Named after the infamous Texas dope dealer, Fred Gomez Carrasco, who was killed during an attempted jail break from Huntsville’s Department of Corrections maximum security unit in the mid-1970’s, Joe “King” Carrasco, has devoted his career to preserving the musical genre he grew up listening to in his west Texas boyhood home of Dumas. Joe “King” decided at an early age to follow in the footsteps and to perpetuate the musical tradition and heritage of the Tex-Mex, Vox/Farfisa organ-driven rock and roll “garage sound” of such 1960’s luminaries as the Sir Douglas Quintet, Question Mark & the Mysterians and Sam the Sham & the Pharaohs.
After playing in a succession of bands around Texas in the late '60s and early '70s, Carrasco founded his horn-influenced big band, El Molino, in San Antonio in 1976. It was there he recorded his 1978 debut album, Tex-Mex Rock-Roll. Somehow this record made its way to England and was re-released by Big Beat Records. Elvis Costello once remarked to the UK press, “… that it was better than the Police."
By 1979, Carrasco moved to Austin and formed the quartet known as the Crowns where they were regulars at Raul’s on the Drag and at Duke’s Royal Coach Inn & Club Foot on South Congress. It was in Austin that Joe & the Crowns recorded their quintessential party anthem, “Party Weekend,” b/w “Houston El Mover.” From this session, Joe “King” and the Crowns also recorded “Let’s Get Pretty” b/w “Nowhere Else but San Antonio,” This single was released regionally in Texas in 1981 by Indio Records, a subsidiary of Recovery Recordings. From the success of Carrasco’s independent Austin, Texas releases, the band soon became the first American group signed to England's legendary Stiff Records. During this time Joe toured extensively throughout Europe, Central America and South America, as well as across the USA and Canada; consistently delivering high energy performances where dancing was the numero uno priority. He became the favorite of the New York music press at this time which resulted in one NY scribe labeling his new musical genre as ”Nuevo Wavo.”
Even with all this going on Carrasco knew he was ready to take his music to a new level. It was on the Stiff Records, “Son of Stiff Tour,” while traveling with a British-born Jamaican band called The Equators that Joe picked up much of his reggae influence. After returning from a very successful year on the road, he put this experience to work and recorded the reggae-flavored song "Don't Let a Woman (Make a Fool Out of You)" on his album Synapse Gap for MCA Records where he had the King of pop, Michael Jackson, singing background harmonies. In 1983, MCA released Party Weekend, produced by legendary pop music producer, Richard Gottehrer.
In 1995 MCA Records released a compilation CD set of Carrasco’s music, though this set merely scratches the surface of this seasoned songwriter's catalogue. In early 1996 Joe King’s song “Tell Me” was recorded by The Texas Tornados and sung by Freddie Fender, on their CD, 4 Aces. Joe “King” also plays guitar on the song “A Little Bit Is Better Than Nada” in the soundtrack for the Kevin Costner movie, The Tin Cup.
For many years, Joe has donated his time and music to make P.S.A.'s for the Texas Parks & Wildlife Department, helping to spread the word about keeping our beaches clean. With thousands of live performances under his belt, a dozen albums to his credit, and fans circling the globe, its little wonder Joe “King” Carrasco is still the #1 party band in music circles around the world.
The single, “Let’s Get Pretty” b/w “Nowhere Else but San Antonio,” on the Indio Records/Recovery Recordings label, is currently available for download purchases at: www.itunes.com
Recorded: January, 1980
Produced by: Ivan Koop Kuper
Engineered by: Chuck Sugar
Recorded at: Jasper Sound, Austin, Texas
Re-mastered by: James Hoover
Executive Producer: Billy Gibbons
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Every Woman
Joe "King" Carrasco Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Too many teardrops for one heart to carry on
You're way on top now since you left me
You're always laughing way down at me
But watch out now, I'm gonna get there
We'll be together for just a little while
And then I'm gonna put you way down here
Cry, cry
And when the sun comes up, I'll be on top
You'll be right down there, looking up
And I might wave, come up here
But I don't see you waving now
I'm way down here, wondering how
I'm gonna get you but I know now
I'll just cry, cry, I'll just cry
Too many teardrops for one heart to be crying
Too many teardrops for one heart to carry on
You're gonna cry ninety-six tears
You're gonna cry ninety-six tears
You're gonna cry, cry, cry, cry now
You're gonna cry, cry, cry, cry
Ninety-six tears
Come on and let me hear you cry, now
Ninety-six tears, woo
I wanna hear you cry
Night and day, yeah, all night long
Uh, ninety-six tears, cry, cry, cry
Come on, baby, let me hear you cry now, all night long
Uh, ninety-six tears, yeah, come on now
Uh, ninety-six tears
The lyrics of Joe "King" Carrasco's "Every Woman" discuss a broken relationship where one person has moved on and left the other behind. The singer is lamenting that there are "too many teardrops for one heart to be crying" and that "too many teardrops for one heart to carry on." He acknowledges that his ex-partner is now "way on top" and "always laughing way down" at him. However, he plans to get revenge and put his ex "way down here" so that they will be the one crying "ninety-six tears." It seems that the plan is to get revenge by being successful and ending up on top while they fall.
The lyrics are filled with metaphors and imagery. The use of the number 96 is quite specific, adding to the song's ominous tone. The repetition of "cry" and the mention of "teardrops" emphasize the sadness and despair the singer feels. His desire for revenge is clear, as the lyrics imply that he will take pleasure in seeing his ex cry. The lyrics are simple yet effective in conveying the emotions and themes of a broken relationship, resentment, and revenge.
Line by Line Meaning
Too many teardrops for one heart to be crying
It's too overwhelming to be sad and cry so much over someone.
Too many teardrops for one heart to carry on
It's too difficult to keep carrying on with all this pain and sadness.
You're way on top now since you left me
You think you're better than me now that you've left.
You're always laughing way down at me
You're constantly making fun of me and putting me down.
But watch out now, I'm gonna get there
Just wait and see, I will succeed and rise above you.
We'll be together for just a little while
We may reunite for a brief moment.
And then I'm gonna put you way down here
But soon after, I will bring you lower than where you put me.
And you'll start crying ninety-six tears
You'll feel the same sadness and pain that I did, and it will take a lot of tears to cry it all out.
And when the sun comes up, I'll be on top
I will come out victorious, and soon everyone will know it.
You'll be right down there, looking up
You'll be looking up at me, wishing you were in my shoes.
And I might wave, come up here
I may offer to help you, but only if you ask and admit your wrongs.
But I don't see you waving now
I don't see any remorse or humility coming from you.
I'm way down here, wondering how
I'm still recovering from the heartbreak and trying to figure things out.
I'm gonna get you but I know now
I will eventually get my revenge and rise above you.
I'll just cry, cry, I'll just cry
But in the meantime, I am still mourning and suffering.
You're gonna cry ninety-six tears
You will experience the same sadness and pain that I did.
Come on and let me hear you cry, now
I want to see you suffer and cry your heart out.
Night and day, yeah, all night long
I want you to feel this pain even when you try to sleep.
Uh, ninety-six tears, cry, cry, cry
You will cry out all your tears and hopefully learn from your mistakes.
Come on, baby, let me hear you cry now, all night long
The pain and suffering should be prolonged and unbearable for you.
Uh, ninety-six tears, yeah, come on now
Experience all 96 tears and hopefully come out wiser and ready to change.
Lyrics © Abkco Music, Inc
Written by: RUDY MARTINEZ
Lyrics Licensed & Provided by LyricFind
@leadbelly3529
First heard Party Weekend at the Rocksy in Houston. When the DJ played it the dance floor filled completely. If you didn't get on the dance floor quick you had to watch from the bar. The crowd loved it.
@jackiewilsonsaid5417
Yes great version - the 45 gets a regular spot on my jukebox. JKC seemed to play every other week at DJ's on Greenville for a while there in 1979-80. Exciting times. Working as an illegal/token Englishman at Sound Warehouse. Did John Peel ever play the copy I sent him from Dallas? always wondered...
@rockvilleraven
Both versions were played on WHFS, this one was on Weasels Party block on fridays, back when they were in Bethesda at 102.3 FM, when they found a new home at 99.1 in Annapolis they played the newer version.
@billseeger8947
Beastie Boys, Dave Edmunds, and Joe King... A great memory
@dobbsiancant7736
the best version.
@rubedogg6969
Joe was right there with the B 52's in the late 70's and early 80's!
@djbobbyddimas3344
Many Fiestas here in San Antonio with Joe back in day!
@hebguy07
I miss his old Club Foot shows.
@robertzingery8888
loved watching them at club foot also.
@derffred3788
i saw King Joe Carrasco in Columbia, Missourri in 1981. I was hitch hiking across he USA from east to west. I think it was in a club called Heidelberg.