John Fogerty wrote “Have You Ever Seen The Rain” about his brother, Tom Fogerty, who left Creedence Clearwater Revival in 1971 at the apex of the band’s popularity. The departure of his brother was a sad time for John.
Eventually, the hurt healed, and the meaning of the song changed. In Fogerty’s own words, “This song was originally written about a very sad thing that was going on in my life. But I refuse to be sad now. These days, this song reminds me of my little girl, Kelsy, and every time I sing it, I think about Kelsy and rainbows.
“Have You Ever Seen the Rain” is another song that emerged unexpectedly from my subconscious. The song bounced around in my head until I played it. Here’s my cover.
“Against the Wind” is regarded as one of Bob Seeger’s best songs. The lyrics are replete with the songwriter’s reflections on his youth, past relationships, and music career. The metaphor of running against the wind came from Seeger’s high school days, where he ran on the track team.
Seeger created his eleventh album, “Against the Wind,” intending to record hit songs. In other words, the artist wasn’t overly concerned with aesthetics. He wanted to make a commercially viable collection of songs, leaving it up to Capitol Records which ones to release as singles. Along with his Silver Bullet Band, Seeger certainly succeeded.
“Against the Wind” has been described as a bittersweet cross between country and rock music. The song holds an attraction for me as I look back on my life from the perspective of a 75-year-old. I’ve published eleven novels and recorded innumerable songs. Has any of it made a positive and significant impact on the world? Perhaps in a very small sense, the answer is “yes.” But the results have been far below my expectations.
I’m sure we are all, in one sense or another, running against the wind. There are things we turn away from that must be confronted. There are obstacles we must overcome if we are to move forward. Seeger ends this song with a determination to keep running against the wind no matter what it takes. I offer my cover in the same spirit.
Recorded with Audacity software–Absolutely the best free recording software out there.
John Fogerty wrote this song, in part, for his son, Josh. Josh was three years old at the time, and John could barely wait for his son to hear him sing the song on the radio, especially the part that goes: “Doot doot doo lookin’ out my back door.”
In the song’s chorus, a passing parade is mentioned. Fogerty says the lyric is inspired by a Dr. Seuss book he read as a child, “To Think I Saw It On Mulberry Street.”
Some people say the lyric “Won’t you take a ride on the flying spoon” is a reference to cocaine or heroin. Fogrety vehemently denies this. He discouraged drug use by any of his band members, saying drugs interfered with their music and their jobs.
Credence Clearwater Revival gained prominence in the late 1960’s. The band split up acrimoniously in 1972. John Fogerty is still performing as of this writing.
Cat Stevens ( Yusuf Islam) has never publicly said what this song is about, so we are left to offer our own interpretations.
When I read the lyrics, I get a picture of a farmer of indiscriminate age waking up at the crack of dawn and looking out through a window at his fields. At the very instant when the sun rises, there is barely sound. Our farmer reflects back on his youth and how it felt every day to awaken with a song in his heart and the dreams he envisioned to pursue.
The last refrain floated into my head from out of nowhere:
“There’ll be the evening,
In the end,
But ’till that time arrives,
You can rest your eyes,
And begin again.”
The lyrics are beautiful and express the child-like innocence found in many of Cat Stevens’ songs. I interpret this last refrain to mean: Take advantage of and be grateful for every moment you are alive.
Most of the lyrics in “Danny’s Song” were inspired by a letter Kenny Loggins’ brother, Dan, wrote to him in 1968 after Dan’s son, Colin, was born. In the letter, Dan said he planned to marry the boy’s mom, Sheila, and they planned to move to Berkley, California, even though they had no money.
Kenny Loggins wrote the song in 1970 and released it as a single. It went nowhere. Later that year, Kenny teamed up with Jim Messina and released the song on their first album, “Sittin’ In.” Again the song went nowhere. If nothing else, “Danny’s Song” showcased Loggins’ talent for capturing a feeling for a moment in time.
It was not until Anne Murray covered the song and released it as a single in 1973 that it became a hit, reaching #1 in Canada and #7 on the charts in America. The song’s success put Loggins and Messina on the map.
Back in the days when recording artists released singles, “We Can Work It Out” made its debut in 1965. The Beatle’s manager, Brian Epstein, felt that the other song on the record, “Day Tripper,” was more commercial and so, should be the lead song. Typically, the lead song of a single is recorded on the top side (A side) and the other song (B side) goes beneath it. Since both songs became hits, the record turned out to be the first double “A” single ever recorded.
John Lennon and Paul McCartney wrote the song with Paul writing the optimistic verses and John writing the more pessimistic chorus, in this case, the bridge.
The song sprang from a disagreement Paul had with his then-girlfriend, actress Jane Asher. Jane and her mother, Margaret, had a powerful impact on Paul’s life. The couple stayed together for five years from 1963 to 1968.
Cat Stevens’ song “The Boy With A Moon And Star On His Head” is a poetic and mystical tale that expresses themes of love, destiny, and the unknown and unexpected.
The song’s lyrics are replete with metaphors and symbolism, for example, the “holy magnolia” and “naked earth,” which elicit a sense of purity and connection to the universe. Cat Stevens, known for his introspective and spiritual songwriting, uses this narrative to convey a deeper message about the power of love and the unpredictable ways in which destiny unfolds. It is a beautiful story in song, rendered in Stevens’ unique style. Here’s my cover.
Cat Stevens rose to prominence as a folk and pop artist in the 1970’s. I’ve always enjoyed the thread of childlike innocence and spontaneity that runs through his music. After a near-death experience, Stevens began a serious search for a deeper meaning in life. In 1977, he left his rock and roll lifestyle and converted to Islam adopting the name Yusuf Islam.
Stevens released “In My Eyes” in April of 1970, years before his conversion. Like many of his songs, it is simple yet extremely poignant. It speaks of the impermanence of human love and of life itself. Paradoxically, “Fill My Eyes” flows like a sweet river and the meter is upbeat.
Here’s my cover of the song played in Yusuf/Stevens’ unique guitar style.
“I live for a sense of a feeling of purposefulness in this world, you know, that I could stop my life at any point and feel that my life has been worthwhile; that the people I’ve loved and my children have all reached a point where their lives are now going to come to fruition. And as far as something I live by, it’s to try to be as alive as possible and feel free to make my mistakes and try to be as honest as I can with myself.”
Kate Wolf–Singer Songwriter–1942-1986
Perhaps Kate Wolf had these thoughts in mind when she wrote the song “Unfinished Life.” It’s a haunting ballade filled with hard-won wisdom, exquisite beauty, grace, and focused determination. The song is also ironically prophetic. Kate Wolf died tragically of Leukemia at the age of forty-four. Despite her abbreviated lifespan, she wrote over two hundred songs and performed them at venues in her native state of California and around the world. Kate’s life was, indeed, unfinished, but she left behind a treasure trove of beautiful music.
I first recorded “Unfinished Life” using a free-form guitar strumming method. Recently, while driving in my car, I listened to the song with a different pair of ears. I noticed the unique and highly effective guitar-picking technique Kate used to express the words and melody of the song. After some trial and error, I’ve come up with a version that approximates Kate’s recording.
“The future is not some place we are going, but one we are creating. The paths are not to be found but made. And the activity of making them changes both the maker and the destination.”
Heart Banter by David Gittlin 