“But we’d get really high – drink a lot of tequila, get right out on the edge.” But if he was fueled primarily by booze, it certainly sounds like some weed was added to the proceedings for “Roll Another Number,” as Young struggles to start his car and declares himself “a million miles away” from the hippie days of Woodstock. “I’m not a junkie,” Young said in 1975 about making the album. Recorded in the wake of the deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry, Tonight’s the Night is the sound of a man and a band in the depths of chemical- and alcohol-assisted despair. Neil Young, “Roll Another Number (for the Road)” (1975).Reportedly, the song’s title was nicked from a brand of Irish cigarettes that touted its product as “the sweet leaf,” but it’s Ozzy’s words that best capture the youthful excitement of a new, yet sadly unrequited, love: “I love you sweet leaf,” he sings, “though you can’t hear.” The Sabbath guitarist’s tape-looped cough serves as the perfect segue into the song’s iconic sludgy riff (a riff that, it should be noted, later popped up everywhere from the Beastie Boys’ “Rhymin’ and Stealin’ ” to the Red Hot Chili Peppers’ “Give It Away”). Let’s be honest: At one time or another, we’ve all been Tony Iommi at the beginning of “Sweet Leaf,” hacking away in agonized bliss after a particularly large hit. radio programmers regarding the actual meaning of “toke” – a term apparently still relatively obscure at the time among non-tokers, given that TV’s ultra-wholesome The Lawrence Welk Show didn’t think twice about featuring the song on their program. “One day we were pretty much stoned and all,” Brewer told Rolling Stone in April 1971, “and Tom says, ‘Man, I’m one toke over the line tonight.’ I liked the way it sounded and so I wrote a song about it.” The song might have risen even higher in the charts if the FCC hadn’t suddenly stepped in with a helpful reminder to U.S. L.A.-based folkies Mike Brewer and Tom Shipley scored a surprise Top 10 hit in the spring of 1971 with this catchy little ditty – often introduced in concert as “our cannabis spiritual” – about waiting for a train while being more than slightly baked. Brewer & Shipley, “One Toke Over the Line” (1970).“But these are people that aren’t familiar with the Book of Acts.”
“It doesn’t surprise me that some people would see it that way,” he told Rolling Stone in 2012.
The Mighty Zimm, however, continues to insist that the stoning in question was Biblical, not herbal. The song’s woozy chorus of “Everybody must get stoned!” is obviously responsible, along with the claim that “rainy day woman” is old-school weed-head slang for a joint – though some new-school stoners will also helpfully point out that 12 times 35 equals 420, maaan. “I never have and never will write a drug song,” Bob Dylan famously announced during his legendary performance at London’s Royal Albert Hall in May 1966, but that hasn’t stopped several generations of dope smokers from adopting the lead track from Blonde on Blonde (which also hit Number Two on the Billboard singles chart in the spring of ’66) as an anthem. Bob Dylan, “Rainy Day Women #12 and 35” (1966).So ‘Got to Get You Into My Life’ is really a song about that, it’s not to a person, it’s actually about pot. I didn’t have a hard time with it and to me it was mind-expanding, literally mind-expanding. It didn’t seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. “I’d been a rather straight working-class lad but when we started to get into pot it seemed to me to be quite uplifting. “‘Got to Get You into My Life’ was one I wrote when I had first been introduced to pot,” he told Barry Miles for the 1997 book Paul McCartney: Many Years from Now. This sunny, soulful track from 1966’s Revolver LP is generally thought of as one of the Fab Four’s many upbeat love songs – but according to Paul McCartney, the love object in this particular instance is a weed, not a woman.
The Beatles, “Got to Get You Into My Life” (1966).
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