Primitive Radio Gods Songs - Standing Outside a Broken Phone Booth With Money in My Hand Lyrics

Primitive Radio Gods - Standing Outside a Broken Phone Booth With Money in My Hand

Primitive Radio Gods - Standing Outside a Broken Phone Booth With Money in My Hand Lyrics and Youtube Music Videos

Album: Rocket
Released: 1996

Standing Outside a Broken Phone Booth With Money in My Hand Lyrics

Jan lays down and wrestles in her sleep
Moonlight spills on comic books
And superstars in magazines
An old friend calls and tells us where to meet
Her plane takes off from Baltimore
And touches down on Bourbon Street

We sit outside and argue all night long
About a god we've never seen
But never fails to side with me
Sunday comes and all the papers say
Ma Teresa's joined the mob
And happy with her full time job

Do do do do do do

Am I alive or thoughts that drift away?
Does summer come for everyone?
Can humans do as prophets say?
And if I die before I learn to speak
Can money pay for all the days I lived awake
But half asleep?

Do do do do do do

A life is time, they teach us growing up
The seconds ticking killed us all
A million years before the fall
You ride the waves and don't ask where they go
You swim like lions through the crest
And bathe yourself on zebra flesh

I've been downhearted baby,
I've been downhearted baby,
Ever since the day we met

Writer/s: JANE FEATHER, LEONARD FEATHER, CHRIS O CONNOR
Publisher: KOBALT MUSIC PUB AMERICA INC
Lyrics licensed and provided by LyricFind

Standing Outside a Broken Phone Booth With Money in My Hand

The hook samples the line, "I've been downhearted baby, ever since the day we met" from a live performance of B.B. King singing "How Blue Can You Get?," which can be heard on his 1971 album Live in Cook County Jail. That song was written by a British songwriter/music journalist named Leonard Feather, along with his wife Jane. They each shared composer credits on "Phone Booth" as a result of the sample.

This song was written and first recorded in 1991 by the group's lead singer, Chris O'Connor. His band The I-Rails spent the back half of the '80s playing gigs around Santa Monica, California, releasing four independent albums along the way. When they broke up in 1991, O'Connor used his friend's garage studio to record the Rocket album, which cost about $1,000 to make and was filled with songs dealing with his disaffection. Predictably, he got no takers and the album sat on the shelf.

O'Connor abandoned his music career and took a job as an air traffic controller at Los Angeles International Airport. In 1994, his passion for music returned and he sent out the remaining copies of the album he had made to various record companies. These unsolicited tapes rarely found the ears of a decision-maker, but Jonathan Daniel, an A&R man at Fiction Records, popped in the tape and gave it a listen. This song jumped out at him - "It's got tons of atmosphere" he recalled. Daniel played the tape for some other executives, and O'Connor got a deal with the Ergo division of Columbia Records, which released the album as Primitive Radio Gods - a far more exotic moniker than "Chris O'Connor."

"Standing Outside a Broken Phone Booth" went to #1 on the Modern Rock charts and got considerable airplay on Top 40 radio. Needing a band to tour in support of the record, O'Connor enlisted his I-Rails bandmates, guitarist Jeff Sparks and drummer Tim Lauterio, to become the Primitive Radio Gods along with lead guitarist Luke McAuliffe. Sparks quit his day job - driving a beer truck - to join the band.

The title, which does not appear in the lyric, comes from a 1978 song by Bruce Cockburn called "Outside a Broken Phone Booth With Money In My Hand," which is on Cockburn's album Further Adventures Of. Chris O'Connor told us: "I had already finished the song and thought, 'That's It.' I threw 'standing' in front, but at the time I would have swore I lifted it word for word."

When we asked Chris O'Connor what this song is about, he replied: "A light that never goes out."

Originally, this song was released in Europe, where it failed to chart. In America, before the album was released, the song was used in the 1996 Jim Carrey movie The Cable Guy, which made it more appealing to radio stations loath to play songs by unknown artists.

In America, the song was not released as a single, so if you wanted to own it, you had to buy either the Rocket album or The Cable Guy soundtrack. Holding back release as a single made the song ineligible for the Billboard Hot 100, but it went to #10 on their Airplay chart.

The female vocals are by Mary Kay Fishell, who was in a Los Angeles-based group called The Convertibles.

An early version of this song contained a sample from the 1965 French film Alphaville which had to be removed when the sample didn't clear.

This is one of the more unusual hit songs ever recorded, complete with church bells, distortion, soft synth, a title that never appears in the lyrics, and a very brief chorus of "Do do do do do do."

When the band toured, it was on the strength of this hit, but the other songs in their setlist were more standard guitar-based blues. This discrepancy didn't play well live, and the band couldn't expand their following. One more single was distributed to radio stations: a track called "Motherf--ker." That one went nowhere, and the band was dropped from their label. In 2000, they resurfaced with a new album called White Hot Peach.

Directed by the GobTV collective, the music video was shot in London. Chris O'Connor was still working as an air traffic controller at the time, and called in sick three times so he could do the shoot. It did very well on MTV, which helped the song's fortunes considerably.