Tokes (Part One)

A toke refers to the act of inhaling a puff from a cigarette, cigar, or pipe, most commonly associated with smoking cannabis. When someone takes a toke, they inhale the smoke or vapor into their lungs, allowing the active substances—such as nicotine or THC (the psychoactive compound in cannabis)—to be absorbed.

The term is widely used in both recreational and medicinal contexts, especially in cultures where cannabis consumption is prevalent. “That Smell” is a song by Lynyrd Skynyrd from their 1977 album Street Survivors. Written by lead vocalist Ronnie Van Zant and guitarist Allen Collins, the song addresses the destructive effects of substance abuse,

particularly alcohol and drugs, on individuals and their surroundings. The lyrics highlight a sense of foreboding and self-destruction, warning that the “smell of death surrounds” those who engage in reckless behavior. Van Zant wrote the song partly as a response to the drug-related lifestyle of his bandmates, especially guitarist Gary Rossington, who had recently been involved in a serious car accident while intoxicated. Tragically, the song gained an eerie resonance when several members of the band died in a plane crash just three days after the album’s release.

“One Toke Over the Line” is a song by Brewer & Shipley, released in 1970 on their album Tarkio. Written by band members Michael Brewer and Tom Shipley, the song is often interpreted as a humorous take on the experience of being slightly too high after consuming cannabis—specifically, taking “one toke” too many. The lyrics describe a person reflecting on their altered state,

waiting for a train in a state of bliss but also unease. Despite its laid-back vibe, the song sparked controversy due to its drug references, leading to its banning from several radio stations. Ironically, it became a Top 10 hit in the U.S. and even gained mainstream exposure when performed on the conservative “Lawrence Welk Show,” where the hosts seemed unaware of its meaning.

“Long Haired Country Boy” is a song by the Charlie Daniels Band, released in 1974 on their album Fire on the Mountain. Written by Charlie Daniels, the song captures the spirit of a laid-back, self-reliant country man who embraces his lifestyle of drinking, smoking marijuana, and rejecting societal norms. The lyrics reflect a defiant, carefree attitude toward life,

where the narrator doesn’t care about politics, religion, or working too hard, preferring to enjoy simple pleasures instead. The song resonated with the countercultural movement of the 1970s and became an anthem for individualism and non-conformity. Over the years, it has been interpreted as a celebration of personal freedom, though some have critiqued it for its endorsement of substance use.

“Walkin’ on the Sun” is the debut hit single by Smash Mouth, released in 1997 on their album Fush Yu Mang. Written by the band’s guitarist, Greg Camp, the song blends surf rock, ska, and psychedelic influences, with its lyrics serving as a commentary on social and political issues of the 1990s.

It critiques the apathy and commercialization of the 1960s counterculture, juxtaposing the idealism of that era with the consumer-driven society of the 1990s. The line “might as well be walkin’ on the sun” suggests that people are acting in reckless or unsustainable ways, with a disconnect between their actions and the impact on the world. Despite its upbeat and catchy rhythm, the song delivers a message about societal complacency, making it a socially conscious anthem wrapped in a pop hit.

“Party” is a song by Boston from their 1978 album Don’t Look Back. Written by Tom Scholz and Brad Delp, the track is a straightforward, high-energy rock anthem celebrating carefree fun, socializing, and the joy of letting loose at a party. Musically, it features Boston’s signature sound—soaring guitars, tight harmonies, and Delp’s powerful vocals.

The lyrics capture the excitement of living in the moment, echoing the themes of youthful exuberance and escapism found in much of the band’s work. Though not as lyrically deep as some of Boston’s other tracks, “Party” became a fan favorite for its infectious energy and solidified the band’s reputation for crafting arena-ready rock tunes.