Singer/songwriter Phil Ochs was a self-coined "singing journalist" when he began performing in New York in the early '60s. Like Bob Dylan, the rival who always outpaced him, Ochs made his reputation singing topical protest songs. He stayed with them much longer than Dylan (and indeed would never really abandon them), but eventually he too would follow Dylan into electric music and more personal, abstract, and romantic compositions. Ochs came off as a perennial second-best to critics during his heyday. It was only after his tragic tailspin and eventual death that he was properly appreciated as one of the most sincere and humane songwriters of his day, whether detailing political atrocities or more poetic concerns.

Ochs moved from Ohio to New York in the early '60s, and was soon a prolific writer of the topical, left-leaning protest songs then in vogue. His initial recording efforts, heard on compilations for Broadside, Folkways, and Vanguard, were rather dry and instantly dated. By the time made his Elektra debut in 1964 with All the News That's Fit to Sing, Ochs was finding his own voice — more melodic than Dylan (if not as lyrically innovative), its strident accusations tempered by a warm delivery and underlying compassion. With second guitar by Danny Kalb (later of the Blues Project), his first album was highlighted by "Power and the Glory" and "Bound for Glory," as well as an adaptation of Edgar Allan Poe's "The Bells." The similar follow-up I Ain't Marching Any More (1965) gave the anti-war movement two rallying calls with the title track and "Draft Dodger Rag," along with a moving civil-rights piece, "Here's to the State of Mississippi."

Ochs addressed all manner of anti-war, civil rights, labor, and social justice issues on his first albums, the best of which was In Concert (1966). Ochs' social criticism was deepening in acuity, as heard on "Canons of Christianity," "Cops of the World," and the satirical "Love Me, I'm a Liberal." But he also began to move into non-political subjects with equal or greater effect, as on "There But for Fortune" and "Changes," his most famous love song.

In Concert was Ochs' final acoustic album. He'd already moved into electric rock with a fine (though flop) single-only version of "I Ain't Marching Anymore." In 1967, he broke from his acoustic folk troubadour image with a vengeance, leaving Elektra for A&M and moving to Los Angeles. There he plunged into Baroque folk-rock, with mixed results. Some of the tracks on his late-'60s A&M records are among the best he ever did, especially the devastating social apathy parody "Outside a Small Circle of Friends." On others, he seemed to be overreaching or straining for highbrow poetry. The L.A. session production sometimes enhanced his musical settings, but the more elaborate and pretentious arrangements worked against the material just as often.

Ochs hadn't forsaken his political commitments, appearing at the violence-riddled 1968 Democratic Convention in Chicago. By 1969's Rehearsals of Retirement, some weariness and disenchantment with idealism was beginning to seep into both his compositions and his singing. The problems became more acute with 1970's facetiously titled Greatest Hits, when the standard of his material began to drop noticeably.

Although it wasn't foreseen at the time, Greatest Hits was his last studio album. Ochs did remain active, recording a live LP (initially released only in Canada) that excited controversy with its strange mix of original songs and unexpected covers of old rock & roll tunes by Elvis Presley and Buddy Holly, performed in a gold lamé suit. The '50s revival act was received poorly by an audience accustomed to a folkie troubadour, but that was among the least of Ochs' obstacles. His well of original compositions had run dry, and he was developing severe alcohol and psychological problems. In a mysterious mugging incident in Africa, his voice was permanently damaged. Ochs did record a couple of flop singles in the early '70s, but by the middle of the decade he was largely inactive, and afflicted with serious depression. In early 1976, he hanged himself at his sister's suburban home. (All Music Guide)



Cops of the World
(Phil Ochs)-first released in 1966

Come, get out of the way, boys
Quick, get out of the way
You'd better watch what you say, boys
Better watch what you say
We've rammed in your harbor and tied to your port
And our pistols are hungry and our tempers are short
So bring your daughters around to the port
Cause we're the Cops of the World, boys
We're the Cops of the World

We pick and choose as please, boys
Pick and choose as please
You'd best get down on your knees, boys
Best get down on your knees
We're hairy and horny and ready to shack
We don't care if you're yellow or black
Just take off your clothes and lie down on your back
'Cause we're the Cops of the World, boys
We're the Cops of the World

Our boots are needing a shine, boys
Boots are needing a shine
But our Coca-cola is fine, boys
Coca-cola is fine
We've got to protect all our citizens fair
So we'll send a battalion for everyone there
And maybe we'll leave in a couple of years
'Cause we're the Cops of the World, boys
We're the Cops of the World

Dump the reds in a pile, boys
Dump the reds in a pile
You'd better wipe of that smile, boys
Better wipe off that smile
We'll spit through the streets of the cities we wreck
We'll find you a leader that you can't elect
Those treaties we sighned were a pain in the neck
'Cause we're the Cops of the World, boys
We're the Cops of the World

Clean the johns with a rag, boys
Clean the johns with a rag
If you like you can use your flag, boys
If you like you can use your flag
We've got too much money we're looking for toys
And guns will be guns and boys will be boys
But we'll gladly pay for all we destroy
'Cause we're the Cops of the World, boys
We're the Cops of the World

Please stay off of the grass, boys
Please stay off of the grass
Here's a kick in the ass, boys
Here's a kick in the ass
We'll smash down your doors, we don't bother to knock
We've done it before, so why all the shock?
We're the biggest and toughest kids on the block
'Cause we're the Cops of the World, boys
We're the Cops of the World

When we butchered your son, boys
When we butchered your son
Have a stick of our gum, boys
Have a stick of our buble-gum
We own half the world, oh say can you see
The name for our profits is democracy
So, like it or not, you will have to be free
'Cause we're the Cops of the World, boys
We're the Cops of the World

<THE EIGHTIES AND NINETIES
1. PRINCE—"When Doves Cry," "1999," "Little Red Cor­vette," "Delirious," "Kiss," "Let's Go Crazy," "When You Were Mine," "U Got the Look," "Manic Monday," "Sign O' the Times," "Raspberry Beret," "Controversy," "Sugar Walls," "I Wanna Be Your Lover," "If I Was Your Girlfriend."
2. CHUCK D (PUBLIC ENEMY)—"Bring the Noise," "Don't Believe the Hype," "Welcome to the Terrordome," "She Watch Channel Zero?!," "By the Time I Get to Arizona," "How to Kill a Radio Consultant," "Black Steel in the Hour of Chaos," "Rebel Without a Pause," "Sophisticated Bitch," "Cold Lampin' with Flavor," "Yo! Bum Rush the Show," "Can't Truss It."
3. STING (THE POLICE)—"Every Breath You Take," "Every Little Thing She Does Is Magic," "Wrapped Around Your Finger," "Don't Stand So Close to Me," "King of Pain," "Fortress Around Your Heart," "If You Love Somebody Set Them Free," "All This Time," "Do Do Do Do, De Da Da Da," "Money for Nothing," "Russians."
4. DON HENLEY—Ex-Eagle; always with collaborator "The Boys of Summer," "The Heart of the Matter," "The End Of the Innocence," "The Last Worthless Evening," "Dirty Laundry " "All She Wants to Do Is Dance," "Desperado," "Hotel California,'" "Heartache Tonight," "Life in the Fast Lane," "New Kid in Town," "I Will Not Go Quietly."
5. RUN-DMC (RUN, D.M.C., JAM MASTER JAY)— "It's Like That," "Sucker M.C.'s (Krush Groove 1)," "You Be Illin'," "King of Rock," "Rock Box," "Jam-Master Jammin'," "It's Tricky," "Jam-Master Jay," "My Adidas," "Can You Rock It Like This," "Roots, Rap, Reggae," "Run's House," "Christmas in Hol-lis."
6. PETER GABRIEL—"Sledgehammer," "Biko," "Shock the Monkey," "Big Time," "Don't Give Up," "Red Rain," "Sols-bury Hill," "Games Without Frontiers," "In Your Eyes." His solo albums have musical, not necessarily thematic, links. Earlier works with Genesis were more conceptual.
7. L.A. AND BABYFACE (ANTONIO "L.A." REID AND KENNETH "BABYFACE" EDMONDS)—Revivers of R&B on hip-hop's terms. "Girlfriend," "It's No Crime," "Tender Lover," "My Kinda Girl," "Whip Appeal," "Superwoman," "Rock Wit-cha," "Don't Be Cruel," "Humpin' Around," "Body Talk," "I'm Your Baby Tonight," "Miracle," "Every Little Step," "Dial My Heart."
8. DAVID BYRNE—"Life During Wartime," "Burning Down the House," "Once in a Lifetime," "Road to Nowhere," "And She Was," "Wild Wild Life," "Psychokiller," "Love > Building On Fire," "Don't Worry About the Government," "The Big Country, "Stay Up Late."
9. CHRISSIE HYNDE (PRETENDERS) Brass in Pocket, "Back on the Chain Gang," "Middle of the Road," "Talk of the Town," "Message of Love," "Kid," "Precious," "2000 Miles, "My City Was Gone," "Don't Get Me Wrong," "Hymn to Her, "Up the Neck."
10. GUNS N' ROSES (IZZY STRADLIN, AXL ROSE, DUFF McKAGAN, SLASH)—"Welcome to the Jungle," "Sweet Child O' Mine," "Don't Cry," "Mr. Brownstone," "Paradise City," "Civil War," "November Rain," "Get in the Ring'" "Nighttrain'" "Coma"
11. ICE CUBE—"F—— Tha Police," "Dead Homiez", "The Drive-By," "It Was a Good Day," "Jackin' for Beats, "Wrong Nigga to F--- Wit'," "Steady Mobbin'," "Gangsta's Fairytail" "AmeriKKKa's Most Wanted," "Gangsta Gangsta," "Endangered Species (Tales from the Darkside)," "Dopeman."
12. PAUL WESTERBERG (THE REPLACEMENTS) — "Left of the Dial," "Bastards of Young," "Can't Hardly Wait," "Here Comes a Regular," "Achin' to Be," "I'll Be You," "All Shook Down," "Swingin' Party," "Alex Chilton," "Waitress in the Sky."
13. RICHARD THOMPSON — "Shoot Out the Lights," "Wall of Death," "Back Street Slide," "Tear Stained Letter," "Calvary Cross," "Twisted," "Waltzing' s for Dreamers," "Walking on a Wire," "Small Town Romance," "Jet Plane in a Rocking Chair," "Hokey Pokey (The Ice Cream Song)," "Hand of Kindness."
14. TRACY CHAPMAN — "Fast Car, " "Talkin' 'Bout a Revo­lution," "Bang Bang Bang," "Baby Can I Hold You," "For My Lover," "I Used to Be a Sailor," "Matters of the Heart," "Cross­roads," "All that You Have Is Your Soul," "Dreaming on a World," "This Time," "If Not Now ..."
15. SIR-MIX-A-LOT— "Baby Got Back," "My Hooptie," "National Anthem," "Beepers," "One Time's Got No Case," "Swap Meet Louie," "Posse on Broadway," "Cortex," "Mack Daddy," "Seminar," "Something About My Benzo," "Hip Hop Soldier."
16. JOHN HIATT — "Thing Called Love," "Sure As I'm Sittin' Here," "She Loves the Jerk," "The Way We Make a Broken Heart," "It Hasn't Happened Yet," "Alone in the Dark," "Feels Like Rain," "Tip of My Tongue," "Have a Little Faith in Me," "Memphis in the Meantime," "Tennessee Plates."
17. MARSHALL CRENSHAW — "Someday, Someway," "Cynical Girl," "Rockin' Around in N.Y.C.," "The Usual Thing," "Brand New Lover," "She Can't Dance," "There She Goes Again," "Something's Gonna Happen," "Our Town," "Someplace Where Love Can't Find Me," "Whenever You're On My Mind."
18. U2 (BONO AND THE EDGE) — "I Still Haven't Found What I'm Looking For," "One," "With or Without You," "Silver and Gold," "I Will Follow," "All I Want Is You," "New Year's PaY," "Sunday Bloody Sunday," "Pride (In the Name of Love)," "Eleven O'Clock Tick Tock," "When Love Comes to Town," "Gloria."
19. TERENCE TRENT D'ARBY— Introducing the Hardline Ac­cording to Terence Trent D'Arty, Terence Trent D' Arty's Neither Fish nor and Terence Trent Dy Arty's Symphony or Damn.
20. DAVID BAERWALD — Most politically (and perhaps rhythmically) sophisticated of nineties singer-songwriters. With David and David (Ricketts): Welcome to the Boomtown. On his own, Bedtime Stories and Triage.
21. MICHAEL STIPE (R.E.M.) — "Radio Free Europe," Fall on Me," "It's the End of the World As We Know It (And I Feel Fine)," "Losing My Religion," "So. Central Rain (I'm Sorry)," "Man on the Moon," "The One I Love," "Maps and Legends," "Ages of You," "Burning Down," "Shiny Happy People."
22. STEVIE NICKS (FLEETWOOD MAC) Edge of Sev­enteen," "Rhiannon," "Stand Back," "Sara," "Rooms on Fire," "Dreams," "If Anyone Falls," "Whole Lotta Trouble," "Beauty and the Beast," "I Can't Wait."
23. CULTURE CLUB (BOY GEORGE AND JON MOSS))— "Do You Really Want to Hurt Me," "Church of the Poison Mind," "Kharma Chameleon," "Miss Me Blind," "Time (Clock of the Heart)," "War Song," "Mistake No. 3," "I'll Tumble 4 Ya."
24. MADONNA—Almost always with collaborators. "Live to Tell," "Like a Prayer," "True Blue," "Express Yourself," "Open Your Heart," "Cherish," "Lucky Star," "Into the Groove," "Vogue."
25. ROSANNE CASH—"Seven Year Ache," "Hold On," "Blue Moon with Heartache," "I Don't Know Why You Don't Want Me," "If There's a God on My Side," "Seventh Avenue," "The Real Me."


(Source-The New Book of Rock Lists)

Political Science
Randy Newman


No one likes us-I don't know why
We may not be perfect, but heaven knows we try
But all around, even our old friends put us down
Let's drop the big one and see what happens

We give them money-but are they grateful?
No, they're spiteful and they're hateful
They don't respect us-so let's surprise them
We'll drop the big one and pulverize them

Asia's crowded and Europe's too old
Africa is far too hot
And Canada's too cold
And South America stole our name
Let's drop the big one
There'll be no one left to blame us

We'll save Australia
Don't wanna hurt no kangaroo
We'll build an All American amusement park there
They got surfin', too

Boom goes London and boom Paree
More room for you and more room for me
And every city the whole world round
Will just be another American town
Oh, how peaceful it will be
We'll set everybody free
You'll wear a Japanese kimono
And there'll be Italian shoes for me

They all hate us anyhow
So let's drop the big one now
Let's drop the big one now

Thank you Donna and David. No band, unfortunately. My singing is suspect and I only play clarinet. LOL

These are GREAT summations of recent musical history, David! Very impressive and enjoyable to peruse. :o)

Wow Greg! You hit the right note with that composition! Masterful,but we've come to expect nothing less! :-)

THE SEVENTIES
1. STEVIE WONDER—The most important R&B artist to emerge in the decade and the best love songwriter, period. "Super­stition," "Signed, Sealed, Delivered I'm Yours," "Higher Ground," "I Was Made to Love Her," "Uptight," "I Wish," "Living for the City," "Sir Duke," "Isn't She Lovely," "You Haven't Done Nothin'," "Don't You Worry 'bout a Thing," "You are the Sunshine of My Life."
2. BOB MARLEY—"I Shot the Sheriff," "Get Up Stand Up," "No Woman, No Cry," "Lively Up Yourself," "Stir It Up," "Trenchtown Rock," "Redemption Song," "One Love," "Bend Down Low," "Could You Be Loved," "Duppy Conqueror," "Small Axe," "Guava Jelly," "Jammin'," "Waiting in Vain."
3. BRUCE SPRINGSTEEN —The bridge between DY"lanesque singer-songwriters and Stones/Byrds-influenced heartland rockers. "Born to Run," "Born in the U.S.A.," "Badlands," "Dark­ness on the Edge of Town," "The River," "Hungry Heart," "Be­cause the Night," "Prove It All Night," "Dancing in the Dark," "Brilliant Disguise," "Glory Days," "Fire," "Cover Me," "Spirit in the Night," "Thunder Road."
4. JONI MITCHELL—Prince's favorite songwriter. "You Turn Me On, I'm a Radio," "Blue," "Woodstock," "Both Sides Now (Clouds)," "Carey," "A Free Man in Paris," "Circle Game," "Big Yellow Taxi," "For the Roses," "Help Me," "Song to a Sea­gull," "Chelsea Morning," "Blonde in the Bleachers."
5. VAN MORRISON—"Gloria," "Domino," "Jackie Wilson Said (I'm in Heaven When You Smile)," "Brown Eyed Girl," "Wild Night," "Moondance," "Caravan," "Cypress Avenue," "Crazy Love," "Someone Like You," "Into the Mystic," and the most soulful, bluesy, occasionally even rocking series of New Age albums ever made, from Astral Weeks to whatever he's up to this year.
6. KENNETH GAMBLE AND LEON HUFF—Architects of The Sound of Philadelphia, Motown's first heir and disco's direct precursor. "Love Train," "Cowboys to Girls," "Don't Leave Me This Way," "Drowning in the Sea of Love," "Hey, Western Union Man," "Expressway to Your Heart," "For the Love of Money," "If You Don't Know Me by Now," "Me and Mrs. Jones," "Only the Strong Survive," "Use Ta Be My Girl," "When Will I See You Again."
7. GEORGE CLINTON—Composer of all the Parliament/ Funkadelic albums. "One Nation Under a Groove," "Give Up the Funk (Tear the Roof Off the Sucker)," "Flash Light," "I Wanna Testify," "The Big Bang Theory," "Funkentelechy," "Mothership Connection," "Cosmic Slop," "Standing on the Verge of Getting It On," "Let's Take It to the Stage," "Up for the Down Stroke."
B. RONNIE VAN ZANT(LYNRD SKYNARD)—"Free Bird," "Sweet Home Alabama," "Gimme Three Steps," "Saturday Night Special," "Was I Right or Wrong," "Workin' for MCA," "Don't Ask Me No Questions," "The Ballad of Curtis Lowe," "The Needle and the Spoon," "What's Your Name," "That Smell," "You Got That Right."
9. LEONARD COHEN—The only song-poet worth the name."Bird on the Wire," "Suzanne," "Sisters of Mercy," "Hey, That'sNo Way to Say Goodbye," "The Traitor," "Our Lady of Solitude," "Democracy," "First We Take Manhattan," "I'm Your Man," Lady Midnight," "Famous Blue Raincoat," "Who By Fire."
10. NEIL YOUNG—Auteur of a series of artsy-electro-folk-rockabilly albums. "Helpless," "Hey Hey, My My (Out of the Blue And into the Black)," "Like a Hurricane," "Ohio," "Heart of ," "Only Love Can Break Your Heart," "Rockin' in the FreeWorld," "Cortez the Killer," "Powderfinger," "Tonight's the Night," "Cowgirl in the Sand," "Everybody Knows This is No­where," "Mr. Soul."
11. WALTER BECKER AND DONALD FAGEN (STEELYE DAN)Auteurs of a series of fussy-artsy, electro-jazzbo albums. "Bodhisattva," "Do It Again," "Hey Nineteen," "Bad Sneakers," "Josie," "Peg," "Reeling in the Years," "Rikki Don't Lose That Number," "Deacon Blues," "Chain Lightning," "Black Cow," "Black Friday."
12. THOM BELL AND LINDA CREED—"Betcha By Golly Wow," "Break Up to Make Up," "Rockin' Roll Baby," "Didn't I (Blow Your Mind This Time)," "Rubberband Man," "I'm Stone in Love with You," "You Are Everything," "You Make Me Feel Brand New," "La La (Means I Love You)."
13. RANDY NEWMAN—"I Love L.A.," "Sail Away," "Let's Burn Down the Cornfield," "Dayton, Ohio, 1903," "Burn On, Big River," "Baltimore," "Davey the Fat Boy," "Simon Smith and the Amazing Dancing Bear," "Mama Told Me Not to Come," "I Think It's Going to Rain Today," "Short People."
14. JOE STRUMMER AND MICK JONES (THE CLASH) —"Rock the Casbah," "Train in Vain," "Lost in the Supermarket," "White Riot," "1977," "Career Opportunities," "Garageland," "Complete Control," "I'm So Bored with the U.S.A.," "White Man in Hammersmith Palais," "London Calling," "Should I Stay or Should I Go."
15. MAURICE WHITE (EARTH, WIND, AND FIRE)Ser­pentine Fire," "Shining Star," "Let's Groove," "Saturday Night," "Evil," "September," "That's the Way of the World," "Best of My Love," "Kalimba Story," "In the Stone," "Fall in Love with Me," "Reasons."
16. JACKSON BROWNE—Prince of Singer-Songwriters, Pa­cific Division. "Running on Empty," "The Pretender," "Lawyers in Love," "These Days," "Doctor My Eyes," "For a Dancer," "Take It Easy," "Before the Deluge," "The Load Out," "Some­body's Baby," "Redneck Friend," "Ready or Not."
17. JOHN PRINE—Prince of Singer-Songwriters, Appala­chian Division. "Hello in There," "Sam Stone," "Jesus The Miss­ing Years," "Unwed Fathers," "If You Don't Want My Love," "That's the Way That the World Goes 'Round," "Angel from Mont­gomery," "Illegal Smile," "Six O'Clock News," "Souvenirs," "Sabu Visits the Twin Cities Alone."
18. JAMES TAYLOR—Prince of Singer-Songwriters, Atlantic Division. "Fire and Rain," "Sweet Baby James," "Country Road," "Steamroller," "Don't Let Me Be Lonely Tonight," "Carolina in My Mind," "Something in the Way She Moves," "Frozen Man, "Copperline," "Hey Mister, That's Me Up on the Juke Box."
19. MARVIN GAYE—"What's Going On," "Inner City Blues," "Let's Get It On," "Dancing in the Street," "Mercy Mercy Me (The Ecology)," "Sexual Healing," "Come Get to This," "Dis­tant Lover," "Pride and Joy," "Trouble Man," "Baby, I'm for Real," "Beechwood4-5789," "Bells."
20. PATTI SMITH—More than any great songwriter except Leonard Cohen, Smith's albums contain almost inseparable compo­sitions. Best known for "Because the Night," "Horses," "Land" (a rewrite of "Land of a Thousand Dances"), "Free Money," "Piss Factory," "Frederick," "Hymn," "People Have the Power," "Piss­ing in a River," "Radio Ethiopia."
21. ELVIS COSTELLO—"Less Than Zero," "Alison," "The Angels Wanna Wear My Red Shoes," "Everyday I Write the Book," "Watching the Detectives," "Pump It Up," "Accidents Will Happen," "Oliver's Army," "downtime is Over," "Peace in Our Time," "Shipbuilding," "Pills and Soap."
22. BOB SEGER—"Night Moves," "Ramblin' Gamblin' Man," "Get Out of Denver," "Katmandu," "Roll Me Away," "Still the Same," "We've Got Tonight," "Beautiful Loser," "Back in 72," "Turn the Page," "Rock and Roll Never Forgets," "Heart­ache Tonight," "Sock It To Me Santa," "Lookin' Back."
23. CHRISTINE McVIE (FLEETWOOD MAC)- Gems bur­ied amidst semisoft-rock claptrap. "You Make Loving Fun," "Don't Stop," "Little Lies," "Over My Head," "Hold Me," "Say You Love Me," "Got a Hold On Me."
24. LOU REED (VELVET UNDERGROUND) Master of psycho-song cycles; laconic poet of decadence. "Sweet Jane," "Rock and Roll," "Heroin," "I'm Waiting for the Man," "Walk on the Wild Side," "Pale Blue Eyes," "Coney Island Baby," "Street Hassle," "I Love You Suzanne," "Venus in Furs," "Sister Ray."
25. THE SEX PISTOLS (WITH GLEN MATLOCK)—"Anar­chy in the U.K.," "God Save the Queen," "Holidays in the Sun," "Pretty Vacant," "Bodies." Slim pickings but revolutionary ones.

(Source-The New Book of Rock Lists)

LOL, That's great! Were you in a band?

I agree and I think MTV & its daughters played a big part in the destruction of creativity. Here is my personal Ode to the Execs in a song I wrote a few years ago to express just that.

MUSIC IN THE VIDEO AGE

I’m so good-lookin’
And I got fine clothes
And that’s all it takes
I think that everybody knows
I got my dance moves down
I got my make-up on
With that combination
I can’t go wrong

I hear the teenage boys shouting for more
And soon they’re gonna be knockin’ down my door
And for the teenage girls I gotta big surprise
‘Cause I can smell their lust right between their thighs

Well I got no talent
But I got plenty of skill
And I don’t need feelings
When I can swallow a pill
And I got no soul
But I got big thighs
Just watch my video
You’ll be hypnotized

I hear the business man begging for more
And for a little more gold he’d call his mother a whore
And I see all the mommas actin’ surprised
But I can’t see nothin’ when I look in their eyes


The music is dead, but who’s to blame?
We’ve all the sold out, it’s all the same
The battle is lost, the deal is done
But don’t count the cost, ‘cause you’re having fun


Well I got a slick image
I got photo appeal
And noboby’s askin’
If I’m really for real
And if my words are shallow
It don’t matter one bit
‘Cause I can still make money
When it sounds like shit

Well I’m struttin’ my stuff on the big T.V.
And it gives me a thrill when you’re watching me
And I don’t care nothin’ ‘bout relationships
Just worship me and leave a big tip

I was growing up in the late 60's and early 70's and I tend to agree with you, but I don't think it's because todays music is so bad. I think it's because it's become such more of a product than an art form that much of what is popular today is so bad. In my mind I can see the executives asking not is it any good but how is the best way to market it. And if something doesn't fit in with a preconceived audience there is a good chance it won't get played.

I lived through this music when it was new and recognize almost all of it. It is today's music that leaves me cold.

THE SIXTIES
1. BOB DYLAN—"Like a Rolling Stone," "Don't Think Twice, It's ll Right," "Mr. Tambourine Man," "A Hard Rain's A-Gonna Fall," "Quinn the Eskimo," "Girl from the North Country," "The Times They Are A-Changin'," "All Along the Watch-tower," "My Back Pages," "The Lonesome Death of Hattie Carroll," plus such albums as The Freewheelin' Bob Dylan, The Times They Are A-Changin', Another Side of Bob Dylan, Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde, John Wesley Harding The best credentials here before you start talking about influ­ence.
2. BRIAN HOLLAND, LAMONT DOZIER, AND EDDIE HOLLAND—"Where Did Our Love Go," "Reach Out I'll Be There," "Stop! In the Name of Love," "Heat Wave," "Berna-dette," "Standing in the Shadows of Love," "You Keep Me Hangin' On." "I Can't Help Myself," "Back in My Arms Again," "Nowhere to Run," "How Sweet It Is (To Be Loved by You)," "Please Mr. Postman," "You Can't Hurry Love," "Wonderful One." A deeper catalogue than Lennon and McCartney's and with an effect nearly as revolutionary as Dylan's,
3. JOHN LENNON AND PAUL McCARTNEY—"She Loves You," "I Want to Hold Your Hand," "Please Please Me," "Love Me Do," "A Hard Day's Night," "Help!," "Yesterday," and a couple dozen others—all before they created Rubber Soul, Revolver, Sgt. Pepper's Lonely Hearts Club Band, and Abbey Road. Their tandem supremacy works to the detriment of their solo work but John Lennon/Plastic Ono Band, Imagine, and Band on the Run are rife with songs for which other songwriters would sell their careers.
4. MICK JAGGER AND KEITH RICHARDS—"Satisfac­tion," "Get Off of My Cloud," "Jumping Jack Flash," "Street fighting Man," "As Tears Go By," "Honky Tonk Woman," "Gimme Shelter," "You Can't Always Get What You Want," "Sym­pathy for the Devil," "Tumbling Dice," plus albums like Aftermath, Between the Buttons, Beggars Banquet, Let It Bleed, and Exile on Main Street.
5. SMOKEY ROBINSON—"My Girl," "My Guy," "The [racks of My Tears," "Don't Look Back," "I Second That Emo­tion," "My Girl Has Gone," "I'll Be Doggone," "Ain't That Pecu-liar'" "Get Ready," "Tears of a Clown," "Ooo Baby Baby," "The Way You Do the Things You Do," "Cruisin." Also the 1965 LP The Temptations Sing Smokey, That's why Bob Dylan called him "America's greatest living poet."
6. CURTIS MAYFIELD—"For Your Precious Love," "He Will Break Your Heart," "Gypsy Woman," "It's All Right," "l'm So Proud," "Keep on Pushing," "People Get Ready," "Choice of Colors," "This Is My Country," "We the People Who Are Darker than Blue," "Monkey Time." Also composed the soundtracks to Superfly and Aretha Franklin's Sparkle, including "Something He Can Feel."
7. JEFF BARRY AND ELLIE GREENWICH—"Da Doo Ron Ron," "Then He Kissed Me," "Be My Baby," "Baby I Love You," "I Can Hear Music," "River Deep Mountain High," "Do Wah Diddy Diddy," "What A Guy," "Chapel of Love," "The Leader of the Pack," "Hanky Panky," "Why Do Lovers Break Each Other's Hearts."
B. ISAAC HAYES AND DAVID PORTER—All of Sam and Dave's hits, including "Hold On, I'm Comin'," "Soul Man," "When Something Is Wrong with My Baby," "I Thank You," "Wrap It Up." Also Carla Thomas's "B-A-B-Y" and Mabel John's "Your Good Thing (Is About to End)." On his own, Hayes created "Theme from Shaft," followed by excellent scores for Truck Turner and Tough Guys.
9. GERRY GOFFIN AND CAROLE KING—"Will You Love Me Tomorrow," "(You Make Me Feel Like) A Natural Woman," "Who Put the Bomp," "Take Good Care of My Baby," "The Loco-Motion," "Up on the Roof," "Chains," "One Fine Day," "I'm Into Something Good." King wrote some of the best singer-songwriter hits, notably on the massive Tapestry, which in­cluded "You've Got a Friend" and "It's Too Late." Goffin, the lyricist, cowrote Gladys Knight's "I've Got to Use My Imagination," Whitney Houston's "Saving All My Love for You," and more.
10. PETE TOWNSHEND—Adolescent anthems—"My Gen­eration," "Substitute," "Pictures of Lily," "I'm a Boy," and other early Who singles—gave way to concept albums like The Who Sell Out, then "rock operas" Tommy and Quadrophema. Also composed fine songs for his numerous solo albums.
1 l . BRIAN WILSON—"Shut Down," "Surfer Girl," "In My Room," "Don't Worry Baby," "I Get Around," "Wendy," "Help Me Rhonda," "California Girls," "Wouldn't It Be Nice," "God Only Knows," "Caroline No," "Good Vibrations," Pet Sounds, "Wild Honey," "Do It Again."
12. NICKOLAS ASHFORD AND VALARIE SIMPSON— "Ain't No Mountain High Enough," "Let's Go Get Stoned,' "Solid," "I Don't Need No Doctor," "Ain't Nothing Like the Real Thing," "You're All I Need to Get By," "Reach Out and Touch (Somebody's Hand)," "Good Lovin' Ain't Easy to Come By," "Your Precious Love," "I'm Every Woman," "Who's Gonna Take the Blame," "Some Things You Never Get Used To."
1 3. BURT BACHARACH AND HAL DAVID—"Don't Make Me Over," "The Man Who Shot Liberty Valance," "Baby It's You," "One Less Bell to Answer," "What the World Needs Now is Love," "Wishin'and Hopin'," "I Just Don't Know What to Do with jvJvself." "Anyone Who Had a Heart," "Only Love Can Break a Heart," "Walk On By," "Do You Know the Way to San Jose," "I Say a Little Prayer." Bacharach also wrote Chuck Jackson's "Any Day Now" and Gene McDaniels's "Tower of Strength' With Bob Hilliard.
14. SLY STONE (SYLVESTER STEWERT) "Dance to the Music," "Everyday People," "Hot Fun in the Summertime," "C'mon and Swim," "Family Affair," "I Want to Take You Higher," "Thank You (Falettin Me Be Mice Elf Again)," "Don't Call Me Nigger, Whitey," "You Can Make It If You Try," "Stand," "Everybody Is a Star." Sly wrote all the music on the Sly and the Family Stone albums, except for "Que Sera Sera."
l5. JOHN FOGARTY—All Credence Clearwater Revival's hits, most of their albums. "Proud Mary," "Bad Moon Rising," "Fortunate Son," "Lodi," "Green River," "Who'll Stop the Rain," "Centerfield," "Run Through the Jungle," "The Old Man Down the Road," "Sweet Hitchhiker," "Travelin' Band," "Down on the Corner," "Rockin' All Over the World."
16. PAUL SIMON—"Bridge Over Troubled Water," "Graceland," "50 Ways to Leave Your Lover," "America," "Sounds of Silence," "My Little Town," "The Boxer," "Kodachrome," "American Tune," "Loves Me Like a Rock," "Mother and Child Reunion," "Mrs. Robinson."
17. ALLEN TOUSSAINT (NAOMI NEVILLE) "Mother-Jn-Law," "Holy Cow," "I Like It Like That," "Java," "Southern Nights," "Working in the Coal Mine," "Yes We Can Can," "Ruler of My Heart" (melody became Otis Redding's "Pain in My Heart"), "Ride Your Pony," "Get Out of My Life, Woman," "It's Raining."
18. OTIS REDDING—Often with collaborators, notably Steve Cropper and Jerry Butler. "Dock of the Bay," "I've Been Loving You Too Long," "Respect," "Mr. Pitiful," "Sweet Soul Music," "These Arms of Mine," "I Can't Turn You Loose," "My Lover's Prayer," "Hard to Handle," "I've Got Dreams to Remem­ber," "Direct Me," "Chained and Bound," "Love Man," "Fa-Fa-Fa-Fa-Fa (Sad Song)."
19. BERT BERNS (BERT RUSSELL) Usually with collab­orators, notably Jerry Ragavoy and Phil Medley. "Twist and Shouc," "Piece of My Heart," "Hang On Sloopy," "Cry Baby," "Time Is On My Side," "Everybody Needs Somebody to Love," "Here Comes the Night," "I Want Candy," "Down in the Valley," "Cry to Me," "Goodbye Baby (Baby Goodbye)," "I'll Take Good Care ofYou"
2O. ROBBIE ROBERTSON, RICK DANKO, RICHARD MANUEL (THE BAND)—Composed virtually all of the material, separately or in various collaborations (including some with BobDylan) on the first Band album. After that, Robertson wrote almost everything. "Tears of Rage," "The Weight," "Chest Fever," "Up on Cripple Creek," "Rag Mama Rag," "The Night They Drove Old Dixie Down," "The Shape I'm In," "Stage Fright," "This Wheel's on Fire," "It Makes No Difference," "Life is a Carnival," "Get Up Jake."
21. NORMAN WHITFIELD AND BARRETT STRONG "I Heard It Through the Grapevine," "Papa Was a Rolling Stone," "Just My Imagination," "War," "(I Know) I'm Losing You," "Ain't Too Proud to Beg," "I Can't Get Next to You," "Ball of Confu­sion," "Friendship Train," "Beauty's Only Skin Deep," "Psyche­delic Shack," "I Wish It Would Rain."
22. RAY DAVIES—All the Kinks' various albums and sin­gles. "You Really Got Me," "Waterloo Sunset," "All Day and All of the Night," "A Well Respected Man," "Rock and Roll Fantasy," "Dedicated Follower of Fashion," "Lola," "Come Dancing."
23. DON COVAY—"Chain of Fools," "See-saw," "Pony Time," "Lights Out," "Mercy Mercy," "Sookie Sookie," "Letter Full of Tears," "I'm Hanging Up My Heart for You," "I Don't Know What You've Got (But It's Got Me)," "I Was Checkin' Out, She Was Checkin' In."
24. JERRY RAGAVOY—Mainly with collaborators. "Time Is on My Side," "Cry Baby," "Stay with Me," "Mecca," "I'll Take Good Care of You," "Piece of My Heart," "What's It Gonna Be," "This Silver Ring," "A Wonderful Dream," "Tra La La."
25. JAMES BROWN—Remodeled the idea of a "song" al­most as much as Dylan by virtually abolishing most components of the category. "Cold Sweat," "It's a Man's, Man's, Man's World," "Get on the Good Foot," "Licking Stick Licking Stick," "I Can't Stand Myself," "I Got You (I Feel Good)," "Papa's Got a Brand New Bag," "Sex Machine," "Say It Loud—I'm Black and I'm Proud."

(Source-New Book of Rock Lists)

THE FIFTIES
1. CHUCK BERRY—"Maybellene," "Roll Over Beethoven " "School Day," "Sweet Little Sixteen," "Johnny B. Goode," "Let It Rock," "Little Queenie," "Almost Grown," "Back in the U.S.A.," "You Never Can Tell." A basic rock library of brilliant lyrical narratives, blues-haunted melodies and driving guitar-based rhythms, all originally recorded by Berry, then reconceived by the Rolling Stones, the Beatles, the Beach Boys ("Surfin' U.S.A " "Fun Fun Fun"), and dozens of others.
2. JERRY LEIBER AND MIKE STOLLER—"Jailhouse Rock," "Kansas City," "Hound Dog," "Riot In Cell Block #9 " "Charlie Brown," "Yakety Yak," "On Broadway," "Love Potion Number Nine," "Searchin'," "Ruby Baby," "Poison Ivy," "Spanish Harlem," "Young Blood," "I (Who Have Nothing)," "I'm a Woman," numerous other hits for the Coasters, Elvis Presley, and others. Established rock's dramatic song form.
3. BUDDY HOLLY—"Peggy Sue," "Rave On," "That'll Be the Day," "Oh Boy," "Maybe Baby," "Not Fade Away," "True Love Ways," "Love's Made a Fool of You," "Well All Right," "Think It Over," "Fool's Paradise," "Every Day," "It's So Easy," "Words of Love," often with various collaborators. Holly's tunes have been indispensable to the Beatles, the Rolling Stones, and Linda Ronstadt, as well as post-Dylan (Springsteen, Seger, Petty, Mellencamp) "heartland rock."
4. DOC POMUS AND MORT SHUMAN—"Save the Last Dance for Me," "This Magic Moment," "I Count the Tears," "A Teenager in Love," "Seven Day Weekend," "Spanish Lace," "Hushabye," "Viva Las Vegas," "Little Sister," "Suspicion." Pomus also wrote "Jelly Jelly Jelly," "Lonely Avenue," "Boogie-Woogie Country Girl," "Young Blood," "His Latest Flame," and "There Must Be A Better World Somewhere." Shuman became Jacques Brel's translator, as well as penning hits like "Little Children," "Get It While You Can," "Look at Granny Run, Run."
5. JESSIE STONE (ALSO KNOWN AS CHARLES CALHOUN)—"Money Honey," "Shake Rattle and Roll," "Flip Flop and Fly," "Smack Dab in the Middle," "Don't Let Go," "Down in the Alley," "Cole Slaw," "Your Cash Ain't Nothin' But Trash," 'It Should Have Been Me," "Bip Bam," "Losing Hand." A principa1 architect of 1950s R&B.
6. FELICE AND BOUDLEAUX BRYANT—Supplied the Everly Brothers with their biggest hits, from "Bye Bye Love" through "Wake Up Little Susie," "All I Have to Do Is Dream," and "Bird Dog." Gave Buddy Holly "Raining in My Heart," Roy Orbison "Love Hurts" Also wrote country hits like "Hey Joe!" and "Rocky Top"
7. BERRY GORDY-For Jackie Wilson, Gordy and Tyrone
Carlo (Billy Davis) wrote "Lonely Teardrops," "Reet Petite," "To Be Beloved," and "I'll Be Satisfied," his biggest and best hits. At Motown, Gordy wrote, or cowrote, "Do You Love Me" and "Shake Sherry for tne Contours, Barret Strong's "Money," the Miracles' "Wav Over There" and "Shop Around," Marvin Gaye's "Try It Baby," and Brenda Holloway's "You've Made Me So Very Happy."
8. DAVE BARTHOLOMEW—"Ain't That a Shame," "Blue Monday," "The Fat Man," "I Hear You Knockin'," "I'm Gonna Be a Wheel Someday," "I'm in Love Again," "I'm Walkln'," "Let the Four Winds Blow," "One Night," "Walking to New Orleans," "Whole Lot of Loving," "Witchcraft." Usually with his artists.
9. OTIS BLACKWELL (JOHN DAVENPORT)—"Don't Be Cruel," "All Shook Up," "Fever," "Great Balls of Fire," "Return to Sender," "Daddy Rolling Stone," "One Broken Heart for Sale," "Hey Little Girl," "Breathless," "Handy Man."
1 ROY ORBISON—"Only the Lonely," "Crying," "Oh, Pretty Woman," "In Dreams," "Blue Bayou," "Blue Angel," "Ooby Dooby," "Running Scared," "Claudette," "Leah," "Dream Baby." All except "Claudette" were hits for Orbison; that one hit for the Everly Brothers. Later, they hit for Van Halen, Linda Ronstadt, k. d. lang, and others.
11. SAM COOKE—"Bring It On Home to Me," "Another Saturday Night," "Cupid," "Having a Party," "Only Sixteen," "Shake," "Twistin' the Night Away," "Soothe Me."
12. WILLIE DIXON—"Hoochie Coochie Man," "I Just Want to Make Love to You," "Little Red Rooster," "You Can't Judge a Book by Its Cover," "Wang Dang Doodle," "Seventh Son," "I'm Ready," "Mellow Down Easy," "Evil," "I Ain't Superstitious," "Pretty Thing," "I Can't Quit You Baby."
13. PERCY MAYFIELD—"Please Send Me Someone to love," "Hit the Road Jack," "The River's Invitation," "Hide Nor Hair," "At the Club," "But on the Other Hand," "I Don't Want to Be President" " "Life Is Suicide," "Strange Things Happening," "My Heart," "I Ain't Gonna Cry No More," "Diggin' the Moon-glow."
14. LITTLE RICHARD (PENNIMAN)—"Tutti Frutti,"Long Tall Sally" "Lucille'" "Slippin' and Slidin'," "Jenny Take a Ride," "Jenny Jenny," each a perfection of rhythmic and vocal control amidst an anarchic atmosphere. But these are solid songs, as Elvis, the Beatles, and and Mitch Ryder and the Detroit Wheels could testify.
15. HARVEY FUQUA—Fuqua worked with the Moonglows(a group he led)' Bo Diddley, Marvin Gaye and Smokey Robinson, though his best collaborator was Johnny Bristol at motown. "If I Could Build My Whole World Around You," "Sincerely Whole World Ended," "Someday We'll Be Together," "25 Miles," "What Does It Take to Win Your Love," "Most of All " "Diddley Daddy."
l6. JOHN MARASCALCO AND BUMPS BLACKWELL "Good Golly Miss Molly," "Ready Teddy," "Rip It Up," "Send Me Some Lovin' "—the other half of the Little Richard story
17. LOWMAN PAULING—All the Five Royales hits includ ing "Dedicated to the One I Love," "Think," and "Tell the Truth," which were later hits for the Shlrelles, the Mamas and Papas, James Brown, Ray Charles, and Eric Clapton.
18. RICHARD BARRETT—Credits are slim because Barrett worked with George Goldner, a brilliant entrepreneur who unfortunately also mastered the art of the "cut-in" (placing a label owner or producer's name on songs that he has not written). But he definitely wrote "The ABCs of Love" and "I Want You to Be My Girt" for Frankie Lymon and the Teenagers, and "Maybe," "He's Gone," and "Look in My Eyes" for the Chantels, among the finest doo-wop records ever made.
19. FATS DOMINO—Usually with Dave Bartholomew. "Ain't That a Shame," "I Want to Walk You Home,' "I'm Gonna Be a Wheel Someday," "I'm in Love Again," "I'm Ready," "I'm Walkin'," "Poor Me," "Whole Lot of Loving," "Walking to New Orleans."
2O. BO DIDDLEY (ELIAS MCDANIEL)—"I'm a Man," "Bo Diddley," "Who Do You Love," "Mona," "Before You Accuse Me," "Say Man," "Love Is Strange" (as Ethel Smith), "Diddy Wah Diddy," "Crackin' Up," "Road Runner."
21. JESSE BELVIN—Belvin was notorious for selling songs outright to whatever Los Angeles record companies would have them. We know he wrote "Earth Angel" (he won a lawsuit over that one), "Goodnight My Love," "Hang Your Tears Out to Dry," "Beware," "Funny" and "Guess Who."
22. LLOYD PRICE—"Just Because," "Lawdy Miss Clawdy," "Personality," "I'm Gonna Get Married," and his version of "Stagger Lee," a classic blues changed so much that its new "author" earned acknowledgment.
23. HANK BALLARD—"The Twist," "Work with Me Annie" and its numerous sequels, "Finger Poppin' Time," "Lett'sGo Let's Go Let's Go." „
24. RUDY TOOMBS—"One Mint Julep," "5-10-15 Hours, "Teardrops from My Eyes," "One Scotch, One Bourbon, One Beer," "In the Morning," "Nip Sip." Another whose credits maybe in some disarray. ,
25. RAY CHARLES—"I Got a Woman," "Greenbacks'" "Come Back Baby," Hallelujah I Love Her So'" "Talkin' 'bout You'" "What'd I Say," "I believe to My Soul'" "If You Were Mine," "Booty Butt."

(Source-New Book of Rock Lists)

LA's fine, sunshine most of the time
The feeling is laid back
Palm trees grow and the rents are low
But you know i keep thinking about
Making my way back

Well, i'm new york city born and raised
But nowadays, i'm lost between two shores
LA's fine, but it ain't home
New york's home but it ain't mine no more

I am, i said
To no one there
And no one heard at all
Not even the chair
I am, i cried
I am, said i
And i am lost, and i can't even say why
Leavin' me lonely still

Did you ever read about a frog who dreamed of being a king
And then became one
Well, except for the names and a few other changes
If you talk about me, the story's the same one

But i got an emptiness deep inside
And i've tried but it won't let me go
And i'm not a man who likes to swear
But i've never cared for the sound of being alone

I am, i said
To no one there
And no one heard at all
Not even the chair
I am, i cried
I am, said i
And i am lost, and i can't even say why
Leavin' me lonely still

(Neil Diamond)

Good idea David.

Strange Fruit
Billie Holiday

Southern trees bear strange fruit
Blood on the leaves
Blood at the root
Black bodies swinging in the southern breeze
Strange fruit hanging from the poplar trees
Pastoral scene of the gallant south
The bulging eyes and the twisted mouth
The scent of magnolia sweet and fresh
Then the sudden smell of burning flesh
Here is a fruit for the crows to pluck
for the rain to gather
for the wind to suck
for the sun to rot
for the tree to drop
Here is a strange and bitter crop

Lyrics by: Lewis Allan and / or Abel Meeropol
Originally sung by: Billie Holiday

Talking Heads
Life During Wartime


Heard of a van that is loaded with weapons,
packed up and ready to go
Heard of some gravesites, out by the highway,
a place where nobody knows
The sound of gunfire, off in the distance,
I'm getting used to it now
Lived in a brownstore, lived in the ghetto,
I've lived all over this town

This ain't no party, this ain't no disco,
this ain't no fooling around
No time for dancing, or lovey dovey,
I ain't got time for that now

Transmit the message, to the receiver,
hope for an answer some day
I got three passports, a couple of visas,
you don't even know my real name
High on a hillside, the trucks are loading,
everything's ready to roll
I sleep in the daytime, I work in the nightime,
I might not ever get home

This ain't no party, this ain't no disco,
this ain't no fooling around
This ain't no mudd club, or C. B. G. B.,
I ain't got time for that now

Heard about Houston? Heard about Detroit?
Heard about Pittsburgh, P. A.?
You oughta know not to stand by the window
somebody might see you up there
I got some groceries, some peant butter,
to last a couple of days
But I ain't got no speakers, ain't got no
heaphones, ain't got no records to play

Why stay in college? Why go to night school?
Gonna be different this time
Can't write a letter, can't send a postcard,
I can't write nothing at all
This ain't no party, this ain't no disco,
this ain't no fooling around
I'd like to kiss you, I'd love you hold you
I ain't got no time for that now

Trouble in transit, got through the roadblock,
we blended with the crowd
We got computer, we're tapping phone lines,
I know that ain't allowed
We dress like students, we dress like housewives,
or in a suit and a tie
I changed my hairstyle, so many times now,
I don't know what I look like!
You make me shiver, I feel so tender,
we make a pretty good team
Don't get exhausted, I'll do some driving,
you ought to get some sleep
Get you instructions, follow directions,
then you should change your address
Maybe tomorrow, maybe the next day,
whatever you think is best
Burned all my notebooks, what good are
notebooks? They won't help me survive
My chest is aching, burns like a furnace,
the burning keeps me alive
Try to stay healthy, physical fitness,
don't want to catch no disease
Try to be careful, don't take no chances,
you better watch what you say

BRUCE SPRINGSTEEN


Independence Day

Well Papa go to bed now it's getting late
Nothing we can say is gonna change anything now
I'll be leaving in the morning from St. Mary's Gate
We wouldn't change this thing even if we could somehow
Cause the darkness of this house has got the best of us
There's a darkness in this town that's got us too
But they can't touch me now
And you can't touch me now
They ain't gonna do to me
What I watched them do to you

So say goodbye it's Independence Day
It's Independence Day
All down the line
Just say goodbye it's Independence Day
It's Independence Day this time

Now I don't know what it always was with us
We chose the words, and yeah, we drew the lines
There was just no way this house could hold the two of us
I guess that we were just too much of the same kind

Well say goodbye it's Independence Day
It's Independence Day all boys must run away
So say goodbye it's Independence Day
All men must make their way come Independence Day

Now the rooms are all empty down at Frankie's joint
And the highway she's deserted down to Breaker's Point
There's a lot of people leaving town now
Leaving their friends, their homes
At night they walk that dark and dusty highway all alone

Well Papa go to bed now it's getting late
Nothing we can say can change anything now
Because there's just different people coming down here now
and they see things in different ways
And soon everything we've known will just be swept away

So say goodbye it's Independence Day
Papa now I know the things you wanted that you could not say
But won't you just say goodbye it's Independence Day
I swear I never meant to take those things away

Life On Mars
David Bowie

It's a god-awful small affair
To the girl with the mousy hair
But her mummy is yelling "No"
And her daddy has told her to go
But her friend is nowhere to be seen
Now she walks through her sunken dream
To the seat with the clearest view
And she's hooked to the silver screen
But the film is a saddening bore
For she's lived it ten times or more
She could spit in the eyes of fools
As they ask her to focus on

Sailors fighting in the dance hall
Oh man! Look at those cavemen go
It's the freakiest show
Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he'll ever know
He's in the best selling show
Is there life on Mars?

It's on Amerikas tortured brow
That Mickey Mouse has grown up a cow
Now the workers have struck for fame
'Cause Lennon's on sale again
See the mice in their million hordes
From Ibeza to the Norfolk Broads
Rule Britannia is out of bounds
To my mother, my dog, and clowns
But the film is a saddening bore
'Cause I wrote it ten times or more
It's about to be writ again
As I ask you to focus on

Sailors fighting in the dance hall
Oh man! Look at those cavemen go
It's the freakiest show
Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he'll ever know
He's in the best selling show
Is there life on Mars?

Thanks peacepickle. My idea for this is to have discussions on various specific topics. These could include such things as styles-rock, pop, soul, reggae, blues, country, western, rap, jazz, punk, classical.....Time periods-50's, 60's....Unknown artists, bootlegs, soundtracks, shows, movies, icons, instruments...the list is endless. I would like to spend a week on each topic before moving on to the next and am open to suggestions (please message me with ideas instead of posting them). With the overwhelming success of the new poetry board I thought that lyrics would be a good first topic.

Lawrence Welk anyone? j/k!

Music now!...this site is getting better all the time.. :-)