Terry Bush is the original singer/writer of the song Maybe Tomorrow, with lyrics written by his friend, John Crossen. According to the YouTube video below: "This is a rerecording I did back in 2000 just after Natwest used the song in a commercial. Almost all of the versions on Youtube are Scooch, even with my picture. The original from the TV show was never released, it was on a 53 second spot we wrote for the show. This version has a new verse added. My website is www.littlesthobo.com, My CD and Maybe Tomorrow is available on itunes and amazon UK and through my site. Cheers Terry Bush".
Littlest Hobo Theme Tune Download
A mysterious dog! Overly trusting park rangers! Vacant vets! We are in 1970s Canada this week for The Littlest Hobo as we learn that the wrong guy got blamed, leaving raw meat on the doorstep is an ok thing to do and park rangers in Canada were the manliest thing in the 70s. Maybe tomorrow we'll be able to get that theme tune out of our heads. Extra manly park ranger rules!
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Houses to Hollyhock, "We All Get Found Sometimes" Thesis ABR 2020, this pie is only crust!, Yesterday My Hands, Tomorrow My Feet (EP), I Spy Everything, masquerade, All of the Things Left Unsaid, Patreon Song Compilation 1, and 11 more. , and , . Purchasable with gift card Buy Digital Discography $65.72 USD or more (10% OFF) Send as Gift about I was laying in a pile of my own filth when I wrote this. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); lyrics I'm just a no good hobo layin' in my house wonderin' Where my next meal will come from.I'm just a no good hobo out on the street wonderin' When I'll get to wash my feet.Well won't somebody buy this rodent from me? I promise that he's clean. I found him on the street.Well won't somebody pay my mortgage for me? I live in a cardboard house, it's not that expensive.Maybe someday I'll see the light of day! But not today.Just for now I live underground. It's the only place I can be seen.I'm just a no good hobo layin' in my house wonderin' Where my next meal will come from.I'm just a no good hobo. Nobody. I got no one left. I've got nothing left to see.Maybe someday I'll see the light of day! But not today.Just for now I live underground. It's the only place I can be seen.I'm just a no good hobo layin' in my house wonderin' Where my next meal will come from.I'm just a no good hobo. Nobody. I got no one left. But I'm wondering when you'll come back to me. Travis Love Benson 2015-2018, All rights reserved. $(".lyricsText").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); credits from From Butterflies to Moths, released May 1, 2018 To being a slob. $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags folk indie punk anti-folk indie folk Philadelphia Shopping cart total USD Check out about Travis Love Benson Philadelphia, Pennsylvania
Several of the collected songs, like "Solidarity Forever" and "Casey Jones, the Union Scab," are classics, well known both to labor activists and enthusiasts of contemporary folk music. Others are more obscure, and some have probably not been sung by anyone in almost a century. All are valuable in large part thanks to the work done by the editors to detail the situation in which the songs emerged: the daily activity of the radical labor movement. We see portraits of several songwriters, three of whose personal recollections are reprinted in the book: Jim Connell's "How I Wrote the 'Red Flag,'" Harry McClintock's "On 'Hallelulah I'm a Bum,'" and a piece by Richard Brazier on the origins of the first Little Red Songbook. We see how the worker-musicians parodied popular tunes, tried to drown out the Salvation (or "Starvation") Army on street corners, wrote inspiring hymns for May Day marches, and composed ironic ditties about life in the hobo "jungles," where many migrant Wobblies spent their nights. We see how some songs were written and then forgotten, while others were taken up with collective gusto, new singers adding new verses and new layers of meaning. We see, in short, the folk process at work.
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