Think it oh-oh-ver, think it oh-oh-ver

One of the least discussed but (for me) most satisfying moments of the recent Grammy Awards show was the performance by the new “super-duo” calling themselves Silk Sonic. Bruno Mars and rapper/singer/producer Anderson.Paak have pooled their talents to come up with a marvelous ’70s soul sound exemplified by their single “Leave the Door Open.” (I’m including it as a bonus track at the end of the Spotify playlist below.)

It reminded me how much I enjoyed soul music in that sweet decade of 1964-1974. The talented vocal groups of Detroit Motown, Memphis Stax/Atlantic and “Philly Soul” were a crucial part of that musically fertile period. Funny thing, though — the great songs of that era seemed to be far better known for the music than the lyrics, which often focused rather narrowly on the flip sides of romantic relationships (betrayal and devotion).

As a guy who loves quoting memorable rock music lyrics, I thought that for this latest edition of Hack’s Back Pages Lyrics Quiz, it might be a fun challenge for readers to test their ability to recall lyrics of classic hits by soul artists. I’ve come up with 25 lines from some of the better known soul tunes of the ’60s and ’70s for you to identify. Write down your answers on a piece of paper, then scroll down to see how you did, and read a little bit about each of these memorable songs.



1. “So take a good look at my face, you’ll see my smile looks out of place…”

2. “There’s no exception to the rule, listen baby, /It may be factual, may be cruel…”

3. “Comin’ to you on a dusty road, /Good lovin’, I got a truckload…”

4. “Folks say papa never was much on thinking, spent most of his time chasing women and drinking, /Mama, I’m depending on you to tell me the truth…”

5. “Ooh, your kisses, sweeter than honey, /And guess what? So is my money…”

6. “Don’t let the handshake and the smile fool ya, /Take my advice, I’m only tryin’ to school ya…”

7. “Like a fool I went and stayed too long, /Now I’m wondering if your love’s still strong, ooh baby, here I am…”

8. “Sometimes in our lives, we all have pain, we all have sorrow, /But if we are wise, we know that there’s always tomorrow…”

9. “But all you do is treat me bad, break my heart and leave me sad, /Tell me, what did I do wrong to make you stay away so long…”

10. “Every minute, every hour, I’m gonna shower you with love and affection, /Look out, it’s coming in your direction…”

11. “Who is the man who would risk his neck for his brother man?…”

12. “I can build a castle from a single grain of sand, I can make a ship sail, huh, on dry land…”

13. “Now if you feel that you can’t go on, because all of your hope is gone, /And your life is filled with much confusion, until happiness is just an illusion…”

14. “Father, father, we don’t need to escalate, /You see, war is not the answer, for only love can conquer hate…”

15. “When I call your name, girl, it starts to flame, burning in my heart, tearing it all apart, /No matter how I try, my love I cannot hide…”

16. “Today I saw somebody who looked just like you, /She walked like you do, I thought it was you…”

17. “Now if there’s a smile on my face, it’s only there trying to fool the public, /But when it comes down to fooling you, now honey, that’s quite a different subject…”

18. “Remember the day I set you free, I told you you could always count on me, darling…”

19. “For once I can touch what my heart used to dream of, long before I knew someone warm like you would make my dreams come true…”

20. “I don’t need no money, fortune or fame, /I’ve got all the riches, baby, one man can claim…”

21. “Why don’t you be a man about it and set me free? /Now, you don’t care a thing about me, you’re just using me…”

22. “I know a man ain’t supposed to cry, but these tears I can’t hold inside, /Losin’ you would end my life, you see, ’cause you mean that much to me…”

23. “When my soul was in the lost and found, you came along to claim it…”

24. “You been running all over the town now, /Oh, I guess I’ll have to put your flat feet on the ground…”

25. “Somebody’s out to get your lady, /A few of your buddies, they sure look shady…”













1. “The Tracks of My Tears,” The Miracles, 1965

Robinson has said he was looking in his bathroom mirror one morning and thought, “What if someone cried so much that you could see the tracks left from the tears on their face?” That became the lyrical concept, partnered with Miracles guitarist Marv Tarplin’s melody, for this classic slice of Motown gold, which peaked at #16 for them in 1965. Ten years later, Linda Ronstadt recorded her own take on the iconic tune, reaching #25.

2. “Everybody Plays the Fool,” The Main Ingredient, 1972

This Harlem-based vocal group lost its lead singer to leukemia in 1970 and was replaced by Cuba Gooding, whose son would later become an Oscar-winning actor. The Main Ingredient had their biggest success with this song by seasoned songwriter Rudy Clark (who also wrote The Rascals’ “Good Lovin’,” among others), who had written it with Charley Pride in mind. But Pride thought it was more pop than country, so these guys took a stab at it and found themselves with a #3 hit in the autumn of 1972. Aaron Neville’s 1990 rendition was a #8 hit as well.

3. “Soul Man,” Sam and Dave, 1967

Singer-songwriter Isaac Hayes came up with this song after watching a news broadcast about riots in Detroit where buildings owned by Blacks were marked with the spray-painted word “soul” to spare them from vandalism. “The song became kind of like boasting, ‘I’m a soul man,'” said Hayes. “It was a pride thing.” Sam Moore and Dave Prater turned it into a #2 hit on pop charts, and The Blues Brothers revived it as their signature song in 1978 on “Saturday Night Live” and subsequent LP, “A Briefcase Full of Blues.”

4. “Papa Was a Rolling Stone,” The Temptations, 1972

Many people don’t know that this hugely popular #1 single, which pushed pop radio boundaries at more than seven minutes in length, actually clocked in at 11:44 in the original album version (included in the Spotify playlist below). Producer Norman Whitfield gave it textures and instrumental passages that set a somewhat forbidding atmosphere for the downcast story of a young man’s memories of life in a broken home. Dennis Edwards sang lead but the others took turns singing bass and falsetto to give voice to the narrators’ siblings. A truly remarkable recording top to bottom.

5. “Respect,” Aretha Franklin, 1967

This may be the most famous song on this list, as iconic as they come. After wallowing for years at Columbia Records, she switched to Atlantic and knocked us all off our feet with her fabulous takes on riveting R&B material. Otis Redding had already put this song on the map, but when Franklin sang it, it transformed into an anthem for the burgeoning women’s movement and became her signature song for decades to come.

6. “Smiling Faces Sometimes,” The Undisputed Truth, 1971

Norman Whitfield and Barrett Strong wrote this one and gave it to The Temptations, who were undergoing a lineup change as Eddie Kendricks was going solo. They dragged their feet on releasing it, so the up-and-coming group The Undisputed Truth made their own recording and stole the spotlight on the charts, reaching #3 in the summer of 1971, but they never reached the pop charts again. You might check out The Tempts’ version, which (again) goes on for 12 minutes.

7. “Signed, Sealed, Delivered,” Stevie Wonder, 1970

Wonder wrote this one with a little help from his mother Lula Hardaway, who, upon hearing him toying with the melody, exclaimed, “I love that! Ooh, signed, sealed and delivered, I’m yours!” This single marked Stevie’s first time as producer, a role he would retain for the rest of his exemplary career. The song reached #3 in 1970, and since then, many dozens of covers have been recorded, including ones Peter Frampton, Jermaine Jackson, Chaka Khan and Michael McDonald.

8. “Lean On Me,” Bill Withers, 1972

After first hitting the charts with the angst-ridden “Ain’t No Sunshine” in 1971, Withers could afford to move to Los Angeles to continue his career, but he missed the tight-knit community of his hometown of Slab Fork, West Virginia. “I started thinking about how we all leaned on each other for love and support, and the song came out as I played some basic scales on piano,” Withers recalled. The result was a #1 song for three weeks in July 1972.

9. “Baby Love,” The Supremes, 1964

Unbelievably catchy, this classic by Holland/Dozier/Holland was the one that truly established The Supremes as a singles powerhouse on pop radio, particularly as their songs faced off against The Beatles’ initial run of chart-toppers in 1964. “Where Did Our Love Go” came before it, but “Baby Love” proved they weren’t a flash in the pan, and indeed, they went on to have five consecutive #1s, which had never been achieved before.

10. “I’m Gonna Make You Love Me,” The Supremes & The Temptations, 1969

Written by Kenny Gamble, Leon Huff and Jerry Ross, this song was first recorded by Dee Dee Warwick in 1966 and then by Madeline Bell in 1968, both with only minimal impact. But when The Temptations and The Supremes chose to team up for an album and TV special in late 1968, this was the song from the album that radio stations chose to play, even though it hadn’t been performed on the show and wasn’t the intended single. Once officially released as a single, it vaulted all the way to #2 on pop charts in early 1969, featuring Diana Ross and Eddie Kendricks trading off on lead vocals.

11. “Theme From Shaft,” Isaac Hayes, 1971

Hayes had been a pivotal producer/songwriter/arranger at Stax Records since its inception. In his first attempt at film scoring, he scored a hit with the quasi-funk/soul soundtrack for the Richard Rountree detective flick “Shaft” in 1971. The theme song was more instrumental than vocal, but it was nonetheless a huge hit, reaching #1 and scoring an Oscar for Best Song.

12. “I Can’t Get Next to You,” The Temptations, 1969

Immediately identified by opening applause cut short by Dennis Edwards saying,”Hold it, hold it, listen,” followed by the piano intro and horn section, “I Can’t Get Next to You” was a gigantic hit for The Temptations in the fall of ’69. Another Norman Whitfield/Barrett Strong composition, it featured each of the group’s different voices taking turns on lead. I’m also fond of the excellent cover version Annie Lennox recorded in 1995.

13. “Reach Out I’ll Be There,” The Four Tops, 1966

There’s an undeniable feeling of dread to the way this track begins — minor chords, echo and innovative percussion — followed by a shift to major chords to release the tension. The anguished pleading of lead singer Levi Stubbs, achieved by making him sing in a key that was right at the top of his vocal range, really makes the record. For me, this is The Four Tops at their very best.

14. “What’s Going On,” Marvin Gaye, 1971

Widely considered his masterpiece, “What’s Going On” is a sonic breakthrough and a lyrical cry for our future on the planet. “With the world exploding all around me, how am I supposed to keep singing love songs?” he said. “I wanted to write songs that would reach the souls of people.” Gaye’s singing and songwriting were at their best for the title track (which ranked #4 on Rolling Stone’s 500 Greatest Songs of All Time), while “Mercy Mercy Me” and “Inner City Blues” weren’t far behind.

15. “I Can’t Help Myself (Sugar Pie, Honey Bunch),” The Four Tops, 1965

Another marquis song in the Motown canon is this spirited tune by the Holland/Dozier/Holland songwriting and producing team. Using a similar chord progression to “Where Did Our Love Go,” which they’d written for The Supremes the previous year, the H/D/H trio struck gold again for The Four Tops, who put this song at #1 on the pop charts for two weeks, and #1 on the R&B charts for nine weeks, in the summer of ’65.

16. “You Are Everything,” The Stylistics, 1971

Thom Bell, co-creator of the Philly sound, came up with this passionate ballad for The Stylistics, one of the bands on his Philly Int’l label. The falsetto voice of Russell Thompkins Jr. was the defining characteristic of the group’s sound on this and other hits they charted in the early ’70s. “You Are Everything” reached #4 on pop charts, and a cover of the song by Marvin Gaye and Diana Ross on 1973’s “Diana & Marvin” LP reached #5 in England.

17. “The Tears of a Clown,” Smokey and The Miracles, 1970

Stevie Wonder and producer Henry Cosby had written and recorded the instrumental track for this tune in 1967, but Wonder couldn’t come up with a lyric for it. He asked for help from Smokey Robinson, who heard the calliope-like section and thought of a clown in the circus, hiding his sadness behind a smile. The Miracles recorded it as an album track, and then three years later, after Motown’s British subsidiary released it to great success, it was released as a single in the US, where it became their final #1 hit.

18. “Ain’t No Mountain High Enough,” Marvin Gaye and Tammi Terrell, 1967

This unforgettable song served as the entree into Motown for the songwriting team of Nikolas Ashford and Valerie Simpson, and was also the initial pairing of Gaye with singer Tammi Terrell. Gaye was a seasoned recording artist by then, which intimidated Terrell so much that her part and Gaye’s were actually recorded separately and grafted together by producer Harvey Fuqua. It peaked at #19 in 1967 but has since reached iconic status, used in film soundtracks like “Remember the Titans” and “Guardians of the Galaxy.” A slower, melodramatic, partly spoken version by Diana Ross made it to #1 in 1970.

19. “For Once in My Life,” Stevie Wonder, 1968

Originally written as a slow ballad and recorded that way by the Four Tops and The Temptations, it was recorded in 1967 in an uptempo arrangement by Stevie Wonder, but Motown head Berry Gordy didn’t like it and withheld it from release for more than a year. It reached #2 on the pop and R&B charts in late 1968 and became a standard, covered by the likes of Frank Sinatra, Tony Bennett and other crooners. The record is mentioned by bass players everywhere as the perfect example of James Jamerson’s unparalleled bass-playing style.

20. “My Girl,” The Temptations, 1964

Written by Smokey Robinson and fellow Miracle Ronald White, “My Girl” was written about Robinson’s wife Claudette and was set to be the next Miracles single, but instead, he produced it with The Temptations. Although Eddie Kendricks and Paul Williams typically sang lead vocals, Robinson insisted he wanted David Ruffin to sing it, “featuring his gruff voice on a sweet melody.” It became not only the group’s first #1 hit but their signature song ever since.

21. “You Keep Me Hangin’ On,” The Supremes, 1966

Lamont Dozier, in collaboration with Brian and Eddie Holland, incorporated a Morse code-like guitar riff into the arrangement for this magnificent R&B #1 hit they wrote for The Supremes. It became one of the most often covered songs in the Motown catalog — Vanilla Fudge did a slow-tempo, hard rock version in 1967 that made the Top Ten; British singer Kim Wilde returned the song to #1 with a supercharged electronic dance music rendition; and country artist Reba McEntire offered up a Supremes replication in 1995.

22. “I Heard It Through the Grapevine,” Marvin Gaye, 1968

This awesome tune by Motown songwriting duo Norman Whitfield and Barrett Strong was recorded first by The Miracles, but only as an album track. Gladys Knight & The Pips had a big #2 hit with their funky arrangement in 1967, but Gaye’s haunting version eclipsed them both, holding down the #1 spot for seven weeks in 1968-69, making it the most successful song in Motown history. It was later turned into a 10-minute rock interpretation by Creedence in 1970.

23. “(You Make Me Feel Like) A Natural Woman,” Aretha Franklin, 1967

Atlantic Records chief Jerry Wexler had been reading about the philosophical concept of “the natural man” when he ran into Carole King in New York one day. On the spot, he asked her to write a song about “the natural woman” for Franklin’s next album, so she and husband/songwriter partner Gerry Goffin went home and wrote this iconic tune that night. It became a #8 pop hit (#2 on R&B charts) for Aretha. King later recorded her own version for her 1971 epic LP “Tapestry.”

24. “Mustang Sally,” Wilson Pickett, 1966

R&B singer-songwriter Mack Rice wrote and recorded this song in 1965 not long after a friend told him he wanted to get a sporty Ford Mustang, which had just been introduced the previous year. Originally titled “Mustang Mama” about a woman who wanted only to ride around in her new car, he chose to change Mama to Sally because of the use of the line “Ride, Sally, ride” in the middle verses. Pickett reached #23 on the pop charts with his version.

25. “Back Stabbers,” The O’Jays, 1972

Inspired by the theme of betrayal used effectively in “Smiling Faces Sometimes,” Leon Huff came up with “Back Stabbers” for The O’Jays’ first single on Huff’s and Kenny Gamble’s new label, Philadelphia International. It was the beginning of a long and successful relationship between the vocal group and the label, followed by “Love Train, “For the Love of Money” and many more.


He’s a dedicated follower of fashion

When they talk about Sex and Drugs and Rock and Roll, they should’ve added Fashion. The clothes you wore, the styles you presented in performances and other appearances, had a lot to do with establishing your image and reputation.

Early rockers like Elvis and Little Richard wore loose suits and shiny shoes. The Beatles wore matching suits and “Beatle boots.” By the mid-Sixties, Jimi Hendrix and Janis Joplin were wearing flamboyant sashes and boas. There was David Crosby and his fringe jacket, Creedence and their flannel shirts, Simon and Garfunkel and their turtlenecks.

Rock fashion exploded in the ’70s with ever more outlandish examples: David Bowie’s Ziggy Stardust costumes, Elton John’s platform shoes and wild eyeglasses, Donna Summer’s radiant jumpsuits, Stevie Nicks’ Welsh witch capes and top hat. The ’80s brought Michael Jackson’s one sequined glove and fedora, Madonna’s excessive jewelry and pointy bras, Prince’s head-to-toe purple outfits. The MTV culture enabled an “anything goes” approach for many artists hoping to grab attention and get airtime.

Songwriters have sometimes written about the appeal of certain fashion choices and trends, so I have taken the liberty of compiling a list of 15 songs that mention clothing of various types in the title. It’s a fun playlist I encourage you to check out.


“Blue Suede Shoes,” Carl Perkins, 1956

images-367In December 1955, as Perkins was performing at a dance, he noticed a couple dancing near the stage, and the guy said, “Uh-uh, don’t step on my suedes!”  He thought it was amusing that the guy was more worried about his shoes than his pretty dancing partner.  Two weeks later, he wrote a song about it, recorded it a couple days after that, and Sun Records released it in February 1956.  It ended up at #2, kept out of the top spot by Elvis Presley’s first #1 single, “Heartbreak Hotel.”  Presley also recorded “Blue Suede Shoes” and released it as the first track on his RCA debut album, which helped sales of Perkins’ version considerably.

unknown-665-2“You Can Leave Your Hat On,” Joe Cocker, 1986

Songwriter extraordinaire Randy Newman came up with this sexy song for his 1972 LP “Sail Away,” but he always felt he hadn’t done it justice.  It took nearly 15 years, but Joe Cocker finally recorded the definitive version with an R&B piano, full horn section and backing vocals.  It is considered a classic striptease song, thanks especially to the first verse:  “Baby, take off your coat…real slow, /Baby, take off your shoes…here, I’ll take your shoes, /Baby, take off your dress, yes, yes, yes, /You can leave your hat on…”  It never mentions a specific kind of hat, but I’ve always pictured a fedora.

Unknown-666“Wet T-Shirt,” The Bellamy Brothers, 1979

This brothers duo from Florida was a big deal in country music in the ’70s and ’80s, scoring 20 #1 singles on the country charts.  Rock fans may remember them from their #1 crossover hit, “Let Your Love Flow,” in 1976. On their 1979 LP, “The Two and Only,” David Bellamy came up with a crowd pleaser called “Wet T-Shirt” that whimsically summarized the “good clean fun” that went on (and no doubt still goes on) in many country bars around the country.  The record features a guy named Danny Jones, who plays some mighty sweet pedal steel guitar as the brothers harmonize. 

“Devil With a Blue Dress On/Good Golly Miss Molly,” Mitch Ryder and The Detroit Wheels, 1966

Unknown-667“Shorty” Long and Mickey Stevenson, a couple of singer/songwriters from one of Motown’s subsidiary labels, collaborated to write and record “Devil With the Blue Dress” in 1964, but their version failed to chart.  In 1966, Ryder and his band came up with a rendition that tied “Blue Dress” together with Little Richard’s potent “Good Golly Miss Molly,” and the record made its way to #4 on the pop charts.  Its position as a timeless classic was further cemented when Bruce Springsteen and The E Street Band made it a staple of their concert set list, and their live recording appears on the 1979 “No Nukes” extravaganza.

“Sucker in a 3-Piece,” Van Halen, 1988

images-368Rock musicians have always showed disdain for “the suits” — the corporate guys from the record label who try to insert their unhip ideas into rock and roll production.  On “OU812,” Van Halen’s second album with Sammy Hagar on vocals instead of original singer David Lee Roth, critics hailed it as “a veritable feast of great white rock and roll wow.”  One example is “Sucker in a 3-Piece,” a putdown of a “suit” who offers his girl money but little else:  “I got everything you wanted, give you everything you need, /Still, you want that sugar daddy over me, /She want a sucker, a sucker in a 3 piece, /A sucker all dressed up in a 3 piece suit…”

“Long Cool Woman (In a Black Dress),” The Hollies, 1972

Unknown-668Enormously successful in the UK but less so in the US, The Hollies relied on Allan Clarke and Graham Nash, took turns on lead vocals and songwriting.  In 1971, now without Nash, they recorded “Long Cool Woman” in the “swamp rock” style of Creedence, and Clarke sang it like CCR vocalist John Fogerty.  It wasn’t intended as a single, but their US label released it in the summer of ’72 and it reached #2 on the charts with great guitar and lusty lyrics:  “A pair of 45’s made me open my eyes, My temperature started to rise, /She was a long cool woman in a black dress, just 5’9″, beautiful, tall,/With just one look I was a bad mess, ’cause that long cool woman had it all…”

“Coat of Many Colors,” Dolly Parton, 1971

Unknown-670The amazing Parton has written about a thousand songs, but the one she treasures the most is this one, the title track from her third solo album after her amicable split from Porter Wagoner in 1971.  The gentle tune tells of how Parton’s mother couldn’t afford to buy a new coat for her daughter, so she stitched together a coat made from rags.  As she sewed, she told her child the biblical story of Joseph and his coat of many colors.  Dolly, “with patches on my britches and holes in both my shoes,” rushed to school, “just to find the others laughing and making fun of me” for wearing a coat made of rags.  It’s a marvelous, emotional song.

“These Boots Are Made for Walking,” Nancy Sinatra, 1966

71C5jKslRpL._SS500_Regarded then and now as a song of female empowerment, this infectious hit single was written by Lee Hazlewood, who intended to sing it himself until Sinatra talked him out of it.  “Coming from a guy, it was harsh and abusive, but was perfect for a girl to sing,” she noted, and she was right.  Not only did it reach #1 in the US and the UK, it helped spark sales of fashionable boots for women to go with their miniskirts in the mid-Sixties.  Since then, artists ranging from Billy Ray Cyrus to Megadeth have released their own radically different versions, and the song has been used in countless films and even a few ad campaigns.    

“Slit Skirts,” Pete Townshend, 1982

images-369As The Who were winding down their careers as recording artists, Townshend was doing more on his own.  He’d released his “Empty Glass” LP in 1980, then followed it up with “All the Best Cowboys Have Chinese Eyes” in 1982, in between making the final two Who studio albums (“Face Dances” and “It’s Hard”).  The lyrics to tracks like “Slit Skirts” read like journal entries, full of wordy verses about his troubled personal life, broken relationships and his dread of aging:  “Slit skirts, Jeanie never wears those slit skirts, /Wouldn’t be seen dead in no slit skirt, /I don’t ever wear no ripped shirts, /Can’t pretend that growing older never hurts…” 

“Diamonds on the Soles of Her Shoes,” Paul Simon, 1986

Unknown-671For his celebrated “Graceland” LP, Simon featured the compelling rhythms he heard from indigenous musicians in South Africa, using them to craft accessible pop songs with whimsical lyrics.  On “Diamonds,” which he called his favorite on the album, Ladysmith Black Mambazo provided wonderful vocals in support of Simon’s simple tale of “a rich girl, she don’t try to hide it, she got diamonds on the soles of her shoes.”  Said Simon, “That’s all there is to it, really.  I came right out and said so:  ‘And I could say ooh, ooh, ooh, as if everybody would know exactly what I’m talking about…’”  

“Man in the Long Black Coat,” Bob Dylan, 1989

images-370Within Dylan’s voluminous catalog, there are few songs that match the dark mood and imagery he summons in this stunning track from his well-received 26th LP, “Oh Mercy.”  In countless films and television shows, if there’s death and despair on your doorstep, it often appears as a man in a long black coat, waiting in the shadows to do you harm.  Dylan called the recording “menacing,” with lyrics that paint a picture of his lover falling under the spell of this mystery man:  “Crickets are chirpin’, the water is high, /There’s a soft cotton dress on the line hangin’ dry, /Not a word of goodbye, not even a note, /She gone with the man in the long black coat…”

“High Heel Sneakers,” Tommy Tucker, 1964

images-371Here’s another example of an early rock and roll song that mentions items of clothing to set the stage for an evening out on the town.  The narrator asks his girl to wear a red dress, but also bring some boxing gloves “in case some fool might want to fight.”  Most important are her high heel sneakers, evidently a good choice for dancing.  Robert Higginbotham, whose stage name was Tommy Tucker, wrote and recorded the tune in 1963, and it reached #11 in March 1964, just as The Beatles began their dominance of the U.S. charts.  Three decades later, Paul McCartney recorded the song on his 1991 “Unplugged” album.    

“Gold-Tipped Boots, Black Jacket and Tie,” Jethro Tull, 1991

Unknown-672Ian Anderson, the supreme showman who led Jethro Tull to the top of the charts in the ’70s, was still at it years later when the band released this self-deprecating tune from Tull’s “Catfish Rising” LP in 1991.  As the lyrics explain, Tull was very popular, then not so much in the ’80s, but they turned things around somewhat for a four-album stretch, and he’s wearing fashionable duds now:  “Well, I’ve been second to none, this horse was ready to run, /Now I’m has-been and used, disarmed and de-fused, /But I’m turning again, yes, and I’m turning again, /Wearing gold-tipped boots, black jacket and tie…”   

“Bell Bottom Blues,” Derek and The Dominos, 1970

Unknown-673In 1970, Eric Clapton had fallen in love with Pattie Harrison, ex-Beatle George’s wife, which caused Clapton considerable angst and heartache, because his feelings were not reciprocated by her (at least not right away).  He wrote several songs about it, including the iconic “Layla” and this powerful track from the “Layla” album.  Pattie had mentioned to Clapton how she loved bell-bottom jeans, so when he was on a US tour, he bought her several pair.  You can hear the anguish as he sings these lyrics:  “Bell bottom blues, you made me cry, /I don’t want to lose this feeling, /If I could choose a place to die, it would be in your arms…”   

“Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini,” Brian Hyland, 1960

Unknown-674In 1946, a Paris designer came up with the skimpy two-piece women’s swimsuit that he named after the Bikini Atoll in the South Pacific where nuclear bomb tests were held, hoping his creation would have the same explosive effect on culture.  That didn’t happen for another 15 years, when the wild and freewheeling Sixties arrived.  But in 1960, it was still very risqué on most beaches, which is why Hyland’s bossa nova novelty tune “Itsy Bitsy” made such a big impression, reaching #1 that summer in the US and a half-dozen other countries.  About a hundred artists around the world recorded cover versions in numerous languages.    


Honorable mention:

Zoot Suit Riot,” Cherry Poppin’ Daddies, 1990;  “Those Shoes,” The Eagles, 1979;  “Saturday Clothes,” Gordon Lightfoot, 1970;  “Leopard Skin Pillbox Hat,” Bob Dylan, 1975;  “Famous Blue Raincoat,” Leonard Cohen, 1971;  “I Love My Shirt,” Donovan, 1969;  “Raspberry Beret,” Prince, 1983;  “Leather Jackets,” Elton John, 1986;  “Forever in Blue Jeans,” Neil Diamond, 1971.