Professor Mikey’s OLD SCHOOL

Never Learn Not to Love THE BEACH BOYS (1969)

The Charlie Manson-Beach Boys connection begins on a late summer night in 1968, when drummer Dennis Wilson drops a couple of female hitchhikers at his house on Sunset Boulevard, one that was once owned by Will Rogers. Wilson returned from a recording session at 3 a.m. to find that the girls had invited a dozen friends over, including a strange guy who preached brotherhood and cosmic dribble.  Over the next few weeks Wilson was intrigued by Manson’s music, and even took him to producer Terry Melcher’s house on Cielo Drive.  Melcher didn’t care much for it, and the story goes that Manson returned to the house the next year to settle the score.  By that time Melcher had moved out and Sharon Tate had moved in.  Wilson’s friendship with Manson dissolved over the next year, disintegrating into death threats every time Wilson refused to fork over a thousand or so in spare change.  Part of Manson’s wrath came from a song he wrote called “Cease to Exist.”  Dennis liked it, but changed the words around, then dropped Manson’s name from the author credit.  Here’s the finished product, Never Learn Not To Love…The Beach Boys sing Charles Manson.Cease to resist, come on say you love meGive up your world, come on and be with meI'm your kind, I'm your kind, and I seeCome on come on, ooo I love you pretty girlMy life is yours, and you can have my worldI'm your kind, I'm your kind, and I seeNever had a lesson I ever learnedI know I could never learn not to love youCome in now closerCome in closer closer closer ahhhhSubmission is a gift given to anotherLove and understanding is for one anotherI'm your kind, I'm your kind, and I seeNever had a lesson I ever learnedI know I could never learn not to love youCome in now closerCome in closer come in closer ahhhhAhhh-ahhh-ahhh-ahhh-ahhhhhhAhhh-ahhh-ahhh-ahhh-ahhhhhhSource: LyricFindSongwriters: Dennis C. WilsonNever Learn Not to Love lyrics © Warner Chappell Music, Inc This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Who Do You Think You Are? THE SHINDOGS (1965)

Two decades before MTV and music videos, ABC television carried a weekly musical show for all the hip kids who could talk their parents into watching something in black and white in what was turning into a color television world.  Shindig had a Top 40 DJ as the host, a dancer named Terri Garr, and a house band that at one time or another included Glen Campbell, Leon Russell, and Delany Bramlett.  The Shindogs were definitely a made for TV band, yet they leave us one great song that is very LA and even got played on the radio.  From 1965, The Shindogs and Who Do You Think You Are…The Shindogs were the house band on the ABC musical variety TV show Shindig! (1964). The band consisted of several legendary blues and rock n’ roll musician/songwriters from the American South. Members were James Burton, Delaney Bramlett, Glen D. Hardin, Chuck Blackwell, and Joey Cooper.Shindig! was an American musical variety series which aired on ABC from September 16, 1964 to January 8, 1966. The show was hosted by Jimmy O’Neill, a disc jockey in Los Angeles, who also created the show along with his wife Sharon Sheeley, British producer Jack Good, and production executive Art Stolnitz. Shindig! focused on a broader variety of popular music than its predecessor and first aired for a half-hour every Wednesday evening, but was expanded to an hour in January 1965. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Hippie Boy THE FLYING BURRITO BROTHERS (1969)

There’s an old saying about country rock.  The Byrds invented it, the Flying Burrito Brothers perfected it, and the Eagles took it to the bank.  Today a great tune from phase two, the first Burrito Brothers album, The Gilded Palace of Sin.  They weren’t really brothers, they weren’t even burritos, but the boys made waves.  Gram Parsons and Chris Hillman had been with the Byrds before splitting away to delve deeper into redefining the honky tonk sound complete with long hair and sequins.  The duo added pedal steel guitarist "Sneaky" Pete Kleinow and bassist Chris Ethridge to the band and set about recording their debut album with a variety of session drummers. That first album sold 40,000 copies in 1969 and won them global recognition.  Capping off the session was a sentimental ballad based around the events of the Democratic National Convention in Chicago in 1968, when democracy itself took time out to riot in the streets.  How that could become a tear jerker was just a part of the genius of Gram Parsons.  The Flying Burrito Brothers, and Hippie Boy.I was walking down the street the other dayAnd a sight came before my eyesIt was a little hippie boy, I must have been twice his sizeHis appearance typified his strange breedGaudy clothes, long stringy hair hanging downI'd seen perhaps a thousand in my early trips to townAs he walked beside me on down the blockI noticed no unpleasing smellHe might have been on the weed or even LSDBut if he was I couldn't tellSo we walked together that way through this neighborhoodFinally he turned around to meAnd he, he said, "Friend, you know we're a million miles apartBut you know something we can enjoy the sunshine and the weatherSo why don't we put our differences asideAnd just talk to each other?""You see this box beneath my armTo you it's plain, it has no charmBut to someone dearest to my heartThis box has played a tragic part""This little one can't tell you himself about his life and how he diedBut if anyone else could speak for him, I guess I'm qualifiedThis boy was in Chicago, he didn't know why he was thereHe was with his family and friends and he didn't really care""You might have been one of thoseWho saw the struggle there on your television screenThe tragic thing is so much else happenedThat no one else could have seen""A stranger handed this boy a dollar to do a simple choreTo carry a package to a nearby hotelAnd when he returned he'd get two moreBut when he came back he sort of lost his wayWalking through the crowdOne of them things you ask yourself, how the Lord allowed""But when he was found he was like he is nowDreaming sweet and stillAnd in his little hand was a crumpled dollar billNow, you can take that dollarGet four cents on it, compound it quarterly at any downtown bankSo they can back some hot new tank or atom bomb""What I'm gonna tell you now, you can stay or you can leaveYou kind of listened to my story so far, but just one more thingIt's the same for any hippie, bum or hillbilly out on the streetJust remember this little boy and never carry more than you can eatNow, could you help us sing this song, please?"There will be peace in the valley, for him now we prayI will think of the little hippie boy that way, that waySource: MusixmatchSongwriters: Gram Parsons / Chris HillmanHippie Boy lyrics © Irving Music, Inc. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Inner London Violence BAD MANNERS (1980)

Buster Bloodvessel formed the band Bad Manners in 1976 while he was in school in London. None of the members had any formal music training, they didn’t even know how to play instruments, but they loved the ska movement and that was all that mattered.  They hit their stride in the early 80s with stunts, like when Buster got them banned from British TV’s Top of the Pops for dressing as Henry VIII, or when he mooned a crowd in Italy only to find out later the Pope was in the audience.  Here are some bad bad boys, recorded live in 1981…Bad Manners with Inner London Violence…Rude Boy went in handsome hatsPoliceman knocking with a rat-a-tat-a-tatThem bored around the streets at nightThey're not looking but they find a fightI say inner London violencePolicemen coming there's no reliefEven your best friend is a thiefSoon locked up in your council flatMachine gun go a rat-a-tat-a-tatI say inner London violenceHey hey heySource: MusixmatchSongwriters: Bad Manners This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Bye Bye Bird/Mr Downchild THE YARDBIRDS with SONNY BOY WILLIAMSON (1963)

IN 1963 Chicago bluesman Sonny Boy Williamson toured Europe, backed up by a recently formed band called the Yardbirds.  The performances were not released until early 1966, after a string of Top 40 hits by the Yardbirds. This was the first incarnation of the legendary group, featuring Eric Clapton on guitar. Here they are live, recorded at the famed Crawdaddy Club in Richmond, Surry, UK on Dec 8, 1963, Sonny Boy Williamson and the Yardbirds.BYE BYE BIRDYeah, we know these soundsThese sounds belong to one manOne man from Mississippi, USAOne man known as the wizard of the harpOne man known as the menaceAnd his name is Sonny Boy WilliamsonBye bye birdBye bye birdBye bye birdBye bye birdBye bye bird, I'm goneBird, I'm goneBird, I'm goneBird, I'm goneBird, I'm goneI'm gone, (child, you find?)(Back home?)MR DOWNCHILDListen downchildPlease take a fool's adviceListen downchildPlease take a fool's adviceDon't newer let no one womanMan misuse you twice time she smilesSays she don't love no one but youEverytime she smilesSays, she don't love no one but youEverytime she smilesSays, she don't love no one but youYou better watch out buddy boy, little girlLove to drop a chunk on youI tried so hard to not even think about my past lifeI tried so hard even think about my past lifeBecause I don't want to ever ever make a mistake in lifeBaby, I and you could be so happyWe can be so lovin' tonightFrom now on darlingYeah, We can be so happy be so lovey from now onFrom now onBecause if I ever make a mistake in lifeI know I'd ruin my happy home. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Out of Focus BLUE CHEER (1968)

The term “heavy metal” wasn’t being used when Blue Cheer formed in San Francisco in the late 1960s. The power trio’s original personnel, singer/bass guitarist Dickie Peterson, guitarist Leigh Stephens, and drummer Paul Whaley, just knew they wanted their rock and roll loud with lots of feedback. They named themselves not after the laundry detergent, but after a particular variety of  LSD devised by underground chemist  Owsley Stanley. They are known for a blasting cover of Eddie Cochran’s Summertime Blues, but we’re going to go deeper into their debut album.  From 1968’s Vincebus Eruptum Eruptum, this is “Out of Focus” from Blue Cheer.Alright!A cold, cold darknessAnd past confusionIs quickly callingYeah, all of my illusionsNow won't somebody tell me what's wrongTell me what's wrong with me.From withinThe magic madnessSaid Lord, I could feel deep in my heartA little bit of gladnessNow won't somebody tell me what's wrongTell me what's wrong with me.Won't somebody tell me what's wrongCause Lord, I been searchin'Searchin' so longOh, won't somebodyOh, won't somebodyTell me what's wrong with me.Alright!Won't somebody tell me what's wrongCause Lord, I been searchin'Whoa so goddamn longOh, won't somebodyOh, won't somebodyTell me what's wrong with me.And then from outOf a mystic dreamThere came an angel (What a baby, oh yeah)She spread her wings (Spread 'em babe, Spread it all).Now don't nobody tell me what's wrongTell me what's wrong with me.Source: LyricFinD Songwriters: DickieOut of Focus lyrics © Kobalt Music Publishing Ltd. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

You Really Turn Me On IAN WHITCOMB (1965)

IAN Whitcomb sounded more like British vaudeville than British invasion.  He formed a group called Bluesvillee in Dublin, never really caught on in the UK, but hit #8 on the American pop charts in that golden year of 1965 with a very strange song called “You Really Turn Me On.”  Historical footnote, a few people were turning on at that time, but that weren’t using the term yet.  WIKI bio stuff:Their next record release, again credited as Ian Whitcomb & Bluesville, "You Turn Me On", was largely improvised at the end of a recording session in Dublin. Released as a single on the Tower label, it reached Billboard's number 8 spot in July 1965 – it was the first Irish-produced record to reach the US charts[3] – but did not chart in Britain.[4][6] During his summer vacation in 1965, Whitcomb went to America to appear on such television programs as Shindig, Hollywood A Go-Go and American Bandstand. Whitcomb played the Hollywood Bowl with The Beach Boys in 1965 and then toured with The Rolling Stones, The Kinks, and Sam the Sham and the Pharaohs.[3]"N-E-R-V-O-U-S!", Whitcomb's next release, was recorded in Hollywood and reached No. 59 in Billboard and No. 47 in Cash Box. He returned to Dublin for his history finals and received a BA degree. In 1966 he turned to early popular song: His version of a 1916 Al Jolson comedy number, "Where Did Robinson Crusoe Go with Friday on Saturday Night?" was a West Coast hit, reviving the ukulele before the emergence of Tiny Tim.[7]After making four albums for the Tower label, Whitcomb retired as a pop performer, later writing that he "wanted no part of the growing pretentiousness of rock with its mandatory drugs and wishy-washy spiritualism and its increasing loud and metallic guitar sounds."[3] However, in 1969 he produced Mae Weston her album called Great Balls of Fire for MGM Records. He then returned to the UK and was commissioned by Penguin Books to write a history of pop music, After the Ball, published in 1972. He appeared on several BBC TV shows and was an early presenter of the BBC show The Old Grey Whistle Testin 1971.[3]Whitcomb settled in California in the late 1970s. He starred in and wrote L.A.–My Home Town (BBC TV; 1976) and Tin Pan Alley (PBS; 1974). He wrote Tin Pan Alley, A Pictorial History (1919–1939) and a novel, Lotusland: A Story of Southern California, published in 1979. He also provided the music for a documentary film, Bugs Bunny: Superstar (UA), which was narrated by Orson Welles. For Play-Rite Music he cut 18 piano rolls that were included in an album, Pianomelt. His other albums reflected his research into the genres of ragtime, Tin Pan Alley, vaudeville and music hall. These, beginning with Under the Ragtime Moon (1972), were released on several record labels including Warner Bros. Records, United Artists and Decca Records. During that time he also wrote and produced singles for Warner Bros.' country division, most notably "Hands", a massage parlour story, and "A Friend of a Friend of Mine".In the 1980s Whitcomb published Rock Odyssey: A Chronicle of the Sixties: Ian Whitcomb, a memoir of the 1960s and described by The New York Times as the best personal account of this period. He also published Ragtime America (Limelight Editions, 1988), followed by a memoir of life as a British expatriate in Los Angeles, Resident Alien (Century, 1990). He wrote extensively on music, culture, and books for a diverse range of magazines including Radio Times, the Los Angeles Times, The Daily Telegraph, The London Magazine. He produced a British documentary on black music, Legends of Rhythm and Blues (part of the series Repercussions, made by Third Eye Productions for Channel Four in 1984).[3] He also hosted a radio show in Los Angeles for 15 years, taking the program from KROQ-FM to KCRW and finally to KPCC-FM.[8]He continued recording, producing a series of CD collections: Treasures of Tin Pan Alley, Al Jolson songs, and Titanic- Music As Heard On The Fateful Voyage. His liner notes were nominated for a Grammy. His songs are heard in the films Bloody Movie (1987), Cold Sassy Tree (1989), Encino Man (1992), Grass(1999), Man of the Century (1999), Stanley's Gig (2000), After the Storm (2001), The Cat's Meow (2002), Last Call (2002), Sleep Easy, Hutch Rimes (2002), Lonesome Jim (2005) and Fido (2006).We lost Whitcomb at the age of 78 in 2020, not from Covid but from complications following a stroke in 2012. For his entire life he remained a champion of music, a scholar of vinyl and rare recordings, and a showman in the classic sense. And it’s pretty difficult to not smile when you hear his signature tune.Come on now honey, you know you really turn me onCome on now honey, you know you really turn me onAnd when, and when you doUh huh, huh, huh, uh, uh, that's my songCome on now baby, come on and do the jerk with meCome on now honey, come on and do the jerk with meAnd if, if you doUh huh, huh, huh, uh, uh, that's my songCome on now baby, you know you really turn me on, ahCome on now honey, you know you really turn me on, ah, yeahAnd when, and when you doUh huh, huh, huh, uh, uh, that's my songLet's go! This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Silver Spoon PAUL KANTNER & GRACE SLICK

Flashback and throwback to 1971 when one of rock and roll’s favorite couples celebrated birth with an album called Sunfighter.  Paul Kantner and Grace Slick of Jefferson Airplane fame named their daughter China and put her on the cover of the album, being held in the sunset of a blood red ocean. I think it’s pretty amazing that rock and roll has been telling us for 50 years and more how we are wasting the planet, how we are running through all our resources, how everything in the future is going to be screwed up. Rock and roll was right! The album itself was rank with themes of overcrowding and greed.  Here’s the leadoff song, that includes the line “where are the bodies for dinner, I want my food.”  Silver Spoon, from Paul Kantner and Grace Slick.Throw down all yourSilver spoonsEat all of the raw meatWith your handsPick it up piece by piecePick it up piece by piecePick it up piece by pieceWhere are the bodies for dinner?I want my food!What if you were starving to deathAnd the only food you had was meWhat would you say to the cannibal questionWould your answer be perfectly free?My old mama told you never to eat your friendsWith your fingers and handsBut I say you ought to eat what you willShove it in your mouth any way that you canYou think that I will come to your mouthLooking for a homeBut I get stuck sideways in your throatLike a good old chicken boneWhere are the bodies for dinner?I want my food!Stay out the kitchen childrenThe cook is cleaning his gunHe just got back from the open marketShooting his food on the runMy old mama told you never to eat your friendsWith your fingers and handsBut I say you ought to eat what you willShove it in your mouth any way that you canSharpen your teeth for the family feastLet all the hungry drool roll down your chinHide the human and bring out the beastLet all the animal games begin!Where, a-where are the bodies for dinner?I want my food!You could leave to dine on your friendsPour their bones into a cannibal soupMuscles like steak and blood like wineSave the brains to feed to troopsHey, your mama told you never to eat your friendsWith your fingers and handsBut I say you ought to eat what you willShove it in your mouth any way that you canScarlet juices oozing slowBoiling in a human seaIs it human dinner you're talking about?Then slice me tender raw and leanWhere, where are the bodies for dinner?I want my food!Oily fingers can hardly waitBodies slumped, face in plateWake up the drunks, the coffers onThe fourteenth course has come and goneWhy so longAll day suckerI want your candyYour candy has come and goneAnd its left youWith your mouth wide openJust hummingCannibal songsCannibal songsSource: MusixmatchSongwriters: Grace SlickSilver Spoon lyrics © Mole Music CoRETROFIT/OLD SCHOOL is a reader-supported publication. To receive new posts, consider becoming a free or paid subscriber.EXTRASilver Spoon by BTSThey call me 뱁새욕봤지 이 세대?빨리, chase 'em황새 덕에 내 가랑인 탱탱So call me 뱁새욕봤지 이 세대?빨리, chase 'em금수저로 태어난 내 선생님알바 가면 열정페이학교 가면 선생님상사들은 행패언론에선 맨날 몇 포 세대룰 바꿔, change, change황새들은 원해, 원해 maintain그렇게는 안 되지, bang, bang이건 정상이 아냐, 이건 정상이 아냐아, 노력, 노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가 (역시 황새!)노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가실망 안 시켜(역시 황새야) 이름 값 하네(역시 황새야) 다 해 먹어라(역시 황새야) 황새야They call me 뱁새욕봤지 이 세대?빨리, chase 'em황새 덕에 내 가랑인 탱탱So call me 뱁새욕봤지 이 세대?빨리, chase 'em금수저로 태어난 내 선생님난 뱁새 다리 넌 황새 다리걔넨 말하지 "내 다린 백만 불짜리"내게 짧은데 어찌 같은 종목 하니?They say "똑같은 초원이면 괜찮잖니!"(Never, never, never)룰 바꿔, change, change황새들은 원해, 원해 maintain그렇게는 안 되지, bang, bang이건 정상이 아냐, 이건 정상이 아냐아, 노력, 노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가 (역시 황새!)노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가 (역시 황새야)내 탓이라니? 너 농담이지공평하다니? Oh, are you crazy?이게 정의라니? You, you must be kiddin' me!You must be kiddin' me, you, you, must be kiddin' me!아, 노력, 노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가 (역시 황새!)노력 타령 좀 그만둬아, 오그라들어, 내 두 손발도아, 노력, 노력, 아, 노력, 노력아, 노랗구나 싹수가실망 안 시켜(우린 뱁새야) 이름값 하네(우린 뱁새야) 같이 살자고(우린 뱁새야) 뱁새야They call me 뱁새욕봤지 이 세대?빨리, chase 'em황새 덕에 내 가랑인 탱탱So call me 뱁새욕봤지 이 세대?빨리, chase 'em금수저로 태어난 내 선생님Source: MusixmatchSongwriters: Ho Weon Kang / Dong Hyuk Shin / Namjun Kim / Do Hyung KwonSilver Spoon lyrics © Hybe Co. Ltd. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Society’s Child JANIS IAN (1967)

Janis Ian was the daughter of a music teacher born in New York City in 1951.  Influenced by aritists such as Odetta and Billie Holiday, she started writing music at age 12. At age 15 she legally emancipated herself from her parents, then wrote a song about interracial romance while waiting for her school counselor. Society’s Child was released three times between 1965 and 1967.   The subject matter was a little too strong for some radio stations, but when conductor Leonard Bernstein discovered the song and put Ian on his television show, the world changed for both the singer and the song.  Here’s Janis Ian, from 1967, and “Society’s Child.”Come to my door, baby, face is clean and shining black as nightMy mother went to answer, you know that you looked so fineNow I could understand your tears and your shameShe called you "boy" instead of your nameWhen she wouldn't let you insideWhen she turned and said, "but honey, he's not our kind"She says I can't see you anymore, babyCan't see you anymoreWalk me down to school, baby, everybody's acting deaf and blindUntil they turn and say, "Why don't you stick to your own kind?"My teachers all laugh, their smirking staresCutting deep down in our affairsPreachers of equalityThink they believe it, then why won't they just let us be?They say I can't see you anymore, babyCan't see you anymoreOne of these days I'm gonna stop my listening, gonna raise my head up highOne of these days I'm gonna raise my glistening wings and flyBut that day will have to wait for a whileBaby, I'm only society's childWhen we're older things may changeBut for now this is the way they must remainI say I can't see you anymore, babyCan't see you anymoreNo, I don't wanna see you anymore, baby… This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe

Turning Japanese THE VAPORS (1980)

Decades have a tendency to hang on for a little. The 60s waited almost 4 years to get started. But if anything the 80s not only started on time, one might argue they were geared up and ready to blow (Siri change that to “go”) in late 1978, definitely 1979. But The Vapors were right on time in 1980. And they are ready for you to visit any time.“Turning Japanese” from The Vapors are more Surrey Pop than J-Pop. Nothing gets lost in translation.Singles. One story. One song. One round trip.Turning Japanese THE VAPORSI've got your picture of me and youYou wrote "I love you", I wrote "Me too"I sit there staring and there's nothing else to doOh, it's in color, your hair is brownYour eyes are hazel and soft as cloudsI often kiss you when there's no one else aroundI've got your picture, I've got your pictureI'd like a million of ya over myselfI want a doctor to take your pictureSo I can look at you from inside as wellYou've got me turning up and turning downAnd turning in and turning 'roundI'm turning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soI've got your picture, I've got your pictureI'd like a million of them over myselfI want a doctor to take your pictureSo I can look at you from inside as wellYou've got me turning up and turning downAnd turning in and turning 'roundI'm turning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soNo , no drugs, no wine, no womenNo fun, no sin, no you, no wonder it's darkEveryone around me is a total strangerEveryone avoids me like a psyched Lone RangerEveryoneThat's why I'm turning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think soTurning Japanese, I think I'm turning JapaneseI really think so (think so, think so, think so)Turning Japanese, I think I'm turning JapaneseI really think soSource: MusixmatchSongwriters: David FentonTurning Japanese lyrics © Emi Music Publishing LtdIf you are tuned into YouTube, consider subscribing. If you have a comment or request, leave it as a comment. I’ve started a playlist with the singles so you could play or shuffle anytime.Many of the Old School archives are on YouTube. Through Spotify or Apple, search Retrofit Old School. And thank you! This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit professormikey.substack.com/subscribe