DJ Allyn – The Soundtrack for my Life

Moondance ~ Van Morrison  

Van Morrison is a Grammy Award-winning singer, songwriter, author, poet and multi-instrumentalist, who has been a professional musician since the late 1950s. He plays a variety of instruments, including the guitar, harmonica, keyboards, drums, and saxophone. Featuring his characteristic growl—a unique mix of folk, blues, soul, jazz, gospel, and Ulster Scots Celtic influences—Morrison is widely considered one of the most unusual and influential vocalists in the history of rock and roll. Critic Greil Marcus has gone so far as to say that “no white man sings like Van Morrison.

Known as “Van the Man” by his fans, Morrison first rose to prominence as the lead singer of the Northern Irish band Them, writing their 1964 garage rock classic hit, “Gloria”. A few years later, Morrison left the band and embarked on a successful solo career.

Morrison has pursued an idiosyncratic musical path. Much of his music is tightly structured around the conventions of American soul and R&B, such as the popular singles, “Brown Eyed Girl”, “Moondance”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness narrative, such as his classic album Astral Weeks and lesser known works such as Veedon Fleece and Common One.The two strains together are sometimes referred to as “Celtic Soul”.

Moondance

Well, it’s a marvelous night for a Moondance
With the stars up above in your eyes
A fantabulous night to make romance
‘Neath the cover of October skies
And all the leaves on the trees are falling
To the sound of the breezes that blow
And I’m trying to please to the calling
Of your heart-strings that play soft and low
And all the night’s magic seems to whisper and hush
And all the soft moonlight seems to shine in your blush

Can I just have one a’ more Moondance with you, my love
Can I just make some more romance with a-you, my love

Well, I wanna make love to you tonight
I can’t wait ’til the morning has come
And I know that the time is just right
And straight into my arms you will run
And when you come my heart will be waiting
To make sure that you’re never alone
There and then all my dreams will come true, dear
There and then I will make you my own
And every time I touch you, you just tremble inside
And I know how much you want me that you can’t hide

Can I just have one a’ more Moondance with you, my love
Can I just make some more romance with a-you, my love

Well, it’s a marvelous night for a Moondance
With the stars up above in your eyes
A fantabulous night to make romance
‘Neath the cover of October skies
And all the leaves on the trees are falling
To the sound of the breezes that blow
And I’m trying to please to the calling
Of your heart-strings that play soft and low
And all the night’s magic seems to whisper and hush
And all the soft moonlight seems to shine in your blush

One more Moondance with you in the moonlight
On a magic night
La, la, la, la in the moonlight
On a magic night
Can I just have one more moon dance with a-you
My love.

Needles and Pins ~ The Searchers  

The Searchers are a British rock band who emerged as part of the 1960s merseybeat scene along with The Beatles, The Swinging Blue Jeans, and Gerry and the Pacemakers.

Needles and Pins

The Searchers heard British performer Cliff Bennett perform “Needles and Pins” at a club in Hamburg, Germany, and instantly wanted it to be their next single. Soon after, in 1964, “Needles and Pins” appeared on the Searchers’ next album, It’s Fab! It’s Gear! It’s The Searchers.

Audible during the Searchers’ recording of “Needles and Pins” is a faulty bass drum pedal, which squeaks throughout the song. It is particularly noticeable during the opening of the number.

I saw her today, I saw her face
It was the face I loved and I knew
I had to run away and get down on my knees and pray
That they’d go away

But still they begin
Needles and pins
Because of all my pride
The tears I gotta hide

Hey, I thought I was smart, I wanted her
Didn’t think I’d do, but now I see
She’s worse to him than me
Let her go ahead, take his love instead
And one day she will see

Just how to say please
And get down on her knees
Yeah, that’s how it begins
She’ll feel those needles and pins
a-hurtin her, a-hurtin her

Why can’t I stop and tell myself I’m wrong, I’m wrong, so wrong
Why can’t I stand up and tell myself I’m strong

Because I saw her today, I saw her face
It was the face I loved and I knew
I had to run away and get down on my knees and pray
That they’d go away

But still they begin
Needles and pins
Because of all my pride
The tears I gotta hide
Ah, needles and pins
Needles and pins
Needles and pins

Got You (Where I Want You) ~ The Flys  

The Flys were an American post-grunge group, formed in 1994 and now on indefinite hiatus as of 2002. They had success with the 1998 top five hit, “Got You (Where I Want You)”, the video for which featured Katie Holmes from the hit TV show Dawson’s Creek. “Got You (Where I Want You)” was featured on their debut album “Holiday Man” in 1998 and also appeared on the soundtrack for the 1998 MGM film Disturbing Behavior, which starred Katie Holmes.

Got You (Where I Want You)

Hey what’s the point of this
Hey what’s your favorite song
Maybe we could hum along

I think you’re smart
You sweet thing
Tell me your name
I’m dying here

Ooh got you where I want you
Ooh got you where I want you
Oh yeah

Hey maybe just a smile
Oh hey do you know that I can dance
Could we talk for a while

I think you’re smart
You sweet thing
Tell me your sign
I’m dying here

Ooh got you where I want you
Ooh got you where I want you
Oh yea
Ooh got you where I want you
I want you bad

I think you’re smart
You sweet thing
Tell me your name
I’m dying here

Ooh got you where I want you
Got you where I want you
YEAH
Got you where I want you
I want you
Want You

Got you where I want you

Walking around
screaming at you in my head,
“Please find me!”
Then you did,
driving around El Paso together…
looking for that head shop…

No Milk Today ~ Herman’s Hermits  

Herman’s Hermits were an English pop band, formed in Manchester in 1963 as ‘Herman & The Hermits’. The group’s management and producer Mickie Most (who controlled the band’s output) emphasized a simple, non-threatening and clean-cut image, although the band originally played R&B numbers. This helped Herman’s Hermits become hugely successful in the mid-1960s but hampered the band’s creativity, relegating Noone, Hopwood, Leckenby and Green’s original songs to quickly recorded B-Sides and album cuts.

Original members were Keith Hopwood (guitar, vocals), Karl Green (guitar, vocals), Alan Wrigley (bass guitar, vocals), Steve Titterington (drums), and Peter Noone (lead vocals). Although the youngest of a remarkably young group, fifteen-year-old Noone was already a veteran actor, with experience on the British soap opera, Coronation Street. Derek “Lek” Leckenby (guitar, vocals), and Barry “Bean” Whitwam (drums), joined later from another local group, The Wailers, Whitwam replacing Titterington, Karl Green switching to bass guitar to replace Wrigley, and Leckenby effectively taking Green’s position. After Leckenby joined, the group obtained a deal with producer Mickie Most and signed to EMI records in Europe and MGM records in the United States.

The band played on many singles including “I’m Into Something Good,” “Mrs. Brown, You’ve Got a Lovely Daughter” (1965), and “I’m Henry VIII, I Am.” The last was said at the time to be “the fastest-selling song in history.”

Despite the group’s competent musicianship, many of their subsequent singles employed some session musicians, including Jimmy Page and John Paul Jones, with contributions from the band, although the role of session players on Herman’s Hermits records has been exaggerated in the rock media and in inaccurate liner notes on the recent ABKCO Retrospective, which fail to credit the Hermits’ playing. Mickie Most did use session musicians on many of the records he produced, including on a number of Hermits singles, as was his (and, for that matter, industry) practice at the time, a practice that continues today. Even the Yardbirds were forced by Most to make due with session musicians (except for Jimmy Page) on their Most produced recordings. (see Hammer of the Gods: The Led Zepplin Saga by Stephen Davis). Continuing acrimony between former members of Herman’s Hermits has increased the misinformation about the group’s role on their records. Leckenby in particular was a gifted guitarist.

No Milk Today

No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn
No milk today, it seems a common sight
But people passing by don’t know the reason why

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know the palace there had been
Behind the door where my love reigned as queen

No milk today, it wasn’t always so
The company was gay, we’d turn night into day

But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up two down

No milk today, it wasn’t always so
The company was gay, we’d turn night into day
As music played the faster did we dance
We felt it both at once, the start of our romance

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen

No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn

But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up two down

No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn
No milk today, it seems a common sight
But people passing by don’t know the reason why

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen

No milk today, it wasn’t always so
The company was gay, we’d turn night into day

But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Oh all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Oh all that’s left is a place dark and lonely
A terraced house in a mean street back of town