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The Songfactor's Choice Top Ten Facts

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I listened to both songs twice and they are different.

Though allmusic also credits the song to Lee and Gillespie... :P

Dizzy Gillespie and Alvin Lee

Alvin Lee lyrics:

I couldn't wait to see you - waiting by the door

There's no one there to meet me - and your clothes are on the floor

Sorry if I hurt you - and I made you cry

Couldn't stand to see you - with another guy

It's the bluest blues - and it cuts me like a knife

It's the bluest blues - since you walked out of my life

Couldn't really tell you - how you hurt my pride

Something broke within me - down inside

I never knew I loved you - til you went away

Now the loneliness surrounds me - everyday

It's the bluest blues - since you walked out of the door

It's the bluest blues - cause I won't see you no more

I'm sorry if I failed you - if somehow I'm to blame

It's the bluest blues I'm feeling - it's a cryin' shame

I just can't live without you - face another day

It's the bluest blues I'm feeling, and it's here to stay

It's the bluest blues, and it cuts me to the bone

It's the bluest blues, when you can't find your way home

Cannot find any lyrics for Gillespie's "Bluest Blues"...

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That would make more sense Blues because Dizzy Gillespie died in 1993. All Music has the song listed as Composed By Dizzy Gillespie/Alvin Lee.

I think Alvin probably covered it in 1995 but the song was written by Gillespie in the 50's.

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Thank you all for putting so much time in on this one. I told Carl there was a bit of confusion on the song because to many websites have it listed under either one of those two or both.

I figured I'd leave it to the powers that be ;)

I also found some awesome artist facts for Lee as well and sent them along :D

Thanks again everyone. I know this stuff takes time but we love it right :bow: :bow: :bow:

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The Songfactors' Choice Top Ten #204

This week there are four songs needing facts.

Lovin', Touchin', Squeezin' - Journey (1979)

Indian Reservation (The Lament of the Cherokee Reservation Indian) - Paul Revere & The Raiders (1971)

I'll Be Your Mirror - Velvet Underground & Nico (1966)

Hell's Bells - AC/DC (1980)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

As always the Songfish thanks you. :bow: :bow: :bow:

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"I'll Be Your Mirror"

Velvet Underground & Nico

Written by Lou Reed.

The single was released as the B-side of "All Tomorrow's parties" in July 1966. Also a track of the album Velvet Underground & Nico from March 1967.

Nico was a fan of Lou Reeds and it's said that she met him in a club, in 1965 and told him "I will be your mirror", so Reed wroote the song for her.

According Wikipedia,

"I'll Be Your Mirror" was the most difficult for Nico to record, as the band wanted her to provide slender, delicate vocals for the song, yet she would sing louder, more aggressive vocals take after take. Sterling Morrison described the ordeal in an interview:

"She kept singing "I'll Be Your Mirror" in her strident voice. Dissatisfied, we kept making her do it over and over again until she broke down and burst into tears. At that point we said, "Oh, try it just one more time and then ******* it — if it doesn't work this time, we're not going to do the song." Nico sat down and did it exactly right.

The members of the band enjoyed her particular performance on the song so much that after she left the band in late 1967, live vocals for the song were done imitating Nico's accent.

Mentor and manager Andy Warhol suggested that the album have a built-in crack in it so the line "I'll be your mirror" would repeat infinitely on a record player until the listener moved the needle themselves, but nothing ever came of this idea.

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"Indian Reservation (The Lament of the Cherokee Reservation Indian)"

Paul Revere & The Raiders

Written by John Loudermilk, also known as Johnny Dee.

Marvin Rainwater's version was the first to be released - and called "The Pale Faced Indian"- in 1959. Don Fardon covered it in 1968; the single reached #20 in the Billboard Hot 100 in the US and was #3 in the UK.

The Raiders released their version on July 1971 and it went #1 in the charts. It was their biggest hit and also a track of the album "Indian Resrvation"

The song was recorded as a solo session by Mark Lindsay .


The song refers to the forcible removal and relocation of Cherokee people from southeastern states of the United States to territories west of the Mississippi River. This removal in the 1830s is often referred to as the "Trail of Tears". It followed the Indian Removal Act of 1830. This action was part of a larger United States policy of Indian removal.

Froom Wikipedia:

For promotion, Revere took the unusual step of riding cross-country a total of four times, plugging the song at every market available. Revere's efforts paid off, and "Indian Reservation" peaked at #1 for one week in July.

Paul Revere: "I called the head of Columbia's promotion and told him I was going on a record promotion trip, which was something artists didn't do anymore." "Indian Reservation" was Columbia Records biggest selling single for almost a decade, clearing over 6 million units.

allmusic says:

composition "Indian Reservation (Lament of the Cherokee Reservation Indian)," a Native American protest song, doesn't have much to do with The Raiders' earlier music or image. But a hit is a hit is a hit, and the song went to number one in the summer of 1971, briefly resurrecting what had been a nearly moribund recording career for The Raiders. The inevitable cash-in album was an oddly thrown-together affair....
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"Lovin', Touchin', Squeezin'"


Written by Steve Perry.

A track of their 1979 album "Evolution" and also their first Top 20 hit, reaching #16 in the US charts. The song shares melody and part of the lyrics with "Nothing Can Change This Love" (Sam Cooke).


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"Hell's Bells"


Written by Angus and Malcolm Young and Brian Johnson.

A track of their 1980 album "Back in Black" and also the second single from the album released in November 1980 with "What Do You Do for Money Honey" as the side B.

The album introduced Brian Johnson as the lead singer after the death of former singer, Bon Scott. In fact, it was written to commemorate Scott's death.

Wikipedia said:

The song starts off with the slow tolling of a bell 4 times and an intro played by lead guitaristAngus Young in the beginning, he is then accompanied by his brother and band mateMalcolm Young. Eventually the bassist Cliff Williams and the drummer Phil Rudd start playing. The lyrics, sung by Brian Johnson, explain how the narrator will attack, comparing his actions with natural phenomena such as rain, thunders and hurricanes. The song implies that the narrator has been sent to drag a soul into Hell.

...and according to allmusic

To say that AC/DC had a lot riding on the success of Back in Black would be an understatement: the untimely death of Bon Scott, one of the most charismatic frontmen in hard rock history, cast a long shadow over the band, and they had to prove they were still a viable unit without him. However, all doubters were proven wrong when the group rebounded with Back in Black, an album considered to be both AC/DC's finest and one of the top metal albums of all time. From start to finish, it burns with the passion and energy of a band out to prove themselves. Nowhere is this passion felt more strongly than on its opening track, "Hells Bells"; on the surface, it's lyrics are a simple tale of the grim reaper told in first-person style. Just the same, lyrics like "I'm rolling thunder, a pouring rain/I'm comin' on like a hurricane" feel more like a statement of determination when one considers the band's position at the time. This determined feel is driven home by the music, which starts like a mournful hymn but soon gives way to a punchy rock melody punctuated by a howl-along chorus. AC/DC's performance puts the icing on the cake: starting with funereal tolling bells, it builds from mournful but majestic dual-guitar lines to a swinging rocker anchored by trudging drums and a thumping bass line. New vocalist Brian Johnson snarls his way through the lyrics and unleashes a hair-raising banshee wail on the chorus while Angus Young punches out one killer riff after another on his guitar. Even though it never moves faster than a mid-tempo level, "Hells Bells" seethes with an intensity and power that makes it one of the most potent tracks in AC/DC's repertoire.

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The Songfactors' Choice Top Ten #205

This week there are five songs needing facts.

Jesus, Etc - Wilco (2002)

I Need You - America (1971)

Hazy Shade of Winter - The Bangles (1987)

I'd Love You To Want Me - Lobo (1972)

Here I Am (Come and Take Me) - Al Green (1973)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

As always the Songfish thanks you. :bow: :bow: :bow:

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Hazy Shade of Winter - The Bangles (1987)

A harder-edged cover of "A Hazy Shade of Winter" was performed by The Bangles for the soundtrack to the 1987 film Less Than Zero. The Bangles version (titled simply "Hazy Shade of Winter") exceeded the popularity of the original, reaching #2 on the Billboard Hot 100. Due to pressure from their record label, The Bangles removed the verse from the original song that contained the line "drinking my vodka and lime." This version was commonly used as bumper music for late night radio talk show Coast to Coast AM hosted by Art Bell in the mid to late 1990s.

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I'd Love You To Want Me - Lobo (1972)

"I'd Love You to Want Me" is the title of a popular song from 1972 by Roland Kent Lavoie, who performed using the stage name Lobo. Lavoie wrote the song, which appears on his album Of a Simple Man.

Released as a single in the fall of 1972, "I'd Love You to Want Me" was the singer's highest charting hit on the Billboard Hot 100 chart, where it spent two weeks at #2 in November of that year.[1] It was kept from the top spot by Johnny Nash's hit song, "I Can See Clearly Now".[2] The song also spent one week at #1 on the Billboard adult contemporary chart, Lavoie's second of four songs to achieve this feat.[3]

When originally released in the United Kingdom in 1972, the song failed to reach the UK Singles Chart; however, a re-release of the single in 1974 peaked at #5.[4]

The song also topped music charts in Australia (Kent Music Report, two weeks), Canada (RPM Magazine, one week) and Germany (Media Control Charts, 13 weeks).

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"Here I Am (Come and Take Me)"

Al Green

Written by Al Green and Teenie Hodges. A track from his sixth album "Call Me", released in July 1973.

It was also released as a single and it reached #10 in the Billboard Pop Singles charts in the same year.

The album "Call Me" is considered a a masterpiece of soul music.

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The song was written by Paul Simon and recorded in September 1966 for their album "Bookends". The single was released in November same year.

Wikipedia: The lyrics evoke the passage of the seasons, but (as the title suggests) focusing on the gloominess of winter. The chorus of the song repeats:

But look around,

leaves are brown now

And the sky

is a hazy shade of winter

Look around,

leaves are brown

There's a patch of snow on the ground.

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The Songfactors' Choice Top Ten #206

This week there are two songs needing facts.

You Wear It Well - Rod Stewart (1972)

Hot 'n' Nasty - Humble Pie (1972)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

As always the Songfish thanks you. :bow: :bow: :bow:

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"You Wear It Well"

Rod Stewart

Written by Rod Steart and Martin Quittenton.

It's a track from his 1972 LP "Never A Dull Moment" and also its second single, released in the same year. Its side B was "Lost paraguayos"

The song reached #1 in the UK charts and #13 in Billboard Hot 100.

Allmusic said:

Never a Dull Moment suffered a bit from being recorded so quickly after the surprise success of Every Picture Tells a Story, at a point when the Faces were still a major factor in Rod Stewart's career. "You Wear It Well" was the album's first single, and as the only song co-written by guitarist Martin Quittenton, the underappreciated star of the previous album, it's the one that has the closest musical similarity to "Maggie May" and "Mandolin Wind." In fact, the less charitable would call the song a virtual rewrite of "Maggie May," with its similarly loping pace and U.K. folk-rock guitars, but the song comes from a different emotional place. Whereas "Maggie May" is a prime breakup song, "You Wear It Well" is a bit more forgiving. Written as a letter to a former love, the conversational lyrics ramble off in half-completed non sequiturs, mimicking the feel of hastily scribbled lines written when someone is either too drunk or not quite drunk enough to say what he really means. Affectionate but regretful, "You Wear It Well" is as lyrically strong as it is tuneful; sadly, that would soon cease to be the case for most of Rod Stewart's singles.
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"Hot 'n' Nasty"

Humble Pie

Written by Steve Marriott and Humble Pie.

Released as a single in 1972 with "You're So Good For Me" as the B-side. Also a track of their 1972 album "Smokin'", their fifth studio LP.

It was the sixth single released by the band and it reached #52 in the US, at the Billboard Hot 100.

Stephen Stills plays Hammond organ.

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[color:#F95BBF]Thank you very much Edna and Shannon :bow: :bow: :bow:

And this week we have these lucky winners that are in need of some facts:

The Songfactors' Choice Top Ten #207

This week there are two songs needing facts.

Search and Destroy - The Stooges (1973)

Words (Between the Lines of Age) - Neil Young (1972)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

As always the Songfish thanks you. :bow: :bow: :bow:

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"Search and Destroy"

The Stooges

Written by Iggy Pop and James Williamson.

Released as a single in 1973 wirh "Penetration" as B-side. Also a track from their third album "Raw Power". Both a classic song and album.

Though Iggy had mixed and produced the album himself, he messed it when he recorded the vocals in one channel and the rest of the instruments in the other. So the record company called David Bowie to produce the album again, though Iggy Pop insisted in keeping his original mix for "Search And Destroy". Yet the version of the single was produced by David Bowie. IThe album was re-released in 1997 with the original mix by Iggy with Bruce Dickinson.

allmusic says:

Daringly using Vietnam War terminology ripped from the era's headlines, like "heart full of napalm" and "love in the middle of a firefight," Iggy Pop urgently appeals for love as the "world's forgotten boy/The one who searches only to destroy." These seeming tossed-off, cocky lyrics and the raw energy of the Stooges on their 1973 landmark Raw Power LP obfuscate the narrator's true desperation in "Search and Destroy": "Honey gotta strike me blind/Somebody's gotta save my soul." Pop sounds like a man who has nothing to lose; he doesn't just leave relationships wrecked on his shoals, he seems to fear some real evil within himself that disallows any real human contact. With "Search and Destroy," the Stooges lay down an archetype for punk rock: James Williamson blistering through a bastardized and pumped-up Keith Richards guitar riff; Ron Asheton, having been relegated from guitar to bass, pounds the instrument with ferocity, while his brother, Scott Asheton, pummels the drum set like Keith Moon -- all fills and cymbals. The band has the urgency of musicians playing as if it would be the last song they ever got to perform. The song teeters on the edge of nihilistic self-destruction, lurching at a breakneck pace. One can hear the influence of the song in a myriad of bands that followed: the Sex Pistols, the Ramones, Motörhead, the Dead Boys (who covered it), and Nirvana. Widely regarded as a production disaster, Pop and the record's producer, David Bowie, blame Raw Power's poor mix on the ultra-low recording budget. But the visceral effect of the overly prominent guitars and distorted vocals struggling to be heard create a hard edge on "Search and Destroy" that has been emulated in punk and post-punk recordings. The song breaks many of the recording rules that were starting to bleed life from big-budget projects during the '70s, when a cult of recording technology was emerging. Also released that year were the chart-topping Elton John song "Crocodile Rock" and the richly produced Pink Floyd album Dark Side of the Moon. Raw Power reminds one of the early Beatles, Stones, and Kinks records, when energy oozed out of the primitive recordings. Nevertheless, in 1997 "Search and Destroy" and the rest of the record was successfully remixed and remastered by Pop and Bruce Dickinson . "Search and Destroy" has become a punk rock live staple. Red Hot Chili Peppers, Sid Vicious, the Dictators, and KMFDM have all been known to perform and/or record versions. Most stay close to the original.

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