Early in their recording and airwave career, Lovin' Spoonful members termed their approach "good-time music". Unlike many pop groups of the day, the Lovin' Spoonful played all the instruments on their records, and aside from a few covers, wrote all their own material.
His group The Lovin' Spoonful played a major role in the mid-'60s rock revolution, but what leader, singer and songwriter Sebastian had in mind was actually a counter-revolution. "We were grateful to the Beatles for reminding us our rock & roll roots," John explains, "but we wanted to cut out the English middlemen, so to speak, and get down to making this new music as an 'American' band."
This the Lovin' Spoonful did like nobody before or since, putting their first seven singles into the Top 10. This was unprecedented, and utterly unthinkable at the height of Beatlemania. At first they'd taken older material from blues, country, folk and jug band sources - what we now term "roots music" - and made it sound modern. Then, in a series of original songs composed and sung by John Sebastian, they did the reverse, creating thoroughly modern music that sounded like it contained the entire history of American music. Which it did.
He embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues" and "Younger Generation" which he dedicated to a newborn baby at the festival. Documentary remarks by festival organizers revealed that Sebastian was under the influence at the time, hence his spontaneity and casual, unplanned set. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians.
Sebastian played harmonica with The Doors on the song Roadhouse Blues under the pseudonym G. Puglese to avoid problems with his contract, which was featured on Morrison Hotel album, also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He is also credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.
He had been involved in music for films (most notably Francis Ford Coppola's "You're A Big Boy Now" and Woody Allen's "What's Up Tiger Lily") and Broadway, but when producers of a TV show called "Welcome Back Kotter" commissioned a theme song in 1976, Sebastian's "Welcome Back" became a chart-topping solo record.
Thankfully John's induction into the Rock 'n Roll Hall of Fame in 2000 hasn't slowed him down. Whether the stage is at Carnegie Hall or a folk festival in some far-flung locale, John is still out there spreading his gospel of American roots music. He is the subject of the current PBS special "Do You Believe In Magic: The Music of John Sebastian," and a new album of duets with David Grisman was released in 2007. He has also lent his music in support of social, environmental and animal rights causes. Recently he joined a delegation of songwriters (including Lamont Dozier, Allen and Marilyn Bergman, and Mike Stoller) in Washington, DC to campaign on behalf of the National Music Publisher's Association.
Perhaps because it has been the product of heart and soul and history, the oldest song in the Sebastian catalog is as fresh and vital as the song he's about to write tomorrow. That's why you still hear his music everywhere - in movies, on television, in cover versions and samples - and why it's always welcome. John is also a welcome media presence; his commentary, insights and anecdotes and stories are regularly featured in print, radio, TV and film documentary projects. John Sebastian is not only a master musician, writer and performer, he remains one of the best ambassadors American music has ever had.
Summer in the City
John Sebastian Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Back of my neck getting dirty and gritty
Been down, isn't it a pity
Doesn't seem to be a shadow in the city
All around, people looking half dead
Walking on the sidewalk, hotter than a match head
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it'll be alright
And babe, don't you know it's a pity
That the days can't be like the nights
In the summer, in the city
In the summer, in the city
Cool town, evening in the city
Dressing so fine and looking so pretty
Cool cat, looking for a kitty
Gonna look in every corner of the city
Till I'm wheezing like a bus stop
Running up the stairs, gonna meet you on the rooftop
But at night it's a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it'll be alright
And babe, don't you know it's a pity
That the days can't be like the nights
In the summer, in the city
In the summer, in the city
Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn't it a pity
Doesn't seem to be a shadow in the city
All around, people looking half dead
Walking on the sidewalk, hotter than a match head
But at night it's a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it'll be alright
And babe, don't you know it's a pity
That the days can't be like the nights
In the summer, in the city
In the summer, in the city
John Sebastian's Summer In The City describes the feeling of summer in an urban environment, specifically in New York City. The first verse paints a dreary picture of the heat, with the singer's neck getting dirty and gritty. The lack of shadows contributes to the feeling of discomfort, and the people around seem to be lethargic and half-dead. However, the mood shifts in the chorus as Sebastian encourages the listener to go out, dance and enjoy the different world that appears at night. Despite the heat, the nights are a world of their own where one can find love and excitement.
The second verse further emphasizes the contrast between day and night, with the city becoming cooler and the people dressing fine and looking pretty. Searching for love, the singer is determined to explore every corner of the city. The song ends with a repetition of the chorus, highlighting that it's a pity that days can't be like nights in the summer city.
Overall, the song encapsulates the experience of living in a busy, hot, and often overwhelming city during summertime. It shows that despite the harshness of the environment, one can still find excitement, love and joy.
Line by Line Meaning
Hot town, summer in the city
The city is hot and it is summer time
Back of my neck getting dirty and gritty
The heat is making the back of one's neck sweaty and uncomfortable
Been down, isn't it a pity
Feeling low and unhappy about the current situation of the city
Doesn't seem to be a shadow in the city
There aren't many shaded areas or trees in the city
All around, people looking half dead
The heat is draining the energy of the people and making them look tired
Walking on the sidewalk, hotter than a match head
The pavement is so hot that it feels like the head of a matchstick
But at night it's a different world
The city looks and feels different at night
Go out and find a girl
Go out and socialize or find a romantic partner
Come-on come-on and dance all night
Enjoy the night by dancing and having fun
Despite the heat it'll be alright
The heat won't ruin the fun of the night
And babe, don't you know it's a pity
It's unfortunate that the days are not as enjoyable as the nights
That the days can't be like the nights
The days aren't as lively and enjoyable as the nights in the city
Cool town, evening in the city
The city is cool and comfortable during the evening
Dressing so fine and looking so pretty
Dressed up and looking attractive
Cool cat, looking for a kitty
A person is trying to find a romantic partner
Gonna look in every corner of the city
Will search every part of the city to find the perfect match
Till I'm wheezing like a bus stop
Will keep going until they're out of breath
Running up the stairs, gonna meet you on the rooftop
Will run up the stairs to meet the romantic partner on the rooftop
And babe, don't you know it's a pity
It's unfortunate that the days are not as enjoyable as the nights
That the days can't be like the nights
The days aren't as lively and enjoyable as the nights in the city
Lyrics © Sony/ATV Music Publishing LLC, Round Hill Music Big Loud Songs, BMG Rights Management, CARLIN AMERICA INC
Written by: John Sebastian, Mark Sebastian, Steve Boone
Lyrics Licensed & Provided by LyricFind
Robert Salmen
Yo , Jayo , lots of really nice selections in these comments.
May I suggest a small handful of others? .... From the 70s , 80s etc.
1- Andy Pratt "Avenging Annie"
2- Capt Beyond "Sufficiently Breathless"
3- James Gang "Standing in the Rain"
And last , but not least
4- Tommy Bolin "Wild Dogs"
Just 4 of what you'll probably not hear suggested by most people. And a good example of really good stuff , Not ever listed on any Top 40.
If any or all of these lite a little spark for you ... Bonus Offering
5- Nitty Gritty Dirt Band "Battle of New Orleans" ... Studio version
As good as these sound , try w a GOOD set of earbuds or headphones 🎧
비정한세상
Summer in the City
The Lovin’ Spoonful
Produced by Erik Jacobsen
Album Hums of the Lovin’ Spoonful
[Verse 1]Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn't it a pity
Doesn't seem to be a shadow in the city
All around, people looking half-dead
Walking on the sidewalk, hotter than a match head
[Chorus]But at night it's a different world
Go out and find a girl
Come on, come on, and dance all night
Despite the heat, it'll be alright
And babe, don't you know it's a pity
The days can't be like the nights
In the summer, in the city
[Verse 2]Cool town, evenin' in the city
Dressin' so fine and lookin' so pretty
Cool cat, lookin' for a kitty
Gonna look in every corner of the city
'Til I'm wheezin' like a bus stop
Running up the stairs, gonna meet you on the rooftop
glitter
Ohh maaahhh lawwwwd,
I never realized those exact words until your comment!
And we're talking years. 😄
Thank you!
:08 My father would sing,
back of my neck gettin'
"burnt and pretty".
I like his words better. 🙊
Jay Brown
Just wow!!! I was 17 in August 1966.We were driving around in a 1959 Impala convertible,top down and 95 degrees in the middle of a heat wave! This came on the tinny sounding AM radio and all of us in the car simply loved it.That was an era of simply magical music. Coming from every genre.The Beatles,The Rascals,The Byrds,Kinks,Beach Boys,so many more who can count! That doesn’t even begin to star talking about the Motown Sound.We had no idea how lucky we were to have the experience of listening to such groundbreaking music,it truly helped us cope with a world full of war,race riots,assassinations etc.We really need it now
Andy Matthews
@Charles King absolutely.
Charles King
Go five years and repeat the cycle again , beam me up 😊
Andy Matthews
I wish aliens could take me back and leave me there forever.
Channel Fogg
I love this song as much as I did when I was first listening to it in 1966. How long ago that is. What a different world.
Rosario Rguez. Lopez
You'r rigth. The world was si diferent !!!
John Doe
Something happened to these kids. I'm think cable TV really fucked them all up or something. Maybe it's the cell phones. Idk
Necmi Yardım
İ was 2 then.i font remember anything.
Jerry Coleman
Me too Fogg. I still sing it often. I'm 71.
sherry hoskins
Every time I hear this, I don't care if it's summer or dead of winter, I can still feel the heat of that summer long ago.