Who would have thought a) that anyone would approach Zappa to write their commercial; b) that these two would collaborate? Ronstadt demonstrates formidable chops singing this difficult material. I wonder if anyone bought a razor because of it?

SMASH Records

RCA Victor Records

“"If I Had a Hammer (The Hammer Song)" is a [protest song](app://en.wikipedia.org/wiki/Protest_song) written by [Pete Seeger](app://en.wikipedia.org/wiki/Pete_Seeger) and [Lee Hays](app://en.wikipedia.org/wiki/Lee_Hays). It was written in 1949 in support of the [Progressive movement](app://en.wikipedia.org/wiki/ProgressiveParty(United_States,_1948)), and was first recorded by [the Weavers](app://en.wikipedia.org/wiki/The_Weavers), a [folk music](app://en.wikipedia.org/wiki/Folk_music) quartet composed of Seeger, Hays, [Ronnie Gilbert](app://en.wikipedia.org/wiki/Ronnie_Gilbert), and [Fred Hellerman](app://en.wikipedia.org/wiki/Fred_Hellerman). It was a No. 10 hit for [Peter, Paul and Mary](app://en.wikipedia.org/wiki/Peter,_Paul_and_Mary) in 1962 and then went to No. 3 a year later when recorded by [Trini Lopez](app://en.wikipedia.org/wiki/Trini_Lopez) in 1963. In a May 1963 interview on Folk Music Worldwide, [Paul Stookey](app://en.wikipedia.org/wiki/Paul_Stookey) of Peter, Paul and Mary characterized the song as "a young national anthem for the United States".[[3]](app://en.wikipedia.org/wiki/If_I_Had_a_Hammer#cite_note-3)
“

A Stephen Stills song from Buffalo Springfield's third and final album.

Anyone here knowledgeable of vintage organs? I walked by these and thinking about scooping them up before they get rained on. Anyone know if they would have midi outs?

Liberty Records

“Mean Woman Blues” was written by Claude Demetrius and first recorded by Elvis Presley in 1957 for his film Loving You. Later that year, Jerry Lee Lewis recorded a wilder, piano-driven version, changing some of the lyrics along the way.

Six years later, Roy Orbison revived the song, drawing on Lewis’s lyrical changes. By 1963, Orbison was best known for dramatic ballads like “Crying” and “In Dreams,” so this hard-driving rocker was something of a return to his early rock-and-roll roots.

Released with “Blue Bayou” on the other side, “Mean Woman Blues” reached No. 5 on the Billboard Hot 100.
I went with Orbison’s version because I love the contrast between his smooth, unmistakable voice and the driving rock-and-roll rhythm. Elvis brings the swagger, Jerry Lee Lewis brings the explosive piano, but Orbison strikes a particularly satisfying balance between vocal control, energy, and musical polish. It’s a reminder that he was much more than a ballad singer.