Pantheon Podcast Network - The "I'm In Love With That Song" Podcast - Music Commentary, Song Analysis & Rock History

The Cars debut album was a commercial and critical success. The pressure was on for a follow-up, and the band delivered big time with their 2nd album, “Candy-O“. The album was packed with more Cars classics, including the subject of this episode, “It’s All I Can Do”, a song that shows the strengths of each band member– everyone contributing something special top this great track.

…and check out this previous episode on The Cars:
lovethatsongpodcast.com/the-cars-just-what-i-needed/

TRANSCRIPT:

Time for another edition of the “I’m In Love With That Song” podcast. I’m your host, Brad Page, sending these love letters to the music we cherish, care of the Pantheon podcast Network. Each episode I pick a favorite song and we look at it in detail, trying to understand what makes it a great song. You don’t have to be a musician or have any advanced knowledge, because we don’t get into music theory or technical stuff here. If you’re willing to listen, then this podcast is for you.

On this episode, we’re exploring a track from a band that came onto the scene as the 70’s were coming to a close, and their sound was critical in launching the sound of the 80’s. This is The Cars with “It’s All I Can Do”.

We talked about The Cars on this show once before, back in episode number 43, “Just What I Needed”. So you can check out that episode for an overview of the band’s history. This time, we’ll pick up where that episode left off.

They released that first album in June 1978. A year later, their second album, “Candy-O”, hit the shelves. That first album was considered one of the strongest debut albums of all time, and it still is. Rolling Stone ranks it in their Top 20 Greatest Debut Albums. So when it came time to record their second album, the pressure was on, and they delivered… no sophomore slump here.

“Candy-O” ended up charting higher than the debut album. It made it to #3 and would eventually sell over 4 million copies. There were three singles released off of “Candy-O”. “It’s All I Can Do” was the second single. The song features Rick Ocasek on rhythm guitar, Elliot Easton on lead guitar, Greg Hawks on keyboards, David Robinson on drums, and Benjamin Orr on bass and lead vocals.

The song begins with a bass drum hit and a quick open and close of the hi-hat. One guitar on the left with a slightly distorted tone is playing staccato, muted power chords. The bass in the center is duplicating that guitar part. On the right, there’s another guitar playing smoothly strummed, ringing chords. Sounds like there’s maybe some reverb, perhaps some chorus effect on that guitar. The rest of the tracks are pretty dry, and Greg Hawks is playing a simple but effective melody on the keyboards.

Rick Ocasek is universally acknowledged as the architect of The Cars’ sound, and he wrote all the songs on the album; but every member of the band contributed something special, and to me, the magic ingredient of the best Cars songs is the vocals of Benjamin Orr. He had a great voice and so perfectly suited to The Cars sound.

For the second half of the verse, the guitar that was playing those clean, ringing chords on the right is going to suddenly shift to playing heavy, distorted chords. Listen for the change.

Then David Robinson is going to do a short drum fill on the toms to launch us into the first chorus, and those toms are pretty high in the mix.

The instrumentation behind the chorus is pretty minimal, not a lot of overdubs, just the basic band performing, but each player is doing something just a little different enough that it sounds nice and full, with Greg Hawke’s melodic keyboard part just riding on top. Let’s bring the vocals back in and listen to that again.

Both The Cars’ first album and “Candy-O” were produced by Roy Thomas Baker, one of the most famous and successful producers of the 1970s. Baker is probably most known for working with Queen, including producing “Bohemian Rhapsody”, so he knew how to layer vocals. Though the cars kept the production tricks to a minimum on this album, there are moments where the Roy Thomas Baker effect shines through those rich backing vocals at the end of the chorus. Here is a good example.

That chorus leads immediately into the second verse, and notice that clean, ringing guitar is back.

That’s one of my favorite lines in the song—“When I was crazy, I thought you were great.” We’ve probably all had a time in our lives where we were so crazy in love that we couldn’t see just how bad that person was for us.

And the distorted guitar returns.

Greg Hawkes is playing pretty much the same keyboard part that he played on the first chorus, but he’s using a different sound this time. Here’s the sound again from the first chorus. And here’s the keyboard sound on this second chorus. They add an extra six beats in there to lead us into the guitar solo.

And I’ve mentioned before on this show that I love Elliot Easton’s guitar playing. And this is another great example of a tasteful, melodic, memorable guitar solo by Elliot Easton. Check it out.

One thing we haven’t looked at yet is David Robinson’s drum part on the verses. What he’s doing is pretty subtle, but it’s not just a straightforward drum beat. He’s put some pretty clever twists into it. Let’s listen.

Also on this final verse, Greg Hawkes has added a new keyboard part. You can imagine a string section playing this part. It really adds a new layer of drama to this last verse. Listen to how it builds through to the end of the verse.

And that’s another great line; “As soon as you get it, you want something new”. How many of you have been on one end of that in a relationship?

Listen to the way the guitar and the keyboard are going to answer each other. It’s the guitar on the right, the keyboard on the left.

Like the way Benjamin sings this line here.

“It’s All I Can Do” by The Cars

The Cars released six albums between 1970 – 1987. Five of them were top 20 hits. Four of them reached the top ten. They split up in 1988.

Benjamin Orr died from cancer in 2000. The remaining members reformed for one more album in 2011. But without Benjamin Orr, it just wasn’t the same.

Rick Ocasek died in 2019. David Robinson has more or less retired from the music business and owns an art gallery in Rockport, Massachusetts. Elliot Easton is still active and has a number of musical projects that keep him busy, and Greg Hawkes does session and touring work, working frequently with Todd Rungren.

Thanks for taking a few minutes out of your day to listen to this show. I always appreciate it. New episodes of the podcast come out on the 1st and the 15th of every month, so I’ll be back soon with another episode. You can keep in touch with the show on our Facebook page, or on our website, lovethatsongpodcast.com, where you’ll also find all of our previous episodes. And you can find the show on your favorite source of podcasts, whether it’s Amazon, Apple Podcasts, Google Podcasts, Stitcher– wherever you listen to podcasts, you’ll find this show. We are part of the Pantheon Network of podcasts, the place for music related podcasts, so be sure to check out some of the other shows, too.

Thanks again for listening to this edition of the “I’m In Love With That Song” podcast featuring The Cars and “It’s All I Can Do”.

REFERENCES:

The Cars
https://www.thecars.org/

Candy-O (Album)
https://en.wikipedia.org/wiki/Candy-O

Rolling Stone (Greatest Debut Albums)
https://www.rollingstone.com/music/music-lists/best-debut-albums-of-all-time-143608/the-cars-1978-163377/

Roy Thomas Baker
https://en.wikipedia.org/wiki/Roy_Thomas_Baker

Bohemian Rhapsody
https://en.wikipedia.org/wiki/Bohemian_Rhapsody

David Robinson’s Art Gallery
http://www.rockportartassn.org/

Elliot Easton
https://en.wikipedia.org/wiki/Elliot_Easton

Greg Hawkes
https://en.wikipedia.org/wiki/Greg_Hawkes

‘I’m in Love with that Song’ Podcast Facebook Page
https://www.facebook.com/lovethatsongpodcast

Pantheon Podcast Network
https://www.pantheonpodcasts.com/

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A teenage summertime love affair with a foreign exchange student was the inspiration for this song by Wishbone Ash. Though overlooked in the US, Wishbone Ash reached #3 on the UK charts with the album Argus, which features “Blowin’ Free”. Wishbone Ash’s twin lead guitar sound would inspire many band that followed.

— This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Gotta catch ’em all!

TRANSCRIPT:

Hey, it’s Brad Page. I’m back in the studio, powering up the mics and cranking up the headphones because it’s time for another episode of the “I’m In Love With That Song” podcast, here on the Pantheon Podcast Network. Each episode of the show, we take a song and look at it from every angle, trying to get a handle on what makes a song work. No musical knowledge is required here– you don’t have to be technical, all you got to do is listen.

This time around we are listening to a track from a band that was big in Europe and the UK, but just never really caught on here in America. This is Wishbone Ash with “Blowing Free”.

Wishbone Ash came together in 1969 with Andy Powell and Ted Turner on guitars, Martin Turner on bass and Steve Upton on drums. Though Ted and Martin share a last name, they’re not actually related.

The thing that distinguished Wishbone Ash right out of the gate were those twin guitars of Andy and Ted. Though there had been other bands with two lead guitar players– the Allman Brothers come to mind– Wishbone Ash was one of the first to make harmony guitar parts such an essential element. That was the Wishbone Ash sound.

They released their first album in December 1970. Less than a year later, they released their second record, and in May 1972 they released their third album called “Argus”. It’s the album that most people consider to be their best.

“Argus” was well received, both critically and commercially. It was their biggest selling album, reaching number three on the UK charts. The “Argus” album flirts with progressive rock and hard rock, but it was the upbeat track “Blowing Free”, the closest thing to a pop song on the album, that got them on the radio and exposed to a wider audience, at least in the UK.

The song almost didn’t make it onto the album. The band thought it was too poppy compared to the rest of the record, but Martin Turner insisted that they keep it on the album.

The song is credited to Martin Turner, Ted Turner, Andy Powell and Steve Upton. Martin Turner wrote the lyrics and he plays the bass. Ted Turner and Andy Powell are on guitars and Steve Upton is on the drums. The album was produced by Derek Lawrence and engineered by Martin Birch, both known for their work with Deep Purple.

The song kicks off with a great guitar intro by Ted, and it didn’t have the same impact here in the states, but in the UK, learning that guitar intro was like a rite of passage for British guitar players, like “Stairway To Heaven” or “Sweet Child of Mine”, it’s just one of those intros that seems like every beginning guitar player had to learm. That introduction was actually inspired by an old song by the Steve Miller band called, “Children of the Future”.

They took that and turned it into something of their own.

Before the band fully kicks in, they’re going to change up the guitar riff.

Let’s listen to those guitars again.

You can hear how they’ve panned the guitars to the left and the right to add some differentiation and some dimension to the sound. Martin Turner’s bass part is also great here, too. Let’s listen to some of that.

When Martin Turner was a teenager growing up in a seaside town in southwest England, he had a summertime romance one year with a Swedish exchange student. Her hair was golden brown like a cornfield. When he was looking for lyrics for this song, he reminisced about that relationship and that story of teenage love and loss; that became the song.

Following that verse is a guitar solo played by Andy Powell, most likely played on his Gibson Flying V guitar. He was mostly known for playing Flying V’s. This is a great guitar solo.

Next up is the second verse. Martin’s Swedish girlfriend didn’t speak much English and he didn’t speak any Swedish, but I guess they found some way to communicate. Apparently when he asked her if he could kiss her, she said, “you can try”. That phrase appears a couple of times in this song.

Now the song shifts gears into a quieter, more melancholy section. Every good memory has a tinge of sadness for those lost moments you’ll never relive again.

I really like what Martin Turner’s bass and Steve Upton’s drums are doing behind this section. It’s simple but really effective. This leads us into another guitar solo. This one played beautifully by Ted Turner. Just incredibly tasteful. I think that’s just great. To me, he captures that wistful feeling of recalling old memories.

But that melancholy doesn’t last long. They kick right back into the verse riff, and Andy Powell takes over with another solo.

Let’s listen to some of that guitar.

And they return to the first verse.

More guitar work by Andy Powell. Now some of their trademark guitar harmonies start to appear in the background.

And here we have a slide guitar solo played by Ted Turner. Ted had started to listen to Ry Cooder, one of the great slide players of all time, and it inspired him to play a little slide guitar here. This is the first time Ted had ever tried playing slide.

Guitars start to build up from the background.

“Blowing Free” by Wishbone Ash

In the UK publication “Sounds” magazine, which was a big deal at the time, the readers voted “Argus” the best album of 1972, beating out albums like David Bowie’s “Ziggy Stardust”, Deep Purple’s “Machine Head” and the Rolling Stones “Exile on Main Street”. That’s some serious competition– that just shows you how big Wishbone Ash was in the UK.

But here in the US, “Argus” didn’t get any higher than 169 on the charts. America just wasn’t that interested in Wishbone Ash, but guitar players– guitar players were paying attention. Bands like Thin Lizzy and Iron Maiden would adapt that twin guitar harmony style, and, though largely forgotten by the average listener, Wishbone Ash left their mark on generations of guitar players.

A couple of years ago I was reading an issue of “Classic Rock” magazine and they had an article on this song, which inspired me to dig out that album and eventually inspired this episode. It had probably been 20 years since I last listened to this record, and you know, it’s always great to go back to an old album you haven’t heard in ages and hear it again with fresh ears. And it reminded me of my past loves, and loves lost.

Thanks for listening to this show. I really appreciate it. New episodes of the “I’m In Love With That Song” podcast come out on the 1st and the 15th of every month, so I’ll be back soon with another new edition. You’ve been warned.

You can keep in touch with the show on our Facebook page or on our website, lovethatsongpodcast.com, where you’ll also find all of our previous episodes. And, of course, we’re available on Amazon, Apple, Google, Stitcher, iHeartRadio, pretty much anywhere you can find podcasts, you’ll find this show.

And we are part of the Pantheon network of podcasts, home to many more music related shows, so check those out too.

Thanks again for listening to this edition of the “I’m In Love With That Song” podcast on Wishbone Ash and “Blowing Free”.

ADDITIONAL RESOURCES:

Wishbone Ash
https://www.wishboneash.com/

Argus Album
https://www.discogs.com/Wishbone-Ash-Argus/master/12065

Pantheon Podcast Network
https://www.pantheonpodcasts.com/

Deep Purple
https://www.deeppurple.com/

Steve Miller Band
https://www.stevemillerband.com/

Ry Cooder
https://www.rycooder.nl/

Classic Rock Magazine
https://www.loudersound.com/classic-rock

Thin Lizzy
https://www.thinlizzy.org/

Iron Maiden
https://www.ironmaiden.com/

Gibson Flying V Guitar
https://www.gibson.com/Guitar/USA3M638/Flying-V

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Introducing a new segment of the podcast – “Creation & Evolution“, where we explore songs that travelled a long & winding road before they reached their final version. In this episode, we trace the history of a song that started from a phone call with Farrah Fawcett and ended up as Gladys Knight’s biggest hit.

TRANSCRIPT:

There’s the telltale theme music… it means it must be time for another episode of the “I’m In Love With That Song” podcast on the Pantheon Podcast Network. My name is Brad Page, and I’m your musical tour guide, your geologist of another sort, as we explore the rock that made history.

This time, I’m introducing a new segment I’m calling “Creation and Evolution”, where we’ll take a look at both the birth and the journey a song takes before it ends up in its final form. Some songs have a rather short path from the writer’s pen to the final release, but some songs take the long way around, and that’s what we’re going to explore here on “Creation and Evolution”.

For example, what do airplanes, Houston Texas, and Farrah Fawcett have to do with “Midnight Train to Georgia” by Gladys Knight and the Pips? Let’s find out.

Jim Weatherly was a songwriter from Mississippi who had written a few songs for Dean Martin and Peggy Lee. No hits, though he hadn’t really made his mark yet. One day in 1970, Weatherly called his friend, a struggling actor named Lee Majors, who would find fame as TV’s “Six Million Dollar Man”.

Majors wasn’t around, but his girlfriend, a struggling actress named Farah Fawcett, picked up the phone. She, of course, would eventually star in “Charlie’s Angels”.

Farah and Weatherly got to talking, and she told him she was just about to head out of LA to visit her family, leaving on a midnight plane to Houston. That phrase, “midnight plane to Houston”, stuck in his head. And as soon as he got off the phone, he sat down and in about 40 minutes, he wrote a whole song.

He based the song loosely on Fawcett and Majors. It was about a girl who went to LA to make it big, but when it doesn’t work out, she goes back home and her boyfriend follows her back. Weatherly recorded the song and included it on his 1972 solo album called Weatherly.

It’s a pretty modern country song, but the publisher had some faith in it and sent it around, hoping to find other artists to cover it. They even offered it to Gladys Knight.

But at this point, she passed on it.

They pitched it to another artist, singer Sissy Houston, Whitney Houston’s mom. She liked the song, but not the title. She said, “my people are from Georgia, and they didn’t take planes to Houston or anywhere else”. They took trains. And this is just a guess, but I think she might have been concerned about some confusion since her name was Houston and the song was about the city of Houston. Either way, Weatherly agreed to change the lyrics to “Midnight Train to Georgia”.

And besides the title change, this version also changes the genders. Now it’s the man who has failed and is going back home, and it’s the woman who follows him.

Sissy Houston released her version in February 1973.

Meanwhile, in 1973, Gladys Knight and the Pips had left Motown Records and signed a deal with Buddha Records, which gave her more freedom to pick her own material. By this time, Gladys had already had a hit with another Jim Weatherly song, “Neither One Of Us (Wants To Be The First To Say Goodbye” in 1972.

And when Gladys heard Sissy Houston’s version of “Midnight Train to Georgia”, she knew she could make it work. She envisioned it as an Al green style soul number.

Producer Tony Camillo had worked with everyone from Diane Warwick to Grand Funk Railroad. It was his job to record the instrumental tracks for “Midnight Train” for Gladys. But she wasn’t happy with what he came up with. Too polished, too orchestrated. She wanted something more stripped down. So he cut another version– and she rejected that one, too.

So working with engineer Ed Stasium, who would later become a legendary producer in his own right, working with The Ramones, Talking Heads, Motorhead and Living Color, just to name a few, they put together a small band: Jeff Mirinoff on guitar, Bob Babbitt on bass, Andrew Smith on drums, and Tony Camillo himself on piano. They banged out a simple backing track in an hour and sent it to Gladys, and that was exactly what she was looking for. They overdubbed horns and some strings, but for the most part, they kept it straightforward.

Gladys recorded her vocal in almost one take. No warm up, no run through, no punch-ins. She was well rehearsed and she knew what she wanted. She stepped up to the mic and four minutes later it was almost done. Except for some ad libs at the end, which we’ll get to later.

I love how she’s singing pretty softly there– she’s holding back, but then she lets loose a bit for the next part.

And here’s the first chorus.

Now, notice how the backing vocals by William Guest, Edward Patton, and Bubba Knight, along with Gladys herself, aren’t just singing harmonies or repeating lines from the lead vocal, they’re actually adding commentary. They’re in dialogue with the lead vocal. That’s something that Gladys and The Pips brought to the song. None of the other versions do that.

Here’s the second verse, and let’s bring up the vocals again so we can hear more of that interaction between the lead and the backing vocals.

I love this part.

And check out the backing vocals here.

James Jamerson is the bass player most associated with the Motown sound, and he’s a legend. But Bob Babbitt also played on many Motown classics, too, and he’s a phenomenal player as well. Let’s listen to some of Bob Babbitt’s bass work here.

You gotta love those woo-woos.

Now, I mentioned before how Gladys recorded her vocal in one take, and that’s true, right up until this point in the song. They wanted to have Gladys do some ad-libbing during the final choruses, some of those inspired, energetic interjections that can really add some emotional weight to a song.

The problem was that Gladys didn’t feel like she was a natural at that kind of thing, at least not at this point in her career. She didn’t feel comfortable and kind of froze up at the mic.

Merald Knight, who everyone called “Bubba”, was not only one of the pips, he was also Gladys’ brother. He took a mic into the control room, and with the backing track playing, he fed Gladys some lines into her headphones, and she sang them back as the tape rolled.

Now picture Bubba Knight in that control room looking at Gladys through the glass, singing these lines to her like, “my world, his world, our world”. And she’s singing them back and putting her own spin on them.

Gladys Knight and the Pips – “Midnight Train To Georgia”.

Buddha Records issued “Midnight Train to Georgia” as a single in August 1973, and eventually it worked its way to number one. It won the Grammy for best R&B vocal performance, and it would become Gladys Knight and The Pips calling card for the rest of their career.

Of the original Pips, Edward Patton passed away in February 2005; William Guest died in December of 2015, but Merald Bubba Knight, Gladys’s brother, is still with us, and Gladys herself, as of this recording, is still alive and well. She released her last album in 2014.

Jim Weatherly passed away in February 2021. He was 77.

Thank you for joining me for this episode. We’ll be back in two weeks with another new episode. Until then, you can binge on all of our past episodes, they’re all on our website, lovethatsongpodcast.com.

You can find us on Facebook to share your thoughts and feelings, just look for the “I’m In Love With That Song” podcast, and you’ll find us. You can also send me email at lovethatsongpodcast@gmail.com.

This show is one of many great podcasts on the Pantheon Podcast Network, so be sure to seek out all those other great shows.

To listen to the song again, complete and uninterrupted, stream it, download it, or buy it and support the music you love. Thanks again for joining me for this “Creation And Evolution” episode on Gladys Knight and the Pips’ “Midnight Train to Georgia”.

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Everybody knows “Baker Street”– even if you don’t know the artist’s name or the song title, you probably know that sax riff. But there’s more to Gerry Rafferty than “Baker Street” (or “Stuck In The Middle”, for that matter). Here’s an incredibly moving song that’s every bit as good as his biggest hits.

TRANSCRIPT:

Welcome, true believers, to the “I’m In Love With That Song” podcast. My name is Brad Page, your host here on the Pantheon Podcast Network, where each episode, I pick a favorite song of mine and we explore it together on our never ending quest to understand what makes a song great. We don’t get into music theory here, so you don’t have to know a lot of jargon or technical stuff, we’re just going to listen together and see what we discover. On this edition of the podcast, we’re going to contemplate a song by Gerry Rafferty. Chances are, if you know the name Gerry Rafferty, it’s from this song [Baker Street]

But on this episode, we’re going to explore a song you may not have heard before. This is a song by Gerry Rafferty called “The Ark”.

Gerry Rafferty was born in Scotland in April 1947. He was the youngest of three children, and by some accounts, his birth was unplanned and his father resented his very existence. His mother would take Gerry out of the house on Saturday nights and stay outside, late into the night, just to keep Gerry’s drunken father from beating them.

When Gerry was 16, he formed his first band with a friend, Joe Egan. Firs,t they were known as The Mavericks, and then they became The Fifth Column, and they released a single in 1966 called “Benjamin Day”.

That single failed to make any waves. So, Rafferty quit and joined a group called The Humble Bums, which also featured Billy Connolly, who eventually become a legendary comedian. Here’s one of Gerry’s songs with the Humble Bums. This one’s called “Shoe Shine Boy”.

Eventually, Rafferty decided to try being a solo artist, and released his first solo album in 1971. It has a great album title– he called it “Can I Have My Money Back?”

The solo career was slow to get off the ground, though, and by now, Gerry was married with a young daughter. So he teamed back up with his old friend Joe Egan and they formed Steelers Wheel. Their first album came out in 1972 and features this song– and I’m sure you all know this one, too.

“Stuck In The Middle” was a top ten hit in the US and the UK. Steeler’s Wheel would release three albums between 1972 and 75. But the band split up, and they were entangled in a bunch of legal problems, which meant that Rafferty could not release a new album for three years.

But finally, when he recorded his second solo album, he was more than ready. The album “City to City” was released in January 1978, and thanks to the chart success of “Baker Street”, it became his biggest selling album. “Baker Street” is mostly famous for that saxophone part, but I’ve always loved that guitar solo, played by Hugh Burns. The “City to City” album also features “Right Down The Line”, which was another big hit from this record.

But the song we’re going to talk about today is “The Ark”. It’s the song that opens the album, side one, track one. It was written by Gerry Rafferty and performed by Tommy Ire on piano, Gary Taylor on bass, Henry Spinetti on drums, Graham Prescott on mandolin and fiddle, Glenn Lafleur on tambourine, Barbara Dixon on backing vocals, the great Jerry Donahue on electric guitar, and Gerry Rafferty on lead vocals and acoustic guitar.

The album was produced by Gerry and Hugh Murphy. The album, and the song, open with some traditional instrumentation. This was performed by an Australian group called The Bushwhackers has a real Celtic feel to it. Probably reminiscent of the sounds that Gerry heard growing up in Scotland.

That’s essentially the melody for the verse. After that opening section, the song switches to more traditional rock instrumentation for the actual verse.

This is a fairly stark but beautiful song, I think, anyway. Let’s take a look at the elements that make up this verse. The piano is the most prominent instrument, but there’s also an acoustic guitar that’s strumming along underneath it.

That chord change there on the piano, that gets me every time. It’s simple, but there’s just something righteous about that. And what the bass and drums are doing couldn’t be any simpler. It doesn’t need to be any more complex than this. All of the instruments are leaving plenty of space.

So let’s go back, hear all of those parts together, and add the vocals in.

I like how the drums skip a beat there. It breaks out of the simple repetition and kind of perks up your attention at the end of the verse. So let’s go back and listen to all of that and how it brings us into the second verse and set.

I’ve read in a couple places that Gerry had perfect pitch. I don’t know if that’s true, but there is a certain effortlessness in his vocals that they just seem to flow out of him so naturally.

And check out that great little electric guitar fill by Jerry Donahue.

Let’s back that up and start again and listen for more of those guitar fills by Jerry Donahue.

Let’s talk about the lyrics. Apparently, Rafferty had the idea for this song as far back as 1970- 71, but it was one of the last songs that he finished for this album in ‘78, almost eight years later. He really had to work at this one. I guess he was reading some books about philosophy or spirituality and about the ark– Noah’s Ark, and what it represented metaphorically or symbolically rather than literally. I think the song is about if we can wake up, if we can become aware, then we can start out on a journey to enlightenment. That’s where it begins. We’re all on this journey together. Here’s the chorus.

This is a great verse. Let’s focus in on his vocals here.

And that’s a nice little drum fill there, too. Everything about this track in this whole album is immaculately recorded. It’s just a great sounding record.

Let’s listen to the vocals. On the chorus, Gerry is harmonizing with Barbara Dixon, but he has also overdubbed his voice in layers. He was really masterful at that.

And that takes us into an instrumental section where the electric guitar plays off of the Celtic instruments from the beginning of the song. It’s an interesting choice. And Jerry Donahue gets off some great guitar licks here. This is a really well-structured solo.

Rafferty repeats the first verse here, but this time he’s double tracked his vocal.

More great guitar fills here.

And listen to the tambourine.

The Bushwhackers and their traditional instruments join in one last time here at the end.

Gerry Rafferty – “The Ark”

Gerry Rafferty was a very gifted man, but he hated being a celebrity. If you grew up in the did, you’ll remember when “Baker Street” was on the radio constantly, you couldn’t get away from that song. It made Gerry Rafferty a rich man… but it didn’t make him a happy man.

He was a great musician and songwriter and a singer with perfect pitch, but I think he was also very insecure. He didn’t seem to be that into playing live, and I don’t think he ever toured America. He didn’t like being a rock star and he lived a pretty private life. And he was an alcoholic.

By 1990, his wife of 20 years finally left. He struggled with depression and volatile behavior. In November 2010, he was admitted to the hospital and put on life support due to multiple organ failure. He was eventually taken off life support and sent home with his daughter, where he died of liver failure on January 4, 2011. He was 63.

A trace of loneliness and alienation runs through many of his songs, and you can hear it in his voice. You can hear it in this song. But this is also a song about hope; that we can wake up from this sleep and set out on our journey. I hope that Gerry Rafferty finally found the ship to take him on his way.

Thanks for listening to this edition of the “I’m In Love With That Song” podcast. New episodes are released on the 1st and the 15th of every month, so we’ll be back soon with another new show. Until then, you can catch up on all of our previous shows on our website, lovethatsongpodcast.com, or find us on your favorite podcast app– Spotify, Google, Apple, Stitcher, Amazon; you name it, his show is there.

We are part of the Pantheon Network of podcasts, home to many other great music-related shows, so be sure to check them out. And if you’d like to support this show, well, the best thing you can do is to just tell a friend about it, because your recommendations are the most valuable thing.

So thank you for taking the time to listen to this episode on “The Ark” by Gerry Rafferty.

REFERENCES:

Gerry Rafferty
https://en.wikipedia.org/wiki/Gerry_Rafferty

Steelers Wheel
https://en.wikipedia.org/wiki/Stealers_Wheel

The Humble Bums
https://en.wikipedia.org/wiki/The_Humblebums

Billy Connolly
https://en.wikipedia.org/wiki/Billy_Connolly

Barbara Dixon
https://en.wikipedia.org/wiki/Barbara_Dickson

Jerry Donahue
https://en.wikipedia.org/wiki/Jerry_Donahue

The Bushwhackers
https://en.wikipedia.org/wiki/The_Bushwackers_(band)

Pantheon Podcast Network
https://pantheonpodcasts.com/

Tag: Pantheon Podcast Network

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