Fake THIS IS ROCK 'N' ROLL RADIO Playlist: Another Side Of The One-Hit Wonders

This Is Rock 'n' Roll Radio with Dana & Carl is simply too large a concept to be neatly contained within a mere three-hour weekly time slot. Hence these occasional fake TIRnRR playlists, detailing shows we're never really going to do...but could.


One-hit wonders. It's a very common story.

--Andrew White, Play-Tone Records A& R, 1964

That Thing You Do!'s Mr. White and his boys The Wonders (nee The One-ders) were fictional, but White was right: the one-hit wonder is indeed a very common story. Frankie Ford bristled at the description, but it's not always intended as a pejorative; "Sea Cruise" was Ford's only hit, but it wasn't the only worthy record that he cut, and the same could be said of many other artists whom pop history remembers as one-hit wonders.

For this fake TIRnRR playlist, we've assembled a selection of slightly (or more so) lesser-known tracks by artists whom the general public would probably only associate with one hit and one hit only. To determine who was or wasn't a one-hit wonder here, we're going with a kind of hybrid definition. A U.S. one-hit wonder is generally understood to be an act who scored one single on Billboard's Top 40, and never troubled the Top 40 again. But that definition would include acts like Jimi Hendrix Experience, The Grateful Dead, and Frank Zappa, and no one in their right mind would lump any of those guys alongside your Singing Nun or your Right Said Fred. And then there are acts who may have had more than one Top 40 hit, but the public really only remembers one of 'em. Since this is all in fun anyway, we're playing pretty fast 'n' loose with dem rules, man.

And the general public's memory can be tricky. Many folks recall, say, The Romantics as a one-hit wonder for "What I Like About You," which didn't even make the Top 40; "Talking In Your Sleep" and "One In A Million" were The Romantics' Top 40 hits. Some would argue (with justification) against considering Lulu or Katrina & the Waves, both of whom had minor hits beyond their big smashes, but c'mon--most people only know "To Sir, With Love" and "Walking On Sunshine" respectively, and don't remember Lulu's "Oh Me Oh My (I'm A Fool For You Baby)" (# 22) or "I Could Never Miss You (More Than I Do)" (# 18), nor Katrina & the Waves' fab "Do You Want Crying" (# 37).

The Knickerbockers, The Bobby Fuller Four and The Easybeats are my three favorite examples of one-hit wonders who deserved a string of Billboard smashes instead. But "Lies" was The Knickerbockers' only big hit ("One Track Mind" just missed the Top 40); The Easybeats grazed the low end of the Top 40 with "St. Louis," and the BF4 had a regional hit with "Let Her Dance" and scraped into the Top 40 with a cover of Buddy Holly's "Love's Made A Fool Of You," but "Friday On  My Mind" and "I Fought The Law" were respectively the only Easybeats and BF4 songs as far as the masses were concerned. To honor these three coulda-shoulda-wouldas, we close this phony playlist with an extended set of only The Knickerbockers, The Bobby Fuller Four, and The Easybeats..

(And we further honor one-hit wonders with a spin of a lesser-known track by the greatest fictional one-hit Wonders of all time. It's that thing we do. You're right, Mr. White: It's a very common story.)

This Is Rock 'n' Roll Radio with Dana & Carl--y'know, the real one--plays Sunday nights from 9 to Midnight Eastern, on the air in Syracuse on The Spark WSPJ-LP 103.3 and 93.7, and on the web at http://sparksyracuse.org/

Spark Syracuse is supported by listeners like you. Tax-deductible donations are welcome at http://sparksyracuse.org/support/

You can follow Carl's daily blog Boppin' (Like The Hip Folks Do) at 
https://carlcafarelli.blogspot.com/

Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes, Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.

Fake TIRnRR Playlist: Another Side Of The One-Hit Wonders
[Entry in brackets notes the act's better-known One Hit]

THE FIRST CLASS: Wake Up America ["Beach Baby"]
--
THE SHOCKING BLUE: Send Me A Postcard ["Venus"]
THE SWINGING BLUE JEANS: What Can I Do Today ["Hippy Hippy Shake"]
THE EQUALS: Police On My Back ["Baby Come Back"]
TONI BASIL: I'm 28 ["Mickey"]
TRACEY ULLMAN: Breakaway ["They Don't Know"]
THE BOBBY FULLER FOUR: Another Sad And Lonely Night ["I Fought The Law"]
--
THE KNICKERBOCKERS: They Ran For Their Lives ["Lies"]
THE CONTOURS: It's So Hard Being A Loser ["Do You Love Me"]
JIGSAW: Lollipop And Goody Man ["Sky High"]
STEALERS WHEEL: Everyone's Agreed That Everything Will Work Out Fine ["Stuck In The Middle'}
BROWNSVILLE STATION: Let Your Yeah Be Yeah ["Smokin' In The Boy's Room"]
SUZI QUATRO: Tear Me Apart ["Stumblin' In" (with Chris Norman)]
--
WE FIVE: If I Were Alone ["You Were On My Mind'}
MICHAEL NESMITH & THE FIRST NATIONAL BAND: Silver Moon ["Joanne"]
THE DWIGHT TWILLEY BAND: You Were So Warm ["I'm On Fire"]
THE BUGGLES: Living In The Plastic Age ["Video Killed The Radio Star"]
TOMMY TUTONE: Get Around Girl ["867-5309/Jenny"]
ZAGER & EVANS: Cary Lynn Javes ["In The Year 2525"]
--
THE WONDERS: Little Wild One ["That Thing You Do!"]
FOUNTAINS OF WAYNE: The Girl I Can't Forget ["Stacy's Mom"]
THE EXCITERS: Do Wah Diddy ["Tell Him"]
NAZARETH: Holiday ["Love Hurts"]
BOW WOW WOW: C30, C60, C90, Go! ["I Want Candy"]
CILLA BLACK: Step Inside Love ["You're My World"]
--
YVONNE ELLIMAN: I Can't Explain ["If I Can't Have You"]
PILOT: January ["Magic"]
KATRINA & THE WAVES: Red Wine And Whiskey ["Walking On Sunshine"]
THE GENTRYS: Cinnamon Girl ["Keep On Dancing]
LULU: I'll Come Running
A FLOCK OF SEAGULLS: Telecommunication ["I Ran"]
--
STORIES: Please, Please ["Brother Louie"]
THE STANDELLS: Sometimes Good Guys Don't Wear White ["Dirty Water"]
IRON BUTTERFLY: Unconscious Power ["In-A-Gadda-Da-Vida"]
THE FIVE STAIRSTEPS: World Of Fantasy ["O-o-h Child"]
DORIS TROY: I'll Do Anything (He Wants Me To) ["Just One Look"]
TAL BACHMAN: If You Sleep ["She's So High"]
--
THE VAPORS: Waiting For The Weekend ["Turning Japanese"]
THE CASCADES: Cheryl's Goin Home ["Rhythm Of The Rain"]
THE HUMAN BEINZ: Turn On Your Love Light ["Nobody But Me"]
FRANKIE FORD: Roberta ["Sea Cruise"]
THE CAPITOLS: Ain't That Terrible ["Cool Jerk"]
THE EASYBEATS: Sorry ["Friday On My Mind"]
--
THE BOBBY FULLER FOUR: Fool Of Love
THE KNICKERBOCKERS: I Must Be Doing Something Right
THE EASYBEATS: Made My Bed (Gonna Lie In It)
THE BOBBY FULLER FOUR: Never To Be Forgotten
THE KNICKERBOCKERS: Rumors Gossip Words Untrue
THE EASYBEATS: She's So Fine
THE BOBBY FULLER FOUR: Only When I Dream
THE KNICKERBOCKERS: High On Love
THE EASYBEATS: St. Louis
THE BOBBY FULLER FOUR: Let Her Dance
THE KNICKERBOCKERS: One Track Mind
THE EASYBEATS: Good Times
THE CHANTAYS: Monsoon ["Pipeline"]

"Depart, Harlan!" Said The Ticktockworld

"Hitler Painted Roses." "Jeffty Is Five." "Daniel White For The Greater Good." "The Whimper Of Whipped Dogs." "Lonelyache." "All The Lies That Are My Life." "The City On The Edge Of Forever." "'Repent, Harlequin!' Said The Ticktockman."

I cannot eulogize Harlan Ellison. I can't.

It's not that I've been reading up on his work lately, nor that I've forgotten what I've already read. Ellison's importance to me is beyond measure, beyond my meager ability to detail, to chronicle...to just fucking write. His work was everything to me. I can't believe he's gone.

As much as The Beatles have meant to me, the fact that I was never a musician placed a limit on how directly they could influence what I was capable of creating. As a writer, Harlan Ellison was my Beatles.

In 1975, when I was a fifteen year old suburban misfit, lonely and out of place, I read my first Harlan Ellison book, a short story collection called Paingod And Other Delusions. I already knew I wanted to become a writer. But everything--everydamnedthing--I wrote from that point forward has been affected by Ellison. I can say that without exaggeration, because that's the nonpareil impact his stuff had on me immediately. Fiction, nonfiction, all of it. It was a model for whatever I might be able to do, in any imagined, fantastical circumstance. It wasn't even just the writing (though that would have been plenty, believe thee me); it was his attitude, his self-confidence, his sneering faith in the uncompromising power of standing ground, fighting back, remaining true to a dangerous vision that the blind fools cannot see, because they're chuckleheads. In high school, I wrote an Ellison-inspired poem to a girl I wanted to ask out; she turned me down, sure, but I couldn't even have taken that step before Ellison lit a goddamned spark deep in my soul. Soon, there were girls who didn't turn me down anymore, as I heeded Ellison's advice to think pretty, as action followed belief, as I wrote myself into a better storyline than the tired script I'd been handed.

I tried to be Harlan Ellison. I failed at it, but I failed with distinction, with style! I took apart Ellison's short story "Lonelyache," reconfigured it as a suicide note disguised as a short story of my own, and found the experience cathartic (and not quite plagiaristic). My failures built all the lies that are my life...but in a good way. I couldn't be Harlan Ellison. I couldn't write as well--no one could--and I couldn't write as quickly nor as off-the-cuff. But the act of trying made me a better writer, a faster thinker, a more adventurous craftsmen, a more precise dreamer.

I wrote. I wanted to be a writer, and Ellison said you ain't no writer if you don't write, ya shiftless crazy fuckhead. So I wrote. And I read. And I wrote more. I immersed myself in Ellison's work, especially the Pyramid Books paperbacks I purchased brand-new and whatever older tomes I could pry out of the dusty recesses of the dingy basement at Economy Bookstore. I saw him speak at Syracuse University while I was still in high school, and he autographed my copy of No Doors, No Windows.



I copied Ellison, and tried to make his inspiration into my own. Of all my favorite writers, from Steinbeck to Spillane, Dashiell Hammett to John Irving, the combination of all of them could not match the sheer enormity of Ellison's effect on whatever I hoped to become. As a writer. As a person. As a harlequin, bedeviling a Ticktockman.

Harlan Ellison often quoted Irwin Shaw's description of the writer's job: to report "where I think I am, and what this place looks like today." This place looks like hell, people, and the smell is some unholy mix of sulphur and month-old lox. But we're still here, so we're still going to tell you about it. It's what Harlan Ellison did. Repent? Get stuffed. Stick that in your ticktock, man. Approaching oblivion, alone against tomorrow, but to hell with all of that. Harlan Ellison says we have work to do. Are you a writer? Then write, God damn you. Write.

100-Page FAKES! presents: THE SANDMAN # 1

100-Page FAKES! imagines mid-1970s DC 100-Page Super Spectaculars that never were...but should have been!



What an odd series this was. The Sandman # 1 was intended to be a one-shot special in 1974, reuniting the legendary creative team of Joe Simon and Jack Kirby on a brand-new creation, the first time this mighty duo had worked together in years. It was also their final collaboration, and was perhaps not quite the equal of such previous creations as Boys' Ranch, the Golden Age Sandman, Boy Commandos, the romance comics genre, and some obscure superhero called Captain America. Hmmm. Wonder whatever happened to that guy...?

The Sandman was a quaint throwback to Simon & Kirby's glory days, and it was decidedly out of step with the comics scene of the '70s. It never had a chance, and it wasn't really supposed to have a chance--it was a one-shot. But some glitch in sales reports led DC Comics' management to believe The Sandman # 1 was an unexpected breakout hit, prompting the decision to continue the series. Neither Simon nor Kirby was available for that, though Kirby did continue as cover artist. Michael Fleisher took over as the writer with The Sandman # 2, with Ernie Chua as penciller and frequent Kirby collaborator Mike Royer returning to provide continuity on inks. Kirby came back to pencil The Sandman # 4-6, plus an originally unpublished seventh issue. That was it for the master of dreams.

So now it's our turn to dream. What if that one-shot Simon & Kirby Sandman had been a 100-Page Super Spectacular? If that had happened, the obvious choice would have been to fill in the reprint selections with some classic Simon & Kirby.

At the time of The Sandman # 1, DC was already reprinting stories from S & K's 1950s horror series Black Magic as a separate title, so it makes sense to include a Black Magic piece in this 100-page Simon & Kirby Super Spectacular. It also makes sense to include some Golden Age exploits of the original Sandman, a character I first knew from appearances in Justice League-Justice Society team-ups, but whose 1940s Simon & Kirby adventures I experienced via reprints in Kirby's Forever People. What else? Oh, The Boy Commandos (familiar to me from reprints in Kirby's Mister Miracle) and The Newsboy Legion (which had been reprinted in some Kirby issues of Superman's Pal Jimmy Olsen). Manhunter (fresh from reprints in Kirby's New Gods) would have been a natural fit, but I wanted to save room for a Golden Age Simon & Kirby artifact DC wasn't reprinting at the time.

And that would be the original Captain Marvel.

Now, S & K's lone stab at chronicling the exploits of the World's Mightiest Mortal would not be among the all-time greats of Captain Marvel stories or Simon & Kirby stories. It was, after all, just a quickly-executed task that Joe 'n' Jack pulled off when Fawcett Comics needed material fast to capitalize on the bourgeoning popularity of the star of Whiz Comics and fill a new all-Cap title, Captain Marvel Adventures # 1. But man, it's comics history, and I woulda just ached to see it reprinted when I was 14.

I considered a lot of other material, too. In this fanciful Boppinverse, we could have imagined DC licensing Simon & Kirby's Boys' Ranch to include the story "Mother Delilah" in this Super Spec, and I would have bumped one of the Golden Age Sandman stories if I had a Boys' Ranch scan handy. I also considered two series Kirby worked on without Simon--Green Arrow and Challengers Of The Unknown--but I didn't have a scan of the former and I thought the latter took up too much space. No; I'm good with the choices I made.

The Black Magic and Captain Marvel Adventures stories are in the public domain, so those can be shared publicly. The rest can only be hinted at here via sample pages, though I share the complete contents with my subscribers. Here's what we have:

The Sandman (untitled), The Sandman # 1 (Winter 1974)
Golden Age Sandman and Sandy in "Courage A La Carte," Adventure Comics # 91 (April-May 1944)
"Dead Man's Load!," Black Magic Volume 2 # 4 (March 1952)
The Newsboy Legion in "Playmates Of Peril!," Star Spangled Comics # 15 (December 1942)
Captain Marvel (untitled), Captain Marvel Adventures # 1 (March 1941)
The Boy Commandos in "The Siege Of Troy!," Boy Commandos # 3 (Summer 1943)
Golden Age Sandman and Sandy in "The Man Who Knew All The Answers!," Adventure Comics # 74 (May 1942)

And now: don't dream it; be it. Sweet dreams are made of this. Here's a 100-Page Super Spectacular version of The Sandman # 1.

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes,Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.












COVER GALLERY

THE GREATEST RECORD EVER MADE: "Beg, Borrow And Steal"

An infinite number of rockin' pop records can be the greatest record ever made, as long as they take turns. Today, this is THE GREATEST RECORD EVER MADE!


THE RARE BREED: "Beg, Borrow And Steal"

Its origin is not exactly a mystery. But the story's a little bit complicated.

Today's not Friday, but we'll start with just the facts, ma'am: "Beg, Borrow And Steal" was the first single credited to future bubblegum stars The Ohio Express, and it was a minor (# 29) hit in 1967. At the time of its release and modest chart ascension, the band credited with its performance did not yet exist under its famous name; in '67, the soon-to-be Express were still based in Mansfield, Ohio, and playing under the name Sir Timothy & the Royals. And none of the members of the Royals/Express had anything whatsoever to do with this record.

More facts:  "Beg, Borrow And Steal" was a regional hit in 1966 for The Rare Breed. The Rare Breed's single did not make Billboard's Hot 100. But it was the exact same recording that became a # 29 hit the following year for "The Ohio Express."

Not just the same arrangement, the same instrumentation, nor even just the same personnel. It was The Rare Breed's recording, now credited to The Ohio Express.




Complicated. But those are the facts.

Facts may mingle freely with speculation for the remainder of our story, so proceed with caution. Wikipedia's biography of The Ohio Express says that the members of The Rare Breed were from the Bronx, and I have no reason to doubt that. A terrific YouTube video posted, I dunno, nine years ago by musicians John Freno and Barry Stolnick--two of the guys who played on "Beg, Borrow And Steal"--tells some of the history of the song from their vantage point, and it's well worth a view. Go ahead, watch it. I'll wait here 'til you're done. I'll just hum to myself. There's only so much a man can take before his life turns into a tragedy, da da, da da da. So I'm gettin' out now while I can, 'cause I don't wanna crawl, I wanna walk out like a man....

Didja like it? Man, I loved it, and I'm fully prepared to accept their recollection as the Gospel according to The Rare Breed.

Anyway. This a-rockin' and a-rollin' entity we call The Rare Breed was involved with Super K Productions, which was Jerry Kasenetz and Jeff Katz. There was one more Rare Breed 45 ("Come And Take A Ride In My Boat," later covered to sales success by Every Mother's Son as "Come On Down To My Boat") before the paths of The Rare Breed and Super K diverged. The Rare Breed vanished entirely. Kasenetz and Katz did not.

So Jerry 'n' Jeff took this recording of "Beg, Borrow And Steal," this Rare Breed track that had been a shoulda-coulda-woulda release on the Attack label, dusted it off, maybe moved a needle or two (or not), slapped on a freshly fabricated name--The Staten Island Ferry? The Rock Island Line? Ah, I've got it! THE OHIO EXPRESS!--and sold it to Neil Bogart at Cameo Records. Its buzz and promise prompted a need for an actual band to play live dates to promote the damned thing. Enter those Buckeyes, Sir Timothy & the Royals. Hey, you Royals!, K & K must have said. You're The Ohio Express now! Congratulations, by the way. You may have a hit record on your hands. No, no need to thank us. Just get out there and play. Go! Sell some records! GO!!!

This was the start of The Ohio Express act we came to know. Well, sort of know. The act remained Super K puppets, rarely playing on their own records. Their second single was a cover of The Standells' "Try It." Their Beg, Borrow And Steal album includes a fantastic LP cut called "Had To Be Me," which I think may actually be the real Ohio Express, and it's a great rockin' pop track I hope more folks will discover. The Express and Super K then followed Neil Bogart from Cameo to his own new label Buddah Records; "Yummy, Yummy, Yummy" and bubblegum history would be made not long thereafter.



But what of "Beg, Borrow And Steal?" It became something of a forgotten record. As the bubble eventually burst for The Ohio Express, their snappin' hits entered the realm of oldies compilations, wadded and stuck under the desk alongside The 1910 Fruitgum Company (another Super K act). The Cameo tracks, including "Try It" and "Beg, Borrow And Steal," were omitted and ignored.

And they wound up belonging to Abkco. Allen Klein, one of the most incendiary hardasses in the long and storied saga of the music biz, assumed control of a great many pop catalogs, including the hits of The Animals, Herman's Hermits, portions of the careers of Sam Cooke, The Kinks and The Rolling Stones, and the entire Cameo-Parkway motherlode. Abkco's acquisition of Cameo-Parkway meant that Klein owned the music of Chubby Checker, ? & the Mysterians, and Dee Dee Sharp. And Klein owned "Try It" and "Beg, Borrow And Steal" by The Ohio Express.

A fluke result of Super K's original Rare Breed/Ohio Express shell game allowed "Beg, Borrow And Steal" to return to retail shelves as part of Varese Sarabande's Bubblegum Classics Volume Two in 1995 and in Rhino Records' Nuggets box in 1998. By crediting the track to The Rare Breed and licensing it from Kasenetz & Katz, the folks at Varese Sarabande and Rhino were able to circumvent the prohibitive difficulty of securing it from the notoriously difficult Klein. (Alas, no such workaround existed for the Abkco-owned "96 Tears" by ? & the Mysterians, which a source at Rhino confirmed was the one track the label really wanted but couldn't get for the Nuggets box.)

What's in a name? Tough to say; rockin' Willie Shakespeare never had a hit record, though he was probably due royalties from West Side Story and, y'know, The Reflections' "(Just Like) Romeo And Juliet." "Beg, Borrow And Steal" is the same incredible record, regardless of whether we credit it to The Rare Breed, The Ohio Express, or some other nom du bop. As I've noted in a previous essay about The Ohio Express, I discovered this awesome song as an Express track, played in a Buffalo nightclub by journalist/DJ/pop visionary Gary Sperrazza!, and it was love at first swagger. Rhino somehow managed to include it on a 1983 compilation called Rhino Teen Magazine--The Best Of The Ohio Express And Other Bubblegum Smashes, and I played that LP a time or two in the record store I was managing in the mid '80s.



No matter where we assign credit for this track, one more fact remains: I have always found "Beg, Borrow And Steal" to be flat-out irresistible. The reaction itself is subjective, of course--it's pop music fercryinoutloud, rock 'n' roll, and we should always remain willfully, gleefully subjective about the giddy pleasures we embrace and cherish. That's the whole point of The Greatest Record Ever Made: an infinite number of superlative records, each recognized as THE All-Time # 1 Accept-No-Substitutes Best Thing EVER!!, as long as they take their own individual 45 rpm turns in the spotlight.

You threw me out the night before last
And now you want me back in your arms again
You think I'm a fool, you treat me like dirt
You pull the string and hope I will be your friend
But I know what's on your mind
And I'd rather be out in the street without a dime
I'd rather beg, borrow and steal
I'd rather beg, borrow and steal
I'd rather beg, borrow and steal than go back to you

"Beg, Borrow And Steal" hits that mark for me with every single spin, every single time. Sure, it's a a slightly popped up, tiny bit punkier rip-off of "Louie, Louie." Da-da-da, da-da, da-da-da, da-da. But I'll gladly commit the heresy of insisting that it's even better than any legit rendition of that acknowledged classic. Yeah, better'n The Kingsmen, The Sonics, or the mighty, mighty  Paul Revere & the Raiders.  Folks, I love all of those records. Today, "Beg, Borrow And Steal" is The Greatest Record Ever Made. Its guitar break is simple but brilliant. Its pissed-off mood is infectious and triumphant, buoyant in its transcendent statement of the-hell-with-YOU, ya heartless crumb. I don't wanna crawl, I wanna walk out like a man. It's the shining moment where '60s punk and '60s bubblegum briefly became one. Here's to the collective pop genius of the men who crafted this magic moment called "Beg, Borrow And Steal."

No matter what name we decide to call them.



"Beg, Borrow And Steal" written by Joseph Di Francesco and Louis Zerato

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes,Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.