Joe Grushecky is a true rock 'n' roll survivor, the talented singer, songwr… Read Full Bio ↴Joe Grushecky is a true rock 'n' roll survivor, the talented singer, songwriter, and guitarist first bursting onto the scene in 1979 with his band the Iron City Houserockers and their critically-acclaimed debut album, Love's So Tough. By the time the band released a follow-up in 1980's Have A Good Time But Get Out Alive, Grushecky had sharpened his songwriting skills to a razor's edge, and his intelligent blue-collar anthems mixed muscular, guitar-driven rock with elements of blues and soul like nobody before or since.

After two more albums that earned great reviews but sold few copies, the Iron City Houserockers called it a day. Grushecky, a Pittsburgh native, returned home to Steeltown and resumed his day job as a teacher working with at-risk youth, a position that he has pretty much held ever since. He stayed out of music for the better part of a decade, returning with a new band - Joe Grushecky and the Houserockers - which included his old ICH bandmate Art Nardini on bass, and released the acclaimed Swimming With The Sharks album.

Twenty years and eight albums later, Joe Grushecky is still rocking at an age where many musicians have retired and started collecting social security checks. He hasn't had a label deal in 15 years, Grushecky and his long-time manager and his compatriots the Houserockers going it on their own, braving the tidal changes that have assaulted the music industry by rocking harder. Through the years, Grushecky has continued to hone his craft as a songwriter, and if fame and fortune have eluded him, he remains committed to music as a powerful creative force. Meeting him in 1995, and asking why a 50-year-old man would give up his job to hit the road with a band (for his American Babylon album), Grushecky simply smiled and said, "it's rock 'n' roll, man, it's rock 'n' roll...."

East Carson Street is Grushecky's first album since 2006's A Good Life, and his first with long-time band the Houserockers in six years. After venturing out on his own for an album, what did Grushecky want to accomplish with East Carson Street? "I wanted to have a really good band record," says Grushecky. "I approach every record the same, try to make it the best record that I can at that particular time. I got lucky this time because I'd been on a hot streak writing, and it was a very relaxed record to do."

Grushecky also took a different tack in the recording of this album, which is also the first in years to feature a new band line-up. "We took our time and worked on it, and were under no pressure to deliver it," he says. "I wanted a record to showcase the talent of the band, especially since we'd gone through our first personnel changes in a while. We lost three guys and brought two guys in, my son being one of them." Gone are guitarist Billy Toms, percussionist Bernie Herr, and harmonica player Marc Reisman, who also dated back to the Iron City Houserockers days. The addition of guitarists Johnny Grushecky and Danny Gochnour has brought an even heavier rock 'n' roll sound to Grushecky's songs.

Of the new line-up, Grushecky says "the rhythm section is great, we have a certain feel, and we play like a band. This time the guys really expanded a little. We approached the record differently, recording this time...I don't want to compare myself to Bob Dylan, but the last couple records that we recorded with the Houserockers, we wouldn't rehearse them. I'd go in and write the song the night before and we'd record without rehearsing, which made the guys more nervous than it made me. This time, I gave them all the songs in advance and we worked on them."

The different strategy towards recording East Carson Street resulted in uniformly consistent and inspired performances by the band on what might be Grushecky's strongest set of songs to date. With the songwriting, too, Grushecky changed his usual modus operandi and collaborated on material with a number of outside writers. For the first time, he has also traveled to Nashville to hook up with some of the city's more talented wordsmiths.

"One of my friends, John Esposito, is the head of Warner Brothers in Nashville," says Grushecky, "he's a Pittsburgh guy, and he and I are friends, and we've been talking about me trying to bust into the songwriting thing. I went down there a little more than a year ago, and I was down there for three hours and was already writing songs with Big Kenny and Debbie Allen. Since then I've been going back and writing with Al Anderson [formerly of N.R.B.Q.], he's probably the best-known guy; James House; and a bunch of other people. It's been fun and I've been enjoying it. I didn't know if I'd like it or not, but it's been a positive experience so far."

One of Grushecky's past collaborators - some guy by the name of Springsteen - makes a re-appearance on East Carson Street, co-writing the song "Another Thin Line" as well as singing on the song and playing guitar on two other tracks. The two have frequently put their heads together on songs, and they share a GrammyTM award for their 2004 song "Code of Silence." "He casts a long shadow," says Grushecky of Springsteen. "When you play with Bruce, you have to be pretty confident in what you're doing or else he'll overwhelm it - not that he attempts to - with the strength of his personality. We always have a blast when we play together."

East Carson Street was released by Schoolhouse Records, Grushecky's independent label. Through his lengthy career, Grushecky has been signed to major labels, indie labels, and done it himself (with a little help from his friends). Although this independence brings a certain amount of creative freedom, it also has its drawbacks. "Being independent is a huge plus for me, but the drawback is that you don't have anybody working your record," he says. "Your chances of getting on radio are diminished, your chances of being in any major publications get slimmer...especially once you get to be a certain age, I think that a lot of people look at people our age and think that 'their best days have come and gone.'"

In the 30 years since the release of the first Iron City Houserockers album, Grushecky has seen drastic changes in the music industry. "The music industry is in a state of flux, but music itself is more popular than ever," he says. "There's probably more music than ever being sold, more music consumed, it's just not in the formats that we have known all these years. The digital thing has pretty much taken over."

"It's been pretty interesting, watching it all develop," he adds. "I do this thing with kids every year at a middle school, so it's 14-and-15-year-olds, and when I first started about ten years ago, barely anybody downloaded...if they did download, they were hesitant to admit it, but the majority of kids purchased CDs. Last year I did it, and out of 200 students, only about six people said they bought CDs. I went on this spiel about having the physical thing in your hand, do you enjoy the artwork and the lyrics, and they said 'naw, we just want a back-up of the ones we like in case our computer crashes.'"

Luckily, the changes in the music industry caused by the new digital era can be beneficial to indie artists like Grushecky. "The Internet keeps guys like myself in business," he says. "Anybody can email me, say anything...good and bad, but people contact me on a weekly basis and make nice comments about how much the music has meant to them through the years. With this record, I got a lot of European orders and orders from all over the United States, so it's been really working well."

The addition of his son Johnny to the Houserockers band has proven to be a smart move on the part of the veteran rocker. "It's been great," he says of Johnny. "Watching him play in his own band, it makes you realize why you picked up a guitar in the first place. They love to play music, they want to hear their sound, they want to be creative." As for Johnny's role in the band, Grushecky adds "he brings an incredible amount of energy and excitement to the band. The cool thing about it is that you get to see two generations of musicians up there on stage."

Although he may never enjoy commercial success commensurate with the critical acclaim that he's received through the years, Grushecky is satisfied with the work that he's done. "I've been fortunate enough to be able to write good songs," he says. "This record in particular, I had a lot of confidence in the songs that I was writing." Looking back over a career that can boast of better than a dozen great albums, Pittsburgh's favorite son concludes, "this new record is as good as any record that I've done."

Too Hot To Think
Joe Grushecky Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Legends make or break game
Swept up by the rollin' waves of the night
They chase for fame

An' I was too, too hot baby
Too hot to handle
Yeah, I was too, too hot
Too hot to handle

Wink of an eye, the feelings ran high
A real rock an' roll molest
But I ain't no romance and I ain't no slow chance
Won't get no quick change

Yeah, I'm too, too hot baby
Too hot to handle
Yeah, I'm too, too hot baby
Too hot to handle

Sha la la la, roll you over
Turn you around and do it again
Sha la la la, keep on comin'
Do it once but never the same

Sha la la la, roll you over
Turn you around and do it again
Sha la la la, keep on comin'
An' do it once but never the same

I'm in your town, won't fool around
I'll take some action stand
Just like the story says, these boys are bad
So keep out of shootin' range

'Cause I'm too, too hot baby
Too hot to handle
Yeah I'm too, too hot
Too hot to handle
'Cause I'm too, too hot baby
Too hot to handle

Yeah, I'm too, too, too hot
Too hot to handle

Overall Meaning

The song "Too Hot To Think" by Joe Grushecky has a fast-paced rock and roll sound featuring powerful vocals and electric guitar riffs. The lyrics of the song talk about the pursuit of fame and the wild ride of being a rock star. The opening lines of the song "Legends make or break game, swept up by the rollin' waves of the night, they chase for fame" illustrate the pressure and excitement of the music industry. The chorus of the song emphasizes how hot the singer feels, both in terms of his talent and his physical attraction. He is "too hot to handle" and doesn't want to slow down or be held back.

The verse "Wink of an eye, the feelings ran high, a real rock an' roll molest, but I ain't no romance and I ain't no slow chance, won't get no quick change" describes the physical excitement that comes with a rock and roll lifestyle but also emphasizes that the singer is not interested in a slow, romantic connection. Instead, he wants to keep moving and keep the energy high. The repetitive "sha la la la" in the song makes it feel like a fun party anthem, but the overall message is that being a rock star is not for the faint of heart. The line "I'll take some action stand, just like the story says, these boys are bad" foreshadows some of the darker aspects of fame and the potential for trouble.

Overall, "Too Hot To Think" is a high-energy rock song that celebrates the excitement of being a musician while also acknowledging the darker side of fame and the need to keep pushing forward.

Line by Line Meaning

Legends make or break game
Success or failure can depend on whether someone becomes a legend or not.

Swept up by the rollin' waves of the night
People get carried away by the excitement of the night.

They chase for fame
People try to become famous.

An' I was too, too hot baby
I was very confident and capable.

Too hot to handle
Too impressive or challenging to deal with.

Wink of an eye, the feelings ran high
Emotions quickly escalated.

A real rock an' roll molest
A true rock and roll experience.

But I ain't no romance and I ain't no slow chance
I'm not looking for a romantic connection and I don't take things slow.

Won't get no quick change
I won't easily change my mind or behavior.

Sha la la la, roll you over
Expressing excitement and desire to engage in sexual activity.

Turn you around and do it again
Repeating the activity to keep the excitement going.