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FRED NEIL LYRICS Compiled by Robin Dunn & Chrissie van Varik.

Fred Neil (16th March 1936 –7th July 2001) was one of the most compelling folk singer-songwriters in the 1960s and early 1970s. His marvellously deep, rich and impossibly low baritone enchanted everyone who has ever heard a Fred Neil song - and continues to do so. Surely one of the most beautiful voices in music. Bob Dylan said, “Fred had a strong, powerful voice, almost a bass voice, and a powerful sense of rhythm. He used to play mostly the type of songs that Josh White might sing. I used to sing and play harmonica for him, and then once in a while get to sing a song.”

Yet as performer success eluded Fred, mainly because it was the last thing he pursued. A reluctance to tour didn’t help much either (a trait he shared with Bobby Charles and Harry Nilsson). According to his producer, Nik Venet, Fred was “probably the most famous and financially successful ‘cult artist’ in the history of the world...and could have been even bigger if he’d wanted to be....but he just didn’t!” Fred Neil showed up unexpectedly and was gone before you knew it. A loner and somewhat of a recluse, he was exceedingly hard to get to know and thus remained an enigma to most. John Sebastian, who played on his two Elektra albums, describes his background as “sketchy”. He is best known to the world through other people’s recordings of his material, such as ‘Everybody’s Talkin’’, made famous by Harry Nilsson as the theme to the movie Midnight Cowboy (and earned a Grammy) and ‘Other Side of This Life’, recorded by several but most notably by Jefferson Airplane.

Fred Neil was born in Cleveland, Ohio, and raised in St. Petersburg, Florida. His father was a representative of Wurlitzer jukeboxes and he took Fred with him while he ‘stuffed jukeboxes’. By the mid-1950s Fred had drifted to New York where he briefly worked as one of the Brill Building songwriters, and also as session guitarist – in that capacity he can be heard on Paul Anka’s ‘Diana’. He recorded a demo with Mort Shuman for an upcoming Elvis Presley film but the song was not used, and he played guitar on a demo of Bobby Darin’s ‘Dream Lover’. But in the meantime, he also recorded a number of his own compositions himself for different labels – be it with little success - which decades later would be collected and released as Trav’lin Man - The Early Recordings.

Fred Neil met Vince Martin in 1961 and they performed as a duo, eventually recording Tear Down The Walls for Elektra in 1965, a folk album containing their own compositions as well as some traditional songs. Later that same year Fred’s first solo album was recorded and released, Bleecker & MacDougal (Elektra, reissued in 1970 as Little Bit Of Rain). Remaining true to folk rules, it did not contain drums. In 1963 he sang on three songs on an album called Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (George “Tip” Tipton and Joseph “Tinker” Lewis). It is available on iTunes. We’ve included all the songs on the album as it is not known which three he sang on.

His sophomore solo effort, the self-titled Fred Neil (Capitol, reissued as Everybody’s Talkin’ in 1969) followed in 1966 and made the transition to full instrumentation. It was recorded during his residences in Greenwich Village, New York and Coconut Grove, Florida and contained one of Fred’s best-known songs, ‘The Dolphins’. His passion for dolphins had begun in mid-1960s when he began visiting the Miami Seaquarium. Together with Ric O’Barry (who initially trained the five dolphins used on the Flipper shows but switched radically to combating the captivity industry after Kathy, one of the Flipper dolphins, died) Fred Neil founded The World Dolphin Foundation on Earth Day 1970, which is dedicated - in Fred’s own words - to stopping the capture, trafficking and exploitations of dolphins worldwide.

Sessions (Capitol) was released in 1968. More experimental and casual, it comes across as musicians indulging themselves without being aware the tape was rolling. Other than a live album in 1971, Other Side Of This Life (Capitol), also containing some rarities/leftovers, Fred Neil did not release another album. Many of his 1970s recordings remain unissued, including a 1973 session with Quicksilver Messenger Service guitarist John Cipollina and some Woodstock recordings with guitarist Arlen Roth. He recorded an unreleased album in Bayshore Studios (Miami) for Just Sunshine Records (label owned by his new manager, Mike Lang, of Woodstock fame) with Harvey Brooks on bass and Pete Childs on guitar. Fred also jammed with John Stewart, Johnny Cash, Vince Martin and Kris Kristofferson in Nashville during the sessions for John Stewart’s California Bloodlines, which Venet produced with Howard Solomon management. None of the recordings were released. In a later interview, Ric O’Barry claimed that Fred recorded two albums of all cover songs between 1977 and 1978 that were buried by Columbia Records. According to Barry, he produced the first of the recordings in the sessions in Miami. Neil was joined by Pete Childs on guitar, John Sebastian on harmonica and Harvey Brooks on bass. The second album was more fully arranged, with Neil accompanied by the New York session band Stuff and some old friends like Slick Aguilar. The songs on these albums were written by Bobby Charles, John Braheny, Bobby Ingram and Billy Roberts (composer of ‘Hey Joe’). But to this day, none of these recordings have seen the light – officially or unofficially.

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In 1971 Fred wrote the liner notes to Karen Dalton’s album In My Own Time – see entry for ‘Blues On The Ceiling’. Fred Neil left Woodstock in the mid-1970s and retreated to his home in Coconut Grove, Florida where he mainly spent the last 25 years of his life assisting with the preservation of dolphins, performing in public mostly at gigs for the Dolphin Project Revue in Coconut Grove. He continued to play, but only for those close to him. With John Sebastian on harp, Harvey Brooks on bass and Pete Childs on guitar, he made a rare appearance at the Montreux Jazz Festival in July 1975. In 1977, he played a benefit show for the Revue in Tokyo. His last public performance was in 1981 at an outdoor concert at the Old Grove Pub in Coconut Grove, where he joined Buzzy Linhart for one song and stayed onstage for the rest of the set.

Fred Neil battled skin cancer and died on 7th July 2001, aged 65. ALBUMS: Tear Down the Walls (Elektra, 1965) with Vince Martin Bleecker & MacDougal (Elektra, 1965) reissued in 1970 as A Little Bit of Rain Fred Neil (Capitol, 1966) reissued in 1969 as Everybody's Talkin' Sessions (Capitol. 1967) Other Side of This Life (Capitol, 1971) live and alternate versions Anthologies including tracks by Fred Neil: Hootenanny Live at the Bitter End (FM/SFM-309, 1963) A Rootin’ Tootin’ Hootenanny (FM/SFM-310, 1964) World of Folk Music (FM/SFM-319, 1964) Important compilations:

The Many Sides of Fred Neil (Collectors' Choice, 1998) The Sky Is Falling: The Complete Live Recordings 1963-1971 (Rev-Ola, 2004) Trav'lin' Man: The Early Singles (Fallout, 2008) Words/lines in blue in the lyrics indicate we are guessing at what is being sung; blue question marks mean we haven’t got a clue! Don’t hesitate help us out; please forward typos and other corrections/additions/suggestions to: RobinDunn@btconnect.com NB: The lyrics below are, as far as possible, ‘as performed’ and are reproduced for amusement only and not for commercial gain. Ownership and copyright remains with the original composer(s) and/or publishers. These lyrics are for your personal use only. We will not, and you must not, gain commercially from this listing.

Robin & Chrissie Sackful O’Rock, Country, Folk, Soul & Blues

http://robindunnmusic.wordpress.com/

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A LITTLE BIT OF RAIN– see: LITTLE BIT OF RAIN

A RAINBOW AND A ROSE (1960) (Joe Shapiro/Barry Mann) Released as Epic 5-9435. A-side: ‘Four Chaplains’. (Rainbow) Ahh-haaahaahaa (Rainbow) Hm-mmm A true love grows Like a rainbow and a rose Though they’re small at the start They will grow Like the love in my heart A new love glows Like a rainbow and a rose And my heart’s all a-shine Coz I know, yes I know That you’re mine (rainbow) A rainbow in the sky (rainbow, rainbow) Is bright, just as my love for you (rainbow, rainbow) It’s true A rose that it’s in bloom Can brighten up a room As your love –only your love can do (ooooo) And my heart knows Though a rainbow and a rose May just gleam for a day Your dream That forever will stay (rainbow) Rainbow and a rose (rainbow, rainbow) Rainbow and a rose (rainbow, rainbow) Rainbow and a rose (rainbow, rainbow)…….

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BABY (1965) (Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. Baby Do you hear Do you hear me now Your baby’s gonna leave you Yeah, yeah, yeah, yeah, yeah, yeah Next pay day Next pay day I’ll be sailin’ up that Saint John River (I’ll be sailin’ up the Saint John River) Never more to be the giver (Never more to be the giver) Baby (baby) Baby (baby) Baby (baby) Do you hear (do you hear) Do you hear me now I say you’re baby’s gonna leave you now (Your baby’s gonna leave you) Next pay day (next pay day) Next pay day I’ll be sailin’ up that Saint John River (I’ll be sailin’ on the Saint John River) Never more to be the giver now

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(Never more to be the giver) Baby (baby) Baby (baby) Do you hear (do you hear) Do you hear (do you hear) Baby (baby), baby (baby), baby (baby – baby) Baby, baby, baby Do you hear (do you hear) Do you hear me now Baby Do you hear, do you hear Baby baby, baby, baby Baby, baby, baby

BA-DE-BA (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monte Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE with Vince Martin accompanying Fred Neil. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL. I get so tired Hangin’ around this town All this old city life Should bring a fellow down Badada dada Dadada dada Dadada dada Ba-de-da I get so tired Trying to sleep at night All this old city life They keep on burning bright Badada dada Dadada dada Dadada dada Ba-de-da I get so tired Hangin’ around this town All this old city life Should bring a fellow down Ba-de-da dada Dadada dada Dadada dada Ba-de-da

BIG RED (1963) (Lewis/Joseph “Tinker” Lewis) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Timber Timber I woke up, early one morning Pain stabbing me in my side Some puny men in jack boots (in jack boots) Was a-clingin’ to my hide Well I wasn’t glad to see ‘em ‘Cause they’ll never be my friend Well, they stood there, with-a twin axe They was gonna do me in (gonna do me in) (Gonna do me in) Well I fought with every cunning trick

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That I could scheme and plan Suddenly three winners Received a telegram Well the word they got was terse love/Lord And they didn’t state the fact Well I let ‘em climb up ninety feet Shook ‘em loose, and broke their backs Big Red they call me Three hundred tons of wood Timber – I’m fallin’ I’m going down for good I was born on this mountain (oohh) About thousand years ago, well lord (oohh) Big Red they call me (ohh) Well I thought you ought to know (Big Red) (Big Red) Well I cried out, to Mother Nature (Big Red) To plead my case with them Lord, I trembled in my agony My time was growing slim Well, she did just what I asked her Because she loved me so And then the thunder brought me bad news He said, Red you gotta go Aha – ahuh Aha – ahuh Aha – ahuh Aha – ahuh Well I stared down from two-hundred more (aha – ahuh) A-winkin’ and a-blinkin’ feet (aha – ahuh) Had them puny men in jack boots (aha – ahuh) Gonna make me boil some meat (aha – ahuh) Well I prayed from dawn till breakfast (aha – ahuh) To that pack of human brutes (aha – ahuh) They just cut me down, Lord (aha – ahuh) And left me just my roots Big Red they call me Three hundred tons of wood Timber – I’m fallin’ I’m going down for good I was born on this mountain About thousand years ago Well Lord, Big Red they call me And now, I gotta go Big Red Big Red Timber Timber Timber Timber

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BLEECKER & MACDOUGAL (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Walk on, walk on, walk on I was standing on the corner Of Bleecker and MacDougal Wondering which way to go I’ve got a woman down in Coconut Grove And you know she love me so I wanna go home I wanna go home Now don’t you t-tell me your troubles Troubles of my own I wanna go home Now love all you big city women Love the big city blues I’ve got a woman down in Coconut Grove And she knows what to do I wanna go home I wanna go home Now don’t you tell me your troubles Troubles of my own I wanna go home I was standing on the corner Of Bleecker and MacDougal Wondering what to do I’ve got a woman down in Coconut Grove And you know she love me true I wanna go home I wanna go home Now don’t you t-tell me your troubles Troubles of my own I wanna go home Walk it home Oh bring it on home to me, honey

BLUES ON THE CEILING (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Karen Dalton recorded it for her debut album It’s So Hard To Tell Who’s Going To Love You The Best in 1969, together with ‘Little Bit Of Rain’. Fred and Karen knew each other from the Greenwich village scene. Two years later Fred wrote sleeve notes for Karen’s second album, In My Own Time: “Karen has been my favorite female vocalist as well as a heavy influence on my own style of singing since the early sixties. I first picked up on her one night in the village at the Cock & Bull (later the Bitter End). Her voice grabbed me immediately. She did ‘Blues On The Ceiling’ (which is my song) with so much feeling that if she told me she had written it herself I would have believed her. After the set Dino Valenti took me up to Karen's place. Later that night we jammed. Karen was like a letter from home. Her voice is so unique, to describe it would take a poet. All I can say is she sure can sing the shit out of the blues.” Blues on the ceiling Over my head Running down the walls Across the floor And over my bed Blue lights across the street Blinkin’ off and on It’s so lonely now she’s gone I’ll never get out of these blues alive I’ll never get out of these crazy blues alive Love had been a dirty Five-letter word to me I was into the blues over my head Blue was all that I could see Up to my neck in misery I’ll never get out of these blues alive I’ll never get out of these crazy blues alive

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Blues keep on foolin’ With my weary head Cocaine couldn’t numb the pain I’d been better off dead Blue lights gone out at last I sleep Bitter the blues the better they keep I’ll never get out of these blues alive I’ll never get out of these blues alive

BOTTOM OF THE GLASS (1963) (Marijohn Wilkin/Fred Burch) 1963 Capitol (B-side) single (5017) with the Nashville Street Singers. A-side: ‘Long Black Veil’. Marijohn Wilkin, 14th July 1920 – 28th October 2006. Fred Burch – unknown. While you sit there a-starin’ At the glass in your hand You’ve emptied another And you can’t understand Why it keeps on a-hurtin’ While the pain don’t pass But you can’t find the answer In the bottom of a glass No, you can’t find the answer (you can’t find the answer) In the bottom of a glass (in the bottom of a glass) It won’t solve your future (it won’t solve your future) Or blot out the past (or blot out the past) It may dim the memory (it may dim the memory) For a moment or two (for a moment or two) But you’re right back where you started (but you’re right back where you started) Broken-hearted (so broken-hearted when the drinkin’ is through) You sit there a-drinkin’ The same as me But you only added To your misery I can tell you got trouble The same as mine But there ain’t no answer In a glass of wine No, you can’t find the answer (no, you can’t find the answer) In the bottom of a glass (in the bottom of a glass) It won’t solve your future (it won’t solve your future) Or blot out the past (or blot out the past) It may dim the memory (it may dim the memory) For a moment or two (for a moment or two) But you’re right back where you started (but you’re right back where you started) Broken-hearted (so broken-hearted when the drinkin’ is through) Yes, you’re right back where you started (but you’re right back where you started) Broken-hearted (so broken-hearted when the drinkin’ is through)

BOY (1963) (George “Tip” Tipton/Joseph “Tinker” Lewis) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Hmmm-mmm-mmm Hmmm-mmm-mmm Now who’s gonna soothe you When I’m gone Who’s gonna soothe you When I’m gone Who’s gonna rock you In the stormy night When you’re scared with the trembles And wrought with fright Oh-oh boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm)

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You sure is, a lusty one Oh-oh boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm) You sure is, your pappy’s son Well, you got a pair of lunges Just like a bull And a stomach, what keeps eating Till it’s full But tell me Along which ways I gonna run Ain’t no big man boss Gonna take my son Boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm) You sure is, a lusty one Oh-oh boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm) You sure is, your pappy’s son Now I hear about This underground rail They travel in the night And they ain’t fail I’ll take you To a land where you can lift your head If they make my child a slave I’ll strike my baby dead Boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm) You sure is, a lusty one Oh boy (hmmm-mmm-mmm) Oh-oh boy (hmmm-mmm-mmm) You sure is, your pappy’s son Ohhh boy Hmmm-mmm-mmm Hmmm-mmm-mmm Hmmm-mmm…….

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CANDY MAN #1 (1958) (Fred Neil/Beverly “Ruby” Ross) Recorded by Roy Orbison as the B-side to ‘Crying’. Come on baby Let me take you by the hand Come on sugar Let me take you by the hand Go for me Let me be All your own candy, candy Candy man Come on baby (candy man-a,...) I love your honey-lovin’ ways (...candy man-a...) Baby sweet thing (...candy man-a,...) I love your honey lovin’ (...candy man-a...) Your honey-lovin’ ways (...candy man-a, candy man-a...) Come to me (ahhhhhh....) Let me be (...ahhhhhh....) All your own candy, candy Candy man Come on woman (ah-ha-ha) Gonna treat you right (ah-ha-ha) Give you candy kisses (ah-ha-ha) Every single night –oh-ah (Candy man-a, candy man-a, candy man-a, candy man-a) Go for me (ah-ha-ha...) Let me be (...ahhhhh...) All your own candy, candy Candy man

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Yeah, candy, candy, candy I’ve got sweet tooth just for you Yeah, candy, candy, candy I’ve got sweet tooth just for you

CANDY MAN #2 (1965) (Fred Neil/Beverly ‘Ruby’ Ross) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Co-composer Beverly Ross also wrote the 1950s smash ‘Lollipop’. Released as a single on Elektra (EKSN 45036) in 1968 b/w ‘The Water Is Wide’. Come on baby Let me take you by your hand Ah come on, sweet thing Let me take you by the hand Can’t you see I wanna be Your candy, candy Your candy man Ah come on, sweet thing I love your honey- lovin’ Your honey-lovin’ ways Come on sweet thing I love your honey-lovin’ Your honey-lovin’ ways Can’t you see Oh you’re for me I wanna be your candy, your candy Your candy man Go with it Come on, sweet thing Gonna treat you right Makin’ candy kisses now Every single night Candy man Candy man Candy, candy, candy Can’t you see Ah I wanna be Talk about your candy Your candy Your candy man Candy man now Candy man Candy man Candy man Candy man Candy man Candy man Candy man…..

COME BACK BABY #1 (1958) (Fred Neil/Norman Petty) Recorded 10th September 1958 at the Norman Petty Studio, 1313 West 7th Street, Clovis, New Mexico, USA. Buddy Holly - vocal and guitar; Joe B. Mauldin - bass; Jerry Allison - drums; Curtis Ousley (aka King Curtis) - tenor saxophone. First issued on the posthumous 1964 album Showcase. Norman Petty’s contribution to the composition is questionable as he had a penchant for adding his name to credits on the possibly justifiable grounds that it would carry more weight with radio disc jockeys. “I always liked Buddy Holly so I always liked The Beatles because he was one of their influences. Holly had a beautiful sense of country music and folk music and never even knew it -he just sat down and wrote. He did the thing, as they say. I think if Buddy Holly had lived, he would have been one of the most recognized people in folk music as well as in pop and country. The Beatles got into the country thing, I don’t know why –probably because they dug it. The Beatles have the sound and the sincerity. That’s why they succeeded, in my opinion.” (Fred Neil in a 1966 interview with Hit Parader.)

Norman Petty, 25th May 1927 - 15th August 1984. Come back baby Baby won’t you come back Come back baby to me Now I know Why all sad hearts cry Baby, baby come to me Well I cried all night

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Ever since you left me Nothing has gone right Poor lonely old me I say Come back baby Baby won’t you come back Come back baby to me Now you know I love you so Baby, baby come to me When you left me all alone To sing the blues I waited by the ‘phone To get good news That you would Come back baby Baby won’t you come back Come back baby to me Now you know I love you so Baby, baby come to me Oh come back baby to me Hmm, hmm Come back baby to me Oh come back baby to me Oh come back….

COME BACK BABY #2 (19??) (Walter Davis – adapted by Fred Neil) Recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s) and appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL. Les McCann - piano.

Despite the title this a quite different song from the earlier version above and some CD collections mistakenly use the same composing credits. This second version has striking similarities to the 1954 Ray Charles recording – and covered my numerous artists. Walter Davis 1st March 1912 – 22nd October 1963. Come back baby Baby don’t you go You know the way I love you I guess you’ll never know Come back baby We’re gonna to talk it over just one more time One more time You been a mean Evil woman now Yeah you sure did fool around Yeah you fooled my mind Come on baby We’re gonna to talk it over just one more time Now go I hear a whistle I don’t see no train All around my heart Yes it’s an aching pain How long - how Baby how long How long Baby how long

COUNTRY BOY (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Now I’m just a country boy I got sand all in my shoes You know I got stuck in the big city Got to sing the big city blues City blues Yeah yeah Miss Lindy Yeah yeah Miss Lindy Say hey, Miss Lindy

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Say baby don’t you dare leave home I don’t care about them And I don’t like it Well they best leave us alone Leave us alone Hey Miss Lindy I said baby don’t you go If I got to jump in the muddy Mississippi Gonna swim to the Gulf of Mexico Say swim to Mexico Let’s swim I say I’m just a country boy I got sand all in my shoes You know I got stuck in the big city Got to sing the big city blues City blues Yeah Miss Lindy Yeah yeah Miss Lindy Hmm Hmm

CYNICRUSTPETEFREDJOHN RAGA (1966) (Fred Neil) Instrumental from the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

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DADE COUNTY JAIL (1965) (Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. You know, Dade County Jail is nine stories tall I say Dade County Jail is nine stories tall now Air-conditioned from wall to wall Still they can’t find a bed for No they can’t find a bed for juvenile Hall Now the building was built For just fifty two To one hundred and twenty now My how they grew Governor Foss Bryant Now, what you gonna do When they can’t find a bed for No they can’t find a bed for Juvenile Hall I say Dade County Jail is nine stories tall now Air-conditioned from wall to wall They’re not even usin’ three floors at all Still they can’t find a bed for No they can’t find a bed for Juvenile Hall Now, I’ve seen your courthouse With its big shiny doors I’ve seen your church windows Costin’ thousands or more But I’ve never seen Children sleepin’ on floors Still they can’t flnd a bed for No, they can’t find a bed for Juvenile Hall Hey there, all you mothers Your good City Fathers Aren’t even good brothers When they can’t find a bed for No, they can’t find a bed for Juvenile Hall I’ve seen your Torch of Friendship In Bay Front Park

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How can you speak of friendship With your children in the dark They got a park for the senior citizen’s ball They can’t find a bed for No, they can’t find a bed for Juvenile Hall I say Dade County Jail is nine stories tall now Air-conditioned from wall to wall They’re not even usin’ three floors at all Still they can’t find a bed for No they can’t find a bed for Juvenile Hall Can’t find a bed for Juvenile Hall

DECEMBER’S DREAM aka DECEMBER DREAM (1967) (John Braheny) ‘December Dream’ (mistakenly credited as ‘December’s Dream’ on The Many Sides Of Fred Neil) was only the second song composer John Braheny had ever written, “I was going through a rough time after a breakup with my girlfriend who had had a fling with another guy that just destroyed me. I put it all into this song.” This was 1964. The Stone Ponies (featuring Linda Ronstadt) recorded it in 1967. It was Pete Childs, one of the session musicians who taught them the song and also taught Fred. Howard Solomon, who had been Fred’s manager, later presented John Braheny with three different takes of the song, one of which stopped right after that last beautiful line, and another with Fred continuing to play the guitar (which had been picked for the album THE MANY SIDES OF FRED NEIL, a compilation including unreleased masters, issued in 1999 – the first time this wonderful track saw the light). Braheny in MOJO magazine (February 2000): “In retrospect, in my incarnations as songwriting teacher, music publisher etc., I never would have given the song a shot at being recorded. No real hook, no “commercial” structure, no repeated chorus, a title that doesn’t show up in the song, not even a bridge. Sometimes emotional honesty, sincerity, a little poetry and a pretty melody win. Who knew? We’re fortunate to have Fred’s recordings as a reminder of his spirit and that great voice and I’m honoured that he chose to record my song.” John Braheny, 9th December 1938 – 19th January 2013.

Picture shows Fred Neil at Montreux Jazz Festival, 11th July 1975. He performed there with John Sebastian on harmonica, Pete Childs on guitar and Harvey Brooks on bass. They performed (among others) ‘Nashville Cats’, ‘Stories We Could Tell’ (both John Sebastian compositions) and ‘December Dream’. I can see her slowly walking Through the empty streets of morning Who she’s with I cannot tell His face fades with the others In an endless spell of dreams I know so well Though she walks with him no more with me I know she’s where she’d rather be Her happiness is there for all to see Yet I find that I still wish it was for me I can hear her voice still ringing Through the empty songs I sing Seems that all the words I find To say the things that crowd my mind Only bring me closer To the things I’d rather leave behind Though I know the game’s been played And I know mistakes I’ve made I know I should not be afraid to love Coz love for any time at all Is worth the price you pay to fall

DIANA (1957) (Paul Anka) Fred Neil briefly worked as a session guitarist in 1958; he can be heard on this world famous track by Paul Anka. I’m so young and you’re so old This, my darling, I’ve been told I don’t care just what they say ‘Cause forever I will pray You and I will be as free As the birds up in the trees Oh, please stay by me, Diana Thrills I get when you hold me close Oh, my darling, you’re the most I love you but do you love me Oh, Diana, can’t you see I love you with all my heart And I hope we will never part Oh, please stay with me, Diana Oh, my darlin’, oh, my lover Tell me that there is no other

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I love you with my heart Oh-oh, oh-oh, oh-oh Only you can take my heart Only you can tear it apart When you hold me in your loving arms I can feel you giving all your charms Hold me, darling, ho-ho-hold me tight Squeeze me baby with-a all your might Oh, please stay with me, Diana Oh, please, Diana Oh, please, Diana Oh, please, Diana

DOLPHINS, THE (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL; released as a single b/w ‘I’ve Got A Secret’ in 1967. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL.

Picture shows Fred Neil, Joni Mitchel and Debbie Anderson performing ‘The Dolphins’, 20th November 1976 at California Celebrates The Whale Day, a concert sponsored by California Governor Jerry Brown aimed at raising public consciousness about the plight of the internationally hunted mammals. This old world may never change Way it’s been And all the ways of war Can’t change it back again I’ve been a-searchin’ For the dolphins in the sea And sometimes I wonder Do you ever think of me I’m not the one to tell this world How to get along I only know that peace will come When all hate is gone I’ve been a-searchin’ For the dolphins in the sea And sometimes I wonder Do you ever think of me You know sometimes I think about Saturday’s child And all about the time When we were running wild I’ve been a-searchin’ For the dolphins in the sea And sometimes I wonder Do you ever think of me Ahh, this old world may never change This world may never change This world may never change

From The Modesto Bee of 19 November 1976.

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DONKEY GOLD (1963) (Joseph “Tinker” Lewis) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. We started for the badlands Men laughin’ at our backs My hind shoes left the footprints In the valley dry with cracks We’d sift a mile of bedrock For a speck of yellow dust We’re bound to find a fortune Gonna look until we bust (Gonna look until we bust) With a fryin’ pan, some little ham Cold bacon grease and dough A pick-axe, one Winchester And this donkey called Mean Mo’ Old man was over sixty But didn’t have a worldly care When we hit this trail of debris On a road that leads nowhere (Road that leads nowhere) One day we finds a crevice Between two boulder rocks The gold lay just for pluckin’ nuggets Big as eagle rocks The core was thick like redwood And it ran deep underground Was the largest track of gold-strike Anybody ever found (Anybody ever found) But the grief of years of searchin’ Cast his caution to the wind He dived into that hollow, Lord It was a viper’s den I heard his anguished moanin’ All the fuss those rabbits made He died in fifteen seconds But his fortunes had been made (His fortunes had been made) Now I’m the only who knows Where this treasure be But when I try to talk Everybody laughs at me I try to tell the story ‘Bout this mountain of gold I saw Nobody will believe me He-haw, he-haw, he-haw I’m just a poor old donkey I can’t be understood I own a fabled fortune But it won’t do me no good ‘Cause a dead man and some rabbits Got it hidden in their lair And I can’t spend a quarter And I don’t think it’s fair I’m just a poor old donkey And I can’t be understood I own a fabled fortune But it won’t do me no good ‘Cause a dead man and some rabbits Got it hidden in their lair And I can’t spend a quarter And I don’t think it’s fair He-haw, yee-hah, he-haw, yee-hah

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DON’T PUT THE BLAME ON ME (1957) (Fred Neil) First single on Look (Y-1002), released 28th October 1957. A-side: ‘You Ain’t Treatin’ Me Right’. If you’re all alone And you don’t know what to do Please, don’t put the blame on me And if the one you love Has left you cryin’, like I do Please, don’t put the blame on me Because I’ll try Yes I’ll try To be good to you Oh then you lied You know you lied And you couldn’t be true Well, if the one you love (cryin’, cryin’) Has left you cryin’, like I do (cryin’ over you) Please, don’t put the blame on me (oooohhh) (Cryin’, cryin’ Over you Ooohh-oohh) Because I’ve tried Yes I’ve tried To be good to you And then you lied You know you lied And you couldn’t be true Well, if the one you love (cryin’, cryin’) Has left you cryin’, like I do (cryin’ over you) Please, don’t put the blame on me (oooohhh) (Cryin’, cryin’ over you)

DREAM LOVER (1958) (Bobby Darin) Fred Neil briefly worked as a session guitarist and in this capacity can be heard on a demo of ‘Dream Lover’ by Bobby Darin. He did not play on the released version. Bobby Darin, 14th May 1946 – 20th December 1973. Every night I hope and pray A dream lover will come my way A girl to hold in my arms And know the magic of her charms ‘Cause I want (yeah-yeah, yeah) A girl (yeah-yeah, yeah) To call (yeah-yeah, yeah) My own (yeah-yeah) I want a dream lover So I don’t have to dream alone Dream lover, where are you With a love, oh, so true And the hand that I can hold To feel you near as I grow old ‘Cause I want (yeah-yeah, yeah) A girl (yeah-yeah, yeah) To call (yeah-yeah, yeah) My own (yeah-yeah, yeah) I want a dream lover So I don’t have to dream alone Someday, I don’t know how I hope she’ll hear my plea Some way, I don’t know how She’ll bring her love to me Dream lover, until then I’ll go to sleep and dream again That’s the only thing to do Till all my lover’s dreams come true ‘Cause I want (yeah-yeah, yeah) A girl (yeah-yeah, yeah) To call (yeah-yeah, yeah) My own (yeah-yeah, yeah)

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I want a dream lover So I don’t have to dream alone Dream lover, until then I’ll go to sleep and dream again That’s the only thing to do Till all my lover’s dreams come true ‘Cause I want (yeah-yeah, yeah) A girl (yeah-yeah, yeah) To call (yeah-yeah, yeah) My own (yeah-yeah) I want a dream lover So I don’t have to dream alone Please don’t make me dream alone I beg you don’t make me dream alone No, I don’t wanna dream

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EVERYBODY’S TALKING (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL; released as a single (2256) b/w ‘That’s The Bag I’m In’ in 1968. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL.

This was of course a 1969 global hit for Harry Nilsson who recorded it for the film Midnight Cowboy for which the song won a Grammy Award. In fact, Fred Neil was asked to re-record the track for the film but declined the offer. The song is among the most famous works of both artists. It appeared again in the 1994 film Forest Gump and the 2006 comedy Borat. Everybody’s talkin’ at me I don’t hear a word they’re sayin’ Only the echoes of my mind People stoppin’, starin’ I can’t see the faces Only the shadows of their eyes I’m goin’ where the sun keeps shinin’ Through the pouring rain Goin’ where the weather suits my clothes Bankin’ off on the northeast wind Sailin’ on a summer breeze Skippin’ over the ocean like a stone I’m goin’ where the sun keeps shinin’ Through the pouring rain Goin’ where the weather suits my clothes Bankin’ off on the northeast wind Sailin’ on a summer breeze Skippin’ over the ocean like a stone Everybody’s talkin’ at me Can’t hear a word they’re sayin’ Only the echoes of my mind I won’t let you leave my love behind No, I won’t let you leave my love behind I won’t let you leave my love behind

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EVERYTHING HAPPENS (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott. It happens every time There’s really nothing I can do It happens every time I guess I’m just a fool for you Everything that I could beg Borrow or steal I gave to you Well I guess that the fault was mine Really nothing I can do It happens every time Somebody somewhere mentions your name It happens every time I’m just about to go insane – ah yeah Everything that I could beg Borrow or steal I gave to you Well I know that the fault was mine What else could I do It happens every time I guess there’s nothing left to say It happens every time I guess it’s just a game we play – oh

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FARETHEEWELL (FRED’S TUNE) (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott. Well if I had wings Like Noah’s dove Will I fly this up river To the one I love Faretheewell Oh my honey Faretheewell Faretheewell Woke up this morning It was drizzlin’ rain All around my heart Was an aching pain Faretheewell Oh my honey Faretheewell Faretheewell Well if I had wings Like Noah’s dove You know I fly up this river To the one I love Faretheewell Oh my honey Faretheewell Faretheewell Hmm –mmmm Mmmm

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FELICITY (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. It was the only single (1968) off this album b/w ‘Please Send Me Somebody To Love’ (Capitol 2091). The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monte Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL. Even though I know the rains may fall Somewhere the sun will shine And the melody returns again Right in the tides of time If you don’t believe me Nothing I can do to change your mind You’ve got to ride that road in your own way In your own good time Even though I know the tides keep changin’ They must return once more And the melodies Shadows of memories Have all been played before

FOOLS ARE A LONG TIME COMIN’ (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr.- stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet. Start it right from here, don’t go anywhere We’ll take up right here – hold it Come on in, Pete, now slide in Give me a couple of beats, Bruce – hold it If you see a rainbow in your backyard You better turn your head around, the other way There ain’t no gold on either side, baby Only fools look there for gold anyway Yeah mama Fools are a long time a-comin’ Yeah mama Fools are a long time comin’ If a man just has to give you somethin’ You’d better put your hands away behind your back Hey I never seen-a nobody give away nothin’ Ah without wantin’ somethin’ back Yeah mama Fools are a long time comin’ Yeah mama Fools are a long time comin’ If you think that you see the reflection Of love in your own true love’s eyes Beware still runnin’ waters ‘Cause your lookin’ glass just might be tellin’ you lies Yeah mama Fools are a long line comin’ Yeah mama Fools are a long line comin’ Yeah mama Fools are a long line comin’

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FOUR CHAPLAINS (1960) (Roy Alfred/Wally Gold) Released as Epic 5-9435 b/w ‘A Rainbow And A Rose’. Based upon the true story of four chaplains, also sometimes referred to as the “Immortal Chaplains”. They were four United States Army chaplains who gave their lives to save other civilian and military personnel during the sinking of the troop ship USAT Dorchester on 3rd February 1943, during World War II. They helped other soldiers board lifeboats and gave up their own life jackets when the supply ran out. The chaplains joined arms, said prayers and sang hymns as they went down with the ship. See: http://www.fourchaplains.org/story.html . Roy Alfred, 1916 – 2008; Wally Gold, 15th May 1928 – 7th June 1998. Four chaplains Four brave chaplains Mmmm For extraordinary heroism Beyond the call of duty The United States Congress Awards the distinguished service cross To chaplains Lt. George L. Fox, Methodist Lt. Alexander A. Goode, Jewish Lt. Clark V. Poling, Presbyterian And Lt. John P. Washington, catholic One stormy winter night Out on the North-Atlantic Sea The date was February third in 1943 We rode the troopship Dorchester Just off the Greenland shore When a German sub torpedo struck Amidships with a roar Four chaplains Four brave chaplains Of different faiths but arm in arm they stood It will live in history (ahhh…) How they gave their lives at sea (…ahhh) And showed their faith in God and brotherhood (ahh-ahhh) We scrambled for the lifeboats ‘Cause we knew that ship would sink So frightened as we faced the icy water black as ink The chaplains taught us courage When we saw them calmly give Their very own life jackets so four other men might live Four chaplains Four brave chaplains Of different faiths but arm in arm they stood It will live in history (ahhh…) How they gave their lives at sea (…ahhh) And showed their faith in God and brotherhood (ahh-ahhh) While we were rowing from the wreck Somebody lit a flare With water rising fast we saw the chaplains standin’ there And right up to the very end We still could hear them pray Each chaplain went to meet the lord In his own special way Four chaplains Four brave chaplains Four chaplains….

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GHOST RIDERS IN THE SKY (1963) (Stan Jones) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Stan Jones, 5th June 1914 – 13th December 1963. An old cowpoke went ridin’ out one dark and windy day Upon a ridge he rested as he went along his way When all at once a mighty herd of red-eyed cows he saw A-plowing through the ragged sky - and up a cloudy draw Gotta catch that herd Gotta catch that herd Catch that herd Catch that herd Their brands was still on fire and their hooves was made of steel Their horns were black and shiny and their hot breath he could feel A bolt of fear went through him as he thundered through the sky He saw the riders comin’ hard - and heard their mournful cry Gotta catch that herd Gotta catch that herd Catch that herd Catch that herd Their faces gaunt, their eyes all blurred, their shirts all soaked with sweat They’re ridin’ hard to catch that herd, but they ain’t caught ‘em yet They gotta ride forever on that range up in the sky On horses snortin’ fire - as they ride on hear their cry Gotta catch that herd Catch that herd, man - yieh Gotta catch that herd Catch that herd, man - yieh Gotta catch that herd Catch that herd, man - yieh Gotta catch that herd Catch that herd, man – yieh Yeah Yeah The riders loped on by him and he heard one call his name You wanna save your soul from hell a-riding on our range Then cowboy change your ways today or with us you will ride A-tryin’ to catch that Devil’s herd - across these endless skies Gotta catch that herd Gotta catch that herd Catch that herd Catch that herd Catch that herd Catch that herd

GONE AGAIN (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. I woke up this morning With an aching pain deep down I say I woke this morning With an aching pain deep down Shiver and cold About to go insane Gone again Gone again I’d love to stick around this old town But you know I got to go again I say I love you baby But you gotta understand right now I say I love you baby But you gotta understand right now

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When the lord made me He made a ramblin’ man Gone again Gone again Well I love you so That’s why I want you to know I’ll probably go again Can’t you hear that whistle moanin’ On that lonesome train right now Can’t you hear that whistle moanin’ On that lonesome train right now Shiver and cold About to go insane Gone again Gone again Gone again Ah gone again

GREEN ROCKY ROAD (1965) (Fred Neil) From the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott. Keep-a talkin’ ’bout a green rocky road Promenade in green Who do you love Who do you love Who do you love Mary runnin’ to the wall Don’t you stumble don’t you fall Don’t you holler, don’t you shout When you hear me singin’ come runnin’ out Green rocky road Promenade in green Tell me who do you love Who do you love Who do you love When I go to Baltimore I got no carpet on the floor I said I got no carpet on my floor When I go to Baltimore Sing green rocky road Promenade in green Tell me who do you love Who do you love Who do you love See the bluebird in the sky He don’t walk but-a he just fly If he ever touch the ground Well I know he’ll die You see the bluebird flyin’ in the sky Green rocky road Promenade in green Tell me who do you love Who do you love Who do you love Who do you love Green rocky road Promenade in green Tell me who do you love Who do you love Who do you love Who do you love Who do you love Who do you love

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Who do you love

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HANDFUL OF GIMME (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C.

Picture shows Bob Dylan, Karen Dalton and Fred Neil at the Café Wha?, Greenwich Village, February 1961. You waltz in here with a handful of gimme A mouthful of much obliged I go home feeling empty From all you signify I’d spend the last of my last ten cents On a nickel bag of candy And if I had just ten more cents I think I’d Take a ride on the Staten Island ferry You waltz in here with a handful of gimme And a mouthful of sweet lovin’ lies I go limpin’ home feelin’ empty Tears all in my eyes I’d spend the last of my last ten cents On a nickel bag of candy If I had just ten more cents I think I’d Take a ride on the Staten Island ferry You waltz in here with a handful of gimme A mouthful of much obliged I go home feeling empty From all you signify You waltz in here with a handful of gimme And a mouthful of much obliged

HEARTBREAK BOUND (1958) (Fred Neil/Jimmy Krondes) Second single on ABC-Paramount, 9935, as Freddie Neil. B-side: ‘Trav’lin Man’. James “Jimmy” Krondes, 18th August 1925 – 8th May 1986. Ba-oom, ba-oom, oom, ba-oom Heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) Well, you tell me that you don’t love me Don’t want me hangin’ around Tell me that you don’t want me Always puttin’ me down Everywhere I go (ahhh…) Blues follow me, don’t you know, around (…ahhh…) No matter where I’m roamin’ (…ahhh…) I’m always heartbreak – yea (…ahhh) Don’t you know heartbreak bound Heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, wa-oom) Heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) Well, no matter where I’m headin’ Any ol’ part of town, town My heart feels like it’s leaded ‘Cause I’m always heartbreak bound Everywhere I go (ahhh…) Blues follow me, don’t you know, around (…ahhh…) No matter where I’m roamin’ (…ahhh…) I’m always heartbreak – yeah (…ahhh) Don’t you know heartbreak bound

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Heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) I’m heartbreak bound (oom, ba-oom) Yeah-yeah, don’t you know (oom, ba-oom) Well-a well, don’t you know (oom, ba-oom) Well-a well, don’t you know (oom, ba-oom) Well well, don’t you know (oom, ba-oom)

HOW LONG BLUES/DROWN IN TEARS (rel. 1998; rec date unknown) (Leroy Carr) First released on THE MANY SIDES OF FRED NEIL (1998). Recording date unknown. Although listed as ‘How Long Blues/Drown In Tears’, the recording seems to be just ‘How Long Blues’. Leroy Carr, 27th March 1905 – 29th April 1935. How long, baby, how long Has that evening train been gone How long How long Baby how long I see the green grass growin’ on yonder hill I ain’t seen the greenback on a dollar bill In so long So long, baby So long, now Go on with it Go on, go If I could holler like a mountain jack Well I’d climb up the mountain and I’d call my baby back Singin’ how long How long, baby How long Yes, baby, how long How long Has that evenin’ train been gone How long How long Baby, how long Yeah, baby how long Mmmm Baby, how – Well how long Has that evenin’ train been gone Well how long How long Baby, how long I could see the green grass growin’ on yonder hill I ain’t seen a greenback on a dollar bill In so long So long, baby So long How long, how long, how long Has that evenin’ train been gone How long How long Baby, how long How long Baby, how long How long, how long Has that evenin’ train been gone How long How long Baby, how long If I could holler like a mountain jack I’d climb up on that mountain and I’d call my baby back How long Now how long

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Oh baby, how long I see the green grass growin’ on yonder hill I ain’t seen the greenback on a dollar bill In so long So long Baby, so long Play it Jim Go on Won’t you tell me how long How long Has that evenin’ train been gone How long How long Baby, how long If I could holler now like a mountain jack You know I think I’d climb that mountain and I’d call my baby back How long Now how long Yeah baby, how long I seen the green grass growin’ on yonder hill I ain’t seen the greenback on a damn dollar bill In so long now So long Baby, so long So long Baby, so long Mmmmm Baby, it’s been so long

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I GOT ‘EM (1965) (Probably Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: John Sebastian on guitar; Felix Pappalardi on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. I say I got ‘em If you want ‘em now (If you want ‘em) I got ‘em I got apples and peaches And pears and plums Real fine peaches this mornin’ This mornin’ (this mornin’) I say I got ‘em If you want ‘em (If you want ‘em) I got ‘em Uh uh No man can’t come up your road now Your road too bumpy Make me dump my load Dump my load I say I (I got ‘em, I got ‘em) Got ‘em now Well, the sun ain’t shinin’ And it look like rain Listen to the whistle On that lonesome freight train Just sign in the rain Sign in the rain I got ‘em now If you want ‘em (if you want ‘em) I say I got ‘em Boy, you get that dog Away from this cart

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If that dog lifts his leg Just one more time I’m gonna kick him I say I’ve got ‘em If you want ‘em (If you want ‘em, if you want ‘em) I got ‘em Well, the sun is a shinin’ And bless my soul Goin’ home and get My old cane pole I’m goin’ fishin’ (I’m goin’ fishin’) ‘Stead of wishin’ I was fishin’ (I’m goin’ fishin’) I say I got ‘em If you want ‘em now (if you want ‘em) I got ‘em (I got ‘em)

I KNOW YOU RIDER (1965) (Trad. arr.Vince Martin/Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C.

It is a traditional country blues dating back to circa 1934, when John and Alan Lomax included it in their book American Ballads and Folk Songs (“An eighteen-year old black girl, in prison for murder, sang the song and the first stanza of these blues.”). The Lomaxes then added a number of verses from other sources and named it ‘Woman Blue’. Also known as ‘Woman’s Blues’, it has been adapted by many artists, the lyrics varying between versions. Joan Baez recorded a version for her 1960 debut album. Other notable artists that cut it are James Taylor, The Kingston Trio and Janis Joplin. It was a staple of The Grateful Dead’s live shows. I say I know you, rider Miss me when I’m gone I say I know you, rider Miss me when I’m gone Won’t have nobody now, mama Roll around in your sweet lovin’ arms Lovin’ you, baby Easy as fallin’ off a log Lovin’ you, baby Easy as fallin’ off a log I can’t make love to you, mama Ain’t gonna hang around and be your dirty dog Early one mornin’ Rider, and it won’t be long Early one mornin’ Rider, and it won’t be long You’re gonna call my name now, baby Sweet lovin’ daddy gonna be long gone I say I know you, rider

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I’M A DRIFTER (1965) (Travis Edmonson) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C.

Travis Edmonson was from the duo Bud & Travis; this particular song he recorded solo and appears on Travis On His Own. Travis Edmonson, 23rd September 1932 – 9th May 2009 . I’m a drifter, l’m a loner And I’ve seen every city and town I’ll pass by here and I’ll die here And some stranger will lower me down I’ve sat in the shade Of an old apple orchard Watched the big trucks rollin’ by Shared a grape soda With a man from Dakota And seen a June bug in July I’m a drifter, l’m a loner And I’ve seen every city and town I’ll pass by here and I’ll die here And some stranger will lower me down I’ve played basketball Through the hoop of a barrel Struggled to learn how to swim Through I sometimes think maybe I once was a baby I only pretend I was him I’m a drifter, l’m a loner And I’ve seen every city and town I’ll pass by here and I’ll die here And some stranger will lower me down I’m made love in your city ‘Til the poor and the pretty Thought I was clever and smart I’ve ended up lonely With nothin’ but only A song and a half of a heart I’m a drifter, l’m a loner And I’ve seen every city and town I’ll pass by here and I’ll die here And some stranger will lower me Stranger will lower me down

I’M GONNA RUN aka RIDE STORMY WEATHER (rel. 1998; rec date unknown) - see: RIDE STORMY WEATHER

I’M ON MY WAY (1963) (George “Tip” Tipton/Joseph “Tinker” Lewis) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. I’m on my way to Canaan land I’m on my way, yes, to Canaan land I’m on my way to Canaan land Well, I’m on my way, glory hallelujah I’m on my way Now if you don’t go (mmmm) Don’t a-hinder me (mmmm) I said, if you don’t go (mmmm) Ooh don’t a-hinder me (mmmm) Oh if you don’t go (mmmm) Don’t hinder me - yeah I’m on my way (mmmm) glory hallelujah I’m on my way I’ve been a-stumblin’ and a-rising (I’ve been a-stumblin’ and a-rising) But I’m on my way, yeah (Lord I’m on a-my way) I’ve been a-stumblin’ and a-rising (I’ve been a-stumblin’ and a-rising) Lord but I'm on my way (Lord I’m on-a-my way) I’ve been a-stumblin’ and a-rising (and a-rising)

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On my way - yeah I’m on my way, glory hallelujah I’m on my way Now if you don’t go (mmmm) Don’t hinder me (mmmm) I said, if you don’t go (mmmm) Lord, don’t you hinder me (mmmm) Oh well if you don’t go (mmmm) Don’t hinder me yeah (mmmm) I’m on my way, glory hallelujah I’m on my way I’ve been a-praying in the valley (I’ve been a-praying in the valley) But I’m on my way (Lord I’m on-a-my way) I’ve been a-praying in the valley (I’ve been a-praying in the valley) Lord, but I’m on my way (Lord I’m on-a-my way) I’ve been a-praying in the valley, on my way - yeah I’m on-a-my way, glory hallelujah I’m on my way Now if you don’t go (mmmm) Don’t hinder me (mmmm) I said if you don’t go (mmmm) Lord don’t you hinder me (mmmm) Well if you don’t go (mmmm) Don’t hinder me - yeah I’m on my way, glory hallelujah I’m on my way I’ve been a motherless child (I’ve been a motherless child) But I’m on my way (Lord I’m on-a-my way) I’ve been a motherless child (I’ve been a motherless child) But I’m on my way (Lord I’m on-a-my way) I’ve been a motherless child On my way - yeah I’m on my way, glory hallelujah I’m on my way On my way, glory hallelujah On my way - yeah

I’VE GOT A SECRET (DIDN’T WE SHAKE SUGAREE) (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL; released as a single c/w ‘The Dolphins’ in 1967. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott. I’ve got a secret I shouldn’t tell I’m gonna go to heaven In a split-pea shell Lordie me Didn’t we shake, sugaree Everything I have Down in pawn You know I pawned my watch Pawned my chain I’d of sold myself But I felt ashamed Lordie me Didn’t we shake up, sugaree Everything I have Down in pawn You know I got a song to sing Not very long I’m gonna sing it right If it takes me all night long Oh Lordie me Didn’t we shake up, sugaree Everything I have Down in pawn

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I’ve got a secret I shouldn’t tell I’m gonna go to heaven In a split-pea shell Lordie me Didn’t we shake, sugaree Everything I have Down in pawn You know everything I have Down in pawn I said everything I have Down in pawn

J___________________________________________ None.

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LINDY LOU aka MAH LINDY LOU(1963) (Lily Strickland) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Lily Strickland, 1884 – 6th June 1958. Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Whoa-ho honey, did you hear that mockingbird a-sing last night (sing last night) Whoa honey, he was a-singing so sweet in the moonlight (in the moonlight) In the old magnolia tree Bustin’ his heart with a melody I know he was a-singing of you Mah Lindy Lou, Lindy Lou Whoa-ho I’d lay right down and die If an’ I could sing sweet like that to you Mah little Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Whoa Lindy, did you smell that honeysuckle vine last night (vine last night) Whoa honey, it was smelling so sweet in the moonlight (in the moonlight) Clinging ‘round my cabin door Reckon it’s ‘cause he love it you so Ooh honey, that's the way I love you Mah Lindy Lou, Lindy Lou Whoa-ho an’ I’d lay right down and die If an’ I could be sweet like that to you Mah little Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, did you feel that south wind-a-blow last night Honey, it was a-kissing you sweet in the moonlight Blowing from the old bayou Seemed to say he loved you so Oh honey, that’s the way I love you Mah Lindy Lou, Lindy Lou Whoah an’ I’d lay right down and die If an’ I could be that wind a-kissin’ you Mah little Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy, Lindy, Lindy Lou Lindy, Lindy, Lindy........

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LININ’ TRACK (1965) (Trad. arr. Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. A terrific live version recorded at The Bitter End appears on the 1963 release of the LP Hootenanny Live At The Bitter End which is also included on 2004’s THE SKY IS FALLING. Gonna line track today And tomorrow we’re gonna play now (Tomorrow) And tomorrow we’re gonna play (Tomorrow we’re gonna play) Evelina, yeah, and her daughter, yeah They run a sportin’ house Down by the water Evelina, yeah and her daughter, yeah They run a sportin’ house Down by the water Gonna line track today And tomorrow we’re gonna play now (Tomorrow) And tomorrow we’re gonna play (Tomorrow we’re gonna, we’re gonna play) I never been to Georgia, Georgia, Georgia (I never been to Georgia, but) Georgia, I’ve been told now, buddy I never been to Georgia, Georgia, Georgia I’ve been told now, mama Sweet Georgia woman, Lordy, mama (Got that sweet sweet) Got a sweet sweet jelly roll now Good Georgia woman, Lordy, mama (Got that sweet) Got a sweet sweet jelly roll now Got a sweet jelly roll Gonna line track today And tomorrow we’re gonna Tomorrow we’re gonna (Tomorrow, tomorrow) Tomorrow we’re gonna

LIPS SMACKIN’ SWEET (1963) (Joseph “Tinker” Lewis/Salaam) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Yes, dance like you do down home Down in that there land of corn pone Square dance it is, called a hoedown Square or not, it’s a happy sound Corn ribs and dandelion Honey lemon on the vine Black-eyed gal with lips smackin’ sweet Mornin’ dew won’t stay in place When the sun shines on her face So dreamy-eyed and lips smackin’ sweet Ohh Swing along my Cindy Come along honey gal Swing round and kiss me smackin’ sweet There’s honey in your lips Gonna take me several sips Oh swing around and kiss me smackin’ sweet Now if an’ your gal don’t wanna go You better get you another one ain’t so slow Then swing that gal around the floor There - now you got it Hit the door Back to back and brandy wine Now who’s got a girl looks like mine

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Ruby lips and lips smackin’ sweet Mornin’ sun gonna shine so high Blushin’ when my gal goes by ??? eyes and lips smackin’ sweet Ohh Swing along my Cindy Come along honey gal Swing around and kiss me smackin’ sweet There’s honey in your lips Gonna take me several sips Oh swing around and kiss me smackin’ sweet Swing it to the east and sashay right San Antone now what a night I’ll retrieve ya singin’ a song Rooster take over before very long Ham hocks and succotash Hot cakes in the hickory ash Black-eyed gal with lips smackin’ sweet Evenin’ breeze will heave a sigh When me and my gal come strollin’ by Dreamy eyes and lips smackin’ sweet Ohh Swing along my Cindy Come along honey gal Swing around and kiss me smackin’ sweet There’s honey in your lips Gonna take me several sips Oh swing around and kiss me smackin’ sweet There now you got it That didn’t take long Everybody right - ain’t nobody wrong Now I want you to help me to take it out Everybody sing it - everybody shout Corn ribs and dandelion Honey lemon on the vine Black-eyed gal with lips smackin’ sweet Mornin’ dew won’t stay in place When the sun shines on her face So dreamy-eyed and lips smackin’ sweet Ohh Swing along my Cindy Come along honey gal Swing around and kiss me smackin’ sweet There’s honey in your lips Gonna take me several sips Oh swing around and kiss me smackin’ sweet

LISTEN KITTEN (1959) (Fred Neil) Released as the B-side of ‘Take Me Back Again’ (Brunswick 9-55117), under the name Freddie Neil and Friends. Listen kitten, well I love you Listen kitten, don’t you know it’s true Listen kitten, well-a you and I Listen kitten, well it ain’t no lie Ooohhh-oohhh Listen kitten, well-a you and I Listen kitten, well-a I love you And I want you to know Listen kitten, well-a my love is true And I’ll never let you go Nobody’s gonna put you down As long as this guy is-a-hangin’ around I ain’t givin’ you some dog’s line Come on pretty kitty, won’t you say you’ll be mine Listen kitten, well-a you and I That’s the way it’s gonna be Listen kitten, well it ain’t no lie You’re the only one for me

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Nobody’s gonna put you down As long as this guy is-a-hangin’ around I ain’t a-givin’ you some dog’s line Come on pretty kitty, won’t you say you’ll be mine Listen kitten, well-a I love you Listen kitten, don’t you know it’s true Listen kitten, well you and I Listen kitten, well it ain’t no lie Ooohhh-oohhh Listen kitten, well-a you and I Listen kitten, well-a you and I Listen kitten, well-a you and I Listen kitten, well-a you and I Listen kitten……..

LITTLE BIT OF RAIN (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C.

José Feliciano did a magnificent cover. José was a friend of Fred’s and there is the great story that one night when Fred, Vince Martin, Charley Brown (one-time owner of The Gaslight Café in Coconut Grove, Florida) were throwing a Frisbee around, José (blind from birth) came down the street riding a bicycle yelling: “Look ma, no hands!” Karen Dalton recorded it for her debut album It’s So Hard To Tell Who’s Going To Love You The Best. If I should leave you Try to remember the good times Warm days filled with sunshine And just a little bit of rain And just a little bit of rain And if you look back Try to forget the bad times Lonely blue and sad times And just a little bit of rain And just a little bit of rain And if I look back I will remember all the good times Warm days filled with sunshine And just a little bit of rain And just a little bit of rain

LONESOME VALLEY (1965) (Trad. arr. Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C.

A traditional gospel folk song, its earliest known recording dating back to 1927 by David Miller. Woody Guthrie, The Monroe Brothers and the Carter Family all recorded it at one time, varying the lyrics. You’ve gotta walk that lonesome valley You’ve gotta walk it by yourself Nobody else can walk it for you You’ve gotta walk it by yourself My mama walked that lonesome valley She had to walk it by herself Nobody else could walk it for her She had to walk it by herself Jesus walked that lonesome valley He had to walk it by Himself Nobody else, nobody else Could walk it for Him He had to walk it by Himself You’ve gotta walk, you have gotta walk That lonesome valley You’ve gotta walk it by yourself Nobody else, nobody else Can walk it for you You’ve gotta walk all by yourself

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LONG BLACK VEIL (1963) (Danny Dill/Marijohn Wilkin) 1963 Capitol (A-side) single (5017) with the Nashville Street Singers. B-side: ‘Bottom Of The Glass’. Horace Eldred “Danny” Dill, 19th September 1924 – 23rd October 2008; Marijohn Wilkin, 14th July 1920 – 28th October 2006. Ten years ago on a cold dark night Someone was killed ‘neath the town hall light There were few at the scene, but they all agreed That the slayer who ran, looked a lot like me The judge said son, what is your alibi If you were somewhere else, then you won’t have to die I spoke not a word although it meant my life For I had been in the arms of my best friend’s wife She walks these hills (she walks these hills) In a long black veil (in a long black veil) She visits my grave (she visits my grave) When the night winds wail (when the night winds wail) Nobody knows (nobody knows) Nobody sees (nobody sees) Nobody knows, but me The scaffold was high and eternity's near She stood in the crowd, and shed not a tear But sometimes at night, when the cold wind moans In a long black veil, she cries o’er my bones She walks these hills (she walks these hills) In a long black veil (in a long black veil) She visits my grave (she visits my grave) When the night winds wail (when the night winds wail) Nobody knows (nobody knows) Nobody sees (nobody sees) Nobody knows, but me Nobody knows, but me Nobody knows, but me

LOOK OVER YONDER (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet. Look over yonder Hot sun turnin’ over Look over yonder Hot sun turnin’ over And it won’t go down Now don’t go down Can’t you hear Whippoorwills wailin’ Can’t you hear Whippoorwills wailin’ Sure sign of rain - mmmm Sure sign of rain Mama, mama Now ain’t you sorry Mmmmm I’m your son I’m your son Ain’t you sorry that you bore me When you see what I’ve become Did you ever wonder Anybody ever wonder Did you ever wonder Anybody ever wonder Well about poor me If I’ll ever be free If I’ll ever be free Go down to Hannah Don’t you rise no more Go down Hannah Don’t you rise no more

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If you rise in the morning Rise in the morning Bring judgement showing Bring judgement showing

LOOKS LIKE RAIN (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet. You gonna start somethin’, or you gonna stop somethin’? Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Mmmmmm Everywhere I, where I look this morning Look like rain, now Look like rain Everywhere I, I look this morning Look like rain Look like rain Every day I, day I get a letter From my woman Yes from my woman Every day I, day I get a letter From my woman Yeah from my woman Longest train that ever did run now I said, longest train that ever did run From down in Georgia now, now Y’know the longest train I ever seen now Said, longest train I ever seen Said, longest train that I ever did see Running from Jackson to New Orleans I’ve got a strap around my shoulder Got chains around my leg Well these chains, they don’t bother me But the strap’s gonna kill me dead Kill me dead, kill me dead, kill me dead Everywhere I look this morning, look like rain Everywhere I look this morning, look like rain I’m gonna break right, break right past that jail Gonna break right, break right past that jail Gettin’ home, gettin’ home Gettin’ home, I’m goin’ home now Everywhere, look this morning Look like rain yeah, look like rain yeah Everywhere, where I look this morning Look like rain yeah, look like rain yeah You get me in more damn trouble (laughing – whee!) Fly United – whee! Why stop now I don’t know, is everything all right? Can we get into something He’s something else man You don’t drink either, do you? Do you drink? (answer seems to be yes) Ah, now you spoiled your image man

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LOVE’S FUNNY (1958) (Fred Neil) Released as Epic 5-9934, the A-side to ‘Secret Secret’. You hurt her feelings She gets mad Well, now you think you’re glad Later on You feel so bad Mm, love’s funny Love’s so funny, that way Well, now you’re all alone By yourself at home Waitin’ on the telephone Mm, love’s funny Love’s so funny, that way Whell, you call A voice says she’s not there It was her voice that answered You could swear You could swear Ah well, now you hate her But you love her two minutes later It’s up and down Like an elevator Mm, love’s funny Love’s so funny, that way Ohh-ooo Love’s so funny that way Love, love, love’s so funny……

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MEAN MUDDY RIVER (1963) (Joseph “Tinker” Lewis/Sandford) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. The river’s only brings you trouble (water’s deep, lord) A river only brings you down (tear a poor man down - well) A river only brings you sorrow (Lord, a mean old ???) How much of sorrow does a poor man need Lord, Lord How much of sorrow does a poor man need I was born on this river Gave her all I can give her She’s a robber, never satisfied Now she took my childhood from me Made a devil of me She never should have spared my hide Now I’m a lonely little soul When the story has been told And the saggin’ passed up lilies from the crack Now my ma was in-a labour Not a soul there to save her Mean old river drowned her in the shack Oh-oh, you a mean muddy river (roll on) Oh-oh, you a mean muddy river (roll on) Oh-oh, you a mean muddy river (roll on) Oh-oh, you a mean muddy river (roll on) A mean muddy river A mean muddy river Roll on, you a mean muddy river (roll on) Roll on, you a mean muddy river (roll on) Roll on, you a mean muddy river (roll on) Roll on, you a mean muddy river (roll on) A mean muddy river A mean muddy river Some say I grown a-bitter

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Cared for by a lonely widow She had lost all her family too Now she never had to nick me Mean ol’ muddy trick me Made me rotten through and through Well now I took to cards and women Like a catfish takes to swimmin’ Busy learnin’ all the tricks that I could Well one dark and stormy night Blind drunk and stoned tight Mean old river saw me drown and die Oh-oh, you a mean muddy river (roll on) Oh-oh, you a mean muddy river (roll on) Oh-oh, you a mean muddy river (roll on) A mean muddy river A mean muddy river Roll on, you a mean muddy river (roll on) Roll on, you a mean muddy river (roll on) Roll on, you a mean muddy river (roll on) A mean .....

MERRY GO ROUND (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet. Fred: Nik? Nik Venet: Yeah? Fred: This is very short. And there’s no reason to stretch it, it says it and then, you know….. Where’s the Jim Crow section Of your merry go round I just can’t find the back Where’s the Jim Crow section Of your merry go round For a boy who’s black Black girl, black girl Don’t you lie to me Tell me where Did you spend last night In the pines, in the pines Where the sun never shines And she shivered the whole night long My daddy was Good engineer Killed a mile and a half From this town His body was found Here ‘neath the driving wheel His head Ain’t never been found Black girl, black girl Don’t you lie to me Tell me where Did you spend last night Where’s the Jim Crow section Of your merry go round I just can’t find the back Where’s the Jim Crow section Of your merry go round For a boy who’s black

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MISSISSIPPI TRAIN (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C.

Mississippi train Take my baby now she’s gone Mississippi train Take my baby now she’s gone I cried down the tracks Ah saying baby come back Went running down the railroad tracks A-cryin’ baby come back A-cryin’ baby come back She’s going through the bayou The bayou where the river flow She’s going to the bayou The bayou where the river flow Come on baby, oh baby Well I need you so Woh woh baby ah baby I need you so I’m writing her a letter I say a letter Special mail I’m writing her a letter I say a letter Special mail Saying come home, baby Come home, I love you so Saying come home, baby I need you so Saying babe come home Saying babe come home Saying babe come home Saying babe come home Saying babe come on home

MOANIN’ N’ GROANIN’ (1963) (Hinkson) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Workin’ time, y’all Early each mornin’, just before dawn I go to the railroad, put overalls on Take my sledge hammer, and steel-driving nails All the day long I’m-a tackin’ down rails, singin’ Why did you roam So far from home You makes me moan and groan Heavy this hammer but work is no strain Strong is my back and pure is my aim My heart is achin’ and breakin’ in pain For you I’m trying all over again, singin’ Why did you roam So far from home You makes me moan and groan You makes me moan and groan You makes me moan and - aarghhh You makes me moan and groan You makes me moan and groan Ah-hah, oh Lord now ??? (Ah-hah) ??? (Ah-hah) ??? (Ah-hah) I was your rock, and you was my pain Till trouble came, I called in my name I said, you wanted fortune, you wanted fame You left me cryin’ all over again, singin’ Why did you roam

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So far from home You makes me moan and Ahhh-ahhhhh You makes me moan and groan You makes me moan and groanin’, Lord You makes me moan and groan You makes me moan and I know now that I’m I’m just workin’ here And I’m tired now I’m tired in this, this hot sundown, now I don’t know what I I’m moanin’ Ohhh Lord, I’m moanin’ I keep moanin’ here It’s quittin’ time, you’all It’s quittin’ time

MORNING DEW (1965) (Bonnie Dobson) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C.

Bonnie Dobson is a Canadian folk singer who released this track on her 1962 debut album. She said that the initial inspiration was the film On the Beach which is focused on the survivors of virtual global annihilation by nuclear holocaust. Walk me out in the morning dew, my honey Walk me out in the morning dew today Can’t walk you out in the morning dew, my baby Can’t walk you out in the morning dew today Thought I heard a young man moanin’, Lord Thought I heard a young man moanin’, Lord You didn’t hear no young man moanin’, Lord You didn’t hear no young man moan today Where have all the people gone, my honey Where have all the people gone today Don’t you worry ‘bout those people, baby You’ll never see those people anymore Thought I heard my baby cryin’, mama Thought I heard my baby cryin’, mama You didn’t hear no baby cryin’, mama You didn’t hear no baby cry today Walk me out in the morning dew, my honey Walk me out in the morning dew today Can’t walk you out in the morning dew, my baby I’ll never walk you out in the morning dew again

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NOTHING MORE TO LOOK FORWARD TO (1963) (Richard Adler) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). The song was originally from the 1961 Broadway musical Kwamina that Richard Adler wrote. It starred Sally Ann Howes, Terry Carter, Robert Guillaume, and Brock Peters among others and was written by Richard Adler, directed by Robert Lewis, and choreographed by Agnes de Mille. We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Richard Adler, 3rd August 1921 – 21st June 2012. Nothing more to look forward to Why were you so sweet Nothing more to be livin’ for No longer can we meet Can we meet Never again to lie so close I can see my face in your eyes Never again to kiss goodbye When the sun is starting to rise Nothing more to look forward to Why were you so sweet Nothing more to be livin’ for No longer can we meet

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Can we meet I see my woman ridin’ sadly In someone else’s canoe I see my woman bearing children On someone she little knew Nothing more to look forward to Why were you so sweet Nothing more to be livin’ for No longer can we meet Can we meet No longer can we meet Can we meet

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OTHER SIDE OF THIS LIFE (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. An alternate version appears on the 1998 album THE MANY SIDES OF FRED NEIL, recording date unknown. Would you like to know a secret Just between you and me I don’t know where I’m going next I don’t know where I’m gonna be But that’s the other side to this life I’ve been leading But that’s the other side to this life Well my whole world’s in an uproar-roar Sayin’ my own world’s upside down I don’t know where I’m going But I’m always bummin’ around And that’s another side to this life I’ve been leading And that’s another side to this life Well I don’t know what I’m doing half the time I don’t know where I’ll go I think I’ll get me a sailing boat And sail the Gulf of Mexico But that’s another side to this life I’ve been leading And that’s another side to this life Well I think I’ll go to Nashville Down to Tennessee The ten-cent life I’ve been leading here Gonna the beat the dead of me But that’s the other side to this life I’ve been leading But that’s the other side to this life And that’s another side to this life Would you like to know a secret Just between you and me I don’t know where I’m going next I don’t know where I’m gonna be But that’s another side to this life I’ve been leading But that’s another side to this life

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PLEASE SEND ME SOMEBODY TO LOVE (aka SEND ME SOMEBODY TO LOVE) (1967) (Percy Mayfield) From the 1967 Capitol album SESSIONS. It was the only single (1968) off this album c/w ‘Felicity’ (Capitol 2091). The track is a blues ballad written and recorded as ‘Send me Someone To Love’ by Percy Mayfield in 1950, on Art Rupe’s Speciality label. It was on the R&B chart for 27 weeks and reached the number one position; it was Mayfield’s most successful song. It has been covered by numerous artists. According to Vince Martin in a 2003 interview, it was Joe “Tinker” Lewis, a blues musician from Chicago, who taught Fred this song. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet. Percy Mayfield, 12th August 1920 – 11th August 1984. Show the world how to get along Peace will enter when all hate is gone But if it’s not asking too much Please send me somebody to love I lie awake nights An’ I count the world and its troubles And my answer’s always the same ‘Less man puts an end to this damnable sin Hate gonna set this world aflame Show the world how to get along Peace will enter when all hate is gone And if it’s not asking too much Please send me somebody to love Mmmm Show the world how to get along Peace will enter when all hate is gone If it’s not asking too much Please send me somebody to love Yes - send me somebody I said somebody to love Mmmmm Full Percy Mayfield lyrics: Heaven please send to all mankind Understanding and peace of mind But, if it’s not asking too much Please send me someone to love Show all the world how to get along Peace will enter when hate is gone But, if it’s not asking too much Please send me someone to love I lay awake night and ponder world troubles My answer is always the same That unless men put an end to all of this Hate will put the world in a flame, (oh) what a shame Just because I’m in misery I’m not begging for no sympathy But if it’s not asking too much Just send me someone to love Heaven please send to all mankind Understanding and peace of mind But if it'’s not asking too much Please send me someone to love Learn to love me or leave me, either one you wanna do Learn to love me or leave me, either one you wanna do Because strange things are happenin’, babe, an’ somethin’ might happen to you If you know you don’t love me, why don’t you let me be If you know you don’t love me, why don’t you let me be Because it’s better to be without you, then to live on in misery Hey! Midnight find me cryin’, daylight find me cryin’, too Midnight find me cryin’, daylight find me cryin’, too

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You better change your ways pretty baby or somethin’ might happen to you

PRETTIEST TRAIN (1971) (Fred Neil - adapted from a version originally collected by Alan Lomax) This track first appeared on the album OTHER SIDE OF THIS LIFE (SM/ST-657) released in 1971 (precise date of recording unknown). Produced by Howard L. Solomon. The album was partly recorded live at the Elephant in Woodstock, New York with Monte Dunn on guitar accompanying Fred Neil and his guitar plus guest musicians as indicated on relevant tracks. The prison work song ‘Prettiest Train’ was recorded by Alan Lomax, sung by a prisoner with the nickname “22” when he visited Parchman Prison Farm in the 1940s. The song originates from the practice operating from the 1870s to the 1920s, when some Southern US states contracted their convicts out to private landowners and companies to perform heavy labour, such as timbering, mining, railroad work, and farming. Little to no concern was given to the prisoners’ safety or health, and they received inadequate food, shelter, and clothing. Because the convicts belonged to the state, the landowners who leased their labour could essentially work the prisoners to death. Prettiest train I done seen Prettiest train I - that I ever seen Prettiest train I - that I done seen Runnin’ down to Jackson, back to New Orleans New Orleans Hey-New Orleans Runnin’ down to Jackson, back to New Orleans Yes go Mattie, when you marry, Mattie, marry no convict man Mattie, when you marry, Mattie, marry no convict man Mattie, when you marry, Mattie, marry no convict man Every day a whole hand o’candy in your hand In your hand Now - in your hand Every day a whole hand o’candy in your hand Yes Ah Mattie, when you marry, better marry a railroad man Mattie, when you marry, marry a railroad man Mattie, marry a railroad man Every day a Sunday dollar in your hand In your hand now In your hand (in your hand) well Inn you hand (in your hand) Every day Sunday, dollar in your hand In your hand Yes Look out for those tracks Longest train now I ever seen Longest train now I done seen - now Longest train now that I done seen (that I’ve ever seen) Runs straight from Bellevue down to Jackson Green Jackson Green Jackson Green Running down to Bellevue down to Jackson Green Go ahead with it Prettiest train that I done seen Prettiest train I done seen Prettiest train I seen (ever seen) Runnin’ down to Jackson, back to New Orleans New Orleans (New Orleans) A yeah-New Orleans (New Orleans) Runnin’ down to Jackson, back to New Orleans

Q___________________________________________ None.

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RAINDROPS FALLING aka YONDER COMES THE BLUES (1964) (Fred Neil) First appeared on the 1964 album A Rootin’, Tootin’ Hootenanny on FM Records (FM/SFM-310). Later included on the 2004 Rev-Ola release THE SKY IS FALLING – The Complete Live Recordings 1963-1971. Lyrics vary very slightly from the BLEECKER & McDOUGAL VERSION. ‘Bobby’ referred to in the second line is likely Bob Dylan. A-one, two, three.... Bobby’ll be proud of me Raindrops fallin’ on a roof of tin Whoa bad news Roof is leaking and the rain pours in I guess I’m payin’ my dues Won’t you look over yonder Tell me what d’you see Yonder come the blues runnin’ after me Keeps on rainin’ all of the time Sometimes out but mostly in I’ve been waiting for that sun to shine Oh since I can’t recall when Won’t you look over yonder Tell me what d’you see Yonder come the blues runnin’ after me Let’s walk there If your sweet mama treats you right Then you’d better take my advice Don’t go pussyfootin’ round late at night I think you’d better think twice You’re gonna look over your shoulder You know I’m telling you true Yonder come the blues Yonder come the blues Yonder come the blues Runnin’ after you

RED FLOWERS (1965) (Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. Red were the flowers Growing out of the ashes of war Searching for the sun That was there before Searching for the sun That was there Now it’s gone Red were the babes Asleep in the fires made by man Dreaming of the flowers That were there before Dreaming of the flowers That were there before Dreaming of the flowers That were there Now they’re gone How could mankind be so cruel To do this thing they’ve done The one sin God shall not forget Of the child that’s never Seen a flower grow And the flower that’s never Seen the sun, my son Our father Who art in heaven above Hallowed be a child’s love

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For the flower that’s never Seen the sun For the flower and the child Are one

RIDE STORMY WEATHER (aka I’M GONNA RUN) (rel. 1998; rec date unknown) (??) With Dino Valente. First released on THE MANY SIDES OF FRED NEIL (1998). Recording date unknown. Although the track is listed as ‘Ride Stormy Weather’ it instead seems to be ‘Ride Stormy Waters’.

Dino Valente (born Chester William “Chet” Powers, Jr., 7th October 1937 – 16th November 1994) was the lead singer of Quicksilver Messenger Service before pursuing a solo career, and then re-joining the band in 1970. One of his best known compositions is ‘Get Together’, recorded among others by The Youngbloods. In the early 1960s he often performed together with Fred Neil at the Café Wha? and other coffee houses in New York’s East Village. I’ve had trouble all my days – yeah Left my home in Oklahoma Place where I I was born and raised I wanna ride - I wanna ride Stormy waters Walk under the boardwalk/down beside by the rollin’ sea Let ‘em run, run round your whole world Just ain’t big enough for me – no Lord it ain’t Just ain’t big enough for me Columbus said he’ll kick ‘em in the ground Gather round me boys I believe the world is round Ride stormy waters Walk under the boardwalk/down beside by the rollin’ sea I wanna run around, around your world Just ain’t big enough for me Just ain’t big enough for me Ain’t got a shirt on my back Got no shoes on my feet Can’t go home this a-way No I can’t go home, can’t go home Can’t go home this a-way, brother No, I can’t go home this a-way Well I’m a man of constant sorrow I’ve had trouble All my days – yeah Left my home in Oklahoma Place where I was born and raised I wanna ride – I wanna ride Stormy waters Walk under the boardwalk/down beside by the rollin’ sea I’m gonna run round your whole life, baby Ain’t big enough for me – don’t you know it ain’t big enough Just ain’t big enough for me I wanna ride – I wanna ride Walkin’ on the boardwalk/down beside by the rollin’ sea Let me run round your whole world Just ain’t big enough Never was big enough Ain’t too big enough ain’t not big enough) Ain’t not big enough (ain’t not big enough) No it ain’t (no it ain’t big enough) Just ain’t big enough (no it ain’t big enough) I know it ain’t (no it ain’t big enough) No it ain’t (it ain’t big enough) Never will be (no it ain’t big enough) No it ain’t (won’t be big enough) ??? ain’t (ain’t big enough for) No it ain’t (ain’t big enough for) I wanna ride – I wanna ride Stormy waters Walk under the boardwalk/down beside by the rollin’ sea I’m gonna run round, round your world Never was big enough for me, babe Never was big enough for me I mean – big enough for me

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I’m a man of constant sorrow I have no trouble, all of my days Left my home in Oklahoma Where I was born, born, born - born and raised Now, Columbus said he’ll kick ‘em in the ground Gather round me boys I believe the world is round Ride stormy waters Walk under the boardwalk by the rollin’ sea I’m gonna run round your whole world now I’m-a runnin’ on ‘round your whole world Gonna run I’m gonna run round I’m gonna run round I’m gonna run round Ride stormy waters Walk under the boardwalk/down beside by the rollin’ sea Let me run round your whole damn world Never was big enough Can’t get big enough Never was big enough Never was (never was big enough) Never was (never was big enough) Never was (never was big enough) Never was (never was big enough) Never was (never was big enough) Never was (never was big enough) Never was Never was Ain’t big enough Can’t be Can’t Can’t

ROLL ON ROSIE (1967) (Fred Neil) From the 1967 Capitol album SESSIONS. The musicians for the SESSIONS album were Fred Neil - vocals & acoustic guitar; James E. (Chops) Bond Jr. - stand up bass; Chris Faryar - acoustic guitar; Bruce Langhorn - acoustic guitar; Peter D. Childs - acoustic guitar; Eric Glen Hord - acoustic guitar. Produced by Nik Venet.

A live version, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), was released on OTHER SIDE OF THIS LIFE, in which he mixes in parts of ‘Linin’ Track’. Produced by Howard L. Solomon. Lyrics below are from the SESSIONS version. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL. You better be my woman, Rosie I’m gonna your man, now You better be my woman, Rosie I’m gonna your man Every day be Sunday dollar Rosie, in your hand Roll on Rosie (Come on, Bruce) Roll on gal Roll on Rosie Roll on gal Be my woman, gal, I’ll be your man Well now be my woman, gal I’ll be your man Every day is a Sunday dollar In your hand Well-a, every day is a Sunday dollar Yeah, in your hand Roll on Rosie Roll on gal Roll on Rosie Roll on gal Roll on Rosie Roll on gal Roll on Rosie Roll on gal

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Keep that promise woman That you made me Well-a, keep that promise gal, that You made me Well-a, sayin’ anything about cha I’ll go free Well-a, sayin’ anything about cha I’ll go free Well now, Roll on Rosie Roll on gal Come on in Roll on Rosie Roll on Rosie Roll on Rosie Roll on Rosie You better be my woman I’ll be your man Be my woman, gal I’ll be your man Every day’s a Sunday dollar In your hand Every day’s a Sunday dollar In your hand - ya Be my woman, Rosie I’ll be your man Well, be my woman Rosie I’ll be your man Be my woman, Rosie I’ll be your man Well, be my woman Rosie I’ll be your man Be my honey Every day’s Sunday dollar In your hand Well now, every day’s Sunday dollar In your hand ???? ???? Every day’s a Sunday dollar In your hand Every day’s a Sunday dollar In your hand Well-a, roll on Rosie Roll on gal Well now roll on Rosie Roll on gal Well, roll on Rosie Roll on gal Well now roll on Rosie Roll on gal Keep that promise that You made me Well now, keep that promise, gal That you made me Well, sayin’ anything about cha I’ll go free Well say you gonna marry me Roll on Rosie Roll on gal Roll on Rosie Roll on gal Roll on Rosie Roll on gal Roll on Rosie Roll on Rosie Roll on Rosie

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Roll on Rosie etc.

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SEND ME SOMEBODY TO LOVE see: PLEASE SEND ME SOMEBODY TO LOVE (1967)

SECRET, SECRET (1958) (Fred Neil) Released as Epic 5-9934, the B-side to ‘Love’s Funny’. Secret Secret I’ve got a secret Ohh-ooo Want you to know I love you, I love you Love you, love you Secret Secret Now it’s no secret I’ve got the ring And everything Coz I love you, I love you Mmmm I’m glad I’ve told you What was in my heart Now that we are one Well, we’ll never part Secret Secret Got another secret Ohh-ooo I know you know I love you, I love you Mmmm-mmmm Now that we are one We will never part Secret Secret Got another secret Ohh-ooo I’m glad you know I love you, I love you Love you, love you Oh I’ve got a secret

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SKY IS FALLING, THE (1963) (Fred Neil) Appeared on Hootenanny Live At The Bitter End on FM Records (FM/SFM-309). Later included on the 2004 Rev-Ola release THE SKY IS FALLING – The Complete Live Recordings 1963-1971. You know the sky is fallin’ And the rain keeps on pourin’ down Yeah sky is fallin’ And the rain keeps on pourin’ down I got those fallout blues The whole world-wide round The sky is fallin’ And the rain keeps on pourin’ down It ain’t the words that’s gonna hurt you When your baby says that you and she must part - mmm Ain’t the words that’s gonna hurt you When your baby says that you and she must part Ahh, well it’s all that love Leakin’ out your broken heart You know the sky is fallin’ And the rain keeps on pourin’ down Go ahead It ain’t the fall that’s gonna hurt you When a-you come a-tumblin’ to the ground It ain’t the fall that’s gonna hurt you When a-you come a-tumblin’ to the ground Oh it’s that sudden stop That’s gonna really spin your head around You know the sky is fallin’ And the rain keeps on pourin’ down I say the sky is fallin’ And the rain keeps on pourin’ down You know the sky is fallin’ And the rain keeps on pourin’ down I’ve got those fallout blues The whole wide-world round The sky’s fallin’ And the rain keeps on pourin’ down

SLIPPING AROUND (1960) (Floyd Tillman) Released as Epic 5-9403. B-side: ‘You Don’t Have To Be A Baby To Cry’. Arranged and conducted by Chuck Sagle. Floyd Tillman, 8th December 1914 – 22nd August 2003. Ya ya, ya ya Ya ya, ya ya Seems I always have to slip around (ya ya, ya ya) To be with you my dear (ya ya, ya ya) Slippin’ around (ya ya, ya ya) Afraid we might be found (o yeah, oh yeah) Now I know I can’t forget you (ya ya, ya ya) I just gotta have you near (ya ya, ya ya) But we just have to slip around (ya ya, ya ya) And live in constant fear I guess that I had it comin’ (ahhh…) And I don’t know what to do (…ahhh…) I know I made mistakes dear (…ahhh) But I’m so in love with you Well, now I hope, someday I’ll find a way (ya ya, ya ya) To bring you back to me (ya ya, ya ya) Then I won’t have to slip around (slip around) To have your company (yeah, yeah – yeah, yeah) Well now you’re tied to someone else I’m all tied up too I know I made mistakes dear

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But I’m still in love with you Well, now I hope, someday I’ll find a way (ya ya, ya ya) To bring you back to me (ya ya, ya ya) Then I won’t have to slip around (slip around) To have your company (ahhh) (Yeah, yeah – yeah, yeah Yeah)

SWEET COCAINE (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL.

In an interview Ric O’Barry (co-founder of The Dolphin Project, see pic) said: “He told me many times that he regretted recording ‘Cocaine’. It’s the only song that he wished that he had not recorded. He referred to coke as “the poison” and frequently talked about all the lives that he saw destroyed by cocaine.” I said cocaine Cocaine Runnin’ round my heart and my brain Ohh, bittersweet I say come on mama Come on quick Cocaine makin’ your poor boy so sick Yeah, bittersweet Go on with it Oh sweet mama Well, I thought you understood You got no connections Well, it’s just no good for me Hey, sweet cocaine I say cocaine Sweet cocaine Runnin’ round my heart Runnin’ round my brain Ah bittersweet Ah bittersweet Yeah sweet cocaine

SWEET MAMA (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Recut for Capitol and released on THE MANY SIDES OF FRED NEIL (1998) – recording date of that version unknown. Sweet mama Don’t be mean to me Well sweet baby Don’t be mean to me I’ve been waitin’ For such a doggone lonesome time For somebody just like you To change these blues of mine Sweet mama Don’t you turn me down Well sweet baby Don’t you turn me down Hey sweet mama Now don’t you turn me down You know I love you That’s why I keep hanging ‘round Sweet mama Don’t you treat me mean Go on with it

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I’ve been waitin’ For such a doggone lonesome time For somebody just like you To change these blues of mine Sweet mama Don’t you treat me mean Well, sweet mama I said sweet mama Woh sweet mama Yeah sweet mama

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TAKE ME BACK AGAIN (1959) (Arthur Altman/Charles Tobias) As Freddie and Friends released on Brunswick (9-55117) b/w ‘Listen Kitten’. Arthur Altman, 28th October 1910 – 18th January 1994; Charles Tobias, 15th August 1898 – 7th July 1970. Take me back again Tell me you’ll forgive me Take me back again Tell me you’ll forgive me (Tell me you’ll forgive me) Oh what joy you bring me (Oh what joy you bring me) Oh what joy you bring me (Oh what joy you bring me) If you stayed away There would be no light There would be no day There would be no night For me If you stayed away Since we’ve been apart Empty has my heart been Since we’ve been apart Empty has my heart been (Empty has my heart been) Only you can change it (Only you can change it) You alone can change it (You alone can change it) Say I’d knew you’d take You’d make no mistake I would dedicate Every breath I take For you, with only you Take me back again Take me back again Say I’d knew you’d take You’d make no mistake Oh, I would dedicate Every breath I take For you, with only you Take me back again Take me back again Take me back again

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TEAR DOWN THE WALLS (1965) (Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. Tear down the walls Listen to freedom singin’ out Tear down the walls Can’t you hear The church bells ringin’ out Give every man The chance to take his brother’s hand Tear down the walls Tear down the walls The music’s in the air Where every man is free The music’s everywhere That lights the torch of liberty Tear down the walls Can’t you hear the melody Tear down the walls One world in harmony Hear every man Singin’ over the land Tear down the walls Tear down the walls Tear down the walls Can’t you hear the melody Tear down the walls One world in harmony Hear every man Singin’ over the land Tear down the walls Tear down the walls

TENDER ECHO (1963) (George “Tip” Tipton/Blanco) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Come back, little tender echo You’re all there is left for me Don’t say, that your sweet voice is gone For I wait eternally If you need a voice with a roar I’ll call to the northern wind Speak loud, when you knock at the door For I wait eternally (wait eternally) You speak, but I just can’t hear This message you bring to me My love left without a word And I wait eternally (wait eternally) You speak, but I just can’t hear This message you bring to me My love left without a word And I wait eternally (wait eternally)

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THAT’S THE BAG I’M IN (1966) (Fred Neil) From the 1966 Capitol album FRED NEIL; released as a single (2256) c/w ‘Everybody’s Talkin’’ in 1968. Musicians for the FRED NEIL album were: Fred Neil – rhythm, electric, mumbles, finger snaps & vocals; Peter (Superfingers) Childs – lead acoustic, electric & rhythm guitar; James e. (Chops) Bond, Jr. – stand-up bass; John T. Forsha – acoustic rhythm, acoustic & electric 12-string guitar; Al Wilson – harp; Billy Mundi – crash, cymbals, tambourine, bass, drum & drums; Cyrus Faryar – magic, bouzouki, rhythm guitar; Rusty Faryar – finger cymbals, UFO & friend, sings along; Nik Venet – lightning, thunder. Produced by Nik Venet. Production coordination – Norma Sharp. Engineers – John Kraus and Pete Abbott.

A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monti Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL. I burned my fingers on the coffee pot Toast was cold and the orange juice was hot I should start over but you know I’d rather not Same thing gonna happen again When that’s the bag you’re in You know last night as I was walking down the street Whistling the blues to the tappin’ of my feet Some ol’ cranks called the cops on the beat It’ll happen every time Every morning when I get up I miss my connections and I’m late for work again You know they’ll probably drop the atom bomb the day my ship comes in I dasn’t bet a nickel cause I’d get paid off in yen Sometimes you just can’t win When that’s the bag you’re in Go on… Jukebox playin’ the same old melody Keep on bringin’ back those blue memories You know this evil feeling’s gonna be the death of me I think I’m goin’ out of my mind Every morning when I get up I burn my fingers on the pot Toast is cold and the orange juice is hot I should start over but you know I’d rather not Same thing again That’s the bag I’m in Ahh that’s the kinda bag I’m in I’ll never get out of these blues alive ‘Cause that’s the bag I’m in Aw

TOY BALLOON (1965) (Vince Martin) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. Pic shows Vince Martin on the left, Fred Neil on the right. This is a song about a kid The sun’s a ten cent toy balloon Hangin’ in the sky Watchin’ all the people down below Goin’ by The moon’s a ten cent lollipop Hey, make it stop I’m gettin’ dizzy I’m gettin’ dizzy His mother and father answered We’re too busy We’re too busy Well, now the kids goes up to his room Sits by his window And he starts to think Someday I’ll be a man Maybe fifty-three Then everybody will listen to me Even my mommy and my daddy

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Will listen to me when I’m fifty-three But I wonder Will the sun watch all the people goin’ by Will the moon still hang in the sky When I die When I die

TRAVELIN’ SHOES (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. You know too many people Too many times Keep complainin’ too much About their troubled minds You know so many people Just itching to speak You know a very few practicin’ The things that they’re preachin’ now Travelin’ shoes Travelin’ shoes Can’t seem to lose These weary blues I’m gonna go get ‘em My travelin’ shoes You know some people think They know me quite well While there are some folks a-thinkin’ My soul’s going to hell And they’re right Well there’s them that do you know There’s them that don’t There’s a few left that will You know there’s some that won’t now Travelin’ shoes Travelin’ shoes Can’t seem to lose These weary blues I’m gonna go get ‘em My ramblin’ shoes – go on Too many people, too many times Keep complainin’ too much about Their troubled minds You know so many people Just itching to speak You know a very few practicin’ The things that they’re preachin’ now Travelin’ shoes Travelin’ shoes Can’t seem to lose These weary blues I’m gonna go get ‘em My travelin’ Go get a My ramblin’ Go get a My travelin’ shoes

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TRAV’LIN MAN (1958) (Fred Neil) Second single on ABC-Paramount, 9935, as Freddie Neil in doo-wop style. A-side: ‘Heartbreak Bound’. Well, some people love life, they stay home Hang on to everything they can But I want you to know – before I go That I’m a travelin’ man, man, man Travelin’ man (woooo-oooo) Travelin’ man (woooo-oooo) Well, ???? hop the freight train (woooo-oooo) Tryin’ to get around best you can (woooo-oooo) Yeah but one’s thing for certain When the Lord close the curtain That’s the end of the travelin’ man, man, man (oooo) Travelin’ man (doo-wat, doo-wat) Travelin’ man (doo-wat, doo-wat) Well, a piece of advice ‘fore I leave, friend (doo-wat, doo-wat) One thing you’ve got to understand (doo-wat, doo-wat) Well I got no chains to bind me (doo-wha, oooo) No I leave all that behind me Born to be a travelin’ man (ooooo, doo-wat) Travelin’ man, man, man (doo-wat, doo-wat) Travelin’ man (doo-wat, doo-wat) Now when I die I hope I’ll go to heaven (doo-wat, doo-wat) At times I’m not so sure where I’m bound (doo-wha, oooo) Yeah but when I leave this world You know I loved that girl When they put me in, the cold cold ground (woooo-oooo, woooo-oooo) Yeah ????? (Doo-wat, doo-wat) (Doo-wat, doo-wat) Well my time’s runnin’ out, got to leave friend (doo-wat, doo-wat) One thing you’ve got to understand (doo-wha, oooo) Well, don’t ever give your hear To a girl who thinks she’s smart You’ll become a travelin’ man, man, man (doo-wat, doo-wat) (doo-wat, doo-wat) Well well, a-clickety-clack (doo-wat, doo-wat) Movin’ down the track (doo-wat, doo-wat) Bop, baby, never comin’ back, back (doo-wat, doo-wat) Clickety-clack (doo-wat, doo-wat) Movin’ down the track (doo-wat, doo-wat) Bop, baby, never goin’ back, back (doo-wat, doo-wat)……

TROUBLE IN MIND (rel. 1998; rec date unknown) (Richard M. Jones) First released on THE MANY SIDES OF FRED NEIL (1998). Recording date unknown. The song was an early blues standard, first recorded in 1924 by Thelma La Vizzo with composer Jones providing the piano accompaniment. Later, it was a Billboard R&B chart hit for Dinah Washington (#4 in 1952) and Nina Simone (#11 in 1961 and #92 in the pop chart). In many versions several new verses are added. Richard Marigny Jones, 13th June 1892 – 8th December 1945.

Trouble on my mind and I’m blue But you know I won’t be blue always Sun’s bound to shine ‘Round my back door someday I’m goin’ down to the riverside Gonna take along my rockin’ chair If the blues don’t leave me I’m gonna rock on away from here Oh yeah, it’s way after midnight See dawn’s light, my lamp’s burnin’ low I never knew This kind of blues in my life before I’m goin’ down now to the river Gonna try it, just one more time If the blues don’t leave me alone Gonna ease this mind

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I’m gonna lay my weary head Down on some lonesome railroad line Let that 2:19 Tranquilise my worried? mind They keep talkin’ ‘bout a town called Abilene Abilene Prettiest town, ever seen They say the fuzz there don’t treat you mean In Abilene Do it Bruce, come on Yeah Trouble’s on my mind and I’m blue I won’t be blue always Sun’s ‘bout to shine Yeah, sun’s ‘bout to shine Sun’s about to shine in everybody’s backdoor sometime Wait ‘til it gets around to mine someday

U___________________________________________ None.

V___________________________________________ None.

W__________________________________________

WATER IS WIDE, THE (1965) (Trad. arr. Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. Released as a single on Elektra (EKSN 45036) in 1968 c/w ‘Candy Man’. The water is wide And I cannot cross over Nor do I Have wings to fly Build me a boat That could carry two And both shall row My love and I There is a ship And she sails the sea She’s burdened deep As deep can be But not as deep As the love I’m in And I know not if I sink or swim But love is gentle And love is kind As to a jewel When first it’s new But love grows old And it fades with time And it fades away Like morning dew Build me a boat That could carry two And both shall row My love and I My love and I My love and I

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WEARY BLUES (1965) (Artie Matthews) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild.

‘Weary Blues’ is a tune from 1915, first recorded as a jazz number by Yellow Nunez and the Louisiana Five in 1919. It is a multi-strain ragtime rather than a conventional blues, but many raggy numbers at the time were published with ‘Blues’ in the title. Louis Armstrong, Sidney Bechet and most recently Madeleine Peyroux. are just a few people who have recorded the tune. Artie Matthews, 15th November 1888 – 25th October 1958. Weary blues from waitin’ Lord, I’ve been waitin’ too long These blues have got me cryin’ Sweet mama, please come on home now Through tears I watch young lovers As they go strollin’ by God knows the things That might have been God forgive me if, if I cry Weary blues from waitin’ Lord, I’ve been waitin’ too long These blues have got me cryin’ Sweet mama, please come on home The snow falls round my window It can’t chill my heart It died the day you went away And my dreamworld fell apart Weary blues Weary, weary blues from waitin’ Lord, I’ve been waitin’ too long These blues have got me cryin’ Sweet mama, please come on home now Won’t you please come on home now Won’t you please come on home

WHY WASN’T I MADE OF STONE (1963) (Cheatham/Cheatham/Lee) From the album Moanin’ n’ Groanin’ by Tip & Tinker with Charlie Scott (that is George “Tip” Tipton and Joseph “Tinker” Lewis). We understand that Fred Neil contributed to three tracks on this album but it is not clear which three and we have thus included all of them. Any more information on the details regarding each track would be very welcome, particularly that relating to Fred Neil. Why wasn’t I made of stone Why wasn’t I made of stone Why wasn’t I made of stone Oh my dear I was happy Now you’re gone Oh my dear I was happy But I’m all alone You’re gone (gone, gone) Oh yes, you’re gone (yes, you’re gone) So why wasn’t I made of stone You’re gone away You’ve been gone So long If you hear me Please come on Back home I was wrong (wrong, wrong) Oh I was wrong So why wasn’t I made of stone If I, was just a stone (hoo-ooo) Standing on a high mountain (hoo-oo) Can you see I’d thank my God (yes, I’d thank my God) I’d thank my God (I’d thank my God) I will be free

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I miss you Miss you more And more You’re the one You’re the one That I adore You’re gone (gone, gone) Oh yes, you’re gone (yes, you’re gone) So why wasn’t I made of stone So why wasn’t I made of stone So why wasn’t I made of stone So why wasn’t I made of stone

WILD CHILD IN A WORLD OF TROUBLE (1965) (Fred Neil) From the 1965 Elektra album TEAR DOWN THE WALLS – Vince Martin & Fred Neil. Assisting musicians: Felix Pappalardi on guitarron; John Sebastian on mouth harp. Production supervisor: Jac Holzman. Recording director: Paul A. Rothchild. Engineering: Mastertone Studios, N.Y.C. Wild child’s in a world of trouble Quiet child’s in a world of pain Lost child’s in a world of sorrow Searchin’ children in a world of shame Searchin’ children in a world of shame There’s been a world of trouble Way before I came here World of trouble way before then There’ll be a world of trouble After I’m gone ‘Cause it’s a world of trouble They’ll bury me in Wild child’s in a world of trouble now Quiet child’s in a world of pain Lost child’s in a world of sorrow Searchin’ children in a world of shame Searchin’ children in a world of shame Wild child’s in a world of trouble now Wild child’s in a world of trouble now Wild child’s in a world of trouble now

X___________________________________________ None.

Y___________________________________________

YA DON’T MISS YOUR WATER (1971) (Trad. Arr. by Fred Neil) A live version of this track, recorded at The Elephant, Woodstock, N.Y., with Monte Dunn (session guitarist who supplied musical accompaniment for several Greenwich Village-based singer-songwriters of the 1960s), appears the 1971 album OTHER SIDE OF THIS LIFE. Produced by Howard L. Solomon. It is also on the 1998 CD THE MANY SIDES OF FRED NEIL.

On this track, which was first recorded by William Bell in 1961, Fred Neil duets with Gram Parsons who also plays the piano. In the beginning You really loved me But I was blind And I could not see But when you left me Oh, how I cried You don’t miss your water Till your well runs dry I was a playboy I could not be true I couldn’t believe That I really loved you But when you left me Oh, how I cried You don’t miss your water Till your well runs dry You don’t miss your water

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Till your well runs dry

YONDER COMES THE BLUES (1965) (Fred Neil) From the 1965 Elektra album BLEECKER & MACDOUGAL. Musicians: Pete Childs – 2nd guitar and dobro; John Sebastian – harmonica; Felix Pappalardi or Douglas Hatlelid – bass. Producer: Paul A. Rothchild. Production supervisor: Jac Holzman. Engineering: Mastertone Studios, N.Y.C. A terrific live version with slightly different lyrics and alternately titled ‘Raindrops Falling Down’ (see that entry) recorded at The Bitter End appears on the 1963 release of the LP A Rootin’ Tootin’ Hootenanny which is also included on 2004’s THE SKY IS FALLING. Picture shows Fred Neil and John Sebastian at the Montreux Jazz Festival, 11th July 1975. Raindrops falling on a roof of tin Who, bad news Roof keeps leaking the rain pours in I guess I’m payin’ my dues Look over yonder now Tell me what do you see Yonder comes the blues Runnin’ after me It keeps on rainin’ all the time Sometimes out but mostly in I’ve been waitin’ for that sun to shine Oh since I can’t recall when Look over yonder Tell me what do you see Yonder come the blues Runnin’ after me If your sweet mama treats you right I think you’d better take my advise Don’t go pussy-footing late at night I know you better think twice You’re gonna look over your shoulder You know I’m telling you true Yonder comes the blues Dressed in high heel shoes Yonder comes the blues Running after you

YOU AIN’T TREATIN’ ME RIGHT (1957) (Fred Neil) First single on Look (Y-1002) b/w ‘Don’t Put The Blame On Me’, released 28th October 1957. Well, come on baby Let’s rock-a tonight Yeah come on baby, baby, baby, baby, baby Let’s rock-a tonight And know I love you But you ain’t treatin’ me right Well, come on baby (baby baby can’t you treat me right) You know my love for you (baby, baby, can’t you treat me right) Yeah, come on baby, baby, baby (ahhh…) You know my love for you (…ahhh…) Well I’m crazy about you baby (…ahhh) Why do you do me like you do (you ain’t treatin’ me, treatin’ me right) Let’s rock it and-a rock (rock and rock, rock, rock) Let’s roll it and-a roll (roll, roll) Let’s-a rock, rock, rock (rock, rock, rock) Yeah roll, roll, roll (roll, roll) You’re gonna rock and roll (ahhh) Save your doggone soul Yeah (doo-da-wop, doo-da-wop, doo-da-wah-dee-wop) (doo-da-wop, doo-da-wop, doo-da-wah-dee-wop) (doo-da-wop, doo-da-wop, doo-da-wah-dee-wop) (doo-da-wop, doo-da-wop, doo-da-wah-dee-wop) (ahhhhhh) (Doo-da-wop, doo-da-wop) Well, come on baby You know my love for you

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Yeah, come on baby, baby, baby, baby, baby Know my love for you Well I’m crazy about you baby Why do you do me like you do (you ain’t treatin’ me, treatin’ me right) Let’s rock it and-a rock (rock and rock, rock, rock) Let’s roll it and-a roll (roll, roll) Let’s rock, rock, rock (rock, rock, rock) Yeah roll, roll, roll (well let’s roll - roll, roll) You’re gonna rock and roll (ahhh) You say not tonight But you ain’t treating me right (you ain’t treatin’ me, treatin’ me right)

YOU DON’T HAVE TO BE A BABY TO CRY (1965) (Bob Merrill/Terry Shand) His fifth single on Epic (5-9403). A-side: ‘Slippin’ Around’. Arranged and conducted by Chuck Sagle. The song was originally recorded by Moon Mullican, Ernest Tubb and Jimmy Dorsey in 1950. A British girl duo, The Caravelles, then covered it in 1963 and took it to #3 on the Billboard Hot 100 chart. Bob Merrill, 17th May 1921 – 17th February 17, 1998; Terry Shand, 1st October 1904 - ??. (Cry baby, cry baby) (Cry baby, cry) Well, you don’t have to be a baby to cry All you need is for love to go wrong Mmm, you don’t have to be a baby to cry (cry baby, cry baby, cry baby, cry baby) Or to lie awake the whole night long (cry baby, cry baby, cry baby, cry) Well, when you leave me (ahhh…) My golden rainbow disappears (…ahhh…) And you leave me (…ahhh…) A broken heart that’s full of tears (…ahhh) These ain’t raindrops in my eyes, why should I lie (cry baby, cry baby, cry baby, cry baby) You don’t have to be a ba-ba-baby to cry (cry baby – cry baby, cry) Well, when you leave me (ahhh…) My golden rainbow disappears (…ahhh…) And you leave me (…ahhh…) A broken heart that’s full of tears (…ahhh) Well, these ain’t raindrops in my eyes, why should I lie (cry baby, cry baby, cry baby, cry baby) You don’t have to be a ba-ba-baby to cry (cry baby – cry baby, cry) Baby to cry Well, a baby to cry Ohhhhhh – yeah, now (ohhhh - yeah now)

Z___________________________________________ None.

The Fred Neil Lyric List was first issued February 2014.

Robin & Chrissie Sackful O’Rock, Country, Folk, Soul & Blues

http://robindunnmusic.wordpress.com/