Five years ago today I suggested some best song opening lines; several commenters suggested some more. Here’s a selection from that post and comments.

Baby take off your coat, real slow
— Joe Cocker, “You Can Leave Your Hat On”

Some folks are born, made to wave the flag,
Ooh they’re red, white and blue
— Creedence Clearwater Revival, “Fortunate Son”

Life, it’s ever so strange, it’s so full of change
You think that you’ve worked it out then,
Bang, right out of the blue, somethin’ happens to you,
To throw you off course
— Jem, “Just a Ride”

My my, hey hey,
Rock and roll is here to stay
— Neil Young, “My My, Hey Hey”

When this war is over, it will be a better day
— Eric Clapton & J.J. Cale, “When This War is Over”

Busted flat in Baton Rouge, waitin’ for a train
And I’s feelin’ near as faded as my jeans
Bobby thumbed a diesel down just before it rained
It rode us all the way to New Orleans
— Kris Kristofferson, “Me and Bobby McGee”

If you had not have fallen
Then I would not have found you
Angel flying too close to the ground
And I patched up your broken wing
And hung around a while
Tried to keep your spirits up
And your fever down
— Willie Nelson, “Angel Flying Too Close to the Ground”

Aaaaah, haaa
I know a place
Ain’t nobody cryin’
Ain’t nobody worried
Ain’t no smilin’ faces
Mmm-mmm, no, no
Lyin’ to the races
Help me, come on, come on
Somebody, help me, now
(I’ll take you there)
— The Staple Singers, “I’ll Take You There”

The screen door slams
Mary’s dress waves
Like a vision she dances across the porch
As the radio plays
– Bruce Springsteen, “Thunder Road”

I’m a gonna tell you how it’s gonna be
You’re gonna give your love to me
– Buddy Holly, “Not Fade Away”

I met a gin-soaked bar-room queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across her shoulder
‘Cause I just can’t seem to drink you off my mind
– The Rolling Stones, “Honky Tonk Women”

I hear the train a comin’
It’s rollin’ round the bend
And I ain’t seen the sunshine
Since I don’t know when
– Johnny Cash, “Folsom Prison Blues”

Whenever I see your smiling face
I have to smile myself
Because I love you (yes I do)
– James Taylor, “Your Smiling Face”

Forgive, sounds good
Forget, I’m not sure I could
They say time heals everything
But I’m still waiting
– Dixie Chicks, “Not Ready to Make Nice”

How many roads must a man walk down
Before you call him a man
– Bob Dylan, “Blowin’ in the Wind”

Time keeps on slippin’, slippin’, slippin’
Into the future
– Steve Miller Band, “Fly Like an Eagle”

On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air.
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim.
I had to stop for the night.
– The Eagles, “Hotel California”

Rollin’ down Imperial Highway
Big, nasty redhead at my side…
– Randy Newman, “I Love L.A.”

And a warm, fascinating piece on Earl Scruggs written by Steve Martin: The Master from Flint Hill: Earl Scruggs.

George Gershwin’s phenomenal blending of jazz and classical music, premiered at Aeolian Hall, in New York City, on February 12, 1924, 88 years ago tonight. Gershwin wrote the piece in three weeks, reportedly improvising some of the piano parts during the premiere.

Rhapsody in Blue was one of NPR’s 100 most important American musical works of the 20th century. You can listen to the NPR report from NPR Music.

This video (audio with photographs actually) is an acoustic recording made in June 1924 with Paul Whiteman and his Orchestra with Ross Gorman playing the clarinet opening as he did during the premier, and the composer at the piano.

Her biggest hit gave the stage to “I,” a first person that is so easily recognized that if you even mumble “and I” with some kind of melody, whoever’s standing there will assume it’s “I Will Always Love You.” Originally written and recorded by Dolly Parton, “I Will Always Love You” was momentarily ceded to Linda Ronstadt, but Houston owns it now. The song broke through a dozen different ceilings because of the first person chorus, but just start with the first forty-five seconds, which is Houston singing without any accompaniment. She states the first verse, moving carefully through her own filters, not even hinting at how bright the lights can get. The second verse casually drops in some heavier flashes and then the second chorus comes out as if Houston is no longer any kind of regretful—she is using her magnanimous nature to flatten whoever’s chosen someone over her.

Whitney Houston’s Invincible Voice, Sasha Frere-Jones

1991 Super Bowl

A good short profile with music.

I recommend each of the videos included with the article. My God, she was versatile and wonderful.

But it is hard to top this one for raw power (October 16, 1986), celebrating Chuck Berry’s 60th birthday. (That’s Keith Richards, Robert Cray and Eric Clapton in the band.

But …

Johnny Otis performs his monster hit “Willie and the Hand Jive” on his TV show with Marie Adams, the Three Tons of Joy, and at the end, Lionel Hampton.

Or, the original song:

Bandleader Johnny Otis has been called “the Godfather of Rhythm and Blues.” Over the years he has exhibited an uncanny ear for talent, and by bringing that talent to the fore has served to advance the growth and development of rhythm & blues. His R&B stage revues and the numerous recordings made under his name have included such singing discoveries as Little Esther, Willie Mae “Big Mama” Thornton, Etta James and the Robins (who evolved into the Coasters). Beginning in the mid-Forties, Johnny Otis cut classic numbers including “Double Crossing Blues,” (a #1 R&B single for nine weeks!), “Mistrusting Blues,” “Barrelhouse Boogie” and “Rockin’ Blues” with his R&B orchestra. Otis recorded under his own name but also backed up acts on the Excelsior and Exclusive labels.

In addition to his skills as a producer, talent scout and songwriter (which led to his induction into the Rock and Roll Hall of Fame as a nonperformer), Otis was an accomplished percussionist who joined jazz bands in the Forties and played drums on such early R&B recordings as the Three Blazers’ landmark “Drifting Blues,” featuring vocalist Charles Brown. In the Fifties, Otis scouted talent for Syd Nathan’s King and Federal labels, discovering the Midnighters – then known as the Royals, later as Hank Ballard and the Midnighters – whose “Work With Me Annie” became a rock and roll cornerstone in 1954. He also crossed paths with Johnny Ace (Otis produced and played on “Pledging My Love”), Jackie Wilson, Little Willie John and Big Joe Turner, to name a few. Otis’ various achievements make him a key figure in the rise of rhythm & blues and rock & roll in the Fifties.

Rock and Roll Hall of Fame