THREE DOLLAR BILL

MARIA MULDAUR

SONGWRITER: MAC REBENNACK

COUNTRY: U. S. A.

ALBUM: MARIA MULDAR

LABEL: REPRISE RECORDS

GENRE: POP ROCK

YEAR: 1973

Maria Muldaur is the 1973 debut studio album of musician Maria Muldaur. The album includes "Midnight at the Oasis", her best-known single, which charted at #6 on the Billboard Hot 100 and "Three Dollar Bill", which charted at #7 on the Billboard Adult Contemporary charts. The album, which peaked at #3 on The Billboard 200, was certified gold by the RIAA on May 13, 1974.

The album was positively reviewed, and very positively in at least one case. Writing in October 1973, Rolling Stone's reviewer Jon Landau described the album as "one of the half-dozen best" of the year, "the kind of glorious breakthrough that reminds me why I fell in love with rock & roll." The album is heavily influenced by country and blues.

Maria Muldaur(born September 12, 1943) is an American folk and blues singer who was part of the American folk music revival in the early 1960s. She recorded the 1973 hit song "Midnight at the Oasis" and continues to record albums in the folk traditions.

Catch ya on the fly

And you leave 'em high and dry

But I'm up on your game baby

And your two-bit alibi

But you just wont quit

And you don't even wanna try

Your living out of your suitcase

And the rat-race will run you dry

You're just a three dollar bill

You're just a three dollar bill

Telling your traveling salesman jokes

Like a politician kissing babies hustlin votes

Baby, your just a three dollar bill

Ya weep for the young girls

You love em and you leave 'em

Your favorite hobby is seduce em and leave em

But one day you'll get caught

Messing up in the wrong room and

You'll be doing a shotgun wedding as a twelve gauge

Groom

You're just a three dollar bill

You're just a three dollar bill

Baby You've just been a wasting my time

A three dollar bill ain't even worth one dime

Baby, You're just a three dollar bill

You're just a three dollar bill

You're just a three dollar bill

Baby, You're kinda fit and your phony

You come around here so full of baloney

Baby, You're just a three dollar bill

You're just a three dollar bill

You're just a three dollar bill

Baby you're nothing but a three dollar bill

I can't use it, I don't want it

I can't spend it I don't need it

Baby, you're just a three dollar bill.

NEAL'S FANDANGO

THE DOOBIE BROTHERS

SONGWRITER: PATRICK SIMMONS

HOW: LIVE IN 1996

COUNTRY: U. S. A.

ALBUM: STAMPEDE

LABEL: WARNER BROS RECORDS

GENRE: CLASSIC ROCK

YEAR: 1975

Stampede is the fifth studio album by American rock band The Doobie Brothers. The album was released on April 25, 1975, by Warner Bros. Records. It was the final album by the band before Michael McDonald replaced Tom Johnston as lead vocalist and primary songwriter. The album has been certified gold by the RIAA.

Stampede showed the band diversifying elements of their sound more than ever before, combining elements of their old sound as well as country-rock, funk and folk music. Many guest musicians contributed on the album including Maria Muldaur, Ry Cooder and Curtis Mayfield.

The first and most successful single released from this album was "Take Me in Your Arms (Rock Me a Little While)" on April 23, 1975, a classic Motown tune written by the legendary songwriting trio of Holland-Dozier-Holland. Tom Johnston had wanted to record the song for several years. "I thought that would be a killer track to cover," he said. "It's probably one of my favorite songs of all time. I thought our version came out great."

The Doobie Brothers are an American rock band from San Jose, California. The group has sold more than 40 million albums worldwide. It has been active for five decades, with its greatest success in the 1970s.

The band's history can be roughly divided into three eras. From 1970 to 1975 it featured lead vocalist Tom Johnston and a mainstream rock and roll sound with elements of folk, country and R&B. Johnston quit the group in 1975, and was replaced by Michael McDonald, whose interest in soul music changed the band's sound until it broke up in 1982. The Doobie Brothers reformed in 1987 with Johnston back in the fold and are still active, with occasional contributions from McDonald. Every incarnation of the group emphasized vocal harmonies. The Doobie Brothers were inducted into the Vocal Group Hall of Fame in 2004.

Well, a travelin' man's affliction makes it hard to settle down

But I'm stuck here in the flatlands while my heart is homeward bound

Goin' back, I'm too tired to roam, Loma Prieta my mountain home

On the hills above Santa Cruz, in the place where I spent my youth

Well it was Neal Cassady that started me to travelin'

All the stories that were told, I believed them every one

And it's a windin' road I'm on you understand

And no time to worry 'bout tomorrow when you're followin' the sun

Papa don't you worry now and mama don't you cry

Sweet woman don't forsake me, I'll be comin' by and by

Goin' back, I'm too tired to roam, Loma Prieta my mountain home

On the hills above Santa Cruz, in the place where I spent my youth.

HERE YOU CAME AGAIN 

DOLLY PARTON

SONGWRITERS: Barry Mann & Cynthia Weil

COUNTRY: U. S. A.

ALBUM: HERE YOU COME AGAIN

LABEL: RCA RECORDS

GENRE: COUNTRY POP

YEAR: 1977

"Here You Come Again" is a song written by Barry Mann and Cynthia Weil, and recorded by American entertainer Dolly Parton. It was released as a single in September 1977 as the title track from Parton's álbum of the same name, and which topped the U.S. country singles chart for five weeks, and won the 1979 Grammy award for Best Female Country Vocal Performance; it also reached number three on the U.S. Billboard Hot 100, representing Parton's first significant pop crossover hit.

The song was composed by Mann and Weil, and it was a rare example of a Parton hit that she did not write herself. The songwriting duo originally composed "Here You Come Again" in 1975 as a potential comeback hit for Brenda Lee, but when Lee decided not to record it, the song made its way to Parton, who was looking for something to broaden her appeal. Her producer, Gary Klein, had heard the song on the B.J. Thomas's recently released self-titled album, reporting Parton begged him to add a steel guitar to avoid sounding too pop, and he called in Al Perkins to fill that role. "She wanted people to be able to hear the steel guitar, so if someone said it isn't country, she could say it and prove it," Klein told Roland. "She was so relieved. It was like her life sentence was reprieved."

Here you come again

Just when I've begun to get myself together

You waltz right in the door

Just like you've done before

And wrap my heart 'round your little finger

Here you come again

Just when I'm about to make it work without you

You look into my eyes

And lie those pretty lies

And pretty soon I'm wonderin' how I came to doubt you

All you have to do is smile that smile

And there go all my defenses

Just leave it up to you and in a little while

You're messin' up my mind and fillin' up my senses

Here you come again

Lookin' better than a body has a right to

And shakin' me up so that all I really know

Is here you come again ...

And here I go

[break]

All you have to do is smile that smile

And there go all my defenses

Just leave it up to you and in a little while

You're messin' up my mind and fillin' up my senses

Here you come again

Lookin' better than a body has a right to

And shakin' me up so that all I really know

Is here you come again ...

And here I go (here you come again)

Here I go

Here I go (here you come again)

And here I go

Here I go (here you come again)

Here I go

Here I go (here you come again)

Here I go.

SANDS OF TIME

FLEETWOOD MAC

SONGWRITER: KIRWAN DANIEL DAVID

COUNTRY: U. K.

ALBUM: FUTURE GAMES

LABEL: REPRISE RECORDS

GENRE: ROCK

YEAR: 1971

Future Games is the fifth studio album by British-American rock band Fleetwood Mac, released on 3 September 1971. It was recorded in the summer of 1971 at Advision Studios in London and was the first album to feature Christine McVie as a full member. This album was also the first of five albums to feature American guitarist Bob Welch. “He was totally different background – R&B, sort of jazzy. He brought his personality,” Mick Fleetwood said of Welch in a 1995 BBC interview. “He was a member of Fleetwood Mac before we’d even played a note.”

Without the 1950s leanings of departed guitarist Jeremy Spencer, the band moved further away from blues and closer to the melodic pop sound that would finally break them into America four years later. After the band completed the album and turned it in, the record label said that it would not release an album with only seven songs, and demanded that they record an eighth. "What a Shame" was recorded hastily as a jam to fulfill this request.

The magic of a blackened night

Can go so far, but not seem right

Although my love, will drive away the sunshine

The magic of, a blackened night

And before you go show me

All the words of love

And the falling sands of time

Blow my wind and drifted by

To and fro the trees still bend

Wondering what the host will send

We will go right down to the sea

Bathing in light we will be free to wander

And the falling sands of time

Blow my wind and drifted by

To and fro the trees still bend

Wondering what the host will send

We will go right down to the sea

Bathing in light we will be free to wander

And the falling sands of time

Blow my wind and drifted by

To and fro the trees still bend

Wondering what the host will send

We will go right down to the sea

Bathing in light we will be free to wander

The magic of a blackened night

Can go so far, but not seem right

Although my love, will drive away the sunshine

The magic of, a blackened night.