Why Guitar Has Been in My Bones

‘Rockin’ ‘Til the Sun Goes Down’ is a non-stop party song written by Alvin Lee and Mylon LeFevre for their 1973 On the Road to Freedom album.  It was recorded at Alvin Lee’s Space Studio, a stunning Elizabethan country manor house only one hour from London, occupying a 25-acre estate in the most beautiful rural Oxfordshire region of South East England.  Lee  sold the house and studio to David Gilmour of Pink Floyd, who used the studio to record parts of their album The Final Cut in 1983.  Gilmour sold the house and studio to Clive Langer and Alan Winstanley, who sold it to Trevor Horn and Jill Sinclair, and they turned it into Hookend Productions Ltd.

The first time I heard this song, I knew that I wanted to write a post about it, but there was literally nothing out there for me to go off of, so I will have to give this my best shot.   Mylon LeFevre was gospel singer from Georgia and his neighbors were the Allman Brothers, and him and Duane used to sit in a bar and dream about the day that they would have enough money to buy a motorcycle.  Felix Pappalardi discovered Mylon singing backup and introduced him to Allen Toussaint, and Pappalardi helped Mylon form a band called Holy Smoke DooDah Band, and they opened for groups like Uriah Heep or Jethro Tull.  The group included Auburn Burrell and J.P. Lauzon on guitar, drummer Marty Simon, Tom Robb on bass and keyboardist Lester Langdale, but they were ignored by the critics, however this was how Mylon came to meet Alvin Lee.  He did four tours with Ten Years After and when the shows were over, or in between gigs, they jammed together.  Mylon was a serious druggie, having a big problem with heroin during that time, and Alvin saw him getting sick, so Alvin took him to Jamaica, and when they returned to England, he invited him to stay in his 15th century manor house in the Chilton hills.  There was no place to score there, so Mylon got better.

This is not the first time that I wrote about a song where there is no listing of the lyrics and I had to listen to this repeatedly to come up with what I got.  I am pretty sure that most of the lyrics are correct, but some of them may be slightly off.  I have to really like a song to be willing to go through all of this work, but this song is great and it was worth my effort.  If you think that I am off base with any of the lyrics posted below, please let me know in the comment section.

Been a fool with the fun around
With the New Orleans, honey been around
Rocking’s just a reason for going out of town
I will still be rocking when the sun goes down
I am just gonna keep on rocking till the break of day
I’m gonna take my party going to the grave
I’ll see Chuck Berry and I wrote a song
About a why guitar has been in my bones
I don’t know why the motive’s been put around
I will still be rocking when the sun goes down
I’m gonna keep on rocking till the sun goes down
I can see Chuck Berry and the Rolling Stones
I’m a rock ‘n roller and it’s in my bones
Music in the podium gets me moving round
I will still be rocking when the sun goes down
I’m gonna keep on rocking till the sun goes down
I’m gonna keep on rocking till the sun goes down
I’m gonna keep on rocking till the sun goes down

Written for Mindlovemisery’s Menagerie MM Music Challenge #199 – Love Like A Man.

Love Like A Man – Challenge #199

In 1973, American gospel singer Mylon LeFevre and Alvin Lee released the album On the Road to Freedom, which featured George Harrison, Steve Winwood, Jim Capaldi, Mick Fleetwood, and Ron Wood so it was essentially a supergroup, but this album was not well received even though some critics have said this contains some of Alvin’s best work. All the songs were written by LeFevre and Lee except ‘So Sad (No Love of His Own)’ which was written by George Harrison and ‘Let ‘Em Say What They Will’ which was written by Ron Wood. In 2012, Alvin Lee released another solo album titled Still On the Road to Freedom, which was not strictly a blues album, as it combined rock, rockabilly and folk music and all of the songs were written by Alvin Lee. Lee died in Spain at the age of 68 on March 6th of 2013. He died from unforeseen complications following a routine surgical procedure to correct an atrial arrhythmia.

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Alvin Lee the frontman for Ten Years After wrote this song and it was released on their fourth studio album Cricklewood Green, which came out in 1970.  This was their only UK Singles’ chart hit, where it reached #10, but only going to #98 in the US.  Alvin Lee was known for his rapid-fire guitar speed which earned him the title of being “The Fastest Guitarist in the West”.  Alvin was considered to be a precursor to shred-style playing which developed in the 1980s.  To shred a guitar, musicians have to push themselves to their physical playing limits to perform at faster tempos, or be able to execute ideas in a seamless and smooth manner.  This level of performance requires an enormous amount of patient and dedicated practice, as building your finger dexterity, speed, and hand-eye coordination to perform quickly, cleanly, and accurately takes a lot of time and a lot…

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Pretty Lights on The Tree

‘Christmas (Baby Please Come Home)’ was written by Ellie Greenwich, Jeff Barry and Phil Spector and it appeared Phil Spector’s 1963 album A Christmas Gift for You.  The single charted #22 in the UK and it reached #17 in the US.  This single was released the same day US President John F. Kennedy was shot and killed, which seriously dampened the holiday mood, so the single, as well as the album, were both withdrawn, as a moratorium was placed on rock music during this time.  It eventually became a Christmas classic, but it took decades.  In this song, the singer is missing her loved one and although there is snow coming down and the tree is lit up and people are singing Christmas music, she can’t get into the Christmas spirit because something is missing.  She needs her loved one to be at home with her, otherwise it just won’t be any fun.  She pleads with him to come home.

Spector intended to have his future wife Ronnie Bennett of The Ronettes record this, but it was given to Darlene Love after Bennett’s vocal was deemed not emotional enough.  Leon Russell played piano on this, and Cher was there with her boyfriend Sonny Bono who played percussion while she was working as a studio assistant during the sessions.  Phil Spector was the most famous and influential producer in the history of rock music.  He was known for producing a distinctive “wall of sound”, in which a number of instruments are blended together to create a single effect.

The snow’s coming down
(Christmas) I’m watching it fall
(Christmas) Lots of people around
(Christmas) Baby please come home

The church bells in town
(Christmas) All ringing in song
(Christmas) Full of happy sounds
(Christmas) Baby please come home

They’re singing “Deck The Halls”
But it’s not like Christmas at all
‘Cause I remember when you were here
And all the fun we had last year

Pretty lights on the tree
(Christmas) I’m watching them shine
(Christmas) You should be here with me
(Christmas) Baby please come home

They’re singing “Deck The Halls”
But it’s not like Christmas at all
‘Cause I remember when you were here
And all the fun we had last year

If there was a way
(Christmas) I’d hold back this tear
(Christmas) But it’s Christmas day
(Please) Please, (please) please
(Please) Please, (please) please
(Please) Please, (please) please
(Please) Baby, please come home

Baby, please come home
(Christmas) Baby, please come home
(Christmas) Baby, please come home
(Christmas) Oh, yeah, yeah, yeah, yeah
(Christmas) I need you, I need you
(Christmas) Please come home

Written for the MM Music Challenge #198 Little Saint Nick.

Little Saint Nick – Challenge #198

The Beach Boys’ Christmas Album is their seventh studio album. Most of the featured songs are well-known, some of the more popular ones like ‘Frosty the Snowman’, ‘White Christmas’, ‘Santa Claus Is Coming to Town’, and ‘I’ll Be Home for Christmas’, are nice to listen to. This album features unusual Christmas lyrics with a distinct surf-rock sound, it’s a bright spot of originality among the hundreds of similar-sounding carols heard throughout the season. Everything changed for The Beach Boys in 1964 after this album was released. They fired their manager, Murray Wilson, the father of Brian, Denis and Carl Wilson. Brian was experiencing psychological problems that were triggered by his weed and LSD addiction and he had a nervous breakdown. Brian became so anti-social that he refused to speak to the CBS record executive after the release of the Pet Sounds. He instead opted to answer via a tape player with the automatic “yes”, “no” and “thank you” recorded and he resigned from regular concert touring. Along the way, vocalist Mike Love divorced his first wife, and his first daughter was born.

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I had planned on writing about the Ten Years After song ‘Love Like A Man’ this week, but since it is Christmas Eve, I am going with ‘Little Saint Nick’ by The Beach Boys.  ‘Little Saint Nick’ was released as a single in 1962 and it came out again in 1963 on The Beach Boys’ Christmas Album.  The single charted #47 in the US, but it peaked at #3 on the Billboard magazine’s special seasonal weekly Christmas Singles chart.  Brian Wilson wrote this song with Michael Love and it was modeled after their song ‘Little Duce Coup’, envisioning Santa’s sleigh as a Nordic Hot Rod, being candy apple red with a 4-speed stick.  In the story, Santa Claus lives way up north, where the air is cold, unlike the California surfer scene that the Beach Boys were used to.  The record includes overdubs of sleigh bells, celeste, triangle…

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Don’t Fall in Love

The 1983 Tubes song ‘She’s A Beauty’ was cowritten by John Fee Waybillm, David Foster, and Toto guitarist Steve Lukather.  Waybill was inspired to write this after an experience he had at a red light district called the Tenderloin in San Francisco.  The music was largely written by Foster, who was also the source for the song’s title.  David Foster was also responsible for changing the original line, “you can talk to a naked girl” to “you can talk to pretty girl”.  This was The Tubes biggest chart hit, going to #10 on the US Billboard Hot 100 and reaching #1 on the Mainstream Rock Tracks chart.  Waybillm passed a kiosk that was like a phone booth in San Francisco outside of a peep show, and he noticed a sign that read, “Pay A Dollar, Talk to a Naked Girl”.

It was meant to arouse men to go inside of this “happy ending” type of massage parlor.  Waybillm had never done anything like that before, but was curious, so he put a dollar in the thing just to see what would happen.  When he put a dollar in, the wall slid down, and there was a scantily clad girl for him to look at.  She started disrobing, and saying, “Hey baby, come on in.  We’ll take care of you.”  John was a bit of a rube and very naïve and he couldn’t understand why this gorgeous girl, was doing this, as he thought that she could be a model.  She ignored everything he said and kept going on with her spiel, telling him to come on in.  Before she ever actually took anything off, the wall would slide down again and say, “Pay another dollar.”  So, he put in another dollar and told the girl that the Tubes had lost their dancers and he tried to recruit her to be one of their dancers, but she completely ignored him.

Step right up, and don’t be shy
Because you will not believe your eyes
She’s right here, behind the glass
You’re gonna like her ‘cause she’s got class

You can look inside another world
You get to talk to a pretty girl
She’s everything you dream about

But don’t fall in love
She’s a beauty
(She’s one in a million girls)
She’s a beauty
(Why would I lie)
Why would I lie

You can say anything you like
But you can’t touch the merchandise
She’ll give you every penny’s worth
But it will cost you a dollar first

You can step outside your little world
(Step outside your world)
You can talk to a pretty girl
She’s everything you dream about

But don’t fall in love
She’s a beauty
(She’s one in a million girls)
One in a million girl
(Why would I lie)
Why would I lie

But don’t fall in love
‘Cause if you do you find out
She don’t love you
(She’s one in a million girls)
One in a million girl
(Why would I lie)
Now why would I lie

But don’t fall in love
She’s a beauty
(She’s one in a million girls)
One in a million girl
(Why would I lie)
Now why would I lie

But don’t fall in love
‘Cause if you do
You find out she don’t love you
(She’s one in a million girl)
She’s one in a million girl
(Why would I lie)
Why would I lie

But don’t fall in love
She’s one in a million girl

Written for Mindlovemisery’s Menagerie MM Music Challenge #197 What Becomes of the Brokenhearted.

What Becomes of the Brokenhearted – Challenge #197

Jimmy Ruffin auditioned for The Temptations, but they chose his brother David over him. Many Motown songs deal with heartbreak, but this one really hit home with this poor guy who has recently joined the ranks of the brokenhearted, and he’s not sure what happens next. He knows he can’t take the pain much longer, but in his search, he keeps coming up empty. Jimmy Ruffin feels the pain that comes from being brokenhearted, and he struggles to overcome his sadness so that he can find happiness in the future. Smokey Robinson was involved with the production of this track.

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In 1966, ‘What Becomes Of The Broken Hearted’ was written for the Detroit Spinners, but Jimmy Ruffin who was the older brother of Temptations lead singer David Ruffin persuaded the writers (William Henry Weatherspoon, Paul Riser & James Anthony Dean) to let him record it.  At the time they were all hustling for material, so Jimmy walked up to the guy who wrote the lyrics, James Dean, while he was singing the rhythm track alongside the producer William Weatherspoon.  Jimmy was told that the song was intended for The Spinners, but he told them that he thought he could do a better job with the recording.  They let him try and they liked the way he sang it, so about two weeks later they finished recording it and getting the strings put on it.  This song is filled with heartache and misery, as Jimmy Ruffin’s love has departed, he is alone, in pain…

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Hold Me Tighter

‘You Really Got a Hold on Me’ was recorded by Smokey Robinson & The Miracles on their 1962 album The Fabulous Miracles and the single charted #8 in the US.  This million-selling song received a 1998 Grammy Hall of Fame Award.  It has also been selected as one of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll.  It was the second #1 R&B hit for The Miracles as well as their second Top Ten Hit on the Hot 100, and the group’s second single to sell over a million copies, after ‘Shop Around’.  Miracles leader Smokey Robinson wrote this song while he was thinking about Sam Cooke’s song ‘Bring It On Home To Me’.  Cooke had performed at Robinson’s church with his group the Soul Stirrers, and Smokey was a big fan.  In Cooke’s song the singer apologizes to his girl after dumping her, and he promises to treat her right if she will come back to him.  ‘You’ve Really Got A Hold On Me’ carries a similar sentiment, but the roles are reversed, where the girl mistreats the guy, but he loves her unconditionally.

Smokey Robinson wrote this song when he was in New York City negotiating a publishing deal, and not pleased with the way the talks were going.  He says that he wrote the song in his hotel room with the intention of writing something controversial, which he accomplished with the first line, “I don’t like you, but I love you.”  There is another ambiguous line where he says that he wants to split, but he can’t quit yet.  Love is a crazy thing, and even when she treats him badly, he still loves her madly, which seems like a conflicted and unhealthy sentiment inside of a dysfunctional relationship, that was rarely heard in songs of this era.  The guy declares that his love will remain strong, and he doesn’t need to kiss her, but he wants her to hold him tighter and squeeze him.

When Motown was growing into a dominant label in 1962, they set up a tour where many of their acts performed together around the United States.  For many people, this was their first look at Motown acts like The Supremes, Stevie Wonder and Marvin Gaye.  This was the biggest Motown hit at the time, so The Miracles closed the shows with it.  The Miracles included Smokey Robinson, Claudette Rogers Robinson (Smokey’s wife), Pete Moore, Ronnie White, and Bobby Rogers.  Marv Tarplin played guitar and The Funk Brothers were used as the session musicians on this recording.  Smokey Robinson sang lead while second tenor Bobby Rogers is featured on harmony co-lead.  This song was originally slated to be the B-side to ‘Happy Landing’, but DJs and record buyers across the nation preferred the song on the flipside that explored the feelings of a man so in love with a woman that he can’t leave her despite the fact that she treats him badly.

Just six months after The Miracles hit the charts with this song, The Beatles on Parlophone chose to record this as their first song for their second British album With The Beatles and Meet the Beatles was the US release.  Their version featured John Lennon on lead vocals, with George Harrison providing close harmonies and Paul McCartney on backing vocals.

I don’t like you, but I love you
Seems that I’m always thinking of you
Oh, oh, oh, you treat me badly
I love you madly, you really got a hold on me
You really got a hold on me, you really got a hold on me, you really got a hold, baby
I don’t want you, but I need you
Don’t want to kiss you, but I need you
Oh, oh, oh, you do me wrong now
My love is strong now you really got a hold on me

You really got a hold on me, you really got a hold on me, you really got a hold, baby
I love you and all I want you to do is just hold me
Hold me, hold me, hold me

Tighter
Tighter
I want to leave you, don’t want to stay here
Don’t want to spend another day here
Oh, oh, oh, I want to split now, I can’t quit now
You really got a hold on me, you really got a hold on me, you really got a hold, baby
I love you and all I want you to do is just hold me, please
Hold me, squeeze, hold me, hold me
You really got a hold on me
You really got a hold on me
I said you really got a hold on me

Written for Do You Love Me – MM Music Challenge #196

Dark Blue, Blue Condition

‘Blue Condition’ is a song by Cream from their 1967 second studio album Disraeli Gears and it was written and sung by drummer Ginger Baker.  This mellow tune is a slower paced, drum pounding piece that details what it feels like to be depressed, or “blue”.  The message might be that life is what you choose to make of it, so if you’re feeling blue, the best thing to do is to keep your life on track so you can accomplish things.  If you start heading in the wrong direction, your life may be like taking a leisurely stroll through thick mud.

The increasing annoyance of Jack Bruce’s domination of these recording sessions who was involved with writing or cowriting six out of the eleven songs on this album along with Ginger’s lack of song writing credits resulted in him writing these lyrics in an echo chamber that was built in the basement at Atlantic Studios.  Many people say that this song reminds them of something that Syd Barrett of Pink Floyd might have written.  Although Ginger wrote this song, he wasn’t the first to sing it, as it was given to Eric, but he couldn’t get it down, so Ginger stepped in to sing it, as Jack and Felix encouraged him, feeling this might cheer him up.

Cream came together in 1966 and this supergroup became hugely influential in the ‘60s.  They released four albums before disbanding in 1969.  The trio of Eric Clapton, Ginger Baker, and Jack Bruce made an unusual sound, which was a fusion of throwback blues, wah-wah–laced psychedelia, proto jam-rock, and serious technical chops.  A perfect band for their times, they found themselves selling out shows at hot spots like Fillmore West and Winterland Ballroom and soon became an integral part of the soundtrack for the fast-growing hippie/counterculture movement.  Recorded in New York and released just after the Summer of Love in late 1967, Disraeli Gears was a tremendous smash in both America and the band’s native U.K., spawning classic hits like ‘Sunshine of Your Love’, ‘Tales of Brave Ulysses’, and ‘Strange Brew’.  Without a doubt this was one of the quintessential albums of the ‘60s, and it still remains as impressive today as it was when it was first released.

Don’t take the wrong direction passing through
Instead of deep reflection of what’s true
For it’s a combination of judgments made by you
That cause a deep dejection all the way through

No relaxation, no conversation, no variation
In a very dark blue, blue condition

Early rising every day
You must be enterprising in your way
For you will hear no laughter, nor see the sun
Life would be one disaster all the way through

No relaxation, no conversation, no variation
In a very dark blue, blue condition

Don’t take the wrong direction passing through
Instead of deep reflection of what’s true
For it’s a combination of judgments made by you
That cause a deep dejection all the way through

No relaxation, no conversation, no variation
In a very dark blue, blue condition

No relaxation, no conversation, no variation
In a very dark blue condition

Written for Just Dropped In (To See What Condition My Condition Was In) – MM Music Challenge #195.

Just Dropped In (To See What Condition My Condition Was In) – Challenge #195

Kenneth Ray Rogers was an American singer, songwriter, musician, actor, record producer, and entrepreneur. Rogers sold over 120 million albums worldwide, making him one of the best-selling male artists of all-time according to the RIAA, with one Diamond album, 20 Platinum albums and 11 Gold. He recorded 24 #1 hits (including classics like ‘The Gambler’, ‘Lady’, ‘Islands In The Stream’, ‘Lucille’, ‘She Believes In Me’, and ‘Through The Years’), 12 #1 albums and 25 Top 10 country albums. Miraculously, he has charted a song within each of the last seven decades. His music has always crossed boundaries, with singles and albums finding frequent success on the Country, Top 40, and Adult Contemporary charts, and in a few instances, on the R&B and Christian charts. He was the first country artist to consistently sell out arenas, Rogers also achieved pop superstardom and reached the pinnacle of worldwide popularity and celebrity few artists have ever attained, performing live for millions of fans. Kenny Rogers had 28 Billboard Adult Contemporary Top 10’s, which ranks him fifth-best all-time, and he sent the most country #1’s to the top spot on Adult Contemporary (five of his eight AC #1’s were also country #1’s). He died from natural causes on March 20, 2020 at the age of 81.

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This is a psychedelic rock song that was said to reflect the LSD experience, and it was intended to be a warning about the dangers of using the drug, but psychedelic rock was not the right medium to deliver this message.  The song was first released by Teddy Hill & the Southern Soul as a single in 1967 that was backed by ‘Stagger Lee’.  Jerry Lee Lewis, backed by members of The Memphis Boys, took the first crack at this song also in 1967, but his release came a month later and the song was never a single.  The chart-topping rhythm section at Chips Moman’s American Sounds Studio in Memphis, was featured on this rendition of the song and it appeared on Lewis’ album Soul My Way.

‘Just Dropped In (…)’ was next recorded by The First Edition (with Kenny Rogers on lead vocals) and it peaked at #5 on the Billboard charts.  This was Rogers’ first top ten hit and…

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Did Shakespeare Have a Sister

William Shakespeare was the eldest son of John and Mary Shakespeare who had eight children in total.  William had two older sisters that died as infants, and he also had three younger brothers and two younger sisters named Joan and Anne.  I am not sure what became of Anne, but Joan was the only surviving daughter of John and Mary Shakespeare and the only one of Shakespeare’s siblings to outlive him.

The Smiths were an English rock band formed in Manchester in 1982.  The group, whose best-known line-up comprised Morrissey, Johnny Marr, Andy Rourke and Mike Joyce, are regarded as one of the most important to emerge from the British independent music scene of the 1980s.  In 1987 they released a compilation album titled The World Won’t Listen which included a short two-minute song titled ‘Shakespeare’s Sister’ which was also released as a non-album single two years earlier.  This song is named after a chapter in Virginia Woolf’s 1929 feminism essay, A Room of One’s Own where Woolf invented Shakespeare’s sister Judith to advance her feminist argument in her advocacy for feminist causes.  Woolf believed in equality, but like other Modernist writers of the early twentieth century, Woolf saw herself as an outsider and observer.  Judith’s life is fraught with tragedy, as she is pressured by her family into an early marriage, and when she begs to be allowed not to marry, she is chastised and beaten by her father.  She must escape to London to free herself to pursue art, but is turned away with scorn from every theatre she approaches and she is treated with rejection and ridicule.  She becomes pregnant by a theater-manager, which makes a life of writing impossible, and she eventually kills herself.  But later in the essay, Woolf brings back the ghost of Judith Shakespeare and tells the young women in the audience that they have the power to be the voice that Judith never had.

This song ‘Shakespeare’s Sister’ peaked at a modest #26 on the UK chart.  This song doesn’t seem to have a lot in common with the character Judith Shakespeare, as it seems that she never found love and the guy in this song is begging his mother to let him go so he can find love.  The lyrics, “Young bones groan, and the rocks below say, ‘Throw your white body down,’” are adapted from Canadian author Elizabeth Smart’s 1946 novel, By Grand Central Station I Sat Down And Wept.  When Morrissey whines, “I’m off to meet the one I love / Oh Momma, let me go”, might be a reference to Tennessee Williams’ play The Glass Menagerie where Tom Wingfield takes off after quarreling with his mother at the dinner table.  Tom’s father walked out on the family years ago, so the responsibility of supporting his mother and his sister has fallen in his shoulders.  His sister is Laura Wingfield, a disabled girl that is living in a fantasy world, she doesn’t do anything but sit at home listen to records and play with her glass animals.  Laura is able to escape from reality into the characters that she has collected in her glass menagerie, but her mother wants her to have a gentleman caller and succeed in business school.  Laura quits business college because she got scared when a boy in the class was making passes at her.  She was nervous in class and became physically ill during her first typing speed test.  Laura repeatedly displays a will of her own that defies others’ perceptions of her, and this repeatedly goes unacknowledged.

Guitarist Johnny Marr said that writing ‘Shakespeare’s Sister’ was a lot like pulling an odd star out of the sky, as he imagined this strange song and strange sound and Morrissey encouraged him and then they captured it.  It became a statement of solidarity between the four band members and Marr said that he was extremely proud of that togetherness.  The song was deemed too short, but when people told The Smiths that they were wrong that only fired them up.  Frontman Morrissey felt that regardless of what many people felt that this song was part of his life, because he had put everything into it and he wanted it more than anything else to be a huge success, however it wasn’t.  Making a good record is kind of like writing a good post, as you want people to read it and The Smiths wanted this song to be heard.  The Anglo-American pop duo Shakespears Sister consisting of Siobhan Fahey and Marcella Detroit took their name from this song.

Young bones groan, and the rocks below say
“Throw your skinny body down, son”

But I’m going to meet the one I love
So please don’t stand in my way
Because I’m going to meet the one I love
No, mama, let me go

Young bones groan and the rocks below say
“Throw your white body down”

But I’m going to meet the one I love
At last, at last, at last!
I’m going to meet the one I love
La-de-da, la-de-da
No, mama, let me go
No, no, no, no, no, no

I thought that if you had an acoustic guitar
Then it meant that you were
A protest singer
Oh, I can smile about it now
But at the time it was terrible
No, mama, let me go
No, no, no, no, no, no

Written for Mindlovemisery’s Menagerie MM Music challenge #194 Look At Little Sister.