About the SongDr. Hook & The Medicine Show - The Cover of the Rolling Stone: listen with lyrics | Deezer

“Cover of the Rolling Stone” by Dr. Hook and the Medicine Show is a clever and satirical song that captures the dreams and aspirations of musicians seeking fame and recognition in the music industry. Released in 1972 as part of their album Sloppy Seconds, the track became a major hit, reaching the top of the Billboard Hot 100 chart and establishing Dr. Hook as a unique voice in the world of pop and rock music. Written by Shel Silverstein, a celebrated poet and songwriter, the song cleverly plays with themes of celebrity culture and the quest for stardom.

The lyrics of “Cover of the Rolling Stone” humorously depict the desire of a struggling band to make it big and be featured on the cover of Rolling Stone magazine, a symbol of success in the music world. The song opens with a catchy, upbeat rhythm that draws listeners in, while the verses highlight the lengths the band would go to achieve their dream, showcasing their playful attitude toward fame. Phrases like “I don’t care about the money, I just want to be on the cover of the Rolling Stone” encapsulate the essence of youthful ambition and the sometimes superficial nature of celebrity. The song resonates with anyone who has ever dreamed of recognition and success, making it both relatable and entertaining.

Musically, “Cover of the Rolling Stone” features Dr. Hook’s signature blend of pop and rock elements, characterized by catchy melodies, jangly guitars, and infectious harmonies. The arrangement combines a lively beat with whimsical instrumentation, creating a fun and engaging listening experience. The band’s distinctive vocal style, combined with Silverstein’s witty lyrics, adds a layer of charm and humor to the song. This lighthearted approach, coupled with a catchy chorus, makes it easy for listeners to sing along and enjoy the playful critique of fame.

In the context of Dr. Hook and the Medicine Show’s career, “Cover of the Rolling Stone” stands out as a defining moment that helped to propel the band into the spotlight. Known for their blend of humor and heartfelt songwriting, Dr. Hook gained popularity throughout the early 1970s with a string of successful hits. The song’s success not only showcased their musical talents but also solidified their place in pop culture, as they cleverly reflected on the nature of fame and the music industry.

Today, “Cover of the Rolling Stone” remains a beloved classic, frequently played on classic rock and oldies radio stations. Its themes of ambition, humor, and the pursuit of fame continue to resonate with audiences, making it a timeless anthem for aspiring musicians and dreamers alike. The song serves as a reminder of the allure of celebrity while playfully critiquing the industry’s obsession with image and recognition.

In summary, Dr. Hook and the Medicine Show’s “Cover of the Rolling Stone” is a witty and engaging exploration of the dreams and challenges faced by aspiring musicians. With its catchy melody, clever lyrics, and the band’s charismatic performance, the song stands as a quintessential representation of the early ’70s music scene. Its enduring appeal and cultural significance ensure that it will continue to entertain and resonate with listeners for years to come, solidifying its status as a classic in the annals of popular music.Picture background

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Lyrics: “Cover Of The Rolling Stone”

 

C’mon Bret
Don’t touch me. now
Tell’em!
I’m gonna tell’em who we areWe were big rock singers
We’ve got golden fingers
And we’re loved everywhere we go (that sounds like us)We sing about beauty
And we sing about truth
At ten million dollars a show (yeah sure)We take all kinds of pills
That give us all kinds of thrills
But the thrill we’ve never knownIs the thrill that’ll get you
When you get your picture on
The cover of the Rolling Stone

[Chorus]
(Rolling Stone) Gonna get our pictures on the cover
(Stone) Gonna buy five copies for our mothers
(Stone) Gonna see my smiling face on the
Cover of the Rolling Stone

That sounds like a very very good idea

I got a freaky old lady
Named Cocaine Katie
Who embroiders all my jeans
I got my poor old gray haired daddy
Driving my limousine

Now It’s all designed
To blow our mind
But our minds won’ really be blown

By the blow that’ll get you
When you get your picture on the
Cover of the Rolling Stone

[Chorus]

Hey I know how- Rock and Roll

We got a lot of
little teenage, blue eyes groupies
Who do anything we say

We got a genuine
Indian Guru
Who’s teaching us a better way

I got all the friends
That money can buy
So we never have to be alone

And we keep getting richer
But we can’t get our picture
on the cover of the Rolling Stone

 

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SHE HAD BEEN SINGING MOUNTAIN MUSIC SINCE BEFORE BLUEGRASS EVEN HAD A NAME. THEN, AT 80, WILMA LEE COOPER COLLAPSED ON THE OPRY STAGE WITH THE SONG STILL IN HER THROAT. Wilma Lee Cooper came out of Valley Head, West Virginia, where music was not something you studied in a conservatory. It was family. Church. Radio. Coal-country evenings. Her father worked in the mines. Her mother played pump organ. Wilma started singing when she was five, then sang with her family gospel group before she ever became part of country music history. She met Stoney Cooper in the early 1940s. He played fiddle. She sang and played guitar. Together they built a sound that sat between mountain gospel, old-time string band music, and the country music that had not yet decided how polished it wanted to become. They did not wait for genre labels. They drove. They broadcast. They played wherever people would listen. The roads were part of the act. Their daughter Carol Lee sometimes slept in the car under the upright bass while Wilma and Stoney went from show to show. They raised a family while keeping a band alive. They recorded songs like “Big Midnight Special,” “There’s a Big Wheel,” and “Wreck on the Highway.” By 1957, they had joined the Grand Ole Opry. The Smithsonian later called Wilma Lee the “First Lady of Bluegrass.” But that title came after decades of work. It came after she and Stoney had already spent years carrying the mountain sound through a country business that was moving toward smoother voices and cleaner suits. Then Stoney died in 1977. Wilma Lee did not leave with him. She stayed with the Opry. She kept leading the Clinch Mountain Clan. The old mountain voice remained onstage, older now but still carrying the same hard edge. She had already sung for more than sixty years by the time she walked onto the Ryman Auditorium stage on February 24, 2001. She was eighty. During that performance, Wilma Lee suffered a stroke. The career ended there. Not in a retirement announcement. Not in a farewell special. Onstage, in the place where she had kept the old sound alive for generations. The illness affected her speech and voice, and doctors doubted she would walk again. But Wilma Lee did return once more. In 2010, at the reopening of the Opry House after the Nashville flood, she came back for a group sing-along. Not to reclaim the old career. Not to prove anything. Just to stand in the room one more time and thank the people who had carried her. For most of her life, Wilma Lee Cooper sang as if the mountain had come down from West Virginia and entered the microphone. Her last great silence came on the same stage where she had spent decades refusing to let that mountain disappear.