Critically acclaimed though perceived as commercially disappointing, their debut contained tracks such as a spirited version of the Bobby Troup chestnut "The Girl Can't Help It", and it brought them a cult following. Their second album, 1970's 'Flamingo', revealed a musical approach that continued to draw upon 50s rock and roll as well as upon the more tuneful work of The Beatles and the The Rolling Stones. 'Flamingo' is also notable as well as the only album by the group to feature an apostrophe after "Flamin" (all the others are credited to "The Flamin Groovies"). It also was the first of their two albums for the label Kama Sutra.
Their next album, and last with musician Roy Loney, was the 1971 classic 'Teenage Head'. Continuing their streak of critical praise, this album appears in the famous book '1001 Albums You Must Hear Before You Die'. Mick Jagger praised the work as an excellent album with parallels to the Stones' work at the time which, like 'Teenage Head', revisited both 50s music and roots rock. 'Teenage Head' is also considered to be a classic in the proto-punk music canon.
Still, Roy Loney left the Flamin' Groovies, and he was replaced by singer-songwriter and guitarist Chris Wilson, who, along with Jordan, began to move the group in a more overtly power pop direction. Between 1971 and 1976, very little was heard of the band except their 1972 anti-drug song "Slow Death". In 1976, they teamed up with British producer and famous retro rock artist Dave Edmunds, and recorded an album entitled 'Shake Some Action'.
With Cyril Jordan and George Alexander the lone holdouts in the band after their line-up changes, their sound found them fully embracing melodic 60s British invasion music and putting on a suit and tie public image reminiscent of those groups. The album even breaking into the Billboard 200 chart, reaching the #142 slot, it picked-up massive critical acclaim. Title track "Shake Some Action" became somewhat of a 'signature song' for the group, and the album has been viewed as a landmark release of the Anglo-American power pop movement.
The following effort, 1978's 'Now', continued to be a good example of their self-conscious attempt to revive the sound of classic 60s rock. As Cyril Jordan told an interviewer, "The time that we were personifying had died in America years before. We were trying to put it into a capsule." The Groovies continued in the same style until somewhere early in the 80s, almost folding entirely and shifting into a sporadic, on-again/off-again existence as the American music scene changed into a more new wave and alternative rock based direction.
In retrospect, the band has been praised by critics as being "one of America's greatest, most influential, and legendary cult bands", in the words of Allmusic. Their siren song of a last album, 1993's 'Rock Juice', has also attracted attention as a great underground release. As time goes by, many punk and powerpop leaning bands have took inspiration from the Groovies.
Yesterday's Numbers
Flamin' Groovies Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So long you couldn't cry
Did you ever have a home
Did you ever tell a lie
I want to know you well
Know you're heaven baby, know your hell
Aw baby don't you show me, all things you got to sell
So long you couldn't end
Did you ever break a heart baby
Did you ever lose a friend
Baby, I want your love tonight
To make my head feel light
Oh baby won't you tell me now
Tell me it's all right
Tell me it's all right
Have you ever been alone?
So long you couldn't cry
Did you ever have a home
Where you could lay down and die
I want your love tonight
To make my head feel light
Oh baby won't you tell me now
Tell me it's all right,
Tell me it's all right,
The Flamin' Groovies's song Yesterday's Numbers poses the question of loneliness and the desire for connection. The lyrics ask if someone has ever been so alone that they couldn't even cry, and whether they have ever had a home, told a lie, broken a heart, or lost a friend. The singer wants to get to know the person fully, their good and bad side, and rejects any attempt to sell themselves or just show a facade. Ultimately, the singer asks for love and comfort, to make their head feel light, and seeks assurance that everything will be all right.
The song tackles the theme of alienation and detachment, which are common in the rock genre. It speaks to the human need for intimacy and the consequences of feeling cut off from others, leading to questioning one's sense of identity and purpose. The use of the rhetorical question "have you ever" is a powerful way to express shared experiences that many can relate to. The repetition of the last lines of the chorus, "tell me it's all right", create a sense of urgency and vulnerability, making the listener empathize with the singer's emotional state.
Line by Line Meaning
Have you ever been alone?
Have you ever been in complete solitude for an extended period?
So long you couldn't cry
To the point where you had no emotional response left
Did you ever have a home
Have you ever had a place to belong
Did you ever tell a lie
Have you ever been dishonest with someone
I want to know you well
I want to understand you deeply
Know you're heaven baby, know your hell
I want to know both your joy and your suffering
Aw baby don't you show me, all things you got to sell
Please don't try to impress me with material possessions
So long you couldn't end
To the point of feeling like there is no escape from being alone
Did you ever break a heart baby
Have you ever caused someone emotional pain in a relationship
Did you ever lose a friend
Have you ever had a falling out with someone you once considered a friend
Baby, I want your love tonight
I desire your affection for this evening
To make my head feel light
To feel carefree and unburdened
Oh baby won't you tell me now
Please communicate with me at this moment
Tell me it's all right
Assure me that everything is okay
Where you could lay down and die
A place of complete comfort and safety
Tell me it's all right,
Please reiterate that everything is okay
Lyrics © Sony/ATV Music Publishing LLC
Written by: CYRIL HENRI GARNICK JORDAN, ROY A ALAN LONEY
Lyrics Licensed & Provided by LyricFind
Micky Spilane
Can't believe I've only just heard this as it was released 43 years ago. Amazing, brilliant, just bought the album now!
Iam Notevenanumber
Same for me. 2018 here! Good music never dies!
Steve Pavis
1971....almost 40 years later and this album definitely stands the test of time. This is what the Rolling Stones would have sounded like if they had sworn their allegiance to the sound and style of Sun Records instead of Chess Records. Brilliant!
Cruiserweight9
I got this in a remainder bin in a suburb of Chicago and liked it plenty. Then came to love it. Then came to realize it was one of the GREATS. Takes time because the production is a little trebly. I see Jack White is out doing Groovies covers now. Get the CD, crank it up, turn up the bottom, and get transported. I'd have killed to see the Groovies do this live.
Zinnia Kang
Roy Loney is one of rock's most underrated singers.
elwrongo
tell me about it, what about Heading for the Texas Border!
T. Burke Edwards
The lead vocal on Yesterday's Numbers is actually Cyril Jordan.
T. Burke Edwards
@elwrongo The lead vocal on Heading for the Texas Border is actually Tim Lynch.
sean curran
@elwrongo That was Tim Lynch singing lead on that.
Leroy Nimrod
love this song. thanks for posting!