Loving Somebody Too Much

Patty Smyth and Glen Burtnik co-wrote ‘Sometimes Love Just Ain’t Enough’ and this song was released on her 1992 self-titled album.  Eddie Van Halen laid down guitar parts on an early version of this song, and a second version was recorded in Nashville, where Don Henley, Sheryl Crow and E Street Band member Roy Bittan (who produced the record) perform on the final, released recording of the 1992 Grammy-nominated song.  Smyth had an 18-month-old baby and her two-year marriage to innovative punk singer Richard Hell was ending, when she met up with New Jersey songwriter Glen Burtnik who had just been on tour with Styx.  The single was certified Gold by the Recording Industry Association of America and spent six weeks at #2 on the US Billboard Hot 100 chart in late 1992.  The duet also topped the Billboard Adult Contemporary for four weeks.  In the United Kingdom, the song reached #22 on the UK Singles Chart it was also nominated for a Grammy Award in the category Best Pop Vocal, Duo or Group.

Glen Burtnik said that this song developed when he went to Manhattan on his birthday and he was in his manager’s office (possibly Tony Pallagrosi, but that is just a guess), fiddling around with a new song.  Pallagrosi was a member of Southside Johnny and the Asbury Jukes who had performed with Bruce Springsteen and the Street Band before he became a Jersey Shore-based concert promoter and nightclub owner.  They surprised Glen with a birthday cake, and he picked up a guitar and started making something up, when Patty asked what it was, and she said that she liked it.  They began batting around melodic and lyrical ideas and when they got to a certain point, he put his guitar down and went over to the piano.  He came up with a second section, which led to him stealing a melody from a song that he had written as a teenager, and he tried combining that with the scratch verse ideas they had been tossing around.  Patty took the music home on a cassette tape and Glen says that she did the lion’s share of the lyrics.  She bounced ideas off him, and he contributed a little, but she wrote the story.  Glen wasn’t sure that a negative idea like “love ain’t enough” was going to be a good idea for a single.

Patty was signed to Columbia Records at the time, and she recorded it first for Columbia Records, with Eddie Van Halen on guitar and Don Henley singing with her.  Columbia didn’t think it was any good, so they didn’t release it.  Columbia dropped her, so Smyth went to Nashville and tracked the song again with producer Barry Beckett, but she decided to scrap those sessions.  Patty took the song to MCA Records, and she found a home there, as the third time proved to be the charm for Smyth, who knew that she had a great song and persisted to see it through.  She found a kinder, more sympathetic producer in Roy Bittan, keyboardist for Bruce Springsteen and the E Street Band.  Patty had worked with Don Henley a few times before on several songs on both his Building The Perfect Beast (1984) and The End of the Innocence (1989) albums, and when she played him the tune (before it was recorded) he loved it.  There was the harmony part that Glen was singing with Patty which Don Henley learned and sang beautifully when he agreed to appear on her record.  Henley was at the peak of his solo years, and this drew attention to the song which might not have happened otherwise.  The band consisted of Tim Pierce on guitar, John Pierce on bass, Rusty Anderson on guitar, Roy Brittan on keyboard, and Kenny Aronoff on drums.  Sheryl Crow was just beginning her career and happened to be working in the studio next door when she was recruited to sing backups on this recording.

Patty Smyth’s mother Betty, was a trapeze artist, she owned a nightclub and was the manager of legendary rock’n’roll guitarist Link Wray.  Patty got into trouble with the law when she was twelve, being arrested for assaulting an officer and waiting to buy drugs on a street corner.  Patty performed her first stage music gig at age fifteen at New York’s Folk City, in Greenwich Village and she also performed at the comedy club Catch A Rising Star.  Smyth supported herself by working as a waitress in a steak house till she got her big break receiving a call from guitarist Zack Smith in 1981, who asked her to join Scandal.  Singer/songwriter Patty Smyth joined the rock band Scandal as their lead vocalist.  They had several hits, including the 1982 hit ‘Goodbye To You’ and the female empowerment anthem, ‘The Warrior’, which was a Top 10 hit.

When Scandal broke up in 1985, Smyth was invited by her friend Eddie Van Halen to join the band Van Halen to replace David Lee Roth as lead singer, prior to Sammy Hagar joining.  She declined because she was eight months pregnant, feeling it was not the right time for her.  Patty made a guest appearance on the Hooters 1985 album Nervous Night as an accompanying vocalist for the song ‘Where Do the Children Go’.  In 1987, she recorded her first solo album Never Enough.  In 1988, she sang ‘I Run Right Back’ in the Caddyshack II soundtrack which was written by Diane Warren.  In 1994, Patty recorded the song ‘Look What Love Has Done’, which she co-wrote with James Ingram, and it was featured in the hit movie Junior (starring Arnold Schwarzenegger) which was nominated for an Academy Award for Best Original Song.  Patty also composing the theme tune, ‘Wish I Were You’, to the 1998 feature film Armageddon.

In 1993, Patty Smyth met tennis star John McEnroe, and they got married in 1997.  They raised a large family including two daughters, who are now fully grown.  Smyth & McEnroe have lived together in New York City and in Los Angeles.  Patty released a Christmas album called Come On December in 2015.  28 years after her second solo album, Patty Smyth released her new album It’s About Time in 2020.

‘Sometimes Love Just Ain’t Enough’ is a sad look at what happens when love is no longer enough to keep a couple together and it conveys a universal sentiment of love lost through no specific fault of either person.  This is about a past relationship between two people, and their efforts to move on with their respective lives and try to make sense of the aftermath.  Sometimes you just have to move on when a relationship ends, as if you don’t let go, then you will never have closure.

Now I don’t wanna lose you
But I don’t wanna use you
Just to have somebody by my side

And I don’t wanna hate you
I don’t wanna take you
But I don’t wanna be the one to cry

And that don’t really matter to anyone, anymore
But like a fool I keep losing my place
And I keep seeing you walk through that door

But there’s a danger in loving somebody too much
And it’s sad when you know it’s your heart you can’t trust
There’s a reason why people don’t stay where they are
Baby sometimes love just ain’t enough

Now I could never change you
And I don’t wanna blame you
Baby you don’t have to take the fall

Yes I may have hurt you
But I did not desert you
Maybe I just want to have it all

It makes a sound like thunder, it makes me feel like rain
And like a fool who will never see the truth
I keep thinking something’s gonna change

But there’s a danger in loving somebody too much
And it’s sad when you know it’s your heart you can’t trust
There’s a reason why people don’t stay where they are
Baby sometimes love just ain’t enough

And there’s no way home
When it’s late at night and you’re all alone
Are there things that you wanted to say
And do you feel me beside you in your bed?
There beside you, where I used to lay

And there’s a danger in loving somebody too much
And it’s sad when you know it’s your heart they can’t touch
There’s a reason why people don’t stay who they are
Baby sometimes love just ain’t enough
Baby sometimes love, it just ain’t enough

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song from 1992.

Make This Life Livable

‘Strangelove’ is a song by Depeche Mode and it was released on their 1987 sixth studio album Music for the Masses.  It was written by Martin L. Gore and the lead vocals are sung by Dave Gahan.  This group, Depeche Mode started out in 1980 and they are still around today.  They got their name from a French Fashion magazine, and it roughly translates into “fashion news”.  They are known for having a distinctive sound of synth-pop new wave dance-rock electronic rock, or alternative rock music.  The original Depeche Mode lineup featured Dave Gahan, Martin Gore, Andy Fletcher, and Vince Clarke, but after their first album Clarke quit.  In 1982, keyboardist Alan Wilder answered an ad in Melody Maker and became a member of Depeche Mode and its de facto music director.  They stayed together as a foursome of Andrew Fletcher, Martin Gore, Alan Wilder and David Gahan till Wilder departed in 1995, and since then they have essentially been a trio.

‘Strangelove’ reached #16 on the UK Singles Chart, it went to #76 on the Billboard Hot 100 and was the first of nine number ones on the US Hot Dance Club Play chart.  Cheating is fairly common in relationships and even those who haven’t been unfaithful have probably considered doing that, and since we are capable of loving more than one person at a time, it happens, although I think this type of behavior is strange.  Strangelove is situation where people are totally open with their partner and they don’t hide the fact that they have desires for others.  In this song, a guy cheats on his girlfriend and she knows about it, but she still stays with him.  The guy refers to his conduct as being a sin, and many people feel that adultery is a sin, because you are supposed to refrain from intimate interactions involving fornication with anyone who is not your spouse.  The man gives in to sin, as that is what makes his life livable, but he promises that he will always satisfy her and make her heart smile.  As long as this girl lets the guy get away with cheating, he will keep on doing it.

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Will you take the pain
I will give to you?
Again and again
And will you return it?

There’ll be times
When my crimes
Will seem almost unforgivable
I give in to sin
Because you have to make this life livable

But when you think I’ve had enough
From your sea of love
I’ll take more than another river full
Yes, and I’ll make it all worthwhile
I’ll make your heart smile

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Will you take the pain
I will give to you?
Again and again
And will you return it?

There’ll be days
When I stray
I may appear to be constantly out of reach
I give in to sin
Because I like to practice what I preach

I’m not trying to say
I’ll have it all my way
I’m always willing to learn
When you’ve got something to teach
Oh and I’ll make it all worthwhile
I’ll make your heart smile

Pain, will you return it?
I’ll say it again, pain
Pain, will you return it?
I’ll say it again, pain

Pain, will you return it?
I’ll say it again, pain
Pain, will you return it?
(I won’t say it again)

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Strangelove
Strange highs and strange lows
Strangelove
That’s how my love goes
Strangelove
Will you give it to me?

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a strange love song.

What I Say

Carley Simon recorded ‘Why’ for the Soup for One soundtrack album to the movie Soup for One by American R&B band Chic, which was released by Mirage Records in 1982.  The movie was about a single New York guy who finds the perfect woman and tries just about anything to get her to fall for him, however the movie flopped, but the soundtrack was a success.  This song went to #10 in the UK, and it reached #74 on the Billboard Hot 100.  ‘Why’ was written and produced by Nile Rodgers and Bernard Edwards as Chic and this song came at a time when both Chic’s and Simon’s careers had cooled off a bit.  The group Chic was founded in the mid-seventies by guitarist Nile Rodgers and bassist Bernard Edwards and when Chic formed, the idea was to write songs for different groups.  This song was a departure for Simon, and this was as close to disco as she ever came.

In this song a woman has one question for her former lover who she has ended things with.  She assumed she would be okay after the breakup, but she is broken hearted and hurting, however she is not going to get back together with him.  In order to experience love, you need to open up your heart, but if you fall in love with the wrong person, it will probably hurt.  Love isn’t supposed to hurt, but things associated with love like loneliness, rejection and losing someone does hurt.

Ladidadida
Ladidadida
Ladidadida
Ladidadida

Why does your love hurt so much?
Why?
Why does you love hurt so much?
Don´t know why

You know I loved you baby
But all the while you just betrayed me
In the world of a day
All the things that you said were

Ladidadida
Ladidadida
Ladidadida
Ladidadida

Why does your love hurt so much?
Why?
Why does your love hurt so much?
Don´t know why
You said our love was secret
But you left me alone to make it
You want to come back again someday
But darling here´s what I say

Written for Bee’s Love Is In Da Blog 22 where today we are asked to choose a Love Song from 1982.

A Dream Come True

‘Lovin’ You’ was sung by Minnie Riperton, and it appeared on her 1974 second studio album Perfect Angel.  This song reached #2 on the UK charts and it went to #1 in the US.  Riperton wrote this with her husband, Richard Rudolph while they were living in Chicago.  They continued to work on this song when they moved to Florida, where their daughter Maya was born in 1972.  Riperton worked with Stevie Wonder as a backup singer, and Stevie produced this track for her.  Supposedly, the melody for “Lovin’ You” was created to be a distraction for her baby daughter (Maya Rudolph of Saturday Night Live) so that Minnie and her husband Richard could hang out together, but it has since become a quintessential lovers’ anthem.  Maya was in the studio with Riperton on the day it was recorded and Riperton can be heard singing her daughter’s name “Ma-ah-aha-aha-ah-ya” at the end, but only in the unedited or album version.

‘Lovin’ You’ is a vocalist Minnie Riperton’s signature song, and it showcased her skill at singing in the highest register of the human voice, a five-octave vocal range called the whistle register.  After the record became a hit, the singer was often asked why there’s a bird chirping happily in the background.  She answered that the bird’s chirping was mistakenly recorded when she did the demo for the song and somehow it seemed to work, so they included it on the finished recording.  Riperton is singing about the anticipation of growing old with a loved one.

Minnie Riperton was in an a cappella choir before she sang with girl-group the Gems, who found little success under their own name, but they scored work as session backing-vocalists for the Dells, Etta James and Fontella Bass.  After the Gems, she worked as the front-door receptionist and part-time secretary at Chess Records in her after-school hours.  She was taken under the wing of Billy Davis, a major figure in the music industry, who was the A&R director for Chess Records and she made her own records under the pseudonym Andrea Davis.  Riperton got some work singing backing vocals as part of Ray Charles’ Raelettes.  Her first real break came, however, when Marshall Chess, the son of Leonard, founder of legendary blues label Chess Recordings assembled the psychedelic soul band Rotary Connection in 1967.  When Rudolph and Riperton met, he was managing a rock ballroom in Chicago and she was performing with Rotary Connection, who were notable as the backing band for Muddy Waters.

Riperton moved to Los Angeles in 1973 and became a backup singer in Wonderlove, which was a nine (sometimes ten) piece group that accompanied Stevie Wonder.  After touring with Wonder, she returned to the studio to work on her second solo album, Perfect Angel which reached #1 on US Billboard R&B Albums chart.  The tragic 1979 death of 31-year-old Minnie Riperton silenced one of soul music’s most unique and unforgettable voices, as she died from breast cancer.  Stevie Wonder and Richard Rudolph were at Minnie’s bedside when she passed away from cancer on July 12, 1979.  A year after her death, Capitol released a posthumous album, Love Lives Forever, featuring her recorded vocals with various singers such as Peabo Bryson, Michael Jackson and Stevie Wonder.

Lovin’ you is easy, ‘cause you’re beautiful
Makin’ love with you is all I wanna do
Lovin’ you is more than just a dream come true
And everything that I do is out of lovin’ you

La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la, la-la-la
Dodin-dodin-do-do, ah-ah-ah-ah-ah

No one else can make me feel the colors that you bring
Stay with me while we grow old, and we will live each day in springtime

‘Cause lovin’ you has made my life so beautiful
And every day of my life is filled with lovin’ you
Lovin’ you, I see your soul come shinin’ through
And every time that we-, ooh, I’m more in love with you

La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la, la-la-la
Dodin-dodin-do-do, ah-ah-ah-ah-ah

No one else can make me feel the colors that you bring
Stay with me while we grow old, and we will live each day in springtime

‘Cause lovin’ you is easy, ‘cause you’re beautiful
And every day of my life is filled with lovin’ you
Lovin’ you, I see your soul come shinin’ through
And every time that we-, ooh, I’m more in love with you

La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la, la-la-la
Dodin-dodin-do-do, ah-ah-ah-ah-ah

Na, ooh-ooh
La-la-la-la-la, la-la, la-la-la
Dodin-dodin-do-do, bi-do-bi-do-bni-do
My, my-a, my, my-a
My, my-a, my-a, my-a
La, la, la-la, bi-do-bi-do-ooh-do-do

Written for Bee’s Love Is In Da Blog 22 where today we are allowed to choose our own Love Song.

Heaven Is in Your Eyes

‘I’m in the Mood for Love’ was written by Dorothy Fields and Jimmy McHugh and it was first recorded by Little Jack Little and His Orchestra in 1935.  Chocolates, flowers, and affectionate notes can set the mood for Valentine’s Day, but so can the right romantic music when it is playing.  I am always up for a romantic dinner, rather than just exchanging a greeting card, and I don’t mind giving my special someone sexy lingerie, if it is going to be worn.  Never wait for passion, instead take a proactive approach and choose to become passion by creating your own love.  If you get into the mood for love, then say what’s on your mind, tell your partner and don’t shy away from making the first move.  You could conveniently forget your bra, or just casually bend over in front of him to pick something up and see if he gets the hint, as I bet there is a pretty good chance that he will be staring at your butt.

Jimmy McHugh composed the music for the 1935 song ‘I’m in the Mood for Love’, which was in the motion picture, Every Night at Eight.  The film starred George Raft and it follows a trio of working girls (Susan Moore played by Frances Langford, Dixie Foley played by Alice Faye, and Daphne O’Connor played by Patsy Kelly) who form a singing group and enter a big band competition and eventually end up singing on the radio.  Francis Langford’s shy character serenades the unknowing object of her affection with ‘I’m in the Mood for Love’, and she ends up marrying him at the end of the film.  Dorothy Fields crafted the lyrics for ‘I’m in the Mood for Love’, as well as the five other songs that she cowrote with McHugh and they appear in Every Night at Eight.  Apart from one final song the duo penned in 1935, the film marked the end of the successful collaboration between McHugh and Fields.

Charlie Parker, Louis Armstrong, Billy Eckstine, Vera Lynn, Eddie Fisher, Jo Stafford, Jackie Gleason, Julie London, Mae West, Fats Domino, Dorothy Lamour, Nat King Cole, Rosemary Clooney, Frank Sinatra, Pat Boone, Paul Anka, Dean Martin, Johnny Mathis, Brenda Lee, Shirley Bassey, Billie Eilish, Bryan Ferry, Barbra Streisand and Rod Stewart have all produced recordings of ‘I’m in the Mood for Love’.  The tune was also performed by Marilyn Monroe in Some Like It Hot, and by Bob Dylan in 1988.  The song was in the 1936 Our Gang (Little Rascals) short film The Pinch Singer where it was performed by Darla Hood and Carl “Alfalfa” Switzer (on separate occasions).  This song is also in the 1963 Jerry Lewis film The Nutty Professor, as one of the songs that Buddy Love sings to try to win the affections of Stella (Stella Stevens).

I’m in the mood for love
Simply because you’re near me.
Funny, but when you’re near me
I’m in the mood for love.

Heaven is in your eyes
Bright as the stars we’re under
Oh! Is it any wonder
I’m in the mood for love?

Why stop to think of whether
This little dream might fade?
We’ve put our hearts together
Now we are one, I’m not afraid!

If there’s a cloud above
If it should rain we’ll let it
But for tonight, forget it!
I’m in the mood for love

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Valentine’s Love Song.

Never Be Untrue

Al Green recorded ‘Let’s Stay Together’ for his 1972 album with the same name.  This song reached #1 on the US charts and it went to #7 in the UK.  Al Green wrote the lyrics and the music was written by Al Jackson Jr., and Willie Mitchell.  Al Green is also known as The Reverend Al Green, as he gas devoted his life to God after his ex-girlfriend committed suicide.  He recorded a series of soul hit singles in the early 1970s, including ‘Take Me to the River’, ‘Tired of Being Alone’, ‘I’m Still in Love with You’, ‘Love and Happiness’, and his signature song, ‘Let’s Stay Together’.  Green was inducted into the Rock and Roll Hall of Fame in 1995 and he is ranked at #65 on the Rolling Stone list of the 100 Greatest Artists of All Time.  Al Green had a #2 hit singing ‘Put A Little Love In Your Heart’, a duet with Annie Lennox in 1988.

It was also ranked the sixtieth greatest song of all time by ‘Rolling Stone magazine’ on their list of the 500 Greatest Songs of All Time.  It was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are “culturally, historically, or aesthetically significant”.  The song went on to claim the number-one position on the Billboard Year-End chart as an R&B song for 1972.  ‘Let’s Stay Together’ was inducted into the Grammy Hall of Fame in 1999, the song has been covered by Tina Turner, Al Jarreau, Chaka Khan, Maroon 5, and even President Barack Obama.

In 1967, Al recorded a gentle ballad ‘Back Up Train’ that hit #5 on the R&B chart, and in 1969 he met Willie Mitchell when he was the opening act for his Band at a club in Midland, Texas.  Willie Mitchell was a veteran of the national stage, and his band was seeking a vocalist who shared their sense of style.  Al needed a ride, so he hopped in the van with them and headed to Memphis.  Willie had been producing for Hi Records and he invited Al to come there and become a star.  Al asked how long that would take and Willie said 18 months.  Al declined the offer, saying he didn’t have that long to wait.  He hopped out at a crossroads going north, after borrowing travel money from Willie.

Some months passed, and one morning when Willie was renovating his kitchen, when the carpenter showed up and said, “Don’t you remember me?”  Turns out, it was Albert Green whose career had been going no place, and he was finally ready to give Willie a try.  A year and a half later (as Willie predicted), Al was on the pop charts.  In 1972, he broke huge with ‘Let’s Stay Together’, and the album and became the first of six albums to peak at #1 on the soul album chart.  Green and Mitchell, along with the session players keyboardist Archie “Hubbie” Turner, drummer Al Jackson, Jr., percussionist Howard Grimes, guitarist Mabon “Teenie” Hodges, bassist Leroy Hodges, and organist Charles Hodges who were known as The Hi Rhythm Section, were committed to creating chemistry with each other and taking their time on the music.  Clearly their method worked, because the first song to come after that conversation was Green’s enduring signature record, ‘Let’s Stay Together’.  This song started with Mitchell giving Green a rough cut of a tune he’d written, and supposedly it only took Green between 5 and 15 minutes to write the lyrics.  Green didn’t feel ready to record the song, so it took two days of Mitchell badgering him and about 100 takes before he got one that he liked, and even then, he wasn’t sure the song was any good.  It was Mitchell who set him straight, telling him it “had magic on it.”  Green put his heavenly voice on tape, but Green wasn’t giving Mitchell what he wanted.  Willie told him, “Don’t try to handle the song, Al.  Just let the song happen.  Just let it happen.  Just let it ooze out.”

Let’s stay together

I’m, I’m so in love with you
Whatever you want to do
Is alright with me
‘Cause you make me feel so brand new
And I want to spend my life with you

Let me say that since, baby
Since we’ve been together
Loving you forever
Is what I need
Let me be the one you come running to
I’ll never be untrue

Oh, baby, let’s, let’s stay together
Loving you whether, whether
Times are good or bad, happy or sad

Whether times are good or bad, happy or sad

Why, somebody, why people break-up
Oh, turn around and make-up
I just can’t see
You’d never do that to me
Would you, baby?
Just being around you is all I see

Here’s what I want us to do

Let’s, we ought to stay together
Loving you whether, whether
Times are good or bad, happy or sad
Come on

Let’s, let’s stay together
Loving you whether, whether
Times are good or bad, happy or sad

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song from 1972.

Hailee Does Hailee

18-year-old Hailee Steinfeld didn’t say that her song ‘Love Myself’ was about masturbation, instead she said, “I think for me the song just has a really strong self-empowerment message, and whether you take that as something physical or not, it basically means the same thing … It’s about being able to provide for yourself and knowing how much power there is in that.”  As she sings, “Gonna love myself, no I don’t need anybody else,” this leaves little to the imagination, however my mind never strays too far from the gutter.  Hailee deliberately made the lyrics open-ended, so they could be subject to the listeners’ interpretation, whatever they sound like to you.  Lyrics can have multiple meanings, but when a song is outrageously catchy, most people won’t really care exactly what she’s singing about, as they will be up and dancing.  The starlet even embraced the song’s message by wearing a Self-Service T-shirt in her music video.

Hailee said that it doesn’t bother her that people think her song is an ode to masturbation.  It is not unheard of for artists to urge their listeners to find the value in loving themselves, as Cyndi Lauper did this with ‘She Bop’.  Hailee Steinfeld was born December 11, 1996, and she is an American actress and singer.  She had her breakthrough with the western drama film True Grit (2010), where she played Mattalyn (Mattie) Ross the daughter of Frank Ross and friend and travel companion of Rooster Cogburn, which earned her nominations for the Academy Award, BAFTA Award and the SAG Award for Best Supporting Actress.  Steinfeld gained recognition in music after performing “Flashlight” in Pitch Perfect 2 (2015) and this song peaked at # 61 on US Billboard Hot 100[.  She signed with Republic Records soon after and released her debut single, ‘Love Myself’ which was released in 2015.  It was written by Mattias Larsson, Robin Fredriksson, Oscar Holter, Julia Michaels, and Justin Tranter, and it reached #30 on the Billboard Hot 100, #6 on the US Dance Club Songs chart and #15 on the Billboard Pop Songs chart.

Hey
Yeah (hey)

When I get chills at night, I feel it deep inside
Without you, yeah (hey)
Know how to satisfy, keepin’ that tempo right
Without you, yeah (hey)

Pictures in my mind on replay
I’m gonna touch the pain away (hey)
I know how to scream my own name
Scream my name

Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (I love me)
Can’t help myself, no, I don’t need anybody else
Anytime, day or night
(I love me)
Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (I love me)
Can’t help myself, no, I don’t need anybody else
Anytime that I like
(I love me)

I take it nice and slow, feeling good on my own
Without you, yeah (hey)
Got me speaking in tongues, the beautiful it comes
Without you, yeah (hey)

I’m gonna put my body first
And love me so hard ‘til it hurts (hey)
I know how to scream out the words
Scream the words

Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (I love me)
Can’t help myself, no, I don’t need anybody else
Anytime, day or night
(I love me)
Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (I love me)
Can’t help myself, no, I don’t need anybody else
Anytime that I like
(I love me)

Ah, la-la-la, la-la-la-la-la ah (hey)
Ah, la-la-la, la-la-la-la-la ah (I love me)
Ah, la-la-la, la-la-la-la-la ah
Anytime that I like (I love)

Yeah, I know how to scream my own name
Scream my name
Ooh-ooh-ooh-oh

Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (I love me)
Can’t help myself, no, I don’t need anybody else
Anytime, day or night
(I love me)
Gonna love myself, no, I don’t need anybody else (hey)
Gonna love myself, no, I don’t need anybody else (don’t need nobody else)
Can’t help myself, no, I don’t need anybody else
Anytime that I like
(I love me) (hey)

Ah, la-la-la, la-la-la-la-la ah (nobody else) (hey)
Ah, la-la-la, la-la-la-la-la ah (nobody else) (hey)
Ah, la-la-la, la-la-la-la-la ah (nobody else) (hey)

Anytime that I like
(I love me)

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song to yourself.

Dreams Of Yesterday

Ray Charles charted #1 in both the US and the UK with ‘I Can’t Stop Loving You’ from his 1962 album Modern Sounds In Country And Western Music.  Country singer Don Gibson wrote this song and recorded it in 1958 and this song helped to skyrocket his career.  Don was inducted into the Country Music Hall of Fame, the Nashville Songwriters Hall of Fame and the North Carolina Music Hall of Fame.  Everybody tells me that I should sing ‘Far, Far Away’, which I assumed to be the Don Gibson song, but this may be more about the way that I sing.  Between 1958-1961, Gibson had a total of 11 Top Ten singles, including the #1 ‘Oh Lonesome Me’, #7 ‘I Can’t Stop Lovin’ You’, #1 ‘Blue Blue Day’, #5 ‘Give Myself a Party’, #8 ‘Look Who’s Blue’, #3 ‘Who Cares’, #5 ‘Don’t Tell Me Your Troubles’, #2 ‘Just One Time’, #6 ‘Sweet Dreams’ (re-recording), #2 ‘Sea of Heartbreak’, and #2 ‘Lonesome Number One’.  Don’s performances started suffering from alcohol and drug abuse, and although he still had the occasional Top 10 hit, this angered concert promoters and alienated him from the record executives, and also forced the Grand Ole Opry to revoke his membership in 1963.

Soul pioneer Ray Charles had already brought jazz, gospel and blues sounds into soul, and this was a successful attempt to draw on elements of country and develop the genre further.  By 1962, Charles had moved to ABC-Paramount Records as they offered him greater artistic freedom.  He had further pop hits, including ‘Georgia on My Mind’ and ‘Hit the Road Jack’, but following a near-death experience in a plane, when the pilot of his plane lost visibility, as snow and his failure to use defroster caused the windshield of the plane to become completely covered in ice, he decided to try something new with this country album.

One day before this album was released, Ray found out that Tab Hunter released a note for note copy of ‘I Can’t Stop Loving You’ as a single, even duplicating the cracks in his voice, and he insisted that his own version be issued immediately.  Ray argued with Sam Clark the president of his record company ABC-Paramount and he finally got him to agree, so that next day, they worked around the clock and were able to start shipping.  They shipped initial orders in one day that totaled five hundred thousand records.  This record is said to have single-handedly revived the record business, as it happened at a time when nobody was buying records.  Ray brought people into the record stores and other people from other record companies started calling him up to thank him.  Its worldwide success prompted further country songs, ‘You Don’t Know Me’, ‘Take These Chains From My Heart’ and ‘Cryin Time’ as well as a second volume of Modern Sounds In Country And Western Music, which was also released in 1962.  This was Ray’s third #1 hit and it became was his first gold record.

Tab Hunter was an American actor, singer, film producer, and author who was known for his blond hair, and clean-cut good looks, a character comparable to Rock Hudson and the heartthrob eventually came out of the closet, just like Rock did.  In 1957, Tab released a #1 hit single ‘Young Love’, which propelled him to the top of the pop charts and he remained at #1 for six weeks.  He was mostly known for his acting and was at one time Warner’s biggest movie star.  Randy Wood of Dot Records signed Tab Hunter to a recording contract, because Warner Brothers didn’t have a record label at this time.  In fact, Warner Brothers most likely started their record label so they could get their star’s recording contract away from Dot.  In a sense, soft rock originated in the late 1950s when pop singers began employing arrangements which incorporated elements of rock ‘n’ roll.  Andy Williams, Guy Mitchell, and Tab Hunter all achieved notable success aiming their releases at a teen audience.  Tab’s foray into pop music did not last long into the 1960s, as he began focusing on screen roles, and started starring in a number of beach movies.

I can’t stop loving you
So I’ve made up my mind
To live in memory
Of such an old lonesome time

I can’t stop wanting you
It’s useless to say
So I’ll just live my life
In dreams of yesterday.

Those happy hours
That we once knew
Though long ago,
They still make me blue

They say that time
Heals a broken heart
But time has stood still
Since we’ve been apart

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song from 1962.

Nights That I Died for You

‘This Ain’t a Love Song’ was recorded Bon Jovi’s 1995 sixth studio album, These Days.  It was written by band members Jon Bon Jovi and Richie Sambora, along with American songwriter and producer Desmond Child, and it reached #14 on the US Billboard Hot 100, and #6 on the UK Singles Chart.  This song is about the heartache that you feel when you lose someone that you love.  I detest the word “you’s”, because it has a backwoods hick sound to it, like the Southern word y’all.  It seems to be a real word that is the plural of you, and instead of saying “you people”, a substation of “you’s”, could be used.  However, in this song it seems to be used as a made-up contraction of “you is”, and everyone knows that “you are” is the grammatically correct way to say this, unless of course you is a stupid person.  In the chorus, the guy states that “If the love that I got for you’s gone, if the river I cried ain’t that long.  Then I’m wrong, yeah I’m wrong, this ain’t a love song”, so it is sort of self-explanatory.  Logically if a condition is true, that leads to a certain point of view, but if the condition turns out to be false, then an opposite point of view, should be valid.  Thus, if the love he had with her is not gone, then it’s not a love song, as it would be more of an “I miss you” song, but if this love were gone, that would make it a love song.

The guy is still hung up on this girl, thinking back about what he could have done different, but their relationship is over.  These memories are frustrating, because things didn’t work out and he is still madly in love with this girl.  He comes to his senses, realizing that her saying goodnight, was really her saying goodbye.  He does a lot of whining and crying, but love has a tendency to make people blind to their actions.  It takes him a long time to face his feelings, but in the end, he realized that this relationship wasn’t worth saving and he should stop trying to hold on to it.

I should have seen it coming when the roses died
Should have seen the end of summer in your eyes
I should have listened when you said goodnight
You really meant goodbye
And baby, ain’t it funny, how you never ever learn to fall?
You’re really on your knees when you think you’re standing tall
But only fools are ‘know-it-alls’ and I played that fool for you

I cried and I cried, there were nights that I died for you, baby
I tried and I tried to deny that your love drove me crazy, baby

If the love that I got for you’s gone, if the river I cried ain’t that long
Then I’m wrong, yeah I’m wrong, this ain’t a love song

Baby, I thought you and me would stand the test of time
Like we got away with the perfect crime
But we were just a legend in my mind. I guess that I was blind
Remember those nights dancing at The Masquerade
The clowns wore smiles that wouldn’t fade
You and I were the renegades, some things never change

It made me so mad ‘cause I wanted it bad for us baby
Now it’s so sad that whatever we had ain’t worth saving, oh

If the love that I got for you’s gone, if the river I cried ain’t that long
Then I’m wrong, yeah I’m wrong, this ain’t a love song
If the pain that I’m feeling so strong is the reason that I’m holding on
Then I’m wrong, yeah, I’m wrong, this ain’t a love song
I cried and I cried, there were nights that I died for you, baby
I tried and I tried to deny that your love drove me crazy, baby

If the love that I got for you’s gone, if the river I cried ain’t that long
Then I’m wrong, yeah, I’m wrong, this ain’t a love song
If the pain that I’m feeling so strong is the reason that I’m holding on
Then I’m wrong, yeah, I’m wrong, this ain’t a love song

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song, that isn’t a Love Song, but you think it’s a Love Song.

A Bunch of Dogs

‘Goodnite, Sweetheart, Goodnite’ was written in 1953 by Calvin Carter and Thornton James “Pookie” Hudson and it first recorded by the Spaniels in 1954.  In this doo-wop song, it’s 3 a.m., and a young man regretfully says goodnight to his date.  He knows that her parents won’t be pleased if they stay out any later, so he does his best to leave.  In this the era, everyone was worried about a girl’s reputation, so you couldn’t be out all night.  This was the Spaniels best known song.  The Spaniels pioneered the practice of having the lead singer use one microphone while the other vocalists in the group shared a second microphone.  This song went to #5 on the R&B Chart and #24 on Variety’s Pop Chart.

The Spaniels were from Gary, Indiana and their name was given to them from one of their wives, who said they sounded like a bunch of dogs.  While recording, they had lead vocalist Pookie Hudson on one microphone and the rest of the group used another.  They changed members over the years, but on this record, they were a quintet with Hudson, Ernest Warren, Willie C. Jackson, Opal Courtney, Jr., and Gerald Gregory.  Hudson says that he wrote ‘Goodnight, Sweetheart, Goodnight’ after being kicked out of his girlfriend’s house in 1952.  He was with a young lady named Bonnie Jean, and he often stayed at her house till around midnight, or till one in the morning, until her mama would tell him to move on.  He put this song together while he was walking home one night, and a few days later he took it to the group.  They sang it on the corner for about a year before their record label talked them into recording it.

This obvious farewell song was often used as an encore song for concert performances.  The song could have been overly sentimental, but it is saved from it by the almost comically low bass of Gerald Gregory, which prevents this song from becoming too sweet.  Gregory’s bass riff went on to become one of the most famous bass parts in the history of doo-wop.  The Spaniels were among the first artists signed to Vee-Jay Records.  The song confirmed The Spaniels as one of the leading vocal groups in the country and Pookie Hudson as one’s of doo-wop’s finest songwriters.

It was soon covered by the McGuire Sisters in 1954, whose version went to #7 on the pop charts, becoming the best-selling version of the song.  It was the McGuire Sisters’ first major hit, selling a million copies.  Their version reached #8 on Billboard’s chart of “Best Sellers in Stores”, #7 on Billboard’s chart of “Most Played in Juke Boxes”, and #9 on Billboard’s chart of “Most Played by Jockeys”, and it was ranked #21 on Billboard’s ranking of “1954’s Top Popular Records according to Juke Box Plays”.  It was also ranked #33 in Cash Box’s ranking of “1954’s Top Pop Records as Voted in the Cash Box Poll”,

Other artists who recorded the song were Johnnie and Jack (1954), Sunny Gale (1954), and Ella Mae Morse, along with many others.  In the 70’s it made a resurgence when it was used by Sha Na Na as the closing song for their weekly variety show.  This tune was featured in American Hot Wax, American Graffiti and Three Men and a Baby.  DJ Dick Biondi used it to close his Chicago radio show on 94.7 WLS-FM every night for many years.

Goodnight sweetheart, well, it’s time to go
Goodnight sweetheart, well, it’s time to go
I hate to leave you, but I really must say
Oh, goodnight sweetheart, goodnight

Goodnight sweetheart, well, it’s time to go
Goodnight sweetheart, well, it’s time to go
I hate to leave you, I really must say
Oh, goodnight sweetheart, goodnight

Well, it’s three o’clock in the morning
Baby, I just can’t treat you right
Well, I hate to leave you, baby
Don’t mean maybe because I love you so

Goodnight sweetheart, well, it’s time to go
Goodnight sweetheart, well, it’s time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight

Mother, oh, and your father
Might get if I stay here too long
One kiss in the dark
And I’ll be going, you know I hate to go

Goodnight sweetheart, well, it’s time to go
Goodnight sweetheart, well, it’s time to go
I hate to leave you, I really must say
Oh, goodnight, sweetheart, goodnight

Written for Bee’s Love Is In Da Blog 22 where today we are asked to find a Love Song from 1952.  I realize that this song was recorded in 1954, but the initial idea for this song originated in 1952 and they were singing it before it was finalized.