Music

Pop Heroism, One Song at a Time

"You" - Bill Withers

Written by Bill Withers

From +'Justments, Sussex Records, 1974

The lead-off track to an oft-forgotten album by master songwriter Bill Withers, "You" is an indignant and accusatory piece of work, wherein Withers lets loose a series of quips and cutting remarks suitable for a serious game of the dozens. Though quite a few Withers songs could be called dark or brooding, there is really nothing in his catalog quite like "You".

You would have to be completely new to pop music to call yourself unfamiliar with Bill Withers' work; his songs are well-worn in the American pop canon. Lovingly revered, frequently covered, and noted as an influence on countless important artists of varying genres, Withers' biggest hits ("Lean on Me", "Ain't No Sunshine", "Grandma's Hands", "Use Me", "Lovely Day"), continue to have a huge impact on listeners and young musicians alike. Withers' to-the-point writing style, working man's shout, and distinctive rhythmic approach all make for a singular, engaging style. The intelligence in his intent, the focus he gives to small details, and his succinct way with a catchy phrase make many of his songs almost zen-like in their simple yet precise observations of life, love, and relationships.

"You" is quite different than most of Withers' hit songs in both mood and structure. It begins with his band already at full-steam groove, and has no immediate hook figure. Instead, the song draws you in with Withers' chant-like vocal, which declares the situation at hand (his lady trying to get him to go to a shrink) with the opening line: "You want to take me to a doctor / To talk to me about my mind / Trying to get direction to some places / I don't really want to find." He concludes that first verse with a kiss-off line which aptly sums up his attitude throughout the song: "I'm really not that complicated / your good doctor friend, he ought to talk to you!"

Withers then spends the rest of the song alternately reeling off biting put-downs, and waxing philosophical. A chorus-like vocal part emerges, then fades back, never to return. The hypnotic, electric-piano driven groove stays funk-steady the whole time, a genius production choice which highlights the unlikely lyrical content and vocal. For sure, "You" is the sound of a sensitive, introspective (yet fully assured) man purging bitter feelings, but as usual with Bill Withers, there's something else at work: a sense of balanced perspective, and even personal accountability, evidenced in lines like "All you find looking back / Is the fact that / Both of us was wrong." If one digs a little deeper in the lyric, one also finds the songwriter possibly dabbling a little in self-help. The turbulence in the described relationship has apparently thrown him for a loop, and he sings lines like "You really only got two choices / You can lay down and be weak / Or stand up where you at / And still be strong" seemingly in the interest of his own emotional survival. A few lines later, though, he's back with the barbs: "I got to take a ton of lies / Just to get an ounce of truth from you /You're like a man lovin' Jesus / Who says he can't stand the Jew."

There is nothing evasive, subtle, or passive-aggressive about "You." The anger is palpable, the insults are direct, and the words even seem to specifically reference some sort of shared history. Towards the end of the song, in the fade-out, Withers explicitly evokes "the dozens", as if his cache of put-downs is capacious enough to keep going well after the song is over. The rest of the +'Justments album never flashes as much negativity, though there's plenty of melancholy to go around. It's one of my favorite Bill Withers albums, easily as listenable as his more famous records. Thirty-five years later,"You" remains a fascinating and revealing listen, a moment when one of pop's most reclusive writers pulled back the curtain for a moment and delivered a highly personal message.

+ + +

A documentary film on Withers called "Still Bill" debuted at SXSW this year. I happened to catch a snippet of it recently, and was happy to see the man smiling, laughing, and talking about his humble West Virginian roots. Like many songwriters worldwide, I can't wait to see it, and learn more about one of the greatest. stillbillthemovie.com

+'Justments is currently available on iTunes.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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