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Hey Juice
* Featuring Steven Daniel *

Sometimes credited to Billy Roberts
Sometimes credited to Chet (or Chester) Powers
a.k.a. Jesse Oris Farrow, née Dino Valente

(Click here if it doesn't autoplay)

Hey Juice, I said, where you goin' with that glove on your hand?
Hey Juice, where you goin' with that glove on your hand?
I'm goin down to get my old lady ...
You know I caught her messin' 'round with another man
I caught her cheatin' on me
I'm goin' down to get my old lady ...
You know I caught her messin' 'round with another man
Yes I did, yes I did, yes I did

Hey Juice, I heard that you knocked your woman down
You knocked her down to the ground
Hey Juice, you know I heard that you knocked your old lady down
Yes you knocked her down
Yes, I did, I got her, ha ha ha ha ...
You know I caught her messin' 'round with another man
Yes I did, I said I got her
You know I caught her messin' 'round with another man

Yeah I cut her loose! Woooo!

Hey Juice, where you gonna run now, now ...
Where you gonna run to now?
Hey Juice, listen, I said, I said ...
Where you goin' to run to ... Where you goin' to run to ...
Where you goin' to run to now?
I'm goin' way down south ... down to Mexico way
I'm goin' way down south ... way down where I can be free!
Ain't no hangman gonna ... he ain't gonna put no rope around me!
No he ain't ... no he ain't!
Hey ... gonna run!

CREDITS

Produced & Arranged By:
Roy Braverman
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Recording Studios:
Westworld Recorders
Recorded By:
Bob Schreiner
Roy Braverman
Mixing Studio:
Westworld Recorders
Mixed By:
Bob Schreiner
Roy Braverman
Drums:
Bill Severance
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Bass:
Neal Lampert
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Guitars:
Kenny Lewis, Tim Pierce
Guitar Solo: Tim Pierce
Piano, Keyboard Voices:
Roy Braverman
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Lead Vocal:
Steven Daniel
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ABOUT THE SONG
Another Roy Braverman permutation of a classic song ... this time, 'Hey Joe' ... made famous by Jimi Hendrix. His version was on the Are You Experienced album, one of the first two albums I owned
(the other was "The Doors" ... see "21st Century Fox").

As I Googled this song for proper credits, I discovered that there is much mystery and controversy surrounding its origin. Apparently, Billy Roberts owns the earliest registered copyright. Yet others seem to challenge its authorship. That's all I know about it. Google away, if you're so inclined.

I'm not sure exactly when I got the idea, but it occurred to me that this song was quite the parallel of the O. J. Simpson scenario ... about a man who had knocked his woman around, had found her with another man, killed her and ran 'way down south, down Mexico way.' When I first told my wife about the idea, she said: 'People will think you're like Weird Al, and won't take you seriously.' Oh no ... this is not a parody! Nor is it comical. I consider it a clever twist, done in a very serious way.

One interesting thing about this recording: The basic track was squeezed in at the end of a session, literally one take in about five minutes. Bill Severance (drums), Neal Lampert (bass) and Kenny Lewis (guitar) knew the song quite well, and were able to join me (on piano) in a raw and spirited version.

Also of interest: I had intended to overdub a sax solo, rather than a guitar solo. I thought that would be a nice change-up from the Hendrix version, and a sax can get very nasty. Let's face it ... the solo is where the murder takes place! Well ... when Tim Pierce was with me at Westworld Recorders, playing on several of my songs, I asked him if he wanted to add a guitar solo to this song ... just to have it as a backup. Before he played a note, I said the same thing to him that I said to Rob Trow about California Dreamin': I knew that once I heard Tim's solo, I'd never again think of a sax solo. Dang it, Tim!

And most importantly: I knew that this version had to be sung by a black singer. I was convinced that a singer of any other race would be subject to some form of criticism and dismissal. Again, one call to my friend Barry Fasman directed me to the monstrous talent of Steven Daniel. Knowing Steven was a successful actor, I was sure to discuss with him the imaginable social impact of singing this song. Without putting words in his mouth, Steven agreed that this was not a judgment of O. J. Simpson, nor a social commentary ...
but rather a creative and interesting twist to the song.
He then proceeded to knock it outta the park!

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