From the moment I experienced Tom Petty and the Heartbreakers sharing a stage with Bob Dylan and the Grateful Dead back in the summer of 1986, I was completely captivated. Tom Petty’s music became a constant soundtrack to my life. Throughout my university years, his albums were my study companions, so much so that I often joke he deserves an honorary degree from my alma mater. One album that particularly resonated with me was the live recording, ‘Pack Up the Plantation: Live’. It perfectly captured the raw energy of the band’s tours from the early to mid-80s. This album presented a powerful retrospective of Tom Petty’s first decade, and in his signature style, it paid tribute to the artists who inspired him and his Heartbreakers bandmates. Today, we’re diving into the album’s closing track, ‘Stories We Could Tell’. This song’s reflective nature immediately drew me in, sparking a desire to learn more about its origins. So, in today’s edition of Ted Tocks Covers, we will explore the story behind this poignant song and how it intertwines with a significant story in my own life.
Today marks our 30th Anniversary.
Before my wife Heather and I were married, and long before children came along, we had a tradition of heading to upstate New York for Christmas shopping trips. A quirky part of our mission was to find the absolute cheapest motel possible. Our philosophy was simple: why spend extra on a place just to sleep? We were down-to-earth and all we needed was a bed and a bathroom. We discovered the perfect, budget-friendly haven at Junior’s Truck Stop in Niagara Falls, New York. From around 1988 to 1990, a night’s stay was incredibly affordable, rarely exceeding $20. Just across the parking lot was a classic greasy spoon diner, serving up delicious burgers, fries, and onion rings. A friendly waitress, reminiscent of Flo from the sitcom ‘Alice’, would keep us entertained with commentary on the Arsenio Hall Show playing on the TV behind the counter. She was always amused that we had come ‘all the way from Canada’. We accepted her admiration with typical Canadian humility, even though our hour-long drive felt far from monumental. For us, it was perfect – everything we needed, and a direct route to the nearby outlet mall.
Every time I hear the lyrics of ‘Stories We Could Tell’, I’m instantly transported back to Junior’s Truck Stop and the amusing stories from those shopping trips. There are countless tales, far too many to recount in detail here, but let’s delve into some of the background of the song itself.
Talkin’ to myself again
And wondrin’ if this travelling is good
Is there somethin’ else a-doin’
We’d be doin’ if we couldBut oh, the stories we could tell
And if it all blows up and goes to hell
I can still see us sittin’ on a bed in some hotel
Singin’ all the stories we could tellRemember that guitar in a museum in Tennessee
The nameplate on the glass brought back twenty melodies
And the scratches on the face told of all the times he fell
Singin’ all the stories he could tellAnd oh, the stories it could tell
And I’ll bet you it still rings like a bell
And I wish that we could sit back on a bed in some hotel
And listen to the stories it could tellSo if you’re on the road a-trackin’ down your every night
And singin’ for a livin’ neath the brightly colored lights
And if you ever wonder why you ride the carousel
You did it for the stories you could tellAnd oh, the stories we could tell
And before we have to say our last farewell
Well, I wish that we could sit back on a bed in some hotel
And listen to the stories we could tell
Yes, I wish that we could sit back on a bed in some hotel
And listen to the stories we could tell.”John Sebastian
Long before Tom Petty and the Heartbreakers recorded ‘Stories We Could Tell’ at the Hammersmith Odeon in London, England, the song was penned by the Rock and Roll Hall of Fame singer-songwriter, John Sebastian. Unlike many folk singers who migrated to the Greenwich Village music scene in New York, John Sebastian was born and raised there. It was his home turf. His early musical influences ranged from blues icons like Lead Belly and Woody Guthrie to Mississippi John Hurt, Sonny Terry, and Lightning Hopkins. These blues connections laid the groundwork for Sebastian’s renowned harmonica skills. In 1964, John Sebastian and his Canadian friend Zal Yanovsky formed a short-lived band called The Mugwumps, along with Yanovsky’s compatriot Denny Doherty and Cass Elliot. This group ultimately split, giving rise to two iconic bands: The Lovin’ Spoonful and The Mamas and the Papas. Despite their disbandment, The Mugwumps’ only album was released in 1967. The Mamas and the Papas’ hit song ‘Creeque Alley’ is a semi-autobiographical account of this pivotal period in their careers.
These lyrics tell the story behind the formation of these legendary bands:
John and Mitchy were gettin’ kind of itchy
Just to leave the folk music behind
Zal and Denny workin’ for a penny
Tryin’ to get a fish on the line
In a coffee house Sebastian sat
And after every number they’d pass the hat
McGuinn and McGuire just a gettin’ higher
In L.A., you know where that’s at
And no one’s gettin’ fat except Mama CassZally said Denny, you know there aren’t many
Who can sing a song the way that you do, let’s go south
Denny said Zally, golly, don’t you think that I wish
I could play guitar like you
Zal, Denny and Sebastian sat (at the Night Owl)
And after every number they’d pass the hat
McGuinn and McGuire still a gettin’ higher
In L.A., you know where that’s at
And no one’s gettin’ fat except Mama CassWhen Cass was a sophomore, planned to go to Swarthmore
But she changed her mind one day
Standin’ on the turnpike, thumb out to hitchhike
Take me to New York right away
When Denny met Cass he gave her love bumps
Called John and Zal and that was the Mugwumps
McGuinn and McGuire couldn’t get no higher
But that’s what they were aimin’ at
And no one’s gettin’ fat except Mama CassMugwumps, high jumps, low slumps, big bumps
Don’t you work as hard as you play
Make up, break up, everything is shake up
Guess it had to be that way
Sebastian and Zal formed the Spoonful
Michelle, John, and Denny gettin’ very tuneful
McGuinn and McGuire just a catchin’ fire
In L.A., you know where that’s at
And everybody’s gettin’ fat except Mama Cass
Di di di dit dit dit di di di dit, whoaBroke, busted, disgusted, agents can’t be trusted
And Mitchy wants to go to the sea
Cass can’t make it, she says we’ll have to fake it
We knew she’d come eventually
Greasin’ on American Express cards
It’s low rent, but keeping out the heat’s hard
Duffy’s good vibrations and our imaginations
Can’t go on indefinitely
And California dreamin’ is becomin’ a reality.”John Phillips and Michelle Phillips
John Sebastian’s time with The Lovin’ Spoonful was incredibly fruitful, yielding numerous hits, including ‘Summer in the City’. They were a quintessential example of the American music scene’s vibrant response to the British Invasion. Unfortunately, their success was relatively short-lived due to internal conflicts. Sebastian then embarked on a solo career, famously marked by his impromptu performance at Woodstock. The story of this performance has become legendary. As the tale goes, John Sebastian was at Woodstock as a spectator, but Woodstock emcee Chip Monck asked him to play a short acoustic set after a thunderstorm flooded the stage. Borrowing a guitar from Tim Hardin, he took the stage and, while organizers cleared the water, Sebastian played five songs, including The Lovin’ Spoonful’s hit ‘Darling Be Home Soon’ and ‘Younger Generation’, which he famously dedicated to a baby reportedly born during the festival.
Here is a snippet of John Sebastian’s stage presence and words from that iconic day:
I’d like you to hear a tune about… I guess about those discussions I was talkin’ about that I seem to have had in so many small circles of friends around living rooms, around pipes when they weren’t sellin’ no papers on the street and we weren’t walkin’ around this beautiful green place, smokin’ and, uh, not bein’ afraid. This is about… all of us. I love you people.”
John Sebastian
It was a spontaneous moment, captured for posterity, adding another layer to the many stories songs can tell.
In the late 60s and early 70s, John Sebastian continued to write and record, releasing four solo albums between 1970 and 1974. During this period, he was a sought-after session musician, contributing his harmonica skills to numerous renowned artists, including the iconic harmonica part on The Doors’ ‘Roadhouse Blues’. While attempts to form new bands didn’t fully materialize, he remained connected with acts like Crosby, Stills, and Nash, Little Feat, and The Everly Brothers.
Sebastian experienced another wave of success with the unexpected hit ‘Welcome Back’, the theme song for the popular sitcom ‘Welcome Back Kotter’.
It’s at this point we return to our featured song, ‘Stories We Could Tell’. The first recorded release of this song was by the legendary brother duo, The Everly Brothers, on their 1972 album of the same name. John Sebastian’s composition became the closing track, intended to re-establish The Everly Brothers as a contemporary act. Produced by former Doors producer Paul Rothchild, the album showcased Sebastian’s enduring connections within the music industry. While ‘Stories We Could Tell’ received mixed reviews initially, the recording offered a glimpse of the Everly’s classic harmonies.
John Sebastian released his own rendition of the song in 1974, and it was later included in a greatest hits compilation, ‘The Best of John Sebastian’ in 2017.
Jimmy Buffett, known for his relaxed cover versions of great songs, also recorded ‘Stories We Could Tell’ on his 1974 album ‘A1A’ released by Geffen Records.
Before sharing my personal connection to the song, here’s a wonderful version of ‘Stories We Could Tell’ featuring John Sebastian himself alongside Arlen Roth, with Maria Muldaur on vocals.
Arlen Roth’s extensive musical contributions and collaborations are truly impressive, as detailed on his bio page.
Now, to bring it full circle, here’s how ‘Stories We Could Tell’ becomes deeply personal for me. While I appreciate all the versions I’ve shared, Tom Petty’s cover remains my definitive favorite. It’s the blend of Petty’s heartfelt delivery and Bobby Valentino’s poignant violin work that truly captivates, not forgetting Mike Campbell’s exceptional guitar skills and Stan Lynch’s backing vocals. This version encapsulates the sentimentality of the song perfectly.
Thirty years ago today, Heather and I embarked on our married life. It was a chilly New Year’s Eve in 1991. We wanted our wedding to be more than just a ceremony; we envisioned a celebration, a party to mark a new beginning. By the time the festivities wound down in the early hours of New Year’s Day 1992 – thanks to a touch of public intoxication and a playful moment of partial nudity (a shout out to the two Scotts who started disrobing to ‘Stayin’ Alive’ by the Bee Gees) – it was clear our goal had been achieved.
Earlier in the evening, shortly after my sister-in-law Darlene’s poetic toast to Heather concluded with the line:
What are you sitting around for, it’s time to party.”
Darlene – Toast to the Bride
The energy shifted, and the dance floor came alive. Our first dance was to ‘Love’ by John Lennon, followed by Fleetwood Mac’s ‘Songbird’.
During wedding planning, I had excitedly met with our DJ and, perhaps a bit overzealously, provided input on the dance setlist. Part of my ‘instructions’ was to transition from the traditional slow dances into more upbeat music with ‘Stories We Could Tell’ from ‘Pack Up the Plantation: Live’. Heather gently suggested that perhaps the DJ, being a professional, might have some expertise in music selection himself. Initially, I hadn’t considered relinquishing control, but of course, she was right. I took a leap of faith, and miraculously, the DJ delivered perfectly. It was an unforgettable night.
Two days later, we found ourselves in Bethel, New York, the site of Woodstock. We had left for our honeymoon without a fixed destination, simply deciding to drive. After crossing the border and staying overnight in Buffalo, we spontaneously decided to head towards New York City. As we drove southeast, we realized we were near Woodstock. Somewhere in our photo albums, there’s a picture of Heather standing by the monument listing the legendary bands who played at the iconic festival. From that hill, you can look down upon the very field where John Sebastian captivated the crowd of 500,000.
Most couples marrying on New Year’s Eve might opt for a tropical honeymoon. Not us. As I mentioned, we are not extravagant people. We prefer to keep things real and spontaneous. And let me tell you, we had an incredible amount of fun – adventures at every turn, creating memories that will last a lifetime.
Thirty years on, our story continues to unfold. It now includes three sons, Sebastian (born in 1993), Jeremy (1996), and Nathaniel (2000), each a significant chapter in our lives. Our home is often filled with music. Each song represents a piece of our shared history, a soundtrack to our journey, telling the stories of where we’ve been.
Sittin’ on a bed in some hotel
Singin’ all the stories we could tell.”John Sebastian
Sometimes I yearn for those early days, but mostly, I cherish the memories, knowing they are integral parts of our ongoing story.
Three decades later, those memories still resonate deeply.
Happy Anniversary, Heather!
If you’ve ever wondered why we embrace this rollercoaster of life, it’s for the stories we can tell. And know that for every moment I might drive you crazy, my love for you is tenfold.
ILY!
