company.) There’s no way a single like this could be topped.

Yet, their follow-up, Love Train, did just that, hitting #1 in early 1973. How do you go from ‘ a few of your buddies, they sure look shady’ to ‘people all over the world join hands’? Lyrically that was the difference between Gamble & Huff (McFadden & Whitehead co-wrote Back Stabbers, but hell, they also wrote Ain’t No Stoppin Us Now). They took completely different personal and political world views and wrapped them in this beautiful candy shell. They were Philly Soul’s Willy Wonkas.

Me And Mrs. Jones by Billy Paul (Philadelphia International, 1972)


I love soul music. But Philadelphia soul music transcends love and puts somewhere in the heavens when I hear it. The Spinners, The O’Jays, The Stylistics, Harold Melvin & the Bluenotes, The Delfonics… – Kenny Gamble, Leon Huff, and Thom Bell knew how to take vocal groups left on the industry scrap heap, play to their vocal strengths and give them tight classy instrumental arrangement to sing over. The early 70s is filled with one classic after another. Unfortunately, paranoia and greed killed their momentum when in 1976, the MFSB house band went on strike and signed with Salsoul. PIR carried on, even had some more hits, but it was never the same again. That’s the story of Billy Paul’s career in a nutshell.

Billy Paul was born Paul Wiliams and had been recording since the late 50s, with hardly any commercial success. His first LP release for Gamble & Huff came in 1968 with a live recording called Feeling Good at the Cadillac Club on their Gamble label. Two years later, he’d release Ebony Woman on their Neptune label and followed it with Going East in 1971 on the newly formed Philadelphia International label. They let Billy record standards and soulful covers of popular tunes of the day like Mrs. Robinson and Magic Carpet Ride. But it felt like one misfire after another for poor ol’ Billy. No one knew what to do with that low raspy voice.

Then one day Kenny & Leon were inspired to write a story about a guy who came into a nearby cafe every day and met a girl. They’d play sit, talk, play music on the jukebox. And that was enough for their imaginations to go wild and create the scenario in Me And Mrs. Jones. They let Billy hear the demo they recorded and while he was away, he got into character, imagining himself as the lead and belting out of the most passionate and soul-wrenching vocals in PIR history. Gamble & Huff would try to use Billy a mouthpiece for more Afro-centric, political songs and would up killing his career in the process.

But as far as ‘cheating’ songs go, this one is the tops. You can stack it up with any old blues or country standard – Billy’s is the best. Shame that it’s become a lost genre. Outside of some misogynistic rap songs, cheating songs died out in the late 70s, about the same time as the Women’s lib movement coalesced. Coincidence? Hey, it takes two to tango.

When this song comes on, it’s like someone has just slipped me into a warm bath. From start to finish it’s one long velvet groove, even when the horns and string hit their climactic strikes just before the chorus when Billy smoothly screams “Me-iyee-iyee Ahh-annnd Mrs….Mrs Jo-oh-ohhhnes”. Poor dude. He’s either begging for some more and missing that it’s gone. This song made a big impression on me as a kid and does til this day. But that doesn’t mean it’s without its faults.

For example, this is supposed to be an illicit passionate affair between two people that are so attracted to each other but have significant others. So they’re torn apart, confused, yearning, heart-broken, whatever. But the lyrics tell a different story.

Me and Mrs Jones, we got a thing going on
We both know that it’s wrong
But it’s much too strong to let it cool down now

So Billy is telling us that he’s cheating, but since there’s feeling involved, there can’t be a clean break right now. Let’s assume for argument’s sake he’s speaking to us or to a therapist, but probably not his wife.

We meet every day at the same cafe
Six-thirty I know she’ll be there

OK, Billy. It feels like you want to get caught. You meet every day? That’s not gonna cause suspicion? And at 6:30? That’s dinnertime. Unless you’re talking about AM and in that case, who cheats at dawn? Hit the snooze, buddy.

Holding hands, making all kinds of plans
While the jukebox plays our favorite song

Holding hands? Making plans? Unless the plans include 15 minutes alone in the cafe bathroom, this feels like two six-year-old kids on the playground pretending to be adults. Which would then make their favorite song Playground In My Mind?

We gotta be extra careful
That we don’t build our hopes too high
Cause she’s got her own obligations and so do I

Now for the first time, it just hit me. What is she telling her man every night? I’m going grocery shopping, be back in 3 hours? None of this is making sense unless these two are having their own secret affair or they’re just plain dumb.

Well, it’s time for us to be leaving
It hurts so much, it hurts so much inside
Now she’ll go her way and I’ll go mine
Tomorrow we’ll meet the same place, the same time

For more coffee and hand holding…I understand Gamble & Huff wanted to do this classy. But if anyone besides Billy sings this song, they’s be bored to tears. Teddy Pendergrass would just scare you if he sang it. Why do I feel like Billy’s really not cheating with anyone? Maybe he’s just getting together with the guys for a Fantasy Football draft or whatever the equivalent to that would be in 1972.

Fun facts: Billboard, the jokesters that they are, reported that Me & Mrs Jones replaced none other than Helen Reddy’s I Am Woman at #1 in December of 1972. Billy had his only big hit at the ripe old age of 38. Then yuks-a-plenty when in January of 1973, Me & Mrs. Jones was replaced at the top by Carly Simon’s You’re So Vain.

Rock And Roll Heaven by the Righteous Brothers (Haven, 1974)


As the 70s decade dawned, the Righteous Brothers had broken up and gone their separate ways in pursuit of more successful solo years. Even though Bobby Hatfield & Bill Medley were accomplished singers, that never happened. The duo decided to get back together at the end of 1973 and by the Spring of 1974, they had surprised everyone with their first Top 40 hit in 8 years, a #3 hit, Rock And Roll Heaven. The song, with its soulful pop melodrama and grandiose intro, seemed custom fit for the two. But in fact, it was written and recorded 2 years previous by the group Climax, who had a hit with Precious & Few. <

Folks have often wondered why the writers chose the musician they did. Jimi Hendrix, Janis Joplin, Jim Morrison & Otis Redding were legends and were representatives of the 60’s counterculture (well maybe not Otis as much, but he definitely influenced man). Jim Croce had died suddenly almost a year after making the charts. His full impact was yet to be felt, but moreover, he was a folk singer/songwriter. It’s actually silly to think of him & Hendrix in the same breath, no disrespect to Jim – didn’t mean to tug on Superman’s cape. Bobby Darin had belonged to a different generation, having the bulk of his hits in the pre-Beatles era. And even though he’s in the Rock & Roll Hall of Fame (jeez, so is ABBA) not many people citing him as an influence. Michael Bolton didn’t even attempt to rip him off. So why didn’t they include Buddy Holly, Richie Valens, Eddie Cochran or Duane Allman for that matter?

Supposedly they did. Alan O’Day, who co-wrote the song, gave it to producers, Brian Potter & Dennis Lambert who rewrote a few of the lyrics to add Jim Croce & Booby Darin who had both passed away at the end of 1973. So think about this: 5 of the folks knew each other or of each other and their music. But only Bobby Darin was alive when Jim Croce went from unknown trucker to pop songsmith. If Croce approached those others at a jam session, they would tell him to take a hike, probably Darin too. They didn’t wanna hang around with any squares. Of course, if you believe that heaven is an all-inclusive place, then they would all be singing American Pie together. That means that Roy Orbison and 2Pac are kickin’ it together and that Elvis and Kurt Cobain are crooning duets on a cloud. It also means that one day Lady Gaga, any of the Backstreet Boys, Frank Sinatra and Falco will start an acapella group together. And everyone will love it. Maybe even someone will write a song about it.

This week Alan left his ‘one-night stand’ and got to join a helluva band…and hopefully rewrote the lyrics.

Lay Down Sally by Eric Clapton (RSO, 1978)


It’s tough to figure the moment when I became officially into music as a kid, Top 40 specifically. There was always music playing in my house, in the car, at my school, in department stores and supermarkets, doctors’ offices, and from kids playing their radios outside. But the Spring of 1978 sticks out in my head for some reason. Whenever I heard Feels So Good or Baby Come Back, I get sucked into a wormhole of time travel and placed in my backyard between our red barnyard-like shed and yellow blooming forsythia.

Looking back through my parent’s stack of 45s, a good deal of them came from this time period. I can remember my parents coming back from shopping and having a stack that they immediately cued up on the stereo: Natalie Cole’s Our Love and Samantha Sang’s Emotion led the mix. I get the feeling that things were rocky between my folks and that my dad thought a trip to Record World might help my mom forget whatever dumb shit he did. The power of music is such that it sometimes did.

One 45 I remember making that trip back home was Eric Clapton’s Lay Down Sally and I have no idea why. We didn’t really listen to Clapton’s music, but then again this song really didn’t represent what Clapton had been about. I knew my dad was a closet country fan and loved to fiddle around on his acoustic guitar, but this was still a weird choice for a guy who hardly bought any music.

Regardless, this track took Eric back into the Top 5, 4 years after his breakthrough smash, I Shot The Sheriff and was another hit for the when you’re hot you hot RSO label, while also crossing over to the Country charts. But if Eric had kicked his heroin habit by the time he recorded this, you’d never know it from his performance. He sings like he’s a mile away from the mic and then suddenly gets closer and falls. I wouldn’t rank his guitar playing or solos on this high either, even if he was. It almost feels like he stops and looks around to see where he is or that he isn’t sure whether to even do a solo. Slowhand was definitely the right name for this LP.

I’m not saying it’s bad. It’s a weird entry in a catalog that’s full of so many passionate soul and blues-influenced rock songs. Of course, this is the guy who would also turn Layla into the aural version of Sominex in 1992. Adding to the strangeness is the song itself. For starters, the title Lay Down Sally doesn’t sound very romantic or grammatically correct. And when Marcy Levy, who is a background singer and should be in the background, loudly comes in on the ‘dontcha ever leave’ part and takes over the chorus, it makes you feel like Sally might be in more trouble than she realizes, like a menage is about to go horribly wrong, especially since there might be an unwilling participant. Marcy, take your hand off the door lock. Why can’t she just sit down if you just want to talk to her? Why does she have to ‘lay [lie] down’? There’s no difference between a ‘what’s your sign’ come-on at a disco and this song. It makes Eric come off like some sleazy lounge lizard with a faux-Southern drawl who’s more likely to pass out if and when Sally does eventually lie down.