identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
1487
|
dbpedia
|
1
| 87
|
https://uk.news.yahoo.com/bob-dylan-film-complete-unknown-203125672.html
|
en
|
Bob Dylan film A Complete Unknown to be released on Christmas Day
|
https://s.yimg.com/ny/api/res/1.2/SZsn_mGO2JNV.3zCvQLKlw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02NzU-/https://media.zenfs.com/en/snappa_entertainment_819/969234c613ce90eba9e3af329e4e8219
|
https://s.yimg.com/ny/api/res/1.2/SZsn_mGO2JNV.3zCvQLKlw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02NzU-/https://media.zenfs.com/en/snappa_entertainment_819/969234c613ce90eba9e3af329e4e8219
|
[
"https://uk.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-GB-en-GB-def%2Cseamless&code=pageRender&device=desktop&lang=en-GB&pageName=deeplink®ion=GB&rid=48uqhfdjcpt33&site=news&t=1724707939807",
"https://s.yimg.com/rz/p/yahoo_news_en-GB_h_p_newsv2.png",
"https://s.yimg.com/rz/p/yahoo_news_en-GB_h_w_newsv2.png",
"https://s.yimg.com/ny/api/res/1.2/mWO4.YFDA.Y_zX2VIz7QHg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTIwNDtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2021-03/5b459fb0-8bf5-11eb-afdf-e12ef998abfb",
"https://s.yimg.com/ny/api/res/1.2/laC6KNDd1wEnZ8tKvLgDhQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD02OTk-/https://media.zenfs.com/en/snappa_entertainment_819/969234c613ce90eba9e3af329e4e8219",
"https://s.yimg.com/g/images/spaceball.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif",
"https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197793442&c7=https%3A%2F%2Fuk.news.yahoo.com%2Fbob-dylan-film-complete-unknown-203125672.html&c14=-1"
] |
[] |
[] |
[
""
] | null |
[
"Casey Cooper-Fiske, PA Entertainment"
] |
2024-08-06T20:31:25+00:00
|
Timothee Chalamet will star as Dylan and do his own singing in the role.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo News
|
https://uk.news.yahoo.com/bob-dylan-film-complete-unknown-203125672.html
|
Bob Dylan film A Complete Unknown is to be released on Christmas Day.
The film, featuring Dune star Timothee Chalamet as the influential folk singer, follows Dylan’s early days in the 1960s, culminating in his controversial performance at the 1965 Newport Folk Festival, after he had gone electric.
In a post announcing the release date, the film’s producers Searchlight Pictures said: “A glimpse of the future.
“A Complete Unknown, a film by James Mangold, starring Timothee Chalamet as Bob Dylan, coming only to theatres December 25.”
A trailer for the film sees the 28-year-old actor wearing Dylan-style clothing and singing A Hard Rain’s A-Gonna Fall.
The teaser begins with glimpses of Chalamet, with curly brown hair and dark glasses, walking the streets of what appears to be New York City, where Dylan’s career took off.
Fight Club actor Edward Norton – as fellow folk singer Pete Seeger – introduces a young Dylan to a small crowd in a venue.
He says: “I want to tell you a little story. A few months back my friend Woody Guthrie and I, we met a young man, he dropped in on us out of nowhere, and he played us a song. In that moment we got a feeling we were getting a glimpse of the future.”
Chalamet then appears performing as Dylan, with the clip interspersed with footage of him at a church venue, where he looks at The Great actress Elle Fanning as Sylvie Russo, a character based on Suze Rotolo, an artist who was Dylan’s girlfriend in the early 1960s.
Maverick actress Monica Barbaro co-stars as folk singer and counter-culture figure Joan Baez, who performed with Dylan on duets such as With God On Our Side.
The movie is directed by James Mangold, who also helmed acclaimed Johnny Cash biopic Walk The Line, starring Joaquin Phoenix and Reese Witherspoon, which was nominated for five Oscars, winning one for best actress for Witherspoon.
Dylan, 83, is to return to the UK to play the Royal Albert Hall in November as part of his Rough And Rowdy Ways tour, which will also see him perform in Wolverhampton, Nottingham and Liverpool.
He is one of the most acclaimed songwriters of all time, winning 10 Grammys and being nominated another 38 times. He has had six top 10 singles and nine number one albums in the UK.
He began his career in 1962 with the single Mixed-Up Confusion, which failed to chart in the UK or the US.
But he shot to stardom with a string of singles in 1965, including The Times They Are A-Changin’, Subterranean Homesick Blues and Like A Rolling Stone.
Dylan’s songs have been covered by the likes of the Jimi Hendrix Experience, the Rolling Stones and Adele.
|
||
1487
|
dbpedia
|
3
| 4
|
https://open.lib.umn.edu/mediaandculture/chapter/6-2-the-evolution-of-popular-music/
|
en
|
6.2 The Evolution of Popular Music – Understanding Media and Culture
|
[
"https://open.lib.umn.edu/app/uploads/2018/10/cropped-ULpressbooks-logo-1.png",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.0.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/03/83b4c9693cd67638e5b552bfa2d691b5.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.1.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.2.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.3.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.4.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.5.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.6.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.7.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.8.jpg",
"https://open.lib.umn.edu/app/uploads/sites/9/2015/11/6.2.9.jpg",
"https://open.lib.umn.edu/app/themes/pressbooks-book/packages/buckram/assets/images/cc-by-nc-sa.svg",
"https://open.lib.umn.edu/app/themes/pressbooks-book/assets/images/yt_icon_mono_dark.png"
] |
[] |
[] |
[
""
] | null |
[
"[Author removed at request of original publisher]"
] |
2016-03-22T00:00:00
|
en
|
https://open.lib.umn.edu/mediaandculture/chapter/6-2-the-evolution-of-popular-music/
|
6.2 The Evolution of Popular Music
The first stirrings of popular or pop music—any genre of music that appeals to a wide audience or subculture—began in the late 19th century, with discoveries by Thomas Edison and Emile Berliner. In 1877, Edison discovered that sound could be reproduced using a strip of tinfoil wrapped around a rotating metal cylinder. Edison’s phonograph provided ideas and inspiration for Berliner’s gramophone, which used flat discs to record sound. The flat discs were cheaper and easier to produce than were the cylinders they replaced, enabling the mass production of sound recordings. This would have a huge impact on the popular music industry, enabling members of the middle class to purchase technology that was previously available only to an elite few. Berliner founded the Berliner Gramophone Company to manufacture his discs, and he encouraged popular operatic singers such as Enrico Caruso and Dame Nellie Melba to record their music using his system. Opera singers were the stars of the 19th century, and their music generated most of the sheet music sales in the United States. Although the gramophone was an exciting new development, it would take 20 years for disc recordings to rival sheet music in commercial importance (Shepherd, 2003).
In the late 19th century, the lax copyright laws that existed in the United States at the beginning of the century were strengthened, providing an opportunity for composers, singers, and publishers to work together to earn money by producing as much music as possible. Numerous publishers began to emerge in an area of New York that became known as Tin Pan Alley. Allegedly named because the cacophony of many pianos being played in the publishers’ demo rooms sounded like people pounding on tin pans, Tin Pan Alley soon became a prolific source of popular music, with its publishers mass-producing sheet music to satisfy the demands of a growing middle class. Whereas classical artists were exalted for their individuality and expected to differ stylistically from other classical artists, popular artists were praised for conforming to the tastes of their intended audience. Popular genres expanded from opera to include vaudeville—a form of variety entertainment containing short acts featuring singers, dancers, magicians, and comedians that opened new doors for publishers to sell songs popularized by the live shows—and ragtime, a style of piano music characterized by a syncopated melody.
The Tin Pan Alley tradition of song publishing continued throughout the first half of the 20th century with the show tunes and soothing ballads of Irving Berlin, Cole Porter, and George Gershwin, and songwriting teams of the early 1950s, such as Jerry Leiber and Mike Stoller. By hiring songwriters to compose music based on public demand and mainstream tastes, the Tin Pan Alley publishers introduced the concept of popular music as we know it.
The Roaring 1920s: Radio versus Records
In the 1920s, Tin Pan Alley’s dominance of the popular music industry was threatened by two technological developments: the advent of electrical recording and the rapid growth of radio.
During the early days of its development, the gramophone was viewed as a scientific novelty that posed little threat to sheet music because of its poor sound quality. However, as inventors improved various aspects of the device, the sales of gramophone records began to affect sheet music sales. The Copyright Act of 1911 had imposed a royalty on all records of copyrighted musical works to compensate for the loss in revenue to composers and authors. This loss became even more prominent during the mid-1920s, when improvements in electrical recording drastically increased sales of gramophones and gramophone records. The greater range and sensitivity of the electrical broadcasting microphone revolutionized gramophone recording to such an extent that sheet music sales plummeted. From the very beginning, the record industry faced challenges from new technology.
Composers and publishers could deal with the losses caused by an increase in gramophone sales because of the provisions made in the Copyright Act. However, when radio broadcasting emerged in the early 1920s, both gramophone sales and sheet-music sales began to suffer. Radio was an affordable medium that enabled listeners to experience events as they took place. Better yet, it offered a wide range of free music that required none of the musical skills, expensive instruments, or sheet music necessary for creating one’s own music in the home, nor the expense of purchasing records to play on the gramophone. This development was a threat to the entire recording industry, which began to campaign for, and was ultimately granted, the right to collect license fees from broadcasters. With the license fees in place, the recording industry eventually began to profit from the new technology.
The 1940s: Technology Progresses
Technological advances during the 1940s made it even easier for people to listen to their favorite music and for artists to record it. The introduction of the reel-to-reel tape recorder paved the way for several innovations that would transform the music industry. The first commercially available tape recorders were monophonic, meaning that they only had one track on which to record sound onto magnetic tape. This may seem limiting today, but at the time it allowed for exciting innovations. During the 1940s and 1950s, some musicians—most notably guitarist Les Paul, with his song “Lover (When You’re Near Me)”—began to experiment with overdubbing, in which they played back a previously recorded tape through a mixer, blended it with a live performance, and recorded the composite signal onto a second tape recorder. By the time four-track and eight-track recorders became readily available in the 1960s, musicians no longer had to play together in the same room; they could record each of their individual parts and combine them into a finished recording.
While the reel-to-reel recorders were in the early stages of development, families listened to records on their gramophones. The 78 revolutions per minute (rpm) disc had been the accepted recording medium for many years despite the necessity of changing the disc every 5 minutes. In 1948, Columbia Records perfected the 12-inch 33 rpm long-playing (LP) disc, which could play up to 25 minutes per side and had a lower level of surface noise than the earlier (and highly breakable) shellac discs (Lomax, 2003). The 33 rpm discs became the standard form for full albums and would dominate the recorded music industry until the advent of the compact disc (CD).
During the 1940s, a mutually beneficial alliance between sound recording and radio existed. Artists such as Frank Sinatra and Ella Fitzgerald profited from radio exposure. Until this time, music had primarily been recorded for adults, but the popularity of Sinatra and his contemporaries revealed an entirely untapped market: teenagers. The postwar boom of the 1930s and early 1940s provided many teenagers spending money for records. Radio airplay helped to promote and sell records and the recording artists themselves, which in turn stabilized the recording industry. The near riots caused by the appearance of New Jersey crooner Frank Sinatra in concert paved the way for mass hysteria among Elvis Presley and Beatles fans during the rock and roll era.
References
BBC, “Making ends meet in the 70s,” BBC News Magazine, June 7, 2007, http://news.bbc.co.uk/2/hi/uk_news/magazine/6729847.stm.
Demers, Joanna. “Sampling the 1970s in Hip-Hop,” Popular Music 21 (2003): 41–56.
Ed Sullivan, “The Rolling Stones,” The Official Ed Sullivan Site, http://www.edsullivan.com/artists/the-rolling-stones.
Elvis, “Biography,” Elvis Presley: Official Site of the King of Rock ’n’ Roll, http://www.elvis.com/about-the-king/biography_.aspx.
Genova, Tom. “Number of TV Households in America,” Television History – The First 75 Years, http://www.tvhistory.tv/Annual_TV_Households_50-78.JPG.
Gould, Jonathan. Can’t Buy Me Love: The Beatles, Britain, and America (New York: Harmony Books, 2007), 3–4.
Gray, Marcus. The Clash: Return of the Last Gang in Town (London: Helter Skelter, 2001), 147.
History of Rock, “Alan Freed” History-of-rock.com, http://www.history-of-rock.com/freed.htm.
Lomax, Alan. Alan Lomax: Selected Writings 1934–1997, ed. Ronald D. Cohen (New York: Routledge, 2003), 102.
Notable Biographies, “Berry Gordy Jr. Biography,” Encyclopedia of World Biography, http://www.notablebiographies.com/Gi-He/Gordy-Jr-Berry.html.
PBS, “Bob Dylan,” PBS.org: American Roots Music: The Songs & the Artists, http://www.pbs.org/americanrootsmusic/pbs_arm_saa_bobdylan.html.
Rickenbacker, “Early Years: The Earliest Days of the Electric Guitar,” Rickenbacker International Corporation, June 22, 2010, http://www.rickenbacker.com/history_early.asp; Mary Bellis, “The History of Guitar and Electric Guitar,” About.com Guide, http://inventors.about.com/od/gstartinventions/a/guitar_2.htm.
Rounds, Dwight. The Year the Music Died: 1964–1972: A Commentary on the Best Era of Pop Music, and an Irreverent Look at the Musicians and Social Movements of the Time (Austin: Bridgeway Books, 2007), 292.
Salamon, Ed. Pittsburgh’s Golden Age of Radio (Chicago: Arcadia, 2010), 8.
Shepherd, John. Continuum Encyclopedia of Popular Music of the World (New York: Continuum, 2003), 483.
Szatmary, David. Rockin’ in Time: A Social History of Rock and Roll (Upper Saddle River, NJ: Prentice Hall, 2010), 16.
|
|||||||
1487
|
dbpedia
|
0
| 65
|
https://songbook1.wordpress.com/fx/1960s-performer-and-song/1960s/beach-boys-selected-songs-1962-1965-in-construction/
|
en
|
The Beach Boys: selected songs, 1962-1965
|
[
"https://songbook1.wordpress.com/wp-content/uploads/2017/02/cropped-marble-arch-in-london-spring-2013-showing-steps-at-right-1-30p.jpg",
"https://songbook1.wordpress.com/wp-content/uploads/2012/01/beach_boys_hollywood-bowl-1963_1_t0.jpg?w=573&h=379",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/beach-boys_1962_1.jpg?w=468&h=299",
"https://songbook1.wordpress.com/wp-content/uploads/2012/01/bb_surfin-safari_21.jpg?w=502&h=339",
"https://songbook1.wordpress.com/wp-content/uploads/2012/01/bb_surfin-safari_3.jpg?w=220&h=239",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1963_beach-boys_surfer-girl_album.jpg?w=333&h=333",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/surfer-girl_in-froth_1.jpg?w=340&h=339",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1964_beach-boys_shut-down-volume-2_1.jpg?w=310&h=310",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1964_beach-boys_dont-worry-baby_i-get-around_1.jpg?w=307&h=309",
"https://songbook1.wordpress.com/wp-content/uploads/2012/01/1964_beach-boys_dance-dance-dance_warmth-of-the-sun_capitol-5306_1.jpeg?w=308&h=309",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/bb_capitol-promo_1.jpg?w=221&h=279",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/beach-boys_honda_c1_sm_f25.jpg?w=440&h=295",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1964_beach-boys_all-summer-long_1.jpg?w=315&h=315",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/beach-boys_today_photo-session_1_flphz.jpg?w=401&h=307",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1965_bb_help-me-rhonda_kiss-me-baby_sleeve_1_f40.jpg?w=297&h=299",
"https://songbook1.wordpress.com/wp-content/uploads/2012/08/1965-kiss-me-baby-beach-boys-sheet-music-d63-sh8-hx10.jpg?w=217&h=299",
"https://songbook1.wordpress.com/wp-content/uploads/2012/07/1965_bb_do-you-wanna-dance_please-let-me-wonder_capitol-5372_1.jpg?w=337&h=337",
"https://songbook1.wordpress.com/wp-content/uploads/2012/08/1964_beach-boys_when-i-grow-up_she-knows-me-too-well_capitol-5245_sleeve_1a.jpg?w=268&h=265",
"https://songbook1.wordpress.com/wp-content/uploads/2012/08/1964_beach-boys_when-i-grow-up_she-knows-me-too-well_capitol-5245_sleeve_2.jpeg?w=264&h=265",
"https://0.gravatar.com/avatar/365bcf4306d7e5a2576916f93c8de2fe8ed0aaf521c3557d3a4ba956c5eb86c8?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/7269430da87a94dcab453107e57c68a55941e345e44b9b714dbcaa8504bf76c5?s=48&d=identicon&r=G",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/homepage_3.jpg?w=135",
"https://songbook1.files.wordpress.com/2011/02/autumn-falling-leaves-anim-2.gif?w=40&h=40&crop=1",
"https://songbook1.files.wordpress.com/2010/12/annex-hayworth-rita-42-you-were-never-lovelier_01.jpg?w=40&h=40&crop=1",
"https://songbook1.files.wordpress.com/2020/10/zoom-cast-season-1-1972-3.jpg?w=40&h=40&crop=1",
"https://songbook1.files.wordpress.com/2011/03/cropped-cab-calloway-hdr-2a-3jan-title-c3.jpg?w=40&h=40&crop=1",
"https://i0.wp.com/songbook1.wordpress.com/wp-content/uploads/2009/04/duke-ellington_files_duke.gif?resize=40%2C40&ssl=1",
"https://songbook1.files.wordpress.com/2023/02/kay-starr-the-hits.jpg?w=40&h=40&crop=1",
"https://i0.wp.com/www.ukcia.org/potculture/images/back.gif?resize=40%2C40",
"https://songbook1.files.wordpress.com/2013/12/harold-arlen-sings.jpg?w=40&h=40&crop=1",
"https://songbook1.files.wordpress.com/2009/04/harry-warren-03-e1.jpg?w=40&h=40&crop=1",
"https://songbook1.files.wordpress.com/2012/10/marc3ada-grever-2a.jpg?w=40&h=40&crop=1",
"https://0.gravatar.com/avatar/6f8158179406eb0941b6c5adbe1921757a36f18685b8ac5aef1624be938751b9?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/5217d2c94f88e78da493b6fb3fefec56714cd0d1370af4256ffdac4169129db4?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/e800ec5ec8d18b73bc0cdf4da34a641e572bf57552a8066099b3ea7df1a6ef48?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/fe1cf7566919a1f81db9245b78a8ec1270b8fabe8a3987a5fc6c132aba79d264?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/4d334be753c6bb8172ad427b32a815eca7284af42c0cd5dc28e515156512bbd1?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/e4a891554d077f057d84f773b73133c41a5475105e1f410c9c02b9660cd86027?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/05920b751b029b1c0fe7581131be8ca9beab8f98d23056a17dbb615a30bffe8b?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/ef3c6d8cc0c093e7938cc794d12d1f6fe0d0a0bf8531bd2ec44fbfffe7c64405?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/c617cc8476f3a697908ca34842ebe6dadc4e13236deab5e17330cb990cbec5b0?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/cbd98b0d29d30cd4ccc05d6ea54050f5bb4401e1f71ff3a973b7ca26bc3412ad?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/00120f8cd0a16a7abfba98ac5cf0350466b17a5a007b5131bf4b41b5f4631256?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/7d1b4239a78d2fdda692d1a76cb08771ad4b6464ab5d995c5a09c21fbf2242bd?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/50d0f7688c1bfac84190f768d205ebaf87df25936fc82046eee8af0288c15955?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/f2f7376b90caf4883c70ed5002ef6a85ab7051ac4dbb4f7eda7f084fdc092ed7?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/490443b5acd8e3a8898a442717e086c020b5aa001aa50402f0e5283aca318c08?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/7ec9b928498c68838c9975b69f0233c6be027e18f2b7a954d5d8e1aeaecc63cd?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/f8acd1f22e6e635b93824183157fc5624c9b6f11e5f79a9e5158392efae0b893?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/048580cc2b67507f86707198160e936473b7ebfc8f80bbe8800322117b3eb4a8?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/cd8b72f5e6a9d5136199980f1a93bcd49d21edc806ef7cb8cf6c6d7bb2335216?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/c91f54c9a1f87d36ded5f5bd51a775058354b9d6aa2aa695950746f599a0e0eb?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/54c89b0e3236613e5180876d72a463a1aab25aa13b3fffaca704f5a345a12592?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/7269430da87a94dcab453107e57c68a55941e345e44b9b714dbcaa8504bf76c5?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/1c070bcc7a2dfc40f3b77b7a1532d0d55aa09c473e129e0215113bfa15a30242?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/fa62cd329d6181e441f0e640dcdbae0db5e562e78a4c0c96126a02df69523b2f?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/352db23968d500c30592dc3952a8d7fa717ac32856f6224f3d23166c6ae2a584?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/946bfbb920ffe2b7ad50409a1b5e49bd1a7d0e8f5a6721299ada1b317412f0c0?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/583d064732bbbeafae555f0ead6f07e8256ade5e6d1aab088c68d2f5d722e20f?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/aa89ec9d3b76ef300f0d4ab79a1554c93ae71ea313a58605e59d3fd8dfb793c6?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/cba9ef2a98cacd240ad141ae614a2e42fd05c0f315ae1bffd8af54f16d39609e?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/c7c06a06bbf93a29d4275419f30cb281a5cda2923579d17f8f4554587bb80317?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/f24961f32c4078070f969a243ffb12cf492bfa58240b357fae401116e9c849f9?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/14323fd369e0b13af53852cdf738c02ad6b9f3c7d1e2fa8f23a9fc75921e2212?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/a1e0a9679918e102313b029d1c2cb0753f30fbac638fd42ca812d4432e3db510?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/166779971e4d1bcc7f6ed1d1c4ab5c2d2c1d885fa9ee4cef7eec5f0fbf04f14c?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/25196bb372074220235d337e31fc31be39924e52caef69ce40e90cc0da02c8d0?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/73696cfc6581204434d0611c4b82138d2c06ce7a0c398d3e4c552657da5cc540?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/9d41a4e7bc299aaf8dd0a6a7a21b9658f681cc67185105c7098e32ca66655d77?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/378a3b818d2b2a0b37902181b12366e925ebb0727bf371d1a16f1af86e15ab89?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/2228fa8ed2b6c9093c645061400dbc09262c790013432f7c24a81e768bdbcde5?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/7fbe72c4388d3720df79bd2226d00faf1595d6b2a2a2cd462de2a914c5f16199?s=48&d=identicon&r=G",
"https://0.gravatar.com/avatar/cfe7283e12b0d34ed48013cd0d6876a1197418eb92748e92d1add6cdee931230?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/1fa4366c8150cc052ba4e5ffe7d1a006a8c2018c151b6b80ade9117eeca3f385?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/425ae23e6ef582cbcb2b4b1c5e44d7118b77a8c7cd060be9938d008cc58c7fc4?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/85ef7bdff3d97cc397b5b62b3cab822a9184d30a11a0238110b8da8fc4e31509?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/8d69ad97a80b9b8f39d9860b09ba1979315ac56bf92af2d184c3609a56c836d1?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/773425cd62a25efbaf05150141a0f8cc9615e0f3dd09c9e05a29d1f60ace619e?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/a251e04c82f1fb116044664e61061bb985390188de97c2128efdc4ba6c98e57f?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/5e59ad110cc2bbb7b7c18481f4dfb8217260929be34a9fe64f6a03cdacf08831?s=48&d=identicon&r=G",
"https://2.gravatar.com/avatar/59e78d6f5e962da49c61d36741cab39d5edf097387018c2aea9feaaae1fc04b8?s=48&d=identicon&r=G",
"https://1.gravatar.com/avatar/a9d30f19f1a36e5a8f149defcf55554722b7b59bdb13355e1ebe4ba5657d4acf?s=48&d=identicon&r=G",
"https://songbook1.wordpress.com/i/rss/red-medium.png?m=1391188133i",
"https://songbook1.wordpress.com/i/rss/red-medium.png?m=1391188133i",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/irving_berlin-c-1910-at-piano-1.jpg?w=220",
"https://songbook1.wordpress.com/wp-content/uploads/2020/08/zoom-premiere-advertisement-9-january-1972-1a.jpg?w=602",
"https://songbook1.wordpress.com/wp-content/uploads/2009/03/george-gershwin-at-piano-1a.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2009/03/ira-and-george-gershwin-guy-bolton-1926-oh-kay-1-f25.jpg?w=252",
"https://songbook1.wordpress.com/wp-content/uploads/2010/03/rodgers-hart-portrait-1.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2010/09/cole-porter_portrait_01_f9.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2019/01/duke-ellington-early-1s.jpg",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/louis-armstrong-1-sm.jpg?w=217",
"https://songbook1.wordpress.com/wp-content/uploads/2010/11/arlen-harold-1.jpg",
"https://songbook1.wordpress.com/wp-content/uploads/2010/03/hoagy-carmichael-2-f15.jpg?w=256",
"https://songbook1.wordpress.com/wp-content/uploads/2010/06/yip-harburg-and-harold-arlen-1a.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2018/04/harold-arlen-and-johnny-mercer-1a.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/antc3b4nio-carlos-jobim-1.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/bacharach-c-late60s-1.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2012/08/hollande28093doziere28093holland-1.jpg?w=257",
"https://songbook1.wordpress.com/wp-content/uploads/2012/06/aida-overton-walker_4_tc.jpg?w=250",
"https://songbook1.wordpress.com/wp-content/uploads/2012/03/1903-le-cake-walk-01-les-enfants-negres-au-nouveau-cirque-paris_f25.jpg?w=242",
"https://songbook1.wordpress.com/wp-content/uploads/2009/11/adele-and-fred-astaire-1911.jpg?w=188",
"https://songbook1.wordpress.com/wp-content/uploads/2010/07/bessiesmith-25-1-f20.jpg?w=250",
"https://songbook1.wordpress.com/wp-content/uploads/2009/03/ethel-waters_birmingham-bertha_1929_0-lg_f40.jpg?w=254",
"https://songbook1.wordpress.com/wp-content/uploads/2012/06/valaida-snow_4a.jpg?w=251",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/billie-holiday-january-1941-prob-at-kellys-stable-1_t0w3.jpg?w=246",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/hazel-scott_7_f15.jpg?w=248",
"https://i0.wp.com/free-website-translation.com/img/fwt_button_en.gif",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/safe-as-milk-sticker.jpg?w=257",
"https://i0.wp.com/s3.feedly.com/img/follows/feedly-follow-rectangle-volume-medium_2x.png",
"https://songbook1.wordpress.com/wp-content/uploads/2012/04/you-want-tags-too_sign_1a_c1_rt12.jpg",
"https://secure.gravatar.com/blavatar/233eb8081e36fef8007ac314b816bff6e391a5becd71b768b316cd101a815f3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/233eb8081e36fef8007ac314b816bff6e391a5becd71b768b316cd101a815f3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[
"https://www.youtube.com/embed/P4WMvd0Iolo?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/Efu8CMyfgSA?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/IMChBJZUDK8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/QdGq-82cudc?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/lHNcMs8W660?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/TIndbvGJ9Sg?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/Jw7yxW52YT8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/VyI435b95yM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/JVctxM_zgzI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/rzsE4q5x2kw?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/5a4YupnT1sM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/MDIBMaCTwFw?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/2tytTebj8ic?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/YzAHc0NrpS0?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/w-kcbIos8LE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/GrId4jqily8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/Az5Qd10CIB4?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[] |
2012-08-11T22:25:52+00:00
|
___________________ (above) The Beach Boys during their debut Hollywood Bowl performance on 19 October 1963 as the last act on Y-Day, an event sponsored by the Hollywood YMCA and local station KFWB. They performed four hits plus an a cappella tribute to the radio station. Preceding them (according to "The Beach Boys Gigography, Tour History"…
|
en
|
https://secure.gravatar.com/blavatar/233eb8081e36fef8007ac314b816bff6e391a5becd71b768b316cd101a815f3e?s=32
|
Songbook
|
https://songbook1.wordpress.com/fx/1960s-performer-and-song/1960s/beach-boys-selected-songs-1962-1965-in-construction/
|
___________________
(above) The Beach Boys during their debut Hollywood Bowl performance on 19 October 1963 as the last act on Y-Day, an event sponsored by the Hollywood YMCA and local station KFWB. They performed four hits plus an a cappella tribute to the radio station. Preceding them (according to “The Beach Boys Gigography, Tour History” at Songkick.com) were Duane Eddy, Jan and Dean, and The Rivingtons. However, Bobby Vinton rather than The Rivingtons was reportedly advertised. The Beach Boys setlist: 1. Little Deuce Coupe, 2. In My Room, 3. Be True To Your School, 4. Surfer Girl, 5. KFWB Theme.
See also:
The Beach Boys gallery, 1962-1965
1962
Surfer Girl (Brian Wilson)
From the book Becoming the Beach Boys, 1961-1963, by James B. Murphy, p. 135:
In 1990 Brian recalled, “Back in 1961, I’d never written a song in my life. I was nineteen years old. And I put myself to the test in my car one day. I was driving to a hot dog stand and I created a melody in my head without being able to hear it on a piano. I sang it to myself. I didn’t even sing it out loud in the car. When I got home that day, I finished the song, wrote the bridge, put the harmonies together and called it ‘Surfer Girl’.”
From Wikipedia:
The band first recorded the song at World Pacific Studios on February 8, 1962 which was one of the band’s first ever recording sessions. However, the recordings from that session, engineered by Hite Morgan, would ultimately remain unreleased until later archival releases. “Surfer Girl” is played in 12/8 time.
The instrumental track as well as the vocals for the officially released version were recorded on June 12, 1963 at Western Recorders, located at 6000 Sunset Boulevard in Hollywood.[6] The session was produced by Brian; the first song, along with “Little Deuce Coupe”, to be credited as a Brian production. The musicians on the track are David Marks and Carl Wilson on guitar; Brian Wilson on bass guitar and Dennis Wilson on drums. The finished instrumental track can be heard on the 1968 release Stack-O-Tracks. The song is sung by the group – Mike Love, Carl, Marks and Dennis Wilson – with lead vocal by Brian. Also recorded during that session was “Little Deuce Coupe”
The Beach Boys — Take 1 demo recorded on 8 February 1962 at World Pacific Studios; released on the 2016 compilation album Becoming the Beach Boys: The Complete Hite & Dorinda Morgan Sessions, Omnivore Recordings OVLP-195 (LP), and OVCD-186 (CD)
.
Lonely Sea (Brian Wilson, Gary Usher) — recorded 13 June 1962 (outtake, Surfin’ Safari sessions); included on the album Surfin’ USA, released 25 March 1963
.
Surfin’ Safari (Brian Wilson, Mike Love) — Capitol 4777, b/w 409 was the second Beach Boys single, and their first for Capitol. It was recorded at Western Recorders in Hollywood, California, on 19 April 1962, as a demo. Also recorded at the same demo session were 409, Lonely Sea, and Their Hearts Were Full of Spring.
Released on 4 June 1962, the single became their first hit, peaking at #14. It was also the first and title track of their debut album, released 1 October 1962.
Mike Love — lead vocal
Brian, Carl, & Dennis Wilson, Mike Love — back vocals
Carl Wilson — guitar
David Marks — guitar
Brian Wilson — bass
Dennis Wilson — drums
___________________
.
1963
LP: Surfer Girl — released 16 September 1963
Surfer Girl (Brian Wilson) — recorded on 12 June 1963; issued 22 July 1963 on the single Capitol 5009, b/w “Little Deuce Coupe” — See above for info on the song’s origins and on the original February 8, 1962 “demo” recordings, followed by take 1 from one of the 1962 recordings.
.
______________
Little Deuce Coupe (Brian Wilson, Roger Christian) — first issued 22 July 1963 as the B-side of the single “Surfer Girl” (Capitol 5009). Surfer Girl peaked at #7, while Little Deuce Coupe reached #15 on the Hot 100 chart.
.
(below) Live, from the Lost Concert, 1964
.
In My Room (Brian Wilson, Gary Usher) — originally released 16 September 1963 on the album Surfer Girl, Capitol Records ST 1981 (ST-1981); issued on the single Capitol Records 5069, as the B-side of “Be True to Your School,” (chart success: US #23)
________________________
1964
LP: Shut Down Volume 2 — released 2 March 1964
Don’t Worry Baby (Brian Wilson, Roger Christian) — from the 1964 album Shut Down Volume 2. It was also released on 11 May 1964 as the B-side of “I Get Around,” which became the first #1 single by the Beach Boys. “Don’t Worry Baby” reached #24.
.
The Warmth of the Sun (Brian Wilson, Mike Love) — recorded on 1 and 8 January 1964, and released in March on the Beach Boys’ fifth studio album, Shut Down Volume 2 — On 26 October 1964 it was issued on the single Capitol 5306 as the B-side of “Dance, Dance, Dance,” and reached #8 on Billboard’s Hot 100 singles chart.
Read “The Story Behind The Beach Boys’ Classic The Warmth of the Sun” at forgottenhits.com.
___________________
The Beach Boys’ Lost Concert — concert date: 15 March 1964(?)
Set list for the “Lost Concert”
1. Fun, Fun, Fun
2. Long Tall Texan
3. Little Deuce Coupe
4. Surfer Girl
5. Monster Mash (missing from video)
6. Surfin’ USA
7. Shut Down
8. In My Room
9. Papa-Oom-Mow-Mow
10. Hawaii
___________________
LP: All Summer Long — released 13 July 1964
I Get Around (Brian Wilson, Mike Love)
Live in concert at Santa Monica Civic Auditorium in the T.A.M.I Show, 29 October 1964
.
All Summer Long (Brian Wilson, Mike Love)
__________________
1965
LP: Today! — released 8 March 1965
Wikipedia says,
The album is notable for having one side of up-beat songs and a second side of melancholic ballads.[11] On the first half, “When I Grow Up (To Be a Man),” “Dance, Dance, Dance” and “Do You Wanna Dance?” were all hits, and “Help Me, Rhonda” would later be reworked to deliver the Beach Boys their second #1 hit in May.[12] The second side indicates Wilson’s continuing maturation as an artist, with more sophisticated production values and deeper subject matter foreshadowing the following year’s Pet Sounds.
Kiss Me, Baby (Brian Wilson, Mike Love) — Third track on side two of the album Today!, and B-side of the single “Help Me, Rhonda,” Capitol 5395
.
Please Let Me Wonder (Brian Wilson, Mike Love) — B-side of “Do You Wanna Dance,” Capitol 5372 — peak chart positions: “Do You Wanna Dance,” #12; “Please Let Me Wonder,” #52
.
She Knows Me Too Well (Brian Wilson) — B-side of When I Grow Up (To Be a Man), Capitol 5245
.
___________________
Continue on to page 2 of 2.
|
||||
1487
|
dbpedia
|
2
| 1
|
https://en.wikipedia.org/wiki/I_Got_You_(I_Feel_Good)
|
en
|
I Got You (I Feel Good)
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/e/e5/I_Got_You_%28I_Feel_Good%29_by_James_Brown_and_the_Famous_Flames_US_vinyl.png/220px-I_Got_You_%28I_Feel_Good%29_by_James_Brown_and_the_Famous_Flames_US_vinyl.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2004-11-01T19:24:56+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/I_Got_You_(I_Feel_Good)
|
1965 single by James Brown
This article is about the song. For the album, see I Got You (I Feel Good) (album). For other uses, see I Got You (disambiguation) and I Feel Good (disambiguation).
"I Got You (I Feel Good)"Single by James Brown and the Famous Flamesfrom the album I Got You (I Feel Good) B-side"I Can't Help It (I Just Do-Do-Do)"ReleasedOctober 1965 ( )RecordedMay 6, 1965 ( )[1][2]StudioCriteria Studios, MiamiGenreLength2:44LabelKing 6015Songwriter(s)James BrownProducer(s)James BrownJames Brown and the Famous Flames singles chronologyVisualizer video on YouTube
"I Got You (I Feel Good)" is a song by the American singer James Brown. First recorded for the album Out of Sight and then released in an alternate take as a single in 1965, it was his highest-charting song and is arguably his best-known recording. In 2013, the 1965 recording was inducted into the Grammy Hall of Fame.[3]
Description
[edit]
"I Got You (I Feel Good)" is a twelve-bar blues with a brass-heavy instrumental arrangement similar to Brown's previous hit, "Papa's Got a Brand New Bag". It also features the same emphasis "on the one" (i.e. the first beat of the measure) that characterizes Brown's developing funk style. The lyrics have Brown exulting in how good he feels ("nice, like sugar and spice") now that he has the one he loves, his vocals punctuated by screams and shouts. The song includes an alto sax solo by Maceo Parker.
Precursors
[edit]
"I Got You (I Feel Good)" developed from an earlier Brown-penned song, "I Found You", with a nearly identical melody and lyrics. "I Found You" had been recorded by Brown's back-up singer Yvonne Fair and released as a single (King 5594) in 1962, with little success.[4][5]
In 1964, Brown recorded an early version of "I Got You (I Feel Good)" with a different arrangement, including a stuttering rhythm and prominent baritone sax line, under the title "I Got You". This version appeared on the Smash Records album Out of Sight and in the 1965 film Ski Party, in which Brown lip synchs his performance on June 30. It was intended for a single release but was withdrawn due to a court order from King Records, with whom Brown was involved in a contract dispute.[6]
Recording
[edit]
In 1965, after visiting Criteria Studios in Miami and being impressed by the sound of the studio's custom recording console, King Records owner Syd Nathan booked a recording session for Brown, during which he recorded the version of "I Got You (I Feel Good)" released by the label as a single.[7]
Reception
[edit]
The song entered the Billboard charts on November 13, 1965 following an October release, and reached number three on December 18.[8] Of Brown's 91 hits to reach the Billboard Hot 100, "I Got You (I Feel Good)" is Brown's highest-charting song. The song remained at the top of the Billboard Rhythm and Blues Singles chart for six non-consecutive weeks, after his previous single, "Papa's Got a Brand New Bag", held the number-one spot for eight weeks.[8] Brown's screams at the beginning and end of the song have been sampled a number of times for hip hop and dance songs. The song has also been covered many times by other performers, and is frequently played at sporting events. The song is played at the Zentralstadion whenever RB Leipzig scores a goal.
Cash Box described it as a "rhythmic, funky ode about a real lucky guy who wants nothing more than to be near his gal."[9]
In 2000, "I Got You (I Feel Good)" reached No. 21 on VH1's 100 Greatest Songs in Rock and Roll and No. 75 on VH1's 100 Greatest Dance Songs, one of only seven songs to make both lists. In 2004, "I Got You (I Feel Good)" was ranked No. 78 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time.
Personnel
[edit]
James Brown — vocals
with the James Brown Orchestra:
Ron Tooley — trumpet
Joe Dupars — trumpet
Levi Rasbury — trombone
Mike Ridley — trumpet
Nat Jones — alto saxophone, Hammond organ
St. Clair Pinckney — tenor saxophone
Eldee Williams – tenor saxophone
Al "Brisco" Clark – tenor saxophone
Maceo Parker — alto saxophone
Jimmy Nolen — electric guitar
David "Hooks" Williams – bass guitar
Melvin Parker — drums
Chart positions
[edit]
Year Chart Peak
position 1965 US Billboard Hot 100[10] 3 US Billboard Rhythm and Blues Singles[8] 1 UK Singles (OCC)[11] 29 1992 Belgium (Ultratop 50 Flanders)[12] 49
Certifications
[edit]
Region Certification Certified units/sales Italy (FIMI)[13] Gold 50,000‡ Spain (PROMUSICAE)[14] Gold 30,000‡
‡ Sales+streaming figures based on certification alone.
Other versions
[edit]
Live recordings
[edit]
Brown performs the song on the live albums Live at the Garden (1967), Live at the Apollo, Volume II (1968), Soul Session Live (1989), and Live at the Apollo 1995 (1995).
1975 remake
[edit]
Brown re-recorded the song for his 1975 album Sex Machine Today. This version was featured in the film White Men Can't Jump, the video game Rock Band 3, and Don King Presents: Prizefighter.
Paul Dakeyne remix
[edit]
In 1992, producer and remixer Paul Dakeyne released a 12" remix of "I Got You (I Feel Good)" on FBI Records under the title "James Brown v. Dakeyne – I Got You (I Feel Good) (The Remixes)". It reached No. 72 on the UK Singles Chart.
Legacy
[edit]
The song was used in an animation test for Shrek in 1996, though the clip was considered lost media until 2023.[15]
|
||||||
1487
|
dbpedia
|
0
| 12
|
https://forward.com/culture/559638/10-great-songs-that-show-how-a-guy-named-bob-feldman-wrote-the-soundtrack-of-a-generation/
|
en
|
10 great songs that show how a guy named Bob Feldman wrote the soundtrack of a generation
|
[
"https://www.facebook.com/tr?id=1138270999612182&ev=PageView&noscript=1",
"https://forward.com/wp-content/themes/studio-simpatico/svgs/logo.svg",
"https://forward.com/wp-content/uploads/2023/01/newsletters.svg",
"https://forward.com/wp-content/uploads/2023/01/events.svg",
"https://forward.com/wp-content/uploads/2023/01/podcasts.svg",
"https://forward.com/wp-content/uploads/2024/07/August-desktop-top-1340x125@2x-1.png",
"https://forward.com/wp-content/uploads/2024/07/August-tablet-top-978x110@2x-1.png",
"https://forward.com/wp-content/uploads/2024/07/August-mobile-top-719x180-1.png",
"https://forward.com/wp-content/uploads/2023/09/GettyImages-1250728856-2400x1350.jpg",
"https://forward.com/wp-content/uploads/2023/07/IMG_7515-225x300.jpg",
"https://forward.com/wp-content/uploads/2024/02/forwardingthenews.png",
"https://forward.com/wp-content/uploads/2024/04/image.png?_t=1722445328",
"https://forward.com/wp-content/uploads/2024/02/forwardingthenews.png",
"https://forward.com/wp-content/uploads/2023/06/LR-btn-yiddish-community-calendar.png",
"https://forward.com/wp-content/uploads/2022/12/promo-Ab-Cahan-Tote-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-Hipi-Premium-Pullover-Hoodie-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-khanike-Mens-Premium-T-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-The-Forverts-1897-Womens-Premium-Hoodie-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/viewall.jpg",
"https://forward.com/wp-content/uploads/2024/07/August-desktop-bottom-1340x250@2x.png",
"https://forward.com/wp-content/uploads/2024/07/August-tablet-bottom-978x180@2x-.png",
"https://forward.com/wp-content/uploads/2024/07/August-mobile-bottom-719x170@2x.png",
"https://forward.com/wp-content/uploads/2024/08/VP_Mezuzah_Install_PCwhitehouse-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/07/GettyImages-2163486926-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/08/Photo-by-Maria-Montserrat-1296x732.jpeg",
"https://forward.com/wp-content/uploads/2024/08/Untitled-design-94-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/08/GettyImages-2164176277.jpg",
"https://forward.com/wp-content/uploads/2024/08/11-1-22-Josh-Shapiro-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/08/Untitled-design-94-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/08/GettyImages-1246310294.jpg",
"https://forward.com/wp-content/uploads/2024/08/Tisha-Bav-Oct.-7-Israel-Hamas-war-grief-Michael-Brown-Getty-Images-1763574529-1296x732-1723354203.jpg",
"https://forward.com/wp-content/uploads/2024/08/GettyImages-2165593823-scaled-e1723043532829-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/07/07-24-2024-Hostages-protest-1296x732.jpg",
"https://forward.com/wp-content/uploads/2024/08/VP_Mezuzah_Install_PCwhitehouse-1296x732.jpg",
"https://forward.com/wp-content/uploads/2023/06/LR-btn-yiddish-community-calendar.png",
"https://forward.com/wp-content/uploads/2022/12/promo-Ab-Cahan-Tote-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-Hipi-Premium-Pullover-Hoodie-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-khanike-Mens-Premium-T-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/promo-The-Forverts-1897-Womens-Premium-Hoodie-1024x1024.jpg",
"https://forward.com/wp-content/uploads/2022/12/viewall.jpg"
] |
[
"about:blank",
"https://www.youtube.com/embed/piid4Tl3xLQ?feature=oembed",
"https://www.youtube.com/embed/ECtE3q0ASpY?feature=oembed",
"https://www.youtube.com/embed/GdfckHMo16o?feature=oembed",
"https://www.youtube.com/embed/V_LhgJVnCbw?feature=oembed",
"https://www.youtube.com/embed/jt2KKDPrbqE?feature=oembed",
"https://www.youtube.com/embed/87oQe3d17aQ?feature=oembed",
"https://www.youtube.com/embed/H51ikifaYws?feature=oembed",
"https://www.youtube.com/embed/RmQ2OJgzkMg?feature=oembed",
"https://www.youtube.com/embed/JoXVYSV4Xcs?feature=oembed",
"https://www.youtube.com/embed/8YnJ8bJTFtw?feature=oembed"
] |
[] |
[
""
] | null |
[
"The Forward",
"Dan Epstein"
] |
2023-09-19T14:00:52+00:00
|
Jewish songwriter Bob Feldman thought he might become a cantor. Fate, destiny and some great pop artists had other plans for him.
|
en
|
The Forward
|
https://forward.com/culture/559638/10-great-songs-that-show-how-a-guy-named-bob-feldman-wrote-the-soundtrack-of-a-generation/
|
When songwriter and record producer Bob Feldman passed away Aug. 23 at the age of 83, we lost another giant of 1960s Brill Building pop.
Born in Brooklyn to Orthodox Jewish parents, Feldman initially considered becoming a cantor before he channeled his vocal talents into singing doo-wop on the street corners of Brighton Beach. He began writing songs of his own with the help of neighborhood pal Jerry Goldstein, and the pair’s early efforts were promising enough to attract the attention of Jack Lewis, an A&R man at United Artists Records. With Lewis as his mentor, Feldman quickly learned the ropes of the music industry, including how to hustle songs to the wide array of music publishers who populated midtown Manhattan.
Like many burgeoning songwriters of the time, Feldman and Goldstein got their foot in the door by writing novelty songs and “answer” records whose lyrics referenced another artist or hit. With Lewis, they penned The Kittens’ “A Letter to Donna,” a 1959 tribute to the recently deceased Ritchie Valens; in 1961, as Bob and Jerry, they wrote and recorded “We’re the Guys (Who Drive Your Baby Wild),” a reply to Barry Mann’s “Who Put the Bomp (In the Bomp, Bomp, Bomp).” The songs weren’t anybody’s idea of art, but it didn’t matter — Feldman and Goldstein were making connections and getting their names on the labels of actual releases.
But their partnership with Richard Gottehrer, a fellow songwriter they’d met while hanging around the waiting room at a publisher’s office, was what finally put Feldman and Goldstein in the charts.
“I was the dreamer, Jerry was the schemer, and Richie was the voice of reason,” was how Feldman once described their dynamic; whatever their secret, the trio managed to write and produce well over a hundred songs together between 1962 and 1966, many of which are now rightly considered classics of the era.
After the three men amicably went their separate ways in the late 1960s, Feldman stayed in the business primarily as a producer, with credits including such now-legendary records as Link Wray’s self-titled 1971 LP and The Belmonts’ Cigars, Acappella, Candy in 1972. To honor his passing, here are 10 great songs co-written by Feldman that not only showcase the range of his Goldstein and Gottehrer’s writing, but also demonstrate the broadness of their appeal among artists and fans.
The Jive Five — What Time Is It?
A moody vocal group ballad with clever “clockwork” flourishes, “What Time Is It?” proved that Feldman had learned his doo-wop lessons well. This gorgeous 1962 single only made it to #67 on the Billboard Hot 100, but is now widely hailed as a prime example of the form.
The Angels — My Boyfriend’s Back
Feldman, Goldstein and Gottehrer had a knack for grabbing ideas out of the air and turning them into songs. While visiting his local candy store in Brighton Beach, Feldman overheard a girl crossly informing some guy, “My boyfriend’s back and you’re gonna get it!”— and before the week was out, FGG had not only written “My Boyfriend’s Back,” but also produced a recording of it with New Jersey girl group The Angels. The sassy song shot to #1 in the summer of 1963, establishing FGG as a hit-making force; the immortal line “If I were you, I’d take a permanent vacation” later inspired the title of a 1987 Aerosmith album.
Ronnie Dio and The Prophets — Gonna Make It Alone
Originally intended as his first U.S. single for Columbia after the singer left Laurie Records, Dion’s version of the FGG-penned “Gonna Make It Alone” was ditched by the label at the last minute in favor of “Ruby Baby,” though it would still be released as a single in the Netherlands. Future metal god Ronnie Dio — then a 20-something rocker working the bars of upstate New York — took an impressive crack at the song in 1963, though he’d have to wait another decade or so before finally reaching the charts as the frontman of Ritchie Blackmore’s Rainbow.
The Strangeloves — Night Time
When the British Invasion hit the U.S. shores in 1964, Feldman, Goldstein and Gottehrer tried to go it one better by launching a one-band “Australian Invasion.” Figuring that most Americans had no idea what Australians looked or sounded like, they pretended to be a band of zebra-vested brothers from “down under” who had escaped their parents’ sheep farm to play rock and roll. Though it’s unclear how many people actually bought the ruse, quite a few of them did purchase Strangeloves singles — including this pounding 1965 ode to nocturnal recreation, which made it to #30 on the Hot 100. Anthologized by Lenny Kaye on 1972’s massively influential Nuggets compilation, “Night Time” has also been covered by Dr. Feelgood, the J. Geils Band, George Thorogood, and (believe it or not) British goths Bauhaus.
The Beach-Nuts — Out In The Sun (Hey-O)
A deeply underrated summer pop gem, 1965’s “Out in the Sun (Hey-O)” took the island vibe of Harry Belafonte’s “Banana Boat Song” and dropped it firmly into the Coney Island sand. Essentially a one-off collaboration between the Angels and the Strangeloves, the song was also one of the first pop-rock tracks to feature backing from a steel band, and definitely deserved better than its lowly “bubbling under” placement on the Billboard charts.
The Sorrows — Cara-Lin
The Strangeloves’ simple, heavily rhythmic songs are almost proto-punk in their emphasis on energy and attitude over complex chord changes — and “Cara-Lin” has unsurprisingly been revived numerous times over the years by such aficionados of the down n’ dirty as The Fleshtones, The Headcoatees and Roy Loney. But for my money, the best cover of the song is this 1965 version by British mods The Sorrows, whose tough sound and intense delivery really takes “Cara-Lin” to the next level.
The Birds — Say Those Magic Words
Feldman, Goldstein and Gottehrer struck gold again in 1965 when they produced a cover of Wes Farrell and Bert Berns’ “Hang On Sloopy” for Ohio youngsters The McCoys, who featured a 16 year-old Rick Derringer on lead guitar. Following that record’s massive success, they went on to produce three albums and eight more singles for the band, including the FGG co-penned (with Doc Pomus and Mort Shuman) 1966 raver “Say Those Magic Words.” The McCoys’ version was good, but this one by British mods The Birds — featuring a young Ron Wood on guitar — is absolutely sizzling.
David Bowie — Sorrow
Another FGG song originally cut by The McCoys, “Sorrow” wound up becoming a massive UK hit in 1966 for British band The Merseys, and was even briefly quoted by George Harrison at the end of The Beatles’ “It’s All Too Much.” These days, however, this tuneful lament is probably best remembered for David Bowie’s sax-and-strings-stoked version, which was included on his 1973 covers album Pin-Ups.
Bow Wow Wow — I Want Candy
The Strangeloves took their original version of “I Want Candy” all the way to #11 in 1965, and the song has been covered numerous times since then, with versions by everyone from British beat rockers Brian Poole and The Tremoloes to NYC no wavers 8 Eyed Spy to teen pop singer Aaron Carter. But the definitive version is arguably the stomping 1982 cover by British new wave combo Bow Wow Wow, which introduced countless MTV viewers to the Bo Diddley beat.
The Pooh Sticks — The Rhythm of Love
Covered in 1966 by The Merseys, the flipside of The Strangeloves’ “Night Time” received a radical reworking 25 years later by Welsh indie-pop deviants The Pooh Sticks, complete with a guitar break that, for whatever reason, quotes Neil Young’s “Powderfinger.” It’s a weird and wonderful version, completely on its own trip yet very much in in tune with Feldman, Goldstein and Gottehrer’s playful approach.
|
|||||
1487
|
dbpedia
|
1
| 48
|
https://www.songhall.org/profile/Jim_Croce
|
en
|
Songwriters Hall of Fame
|
[
"https://www.songhall.org/assets/images/logo.svg",
"https://www.songhall.org/assets/images/logo.png",
"https://www.songhall.org/images/uploads/exhibits/Jim_Croce.jpg",
"https://www.songhall.org/images/uploads/exhibits/Jim_Croce.jpg",
"https://www.songhall.org/images/uploads/exhibits/Jim_Croce.jpg",
"https://www.songhall.org/asset/exhibit/16_img_anchor_home.jpg",
"https://www.songhall.org/images/uploads/exhibits/Pete_Seeger.jpg",
"https://www.songhall.org/asset/exhibit/12_img_anchor_home.jpg",
"https://www.songhall.org/asset/exhibit/276_img_anchor_home.jpg",
"https://www.songhall.org/asset/exhibit/16_img_anchor_home.jpg",
"https://www.songhall.org/images/uploads/exhibits/Pete_Seeger.jpg",
"https://www.songhall.org/asset/exhibit/12_img_anchor_home.jpg",
"https://www.songhall.org/assets/images/logo-prager-metis.png",
"https://www.songhall.org/assets/images/logo-ascap.png",
"https://www.songhall.org/assets/images/logo-sesac.png",
"https://www.songhall.org/assets/images/logo-bmi.png",
"https://www.songhall.org/assets/images/logo-nmpa.png",
"https://www.songhall.org/assets/images/logo-1.png"
] |
[] |
[] |
[
"songwriters",
"hall of fame",
"songhall",
"shof"
] | null |
[] |
1943-08-30T00:00:00
|
Songwriter's Hall of Fame
|
/apple-touch-icon.png
|
https://www.songhall.org/profile/Jim_Croce
|
Jim Croce was born in South Philadelphia, January 10, 1943, and a life-long fascination with music began shortly thereafter. At the age of six, he was singing and playing "Lady of Spain" on the accordion at church socials and family gatherings.
From his father's record collection, Jim picked up on music ranging from that of Fats Waller and Bessie Smith to Dixieland. At age 15, he convinced his father that he needed a guitar to help him make his own music and in a pawnshop along Philadelphia's skid row, his younger brother's neglected clarinet was traded for a used Harmony "F-slot" acoustic guitar.
During the folk movement of the early '60s, Jim became captivated with sea chanteys, English and Irish ballads and the music of Woody Guthrie and Jimmie Rodgers. By the time he graduated from Villanova University in 1965, with a degree in psychology, his photographic memory had helped him have as many as 2500 songs at his fingertips.
Jim and Ingrid Jacobson, a girl he had first met during his collegiate years, were married in 1966 and for a time earned their living as a performing duo. They traveled extensively throughout the East and South playing colleges, bars and coffee houses. In 1969 they recorded an album, "Jim and Ingrid Croce," for Capitol Records, but when the record failed to become a big seller, they gave up touring and moved to rural Lyndell, Pennsylvania.
Jim drove trucks, swung a hammer and played music in local bars during the evening hours. Ingrid baked bread, canned vegetables and made pottery, and in 1970 became pregnant with their first child, Adrian James. Faced with an imminent additional mouth to feed, Jim turned his sights once again to music, and sitting at his kitchen table, he wrote in just 10 days "Time in a Bottle," "You Don't Mess Around with Jim," "New York's Not My Home," "Photographs and Memories" and "Operator."
He put the songs on a cassette and sent them along to his producers in New York, who recognized the excellence of the songs. Jim's commercial success had been born. His first solo album was released in 1972 and included the guitar playing of his accompanist and close friend, Maury Muehleisen. This album contained the two single hits, "You Don't Mess Around with Jim" and "Operator. "
The album's success led to an extensive touring schedule followed soon by the recording of a second album, Life and Times, which was released in 1973, and included another number one single smash, "Bad, Bad Leroy Brown."
It was to be one of only three albums in an unhappily short but singularly productive career. On September 20, 1973, Jim was killed in a plane crash in Natchitoches, Louisiana, during a tour of southern colleges. He was 30 years old. Two weeks later, his third and final album, I Got a Name, was released, containing in addition to the title song, "I'll Have to Say I Love You in a Song," "Working at the Carwash Blues" and "Lover's Cross."
Drawing from his personal experience and unique observations of life, Jim Croce left behind a rich legacy of music. His songs celebrate the life of the common man; songs that are as relevant today as the day he wrote them.
|
||||||
1487
|
dbpedia
|
1
| 33
|
https://ultimateclassicrock.com/rolling-stones-first-single-come-on/
|
en
|
60 Years Ago: The Rolling Stones Release Their First Single
|
[
"https://townsquare.media/site/295/files/2021/04/logo256.png",
"https://townsquare.media/site/295/files/2023/06/attachment-GettyImages-2444291.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/08/attachment-stonessolosongs.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/08/attachment-GettyImages-2155389183.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/07/attachment-MaidenStones.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/06/attachment-stones-19.jpeg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/07/attachment-GettyImages-2162978823.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/06/attachment-stonesroundup.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/05/attachment-GettyImages-21543899031.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/05/attachment-GettyImages-2154819395.jpg?w=980&q=75",
"https://townsquare.media/site/295/files/2024/07/attachment-Kluft.jpg?w=980&q=75"
] |
[] |
[] |
[
"rolling stones first single come on",
"anniversaries"
] | null |
[
"Gary Graff"
] |
2023-06-07T15:22:16+00:00
|
The Rolling Stones released their first single, a cover of Chuck Berry's 'Come On,' in June 1963.
|
en
|
Ultimate Classic Rock
|
https://ultimateclassicrock.com/rolling-stones-first-single-come-on/
|
The Rolling Stones' first single was both auspicious and inauspicious in one fell swoop.
On one hand, the version of Chuck Berry's "Come On" released on June 7, 1963 — about 19 months after the original — was the first step in a recording career that's lasted more than six decades. It also gave the burgeoning Stones their first appearance on the U.K. charts.
On the other hand, it was a cover, somebody else's song and not something from the Mick Jagger-Keith Richards songwriting axis that would surface 11 months later.
It's not that Jagger and Richards weren't trying to write songs; they just weren't very good or in manager-producer Andrew Loog Oldham's words, "soppy and imitative." "We weren't naturals at the beginning," Richards told this writer in 1986. "It took us a long time to get it right. We were coming up with these ballads, and they kept getting the thumbs-down. It wasn't the kind of music the band wanted to be doing. So we kept banging away at it." It reached a point where Oldham famously locked Jagger and Richards in a room with orders to "come out with a song." The result was "As Tears Go By," which was first recorded by Marianne Faithfull, while a subsequent effort, "Tell Me" landed on the Rolling Stones' debut album in April 1964, reaching No. 24 on the Billboard Hot 100. "The Last Time" in early 1965 would be the Stones' first A-side single in the U.K., hitting No. 10 on the chart, as well as No. 9 in the U.S.
It's fair to say Jagger and Richards got the picture in short order. By 1966's Aftermath, the duo was penning an LP's worth of tunes by themselves, and in 1993 the partnership was awarded a spot in the Songwriters Hall of Fame.
A Chuck Berry song made a great deal of sense for the Stones' first recording, however, as he was an artist over which Jagger and Richards bonded when they first met on Oct. 17, 1961, at a railway station in their native Dartford. "I was keen on Chuck Berry, and I thought I was the only fan for miles," Richards wrote in a letter to his aunt that was included in his autobiography, Life. "But one mornin' on Dartford Stn, I was holding one of Chuck's records when a guy I knew at primary school ... came up to me. He's got every record Chuck Berry ever made and all his mates have, too, they are all rhythm and blues fans, real R&B I mean (not this Dinah Shore, Brook Benton crap) Jimmy Reed, Muddy Waters, Chuck, Howlin' Wolf, John Lee Hooker - all the Chicago bluesmen real lowdown stuff, marvelous."
Listen to the Rolling Stones' 'Come On'
The Stones, who had already done some recording at London's IBC Studios earlier in the year, signed with Decca Records in April 1963 and hit Olympic Sound Studios on May 10, 1963, for the first sessions. "Come On" was the last single Berry released, in October 1961, before being imprisoned for transporting an underage minor across state lines and did not chart in the wake of the controversy. It also wasn't among the many Berry covers the Stones were playing in their set at the time, but the group came up with a decidedly pop-flavored rendition that weighed in at a brisk minute and 48 seconds, with Brian Jones and Bill Wyman adding backing vocals and Jones providing a few harmonica honks. Jagger referred to it as "a bunch of bloody amateurs going to make a hit single"; the Stones tapped another one of their heroes, Muddy Waters, for a B-side rendition of his "I Want to Be Loved."
"I didn't think it was the best thing we could have done, but I did know it was something that would make a mark," Richards wrote in Life. "As a recording, it's probably better than I thought it was at the time. But I have a feeling we thought that was the only shot we had in our locker then. ... It's very different from Chuck Berry's version; it's very Beatle-ized, in fact." Oldham, a novice at producing at the time, left mixing chores to engineer Roger Savage. Decca was only lightly committed to promoting the record, taking out just one ad, but Oldham had Stones fan club members buy copies at record shops that reported to U.K.'s Official Charts Company to help it climb to No. 21.
That profile allowed the Stones to play in larger venues in the U.K. as well as to appear on TV. The band made its small screen debut on July 7, lip-syncing to a recording of "Come On" for the Lucky Stars Summer Spin in Birmingham. On Aug. 23 the Stones did the same for the influential Ready Steady Go! in London, which led to a long association with the show's producer, Michael Lindsay-Hogg, who'd go on to direct videos as well as The Rolling Stones Rock and Roll Circus in 1968. "Come On" was out of the Stones' live repertoire by 1965, but Jagger sang a bit of it during the Toronto stop of the 50 & Counting Tour on June 6, 2013, noting that single's 50th anniversary.
Jagger has long been dismissive of "Come On," but during a 1968 interview with Rolling Stone, he was buoyed by the idea that by recording it the Stones had introduced the tune, and in some cases Berry, to a new audience: "They never knew anything about it. ... So you could say that we did blues to turn people on, but why they should be turned on by us is unbelievably stupid. I mean, what's the point in listening to us doing 'I'm a King Bee' when you can listen to Slim Harpo doing it?"
|
|||||
1487
|
dbpedia
|
0
| 3
|
https://www.wikidata.org/wiki/Q103104022
|
en
|
I Want Candy / Love Me Baby
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
[
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://www.wikidata.org/static/images/footer/wikimedia-button.svg",
"https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
1965 single by Brian Poole & The Tremeloes
|
en
|
/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q103104022
|
I Want Candy / Love Me Baby (Q103104022)
Navigation menu
Search
|
|||
1487
|
dbpedia
|
3
| 8
|
https://timeline.carnegiehall.org/genres/rock-n-roll
|
en
|
History of Rock 'n' Roll
|
[
"https://carnegie-hall.imgix.net/5be2f752-35b4-4112-8e86-89a80d22c482/Little_Richard.jpg?auto=format&px=12&q=1&blur=400",
"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/d8/4b/6c/d84b6c98-32a5-b821-1e23-82eaf4a72e7d/19UMGIM97279.rgb.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://is3-ssl.mzstatic.com/image/thumb/Music124/v4/28/33/6e/28336ed8-99ff-5e34-20b6-2533b3781b7a/00602547760715.rgb.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/fa/d2/fc/fad2fc32-6a86-e25c-aec4-308ca329708f/s06.vgipvxqg.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://is4-ssl.mzstatic.com/image/thumb/Music/22/4f/51/mzi.uojtxaib.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://is5-ssl.mzstatic.com/image/thumb/Music125/v4/52/ed/bd/52edbd2f-6194-0e37-d5bf-91f1f8073e4d/mzi.fcesddwp.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/bf/1b/ee/bf1bee3d-0f61-42c9-53bd-8b54da57a91f/mzi.sbavfwes.jpg/128x128bb.jpg?auto=format&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/ea9dd889-09ce-451d-87c4-cbf5cef30e4a/500x500_Little_Richard.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/0a9418d5-39bf-4850-b6b1-9f313a26f111/500x500_Fats_Domino.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/34c342c2-bb25-4da1-b191-ec4cb439af50/500x500_Chuck_Berry_1957.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/6d4a9f29-d190-47e5-a9ef-a087dca7f5ba/500x500_Bo_Diddley_1957.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/ae18ebaf-2126-4dfb-85d9-5e657a8446e9/500x500_The_Platters.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/e20e6234-003f-4006-95ab-ca5c278656b6/500x500_Ruth_Brown.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/5f1cc57c-46f5-4ddb-82e3-0c0ad0f8be84/500x500_LaVern_Baker_1956.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/63d975bb-c553-4594-97b3-e726a115f71e/500x500_Etta_James.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/23ece0e5-9661-4c91-8f75-dac28635950e/500x500_The_Coasters.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/c79c2314-5973-48a7-b253-4578050c0c8e/500x500_Ike__Tina_Turner_1974.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/c28db5d0-5d4e-47d3-9524-e9d0076149e9/500x500_The_Shirelles_1962.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/51e0d0dc-69d2-4410-8d19-63ba42001e9d/500x500_Frankie_Lymon_and_The_Teenagers.jpg?ar=1%3A1&fit=crop&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/40c2701c-8cc5-4fb8-84f5-878948f4a95a/carnegie-hall-logo-white.svg?auto=format&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/dcf192a5-0048-483a-b504-4afbd43d07f3/CH1331486_Jessye_Norman_800x600_bw.jpg?auto=format&px=12&q=1&blur=400",
"https://carnegie-hall.imgix.net/88660b49-60e0-4d5f-8fac-862008465b7f/neh-logo.svg?auto=format&px=12&q=1&blur=400"
] |
[] |
[] |
[
"united states",
"classic rock",
"radio station",
"roll hall of fame",
"tina turner"
] | null |
[] | null |
Carnegie Hall's history of African American Music. Learn more about how Rock 'n' Roll fits into the timeline and the influence of rhythm and blues.
|
en
|
/favicon.ico
|
Timeline of African American Music
|
https://timeline.carnegiehall.org/genres/rock-n-roll
|
As rhythm and blues transitioned to rock ‘n’ roll, vocalists such as Ruth Brown (“Mama, He Treats Your Daughter Mean,” 1953), LaVern Baker (“Tweedlee Dee,” 1955) and Etta James singing with the Johnny Otis Orchestra (“The Wallflower,” 1955) established the rhythmic vocal style that characterized rock ‘n’ roll and promoted the music to Black and white teen audiences. The prominence of the electric guitar as played by Chuck Berry (“Maybellene,” 1955) and Bo Diddley (“Bo Diddley,” 1955 with Chuck Berry), made the guitar a focal, soloing instrument, ultimately displacing the saxophone from the central position it held in rhythm and blues, and inspired young fans in England as well as America to learn to play the guitar. Alongside the more frenetic instrumental rock ‘n’ roll sound of the mid-1950s, teenage “doo-wop” a cappela harmony groups such as the Clovers (“Don’t You Know I Love You,” 1951) and Billy Ward and His Dominoes (“Have Mercy, Baby,” 1952) developed a unique sound defined by their roots in Southern-flavored blues and gospel music, respectively. They added instrumental combo accompaniment that included solo tenor sax, handclapping, and an emphasis on beats 2 and 4 that Wild Bill Moore popularized in “We’re Gonna Rock, We’re Gonna Roll,” 1947.
Some doo-wop groups took the names of cars as their own, such as the Cadillacs (“Speedoo,” 1955) and the El Dorados (“At My Front Door,” 1955). Others took the names of birds such as the Orioles (“Crying in the Chapel,” 1953) and the Flamingos (“I Only Have Eyes for You,” 1959). Other singing groups, particularly the Coasters (“Yakety Yak,” 1958 and “Charlie Brown,” 1959), specialized in novelty or comedy-styled songs. Other vocal groups included The Chords, Little Anthony and the Imperials (“Tears on My Pillow,” 1958), and Frankie Lymon and the Teenagers (“Why Do Fools Fall in Love,” 1956). The Platters were one of the most commercially successful vocal groups of the era, and their song “The Great Pretender” (1955) was the first doo-wop group to reach number one on the pop charts. All-female harmony groups also came on the scene in the late 1950s. The Chantels (“Maybe,” 1957) and the Bobbettes (Mr. Lee,” 1957) were followed successfully in the early ’60s by the Shirelles, who were the first all-female group to have a number one pop hit in the rock ‘n’ roll era. Their song, “Will You Still Love Me Tomorrow” charted in 1960 and ushered in a critical mass of all-female “girl groups” onto the R&B and pop charts. Most of these groups, including the Crystals, the Chiffons, and the Ronettes (“Be My Baby,” 1963), were African American. The Black vocal group sound became a staple of pop radio during the 1960s, through girl group music and the music of artists recording for the Detroit-based Motown label which produced a steady stream of hits featuring artists such as Mary Wells, The Miracles (featuring Smokey Robinson), Stevie Wonder, Martha and the Vandellas, the Temptations, the Four Tops, Marvin Gaye, and the Supremes (featuring Diana Ross).
The rhythm and blues and rock ‘n’ roll songs of Black artists influenced their white counterparts. Several established and/or advanced their careers in rock ‘n’ roll by covering the recordings of Black artists, synthesizing the same rhythm and blues elements that their Black counterparts had updated, and adding elements of country and western music to the mix. These artists include Bill Haley and His Comets, Elvis Presley, Buddy Holly, Jerry Lee Lewis, Carl Perkins, and the Everly Brothers.
|
||||
1487
|
dbpedia
|
1
| 64
|
https://www.bluestownmusic.nl/new-release-the-rolling-stones-singles-box-volume-one-1963-1966/
|
en
|
New Release: The Rolling Stones - Singles Box Volume One: 1963 - 1966
|
[
"https://www.bluestownmusic.nl/wp-content/uploads/2019/11/cropped-bluestown-def-square.png",
"https://www.bluestownmusic.nl/wp-content/uploads/2022/05/The-Rolling-Stones-Singles-Box-Volume-One-1963-1966-600x600.jpg",
"https://www.bluestownmusic.nl/wp-content/uploads/2022/05/The-Rolling-Stones-Singles-Box-Volume-One-1963-1966-banner-600x368.jpg",
"https://www.bluestownmusic.nl/wp-content/uploads/2024/08/ACR-BluesTown-Radio-Blueskrant-editie-36-2024-600x413.jpg",
"https://www.bluestownmusic.nl/wp-content/uploads/2022/09/Banner-CRS-september-2022.png",
"https://www.bluestownmusic.nl/wp-content/uploads/2020/02/eyes-grafiti-3258285_960_720-600x338.jpg",
"https://www.bluestownmusic.nl/wp-content/uploads/2019/11/cropped-cropped-bluestown-def-square.png",
"https://www.bluestownmusic.nl/wp-content/uploads/2020/07/facebook.png",
"https://www.bluestownmusic.nl/wp-content/uploads/2021/01/Arrow-Classic-Rock-BluesTown-Radio-2021-600x400.jpg",
"https://www.bluestownmusic.nl/wp-content/uploads/2021/10/Vacature-1-424x600.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Harry",
"www.facebook.com"
] |
2022-05-19T11:32:15+00:00
|
New Release: The Rolling Stones - Singles Box Volume One: 1963 - 1966 I Bluestown Music
|
nl
|
Bluestown Music
|
https://www.bluestownmusic.nl/new-release-the-rolling-stones-singles-box-volume-one-1963-1966/
|
The Rolling Stones – Singles Box Volume One: 1963 – 1966
The Rolling Stones – Singles Box Volume One: 1963 – 1966
Format: 7 INCH (VINYL)
Label: Universal
Release: 2022
Release date: June 10, 2022
A stunning, limited-edition, bespoke box set featuring authentic reproductions of The Rolling Stones original London and Decca labels singles and EPs, as released in the 1960s.
Featuring original packaging, including coveted picture sleeves. Includes three early, multi-track EPs: The Rolling Stones EP Five By Five and Got Live If You Want It! Non-studio album tracks featured on the first two Decca singles: Come On / I Want To Be Loved (UK 1963) and I Wanna Be Your Man / Stoned (UK 1964). Rare non-LP B-side track – Sad Day, flip of 19th Nervous Breakdown. I Can’t Get No) Satisfaction and Get Off Of My Cloud, each with alternate London and Decca B-sides (one US, one UK). The lesser-known organ intro version of Time Is On My Side is a featured London US A-side.18 black high-quality vinyl 7” singles in full-colour picture sleeves. 32-page book with extensive liner notes by Rolling Stones authority Nigel Williamson alongside rare photos and ephemera.
A set of five photo cards and a full-colour poster, all housed in a hard-shell ‘lift-off lid box. This is the first time the early Rolling Stones catalogue has been collected on 18 vinyl 45 RPM 7” singles.
Volume one of two limited edition box sets (Volume Two will follow soon) that are a comprehensive chronological overview of The Rolling Stones early career as pop chart hitmakers.
Website: https://rollingstones.com/
|
|||||
1487
|
dbpedia
|
0
| 28
|
https://rock.fandom.com/wiki/Bow_Wow_Wow
|
en
|
Bow Wow Wow
|
https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633
|
https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633
|
[
"https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633",
"https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60",
"https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7",
"https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f",
"https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Rock Music Wiki"
] |
2024-07-29T22:27:06+00:00
|
Bow Wow Wow are an English 1980s New Wave band, created by Malcolm McLaren to promote his and business partner Vivienne Westwood's New Romantic fashion lines.[1] The group's music is described as having an "African-derived drum sound". McLaren persuaded guitarist Matthew Ashman, bassist Leigh...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Rock Music Wiki
|
https://rock.fandom.com/wiki/Bow_Wow_Wow
|
Bow Wow Wow are an English 1980s New Wave band, created by Malcolm McLaren to promote his and business partner Vivienne Westwood's New Romantic fashion lines.[1] The group's music is described as having an "African-derived drum sound".
History[edit source | editbeta][]
McLaren persuaded guitarist Matthew Ashman, bassist Leigh Gorman and drummer David Barbarossa (also known as Dave Barbe), of the then line-up of Adam and the Ants to leave the founder of the band Adam Ant and form a new group.
After a six-month-long audition process for a lead singer, the band enlisted Annabella Lwin.[2] Musician David Fishel, originally from Liverpool, an acquaintance of McLaren's, discovered 13-year-old Lwin while she was working a Saturday job at her local dry cleaners. The group's sound was a mix of her "girlish squeal," chants, surf instrumentals, pop melodies, and Barbarossa's Burundi ritual music influenced tom-tom drum beats.[3]
Among the regular faces at the band's early London gigs were Latin songwriter/producer Richard Daniel Roman and Boy George, then known as Lieutenant Lush. McLaren was also going to use Boy George (later of Culture Club fame) as a second lead singer, but he was deemed to be "too wild" for the band[citation needed].
In 1981, having split with their record label EMI after a dispute, Bow Wow Wow signed to new A&R head Bill Kimber at RCA Records where they had their first U.K. top 10 hit with "Go Wild in the Country" in early 1982.
The band's most popular U.S. hit was the New Wave staple, "I Want Candy" (originally a 1965 hit by The Strangeloves) which was featured in an early music video on MTV. Bow Wow Wow's recording of "I Want Candy" also appeared in film soundtracks and media and advertising events such as the 2005 Victoria's Secret Fashion Show.
Their most notorious recording was "Sexy Eiffel Tower," with excitedly heavy breathing and moans; this was a song that went far beyond the slightly later Cyndi Lauperhit "She Bop", about similar subject matter.[4]
[1][2]Annabella Lwin, 1982
By 1983, the group had released three full-length albums, and were due to embark on a world tour but tensions in the group were rising, as the members were suffering from illness and exhaustion after intense US touring. After a rest, the guys in the band ousted lead singer Annabella Lwin to form a new group with guitarist Ashman as its lead singer. The new group was called Chiefs of Relief. Ashman later played with other groups such as Max, Rams, and Agent Provocateur.
In 1995, Ashman died from diabetes complications at age 35.
Since his time in Bow Wow Wow, Barbe has worked on other musical projects such as Beats International, Live with Adam Ant in 1995, Republica, dance band Chicane, the London-based 'Faith' music collective, and Amber Gate. Barbe also wrote a novel entitled “We Were Looking Up".
Gorman continued to perform and has had success as a record producer and composer for films and advertising.
In 1997, Lwin & Gorman re-created the Bow Wow Wow sound embarking on the "Barking Mad" tour in 1997 - 1998, adding guitarist Dave Calhoun from the Vapours and drummerEshan Khadaroo.[2] The tour produced a live CD Wild in the U.S.A., for Cleopatra records which also included remixes of previous Bow Wow Wow tracks.
"Eastern Promise" was a single released through a deal with Swedish Egil, at "Priority Records" in 1998 and was the most requested by listeners on Kiss FM.[citation needed] The song "A Thousand Tears" made it into the 1999 film Desperate But Not Serious starring Christine Taylor and Claudia Schiffer. Bow Wow Wow appeared on stage in September 2003 Inland Invasion show that was part of KROQ's 25th Anniversary celebrations, this time with a Los Angeles guitarist Phil Gough of Bone Daddys and Adrian Young of No Doubt on drums. The band then maintained a touring schedule through 2006. In September 2005, Philadelphia, PA native Devin Beaman was brought in as a new drummer.
In June 2006, Bow Wow Wow recorded a cover of The Smiths' song "I Started Something I Couldn't Finish" for a proposed Smiths tribute record for Cleopatra records. A promotional edit of the recording can be heard on Bow Wow Wow's MySpace page. Bow Wow Wow played on 2 November 2006 at the Maritime Hotel's Hiro Lounge in New York City to promote the inclusion of their music on the soundtrack of the Sofia Coppola film Marie Antoinette.
On the fifteenth anniversary of Ashman's death, the band, featuring original drummer Barbarossa, performed at a tribute concert for Ashman on 21 November 2010 at the Scala in London, in a show with Adam Anttopping the bill and also featuring Ashman other bands Chiefs of Relief and Agent Provocateur.[5]
2011-2012 'Bow Wow Wow' played shows in California & a new line-up of musicians on drums & guitar for a long awaited tour after 30 years in the UK.[6]
In January 2013, Annabella Lwin performed with a new band of musicians (under the billing of Annabella Lwin of Bow Wow Wow) as the opening act in support of Midge Ure on the last two shows of his U.S Tour, while Leigh Gorman took control of the name Bow Wow Wow and relaunched the band's official Facebook page with photos featuring a new singer by the name of Chloe Demetria.[7]
Controversy[edit source | editbeta][]
Their label at the time, EMI, refused to promote the cassingle "C·30 C·60 C·90 Go" (on the import-marketed "Twelve Original Songs") because it allegedly promoted home taping,[4] as Side B was blank. EMI dropped the group after releasing its second single "W.O.R.K."[4]
[3][4]Bow Wow Wow's take on Le déjeuner sur l'herbe
Famously, coinciding with Annabella Lwin's posing for album coverwork, her mother alleged exploitation of a minor for immoral purposes, and instigated a Scotland Yardinvestigation. As a result the band was only allowed to leave the UK after McLaren promised not to promote Lwin as a "sex kitten". This included an agreement to not use a nude photograph depicting Lwin as the woman in Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe), though the picture was used as the cover of the band's 1982 RCA EP The Last of the Mohicans, which became their best-selling album in the U.S.[4] (The photo was originally to be used for 1981's See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy, and the cover was used as planned in some European countries – such as the Netherlands – though not in the UK or the US versions of the album.) Lwin was almost made to quit the band by the controversy over the publication of the photo, particularly as she was only 15 when the photo was taken.
The degree to which Adam and the Ants, Bow Wow Wow, and other British bands of their time were influenced by—rather than plagiarised—the music of native African nations and tribes such as the Royal Drummers of Burundi and the Zulus has been a matter of debate. It is thought that when Malcolm McLaren started to advise Adam and the Ants on the direction they should take after Dirk Wears White Sox, he gave the band (the instrumentalists who would eventually become Bow Wow Wow) a variety of recordings of World Music from which to draw inspiration. When the Ants dropped out to form Bow Wow Wow, Adam Ant took the recordings from the band's early work in this new direction in order to start his new incarnation of the Ants. This is how it ended up that both bands made music influenced by the recordings offered by McLaren. Among the recordings was one entitled "Burundi Black". The story of "Burundi Black" and the origin of the "Burundi Beat" and the associated controversy is told in the following excerpt from a 1981 New York Times article by Robert Palmer:
“ The original source of this tribal rhythm is a recording of 25 drummers, made in a village in the east African nation of Burundi by a team of French anthropologists. The recording was included in an album, Musique du Burundi, issued by the French Ocora label in 1968. It is impressively kinetic, but the rhythm patterns are not as complex as most African drumming; they are a relatively easy mark for pop pirates in search of plunder. During the early 1970s, a British pop musician named Mike Steiphenson grafted an arrangement for guitars and keyboards onto the original recording from Burundi, and the result was Burundi Black, an album that sold more than 125,000 copies and made the British best-seller charts... Adam and the Ants, Bow Wow Wow, and several other bands have notched up an impressive string of British hits using the Burundi beat as a rhythmic foundation. But the Burundian drummers who made the original recording are not sharing in the profits. Nobody told them to copyright their traditional music, and trying to obtain copyright for a rhythm would be a difficult proposition in any case. ”
[8]
It has also been charged that Bow Wow Wow plagiarised melodies from Zulu jive songs and Zulu pop songs and turned the original Zulu lyrics into English mondegreens. This is the charge made for the origin of the lines "See Jungle! See Jungle! Go Join Your Gang, Yeah! City All over Go Ape Crazy!" and "Golly! Golly! Go Buddy!, and Hey i-yai-yo". In answer to this issue, the afore quoted Times article offered the following statement somewhat in Bow Wow Wow's defence:
“ It's [The 'Burundi Beat'] the driving force and most distinctive ingredient in much of Adam Ant's music and has been equally valuable to other British rockers. The fact that Adam and the Ants have used it to power fatuous celebrations of tribalism makes their borrowing even more distasteful. Pirates, indeed!
Again, Bow Wow Wow is another matter. The group's rhythms are still influenced by the Burundian recording, but they are varied and flexible rather than slavishly imitative. And the Bow Wows have absorbed other rhythmic usages, including West African high life, Brazilian pop and conventional rock and roll. They seem to be able to synthesize their influences into appealing trash-pop as easily as they subvert Malcolm McLaren's image manipulation.
”
[8]
In an RCA radio promo vinyl recording, guitarist Matthew Ashman responds in this way:
“ Well, they do a lot of that sort of chanting in, uh, Africa, but it's not a direct rip-off. It's just, uh, our interpretation of it, really. A lot of the ideas are ours, and they're brand-new, a lot of those chants. You know what I mean? They're not stolen from some poor tribe in Africa. It's just like the influence is there, and we'll use it. Yeah, it's just a good noise, isn't it? It's a good sound. ”
Legacy[edit source | editbeta][]
Bow Wow Wow has many famous admirers including members of the Red Hot Chili Peppers and No Doubt. Anthony Kiedis included the lines, "Swimming in the sound of Bow Wow Wow" in the Red Hot Chili Peppers song "Suck My Kiss" and "Holy cow, Bow Wow Wow" in "Right on Time". John Frusciante claims Matthew Ashman as an influence on his work since returning to the Red Hot Chili Peppers in the late '90s. This is evident in Frusciante's use of the Gretsch White Falcon, as used by Ashman. Adrian Young said of the opportunity to play drums for Bow Wow Wow from 2003–2005, "It is a dream come true to play with a band I grew up idolising. I feel like a kid back in the sand box."[9] Film director Sofia Coppola drew inspiration from Annabella when conceiving the style for her film, Marie Antoinette. Says Bow Wow Wow's tour manager in 2006, "They actually based Marie Antoinette, from a styling point of view, on Annabella Lwin. They drew parallels from the fact that they were both young girls who found fame and fortune at a ridiculously early age.”[9] Bow Wow Wow's recording and video of "I Want Candy" has enduring appeal for enthusiasts of '80s pop culture.
The band Pretty Girls Make Graves did a cover of "C30, C60, C90, Go," and Moth Wranglers released a dreampop version of "Do You Wanna Hold Me" featuring Graceland-inflected massed backing vocals on their 2010 album Never Again.
Personnel[edit source | editbeta][]
Annabella Lwin - Lead singer (1980-1983, 1997-1998, 2003–2012)
Leigh Gorman - bass (1980-1983, 1997-1998, 2003-present)
Matthew Ashman - guitar (1980-1983; died 1995)
David Barbarossa - drums (1980-1983)
Session musicians[edit source | editbeta][]
Dave Calhoun - guitar (1997-1998)
Phil Gough - guitar (2003-2006)
Jimmy Magoon - guitar (2011)
Matthew Fuller - guitar (2012)
Eshan Khadaroo - drums (1997-1998)
Adrian Young - drums (2003-2005)
Dylan Thomas-drums (2011)
Shaun Winchester-drums (2012)
Devin Beaman - drums (2005-2006, 2012)
Discography[edit source | editbeta][]
Studio albums[edit source | editbeta][]
1980 – Your Cassette Pet (EMI) – Cassette only
1981 – See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy (RCA) UK#26 US#192
1983 – When the Going Gets Tough, the Tough Get Going (RCA) US#82
Compilation albums[edit source | editbeta][]
1982 – 12 Original Recordings (Harvest)
1982 – I Want Candy (RCA) UK#26 US#123 AUS #88
1996 – The Best of Bow Wow Wow (RCA)[10]
1999 – Wild in the U.S.A. (Cleopatra) – Remix album
Live albums[edit source | editbeta][]
1997 - Live in Japan - (Receiver Records)[11]
EPs[edit source | editbeta][]
1982 – The Last of the Mohicans (RCA) US#67
1982 – Teenage Queen (RCA)
Singles[edit source | editbeta][]
|
||
1487
|
dbpedia
|
1
| 72
|
https://www.pewresearch.org/race-and-ethnicity/2015/09/28/modern-immigration-wave-brings-59-million-to-u-s-driving-population-growth-and-change-through-2065/
|
en
|
Modern Immigration Wave Brings 59 Million to U.S., Driving Population Growth and Change Through 2065
|
[
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-01.png",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2015/09/image.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-03.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-04.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-05.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-06.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-07.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-08.png",
"https://www.pewresearch.org/wp-content/uploads/sites/5/2015/09/PH_2015-09-28_immigration-through-2065-09.png",
"https://www.pewresearch.org/wp-content/plugins/prc-block-library/blocks/promo/assets/weekly.svg",
"https://www.pewresearch.org/wp-content/plugins/prc-block-library/blocks/promo/assets/journalism.svg",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2024/07/SR_24.07.22_immigration-by-country_crop.png?w=194&h=110&crop=1",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2024/07/SR_24.07.22_immigrant-key-facts_feature.png?w=194&h=110&crop=1",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/08/GMD_2020.08.15_US-Immigrant-Stat-Portraits_chartart.png?w=194&h=110&crop=1",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/08/GMD_2020.08.15_US-Immigrant-Stat-Portraits_chartart.png?w=194&h=110&crop=1",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/08/GMD_2020.08.15_US-Immigrant-Stat-Portraits_chartart.png?w=194&h=110&crop=1"
] |
[] |
[] |
[
""
] | null |
[
"No Author"
] |
2015-09-28T00:00:00
|
The nation's foreign-born population has swelled from 10 million in 1965 to a record 45 million in 2015. By 2065, the U.S. will have a projected 78 million immigrants.
|
en
|
Pew Research Center
|
https://www.pewresearch.org/race-and-ethnicity/2015/09/28/modern-immigration-wave-brings-59-million-to-u-s-driving-population-growth-and-change-through-2065/
|
Looking ahead, new Pew Research Center U.S. population projections show that if current demographic trends continue, future immigrants and their descendants will be an even bigger source of population growth. Between 2015 and 2065, they are projected to account for 88% of the U.S. population increase, or 103 million people, as the nation grows to 441 million.
These are some key findings of a new Pew Research analysis of U.S. Census Bureau data and new Pew Research U.S. population projections through 2065, which provide a 100-year look at immigration’s impact on population growth and on racial and ethnic change.
In addition, this report uses newly released Pew Research survey data to examine U.S. public attitudes toward immigration, and it employs census data to analyze changes in the characteristics of recently arrived immigrants and paint a statistical portrait of the historical and 2013 foreign-born populations.
Post-1965 Immigration Drives U.S. Population Growth Through 2065
Immigration since 1965 has swelled the nation’s foreign-born population from 9.6 million then to a record 45 million in 2015. (The current immigrant population is lower than the 59 million total who arrived since 1965 because of deaths and departures from the U.S.) By 2065, the U.S. will have 78 million immigrants, according to the new Pew Research population projections.
The nation’s immigrant population increased sharply from 1970 to 2000, though the rate of growth has slowed since then. Still, the U.S. has—by far—the world’s largest immigrant population, holding about one-in-five of the world’s immigrants (Connor, Cohn and Gonzalez-Barrera, 2013).
Between 1965 and 2015, new immigrants, their children and their grandchildren accounted for 55% of U.S. population growth. They added 72 million people to the nation’s population as it grew from 193 million in 1965 to 324 million in 2015.
This fast-growing immigrant population also has driven the share of the U.S. population that is foreign born from 5% in 1965 to 14% today and will push it to a projected record 18% in 2065. Already, today’s 14% foreign-born share is a near historic record for the U.S., just slightly below the 15% levels seen shortly after the turn of the 20th century. The combined population share of immigrants and their U.S.-born children, 26% today, is projected to rise to 36% in 2065, at least equaling previous peak levels at the turn of the 20th century.
The 1965 Immigration and Nationality Act made significant changes to U.S. immigration policy by sweeping away a long-standing national origins quota system that favored immigrants from Europe and replacing it with one that emphasized family reunification and skilled immigrants. At the time, relatively few anticipated the size or demographic impact of the post-1965 immigration flow (Gjelten, 2015). In absolute numbers, the roughly 59 million immigrants who arrived in the U.S. between 1965 and 2015 exceed those who arrived in the great waves of European-dominated immigration during the 19th and early 20th centuries. Between 1840 and 1889, 14.3 million immigrants came to the U.S., and between 1890 and 1919, an additional 18.2 million arrived (see Table 1 for details).
After the replacement of the nation’s European-focused origin quota system, greater numbers of immigrants from other parts of the world began to come to the U.S. Among immigrants who have arrived since 1965, half (51%) are from Latin America and one-quarter are from Asia. By comparison, both of the U.S. immigration waves in the mid-19th century and early 20th century consisted almost entirely of European immigrants.
Latin American and Asian Immigration Since 1965 Changes U.S. Racial and Ethnic Makeup
As a result of its changed makeup and rapid growth, new immigration since 1965 has altered the nation’s racial and ethnic composition. In 1965, 84% of Americans were non-Hispanic whites. By 2015, that share had declined to 62%. Meanwhile, the Hispanic share of the U.S. population rose from 4% in 1965 to 18% in 2015. Asians also saw their share rise, from less than 1% in 1965 to 6% in 2015.
The Pew Research analysis shows that without any post-1965 immigration, the nation’s racial and ethnic composition would be very different today: 75% white, 14% black, 8% Hispanic and less than 1% Asian.
The arrival of so many immigrants slightly reduced the nation’s median age, the age at which half the population is older and half is younger. The U.S. population’s median age in 1965 was 28 years, rising to 38 years in 2015 and a projected 42 years in 2065. Without immigration since 1965, the nation’s median age would have been slightly older—41 years in 2015; without immigration from 2015 to 2065, it would be a projected 45 years.
By 2065, the composition of the nation’s immigrant population will change again, according to Pew Research projections. In 2015, 47% of immigrants residing in the U.S. are Hispanic, but as immigration from Latin America, especially Mexico (Passel, Cohn and Gonzalez-Barrera, 2012), has slowed in recent years, the share of the foreign born who are Hispanic is expected to fall to 31% by 2065. Meanwhile, Asian immigrants are projected to make up a larger share of all immigrants, becoming the largest immigrant group by 2055 and making up 38% of the foreign-born population by 2065. (Hispanics will remain a larger share of the nation’s overall population.) Pew Research projections also show that black immigrants and white immigrants together will become a slightly larger share of the nation’s immigrants by 2065 than in 2015 (29% vs. 26%).
The country’s overall population will feel the impact of these shifts. Non-Hispanic whites are projected to become less than half of the U.S. population by 2055 and 46% by 2065. No racial or ethnic group will constitute a majority of the U.S. population. Meanwhile, Hispanics will see their population share rise to 24% by 2065 from 18% today, while Asians will see their share rise to 14% by 2065 from 6% today.
For the U.S. Public, Views of Immigrants and Their Impact on U.S. Society Are Mixed
For its part, the American public has mixed views on the impact immigrants have had on American society, according to a newly released Pew Research Center public opinion survey. Overall, 45% of Americans say immigrants in the U.S. are making American society better in the long run, while 37% say they are making it worse (16% say immigrants are not having much effect). The same survey finds that half of Americans want to see immigration to the U.S. reduced (49%), and eight-in-ten (82%) say the U.S. immigration system either needs major changes or it needs to be completely rebuilt.
The public’s views of immigrants’ impact on the U.S. vary across different aspects of American life. Views are most negative about the economy and crime: Half of U.S. adults say immigrants are making things worse in those areas. On the economy, 28% say immigrants are making things better, while 20% say they are not having much of an effect. On crime, by contrast, just 7% say immigrants are making things better, while 41% generally see no positive or negative impact of immigrants in the U.S. on crime.
On other aspects of U.S. life, Americans are more likely to hold neutral views of the impact of immigrants. Some 45% say immigrants are not having much effect on social and moral values, and 56% say they are not having much effect on science and technology. But when it comes to food, music and the arts, about half (49%) of adults say immigrants are making things better.
U.S. adults’ views on the impact of immigrants on American society also differ depending on where immigrants are from. Some 47% of U.S. adults say immigrants from Asia have had a mostly positive impact on American society, and 44% say the same about immigrants from Europe. Meanwhile, half of Americans say the impact of immigrants from Africa has been neither positive nor negative.
However, Americans are more likely to hold negative views about the impact of immigrants from Latin America and the Middle East. In the case of Latin American immigrants, 37% of American adults say their impact on American society has been mostly negative, 35% say their impact is neither positive nor negative, and just 26% say their impact on American society has been positive. For immigrants from the Middle East, views are similar—39% of U.S. adults say their impact on American society has been mostly negative, 39% say their impact has been neither positive nor negative, and just 20% say their impact has been mostly positive on U.S. society.
Many Americans say that immigrants to the U.S. are not assimilating. Two-thirds of adults say immigrants in the U.S. today generally want to hold on to their home country customs and way of life, while only about a third (32%) say immigrants want to adopt Americans customs. The survey also finds that 59% of Americans say most recent immigrants do not learn English within a reasonable amount of time, while 39% say they do.
The nationally representative bilingual survey of 3,147 adults was conducted online using the Pew Research Center’s American Trends Panel from March 10 to April 6, 2015, before the current national discussion began about national immigration policy, unauthorized immigration and birthright citizenship. The survey has a margin of error of plus or minus 2.4 percentage points at the 95% confidence level.
The Profile of Today’s Newly Arrived Is Markedly Different than that of New Arrivals in Previous Decades
The rewrite of the nation’s immigration policy in 1965 opened the door to new waves of immigrants whose origins and characteristics changed substantially over the ensuing decades. As a result, newly arrived immigrants in 2013 (those who had been in the U.S. for five years or less) differ in key ways from those who were new arrivals in the 1970s, 1980s and 1990s.
Overall, the number of newly arrived immigrants peaked in the early 2000s: Some 8 million residents of other countries came to the U.S. between 2000 and 2005. The number of recent arrivals declined after that, to about 6 million for the years 2008 to 2013, according to a Pew Research Center analysis of federal government data.
Perhaps the most striking change in the profile of newly arrived immigrants is their source region. Asia currently is the largest source region among recently arrived immigrants and has been since 2011. Before then, the largest source region since 1990 had been Central and South America, fueled by record levels of Mexican migration that have since slowed. Back in 1970, Europe was the largest region of origin among newly arrived immigrants. One result of slower Mexican immigration is that the share of new arrivals who are Hispanic is at its lowest level in 50 years.
Compared with their counterparts in 1970, newly arrived immigrants in 2013 were better educated but also more likely to be poor. Some 41% of newly arrived immigrants in 2013 had at least a bachelor’s degree. In 1970, that share was just 20%. On poverty, 28% of recent arrivals in 2013 lived in poverty, up from 18% in 1970. In addition, fewer of the newly arrived in 2013 were children than among the newly arrived immigrants in 1970—19% vs. 27%.
Roadmap to the Report
|
|||||
1487
|
dbpedia
|
1
| 25
|
https://top40weekly.com/top-100-songs-of-the-60s/
|
en
|
Top 100 Songs of the 1960s
|
[
"https://top40weekly.com/wp-content/uploads/2023/11/top40weekly-logo.jpg",
"https://top40weekly.com/wp-content/uploads/2023/11/top40weekly-logo.jpg",
"https://top40weekly.com/wp-content/uploads/2023/11/top40weekly-logo.jpg",
"https://top40weekly.com/wp-content/uploads/2023/11/top40weekly-logo.jpg"
] |
[
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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",
"data:image/png;base64,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"
] |
[] |
[
""
] | null |
[
"Top40weekly"
] |
2021-11-29T08:20:06+00:00
|
Did you enjoy this 1960 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
|
en
|
top40weekly.com
|
https://top40weekly.com/top-100-songs-of-the-60s/
|
Did you enjoy this 1960 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
The top 100 tracks of the 1960s, symbols of a transformative era, resonate with the spirit and changes of their time.
These songs, ranging from the rise of rock and roll to the birth of folk and psychedelic rock, serve as a powerful soundtrack to a decade of significant social and musical evolution. Explore the melodies and lyrics that defined the 60s, offering a window into the passions and protests that shaped a generation.
The British Invasion brought rock and pop music and bands to the U.S., where they became wildly popular. The Beatles were among these acts, and their mix of beat, rock, and pop ballads immediately took over American pop charts.
Through all of this, the pop genre was forming into something not solely defined by the American solo-pop artists of the previous decade.
Now, bands were introduced into the fray, and pop was splitting into sub-genres that included Bubblegum pop—defined by its upbeat sound and its direct aim at teen audiences.
The sounds of the 1960’s and these 60s songs mixed pop commercialism with completely manufactured bands (like The Archies and The Monkees) and revolutionary artistry (Bob Dylan and Jimi Hendrix) with some of the greatest singer-songwriters and instrumentalists emerging on the scene.
The Beatles dominated the charts and spurred on the British Invasion that characterized much of the decade.
Below are the Nolan Method Top 100 Songs of the 1960s (1960-1969). These charts are based on the best-selling and most popular songs played on Top 40 radio stations in the United States. The chart is compiled based on airplay data submitted to Billboard by radio stations and later by sales of singles and then music downloads and streams.
The Nolan Method ranking system was formulated by lead Top40Weekly contributor Jarrett Nolan and is based on a point system for an artist’s chart performance the on Billboard Hot 100 Singles chart. Be sure to check out our Year in Music snapshot of what was happening in the world of Top 40 music in this decade.
Written by radio and music industry veteran Ed Osborne, each overview highlights the important trends and some of the representative songs and artists that shaped the music landscape and occupied the Top 40 charts during this decade of music.
Also compiled under the Nolan method are the Top 100 Artists and Top 100 Albums of the 1960s. You can listen to all these great songs of the 1960s using our Spotify music player here: 1960s Playlist
Popular Genres: Folk, Surf Rock, Motown and R&B, Psychedelic Rock, Blues-Rock, Hard Rock, Garage Rock, Pop, Soul, Roots Rock, Country, British Invasion, Latin Rock, Protest/Music with a Message
Table of Contents
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1960
HE’LL HAVE TO GO by Jim Reeves
THEME FROM “A SUMMER PLACE” by Percy Faith
IT’S NOW OR NEVER by Elvis Presley
I’M SORRY by Brenda Lee
THE TWIST by Chubby Checker
EL PASO by Marty Robbins
RUNNING BEAR by Johnny Preston
EVERYBODY’S SOMEBODY’S FOOL by Connie Francis
GREENFIELDS by The Brothers Four
MY HEART HAS A MIND OF ITS OWN by Connie Francis
CATHY’S CLOWN by The Everly Brothers
TEEN ANGEL by Mark Dinning
HANDY MAN by Jimmy Jones
STUCK ON YOU by Elvis Presley
SIXTEEN REASONS by Connie Stevens
WALK, DON’T RUN by The Ventures
ONLY THE LONELY by Roy Orbison
SWEET NOTHIN’S by Brenda Lee
WILD ONE by Bobby Rydell
WHY by Frankie Avalon
CHAIN GANG by Sam Cooke
ITSY BITSY TEENIE WEENIE YELLOW POLKA DOT BIKINI by Brian Hyland
ALLEY OOP by The Hollywood Argyles
WHAT IN THE WORLD’S COME OVER YOU by Jack Scott
SINK THE BISMARCK by Johnny Horton
THEME FROM “THE APARTMENT” by Ferrante & Teicher
THE BIG HURT by Toni Fisher
SAVE THE LAST DANCE FOR ME by The Drifters
PRETTY BLUE EYES by Steve Lawrence
NIGHT by Jackie Wilson
BURNING BRIDGES by Jack Scott
PLEASE HELP ME, I’M FALLING by Hank Locklin
WAY DOWN YONDER IN NEW ORLEANS by Freddy Cannon
BECAUSE THEY’RE YOUNG by Duane Eddy
PAPER ROSES by Anita Bryant
MULE SKINNER BLUES by The Fendermen
MISSION BELL by Donnie Brooks
PUPPY LOVE by Paul Anka
DEVIL OR ANGEL by Bobby Vee
FINGER POPPIN’ TIME by Hank Ballard and The Midnighters
KIDDIO by Brook Benton
GOOD TIMIN’ by Jimmy Jones
BABY (YOU’VE GOT WHAT IT TAKES) by Dinah Washington & Brook Benton
MR. CUSTER by Larry Verne
I WANT TO BE WANTED by Brenda Lee
WHERE OR WHEN by Dion and the Belmonts
IT’S TIME TO CRY by Paul Anka
VOLARE by Bobby Rydell
CRADLE OF LOVE by Johnny Preston
LOVE YOU SO by Ron Holden
A MILLION TO ONE by Jimmy Charles
BEYOND THE SEA by Bobby Darin
LET THE LITTLE GIRL DANCE by Billy Bland
YOU GOT WHAT IT TAKES by Marv Johnson
HEARTACHES BY THE NUMBERS by Guy Mitchell
GO JIMMY GO by Jimmy Clanton
HE’LL HAVE TO STAY by Jeanne Black
LET IT BE ME by The Everly Brothers
IMAGE OF A GIRL by The Safaris
HARBOR LIGHTS by The Platters
WHITE SILVER SANDS by The Bill Black Combo
SO SAD by The Everly Brothers
THE OLD LAMP-LIGHTER by The Browns
WALKING TO NEW ORLEANS by Fats Domino
AMONG MY SOUVENIRS by Connie Francis
TELL LAURA I LOVE HER by Ray Peterson
LONELY BLUE BOY by Conway Twitty
A ROCKIN’ GOOD WAY (TO MESS AROUND AND FALL IN LOVE) by Dinah Washington & Brook Benton
HOUND DOG MAN by Fabian
DREAMIN’ by Johnny Burnette
MACK THE KNIFE by Bobby Darin
DOWN BY THE STATION by the Four Preps
FOREVER by The Little Dippers
I LOVE THE WAY YOU LOVE by Marv Johnson
MY HOME TOWN by Paul Anka
WONDERFUL WORLD by Sam Cooke
THE VILLAGE OF ST. BERNADETTE by Andy Williams
LET’S THINK ABOUT LIVIN by Bob Luman
GEORGIA ON MY MIND by Ray Charles
THAT’S ALL YOU GOTTA DO by Brenda Lee
MAMA by Connie Francis
FOOTSTEPS by Steve Lawrence
WE GOT LOVE by Bobby Rydell
MY LITTLE CORNER OF THE WORLD by Anita Bryant
CHERRY PIE by Skip and Flip
DON’T BE CRUEL by Bill Black’s Combo
SANDY by Larry Hall
STAIRWAY TO HEAVEN by Neil Sedaka
SWINGIN’ SCHOOL by Bobby Rydell
YOUNG EMOTIONS by Ricky Nelson
YOU TALK TOO MUCH by Joe Jones
TRACY’S THEME by Spencer Ross
BEATNIK FLY by Johnny and the Hurricanes
WHEN WILL I BE LOVED by The Everly Brothers
HAPPY-GO-LUCKY ME by Paul Evans
YOGI by the Ivy Three
LADY LUCK by Lloyd Price
OVER THE RAINBOW by the Demensions
O DIO MIO by Annette Funicello
LOOK FOR A STAR by Garry Miles
1961
Did you enjoy this 1961 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
TOSSIN’ AND TURNIN’ by Bobby Lewis
EXODUS by Ferrante & Teicher
WONDERLAND BY NIGHT by Bert Kaempfert
WILL YOU LOVE ME TOMORROW by The Shirelles
ARE YOU LONESOME TONIGHT? by Elvis Presley
CALCUTTA by Lawrence Welk
PONY TIME by Chubby Checker
TRAVELIN’ MAN by Ricky Nelson
DEDICATED TO THE ONE I LOVE by The Shirelles
RUNAWAY by Del Shannon
MICHAEL by The Highwaymen
SURRENDER by Elvis Presley
LAST DATE by Floyd Cramer
MOTHER-IN-LAW by Ernie K-Doe
QUARTER TO THREE by Gary U.S. Bonds
THE BOLL WEEVIL SONG by Brook Benton
BLUE MOON by The Marcels
DON’T WORRY by Marty Robbins
NORTH OF ALASKA by Johnny Horton
CRYING by Roy Orbison
RAINDROPS by Dee Clark
A HUNDRED POUNDS OF CLAY by Gene McDaniels
RUNNING SCARED by Roy Orbison
APACHE by Jørgen Ingmann
SHOP AROUND by The Miracles
HIT THE ROAD JACK by Ray Charles
MOODY RIVER by Pat Boone
TAKE GOOD CARE OF MY BABY by Bobby Vee
ANGEL BABY by Rosie and the Originals
WOODEN HEART by Joe Dowell
WHEELS by The String-A-Longs
A THOUSAND STARS by Kathy Young & the Innocents
BRISTOL STOMP by The Dovells
ON THE REBOUND by Floyd Cramer
I LIKE IT LIKE THAT by Chris Kenner
WHERE THE BOYS ARE by Connie Francis
SAILOR (YOUR HOME IS THE SEA) by Lolita
LAST NIGHT by The Mar-Keys
RUNAROUND SUE by Dion
CALENDAR GIRL by Neil Sedaka
DUM DUM by Brenda Lee
RUBBER BALL by Bobby Vee
HELLO MARY LOU by Ricky Nelson
DADDY’S HOME by Shep and the Limelites
HATS OFF TO LARRY by Del Shannon
EVERY BEAT OF MY HEART by the Pips
HE WILL BREAK YOUR HEART by Jerry Butler
YELLOW BIRD by Arthur Lyman
STAND BY ME by Ben E. King
TAKE GOOD CARE OF HER by Adam Wade
(I DON’T KNOW WHY) BUT I DO by Clarence “Frogman” Henry
YOU’RE SIXTEEN by Johnny Burnette
I’VE TOLD EVERY LITTLE STAR by Linda Scott
THIS TIME by Troy Shondell
MY TRUE STORY by The Jive Five
WINGS OF A DOVE by Ferlin Husky
BIG BAD JOHN by Jimmy Dean
YOU DON’T KNOW WHAT YOU’VE GOT (UNTIL YOU LOSE IT) by Ral Donner
THERE’S A MOON OUT TONIGHT by The Capris
MANY TEARS AGO by Connie Francis
CORINNA, CORINNA by Ray Peterson
YOU CAN DEPEND ON ME by Brenda Lee
LITTLE SISTER by Elvis Presley
MEXICO by Bob Moore
MAMA SAID by The Shirelles
TOGETHER by Connie Francis
LET’S GET TOGETHER by Hayley Mills
THE WRITING ON THE WALL by Adam Wade
THE MOUNTAIN’S HIGH by Dick and Dee Dee
SAD MOVIES (MAKE ME CRY) by Sue Thompson
HURT by Timi Yuro
BABY SITTIN’ BOOGIE by Buzz Clifford
WALK RIGHT BACK by The Everly Brothers
LET’S TWIST AGAIN by Chubby Checker
YA YA by Lee Dorsey
EMOTIONS by Brenda Lee
I LOVE HOW YOU LOVE ME by The Paris Sisters
DOES YOUR CHEWING GUM LOSE ITS FLAVOUR (ON THE BEDPOST OVERNIGHT?) by Lonnie Donegan
BREAKIN’ IN A BRAND NEW BROKEN HEART by Connie Francis
ONE MINT JULEP by Ray Charles
PORTRAIT OF MY LOVE by Steve Lawrence
SCHOOL IS OUT by Gary U.S. Bonds
YOU MUST HAVE BEEN A BEAUTIFUL BABY by Bobby Darin
EBONY EYES by The Everly Brothers
THE FLY by Chubby Checker
SPANISH HARLEM by Ben E. King
GEE WHIZ (LOOK AT HIS EYES) by Carla Thomas
SAN ANTONIO ROSE by Floyd Cramer
THOSE OLDIES BUT GOODIES by Little Caesar & the Romans
PLEASE LOVE ME FOREVER by Cathy Jean and the Roommates
LONELY TEENAGER by Dion
PRETTY LITTLE ANGEL EYES by Curtis Lee
THINK TWICE by Brook Benton
ASIA MINOR by Kokomo
DON’T BET MONEY HONEY by Linda Scott
WHO PUT THE BOMP (IN THE BOMP, BOMP, BOMP) by Barry Mann
HELLO WALLS by Faron Young
POETRY IN MOTION by Johnny Tillotson
I FEEL SO BAD by Elvis Presley
WITHOUT YOU by Johnny Tillotson
1962
Did you enjoy this 1962 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
THE TWIST by Chubby Checker
I CAN’T STOP LOVING YOU by Ray Charles
PEPPERMINT TWIST by Joey Dee and the Starliters
STRANGER ON THE SHORE by Acker Bilk
ROSES ARE RED (MY LOVE) by Bobby Vinton
MASHED POTATO TIME by Dee Dee Sharp
JOHNNY ANGEL by Shelley Fabares
THE STRIPPER by David Rose
SOLDIER BOY by The Shirelles
RAMBLIN’ ROSE by Nat King Cole
SHERRY by The Four Seasons
THE LION SLEEPS TONIGHT by the Tokens
THE LOCO-MOTION by Little Eva
DUKE OF EARL by Gene Chandler
HEY! BABY by Bruce Channel
THE WANDERER by Dion
BREAKING UP IS HARD TO DO by Neil Sedaka
RUN TO HIM by Bobby Vee
GOOD LUCK CHARM by Elvis Presley
CAN’T HELP FALLING IN LOVE by Elvis Presley
WALK ON BY by Leroy Van Dyke
MONSTER MASH by Bobby ‘Boris’ Pickett
SLOW TWISTIN’ by Chubby Checker & Dee Dee Sharp
THE WAH-WATUSI by The Orlons
SHEILA by Tommy Roe
PALISADES PARK by Freddy Cannon
MIDNIGHT IN MOSCOW by Kenny Ball
IT KEEPS RIGHT ON A-HURTIN’ by Johnny Tillotson
NORMAN by Sue Thompson
PATCHES by Dickey Lee
BREAK IT TO ME GENTLY by Brenda Lee
DON’T BREAK THE HEART THAT LOVES YOU by Connie Francis
I KNOW (YOU DON’T LOVE ME NO MORE) by Barbara George
SEALED WITH A KISS by Brian Hyland
GREEN ONIONS by Booker T. & the M.G.’s
WOLVERTON MOUNTAIN by Claude King
HAPPY BIRTHDAY, SWEET SIXTEEN by Neil Sedaka
LET ME IN by The Sensations
DO YOU LOVE ME by The Contours
PLEASE MR. POSTMAN by The Marvelettes
WHEN I FALL IN LOVE by the Lettermen
HE’S A REBEL by The Crystals
GOODBYE CRUEL WORLD by James Darren
SHE CRIED by Jay and the Americans
DEAR LADY TWIST by Gary U.S. Bonds
LET THERE BE DRUMS by Sandy Nelson
CRYING IN THE RAIN by The Everly Brothers
AHAB THE ARAB by Ray Stevens
ONLY LOVE CAN BREAK A HEART by Gene Pitney
YOU DON’T KNOW ME by Ray Charles
BABY IT’S YOU by The Shirelles
YOUNG WORLD by Ricky Nelson
LOVE LETTERS by Ketty Lester
ALLEY CAT by Bent Fabric
A LITTLE BITTY TEAR by Burl Ives
LET’S DANCE by Chris Montez
SPEEDY GONZALES by Pat Boone
SHE’S NOT YOU by Elvis Presley
TWISTIN’ THE NIGHT AWAY by Sam Cooke
JOHNNY GET ANGRY by Joanie Sommers
LOVER PLEASE by Clyde McPhatter
AL DI LÀ by Emilio Pericoli
PLAYBOY by The Marvelettes
THINGS by Bobby Darin
LOVERS WHO WANDER by Dion
ALL ALONE AM I by Brenda Lee
PARTY LIGHTS by Claudine Clark
COTTON FIELDS by the Highwaymen
THE ONE WHO REALLY LOVES YOU by Mary Wells
SHOUT by Joey Dee and the Starliters
WHAT’S YOUR NAME by Don and Juan
(THE MAN WHO SHOT) LIBERTY VALANCE by Gene Pitney
EVERYBODY LOVES ME BUT YOU by Brenda Lee
OLD RIVERS by Walter Brennan
VENUS IN BLUE JEANS by Jimmy Clanton
THEME FROM DR. KILDARE (THREE STARS WILL SHINE TONIGHT) by Richard Chamberlain
DREAM BABY (HOW LONG MUST I DREAM) by Roy Orbison
UNCHAIN MY HEART by Ray Charles
MOON RIVER by Henry Mancini
SHOUT! SHOUT! (KNOCK YOURSELF OUT) by Ernie Maresca
TWIST, TWIST, SEÑORA by Gary U.S. Bonds
PT-109 by Jimmy Dean
TEEN AGE IDOL by Rick Nelson
I REMEMBER YOU by Frank Ifield
SNAP YOUR FINGERS by Joe Henderson
GINA by Johnny Mathis
WHEN THE BOY IN YOUR ARMS (IS THE BOY IN YOUR HEART) by Connie Francis
YOU BELONG TO ME by The Duprees
GRAVY (FOR MY MASHED POTATOES) by Dee Dee Sharp
HER ROYAL MAJESTY by James Darren
YOU BEAT ME TO THE PUNCH by Mary Wells
LOVE ME WARM AND TENDER by Paul Anka
POPEYE THE HITCHHIKER by Chubby Checker
YOU’LL LOSE A GOOD THING by Barbara Lynn
TOWN WITHOUT PITY by Gene Pitney
SURFIN’ SAFARI by The Beach Boys
CINDY’S BIRTHDAY by Johnny Crawford
LIMBO ROCK by Chubby Checker
BIG GIRLS DON’T CRY by The Four Seasons
NEXT DOOR TO AN ANGEL by Neil Sedaka
1963
Did you enjoy this 1963 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
GO AWAY LITTLE GIRL by Steve Lawrence
HE’S SO FINE by The Chiffons
BLUE VELVET by Bobby Vinton
HEY PAULA by Paul & Paula
MY BOYFRIEND’S BACK by The Angels
FINGERTIPS by Little Stevie Wonder
RHYTHM OF THE RAIN by The Cascades
SUGAR SHACK by The Fireballs
SUKIYAKI by Kyu Sakamoto
THE END OF THE WORLD by Skeeter Davis
TELSTAR by the Tornados
WALK LIKE A MAN by The Four Seasons
I WILL FOLLOW HIM by Little Peggy March
SURF CITY by Jan & Dean
SURFIN’ U.S.A. by The Beach Boys
SO MUCH IN LOVE by The Tymes
IT’S MY PARTY by Lesley Gore
WALK RIGHT IN by The Rooftop Singers
PUFF, THE MAGIC DRAGON by Peter, Paul & Mary
LIMBO ROCK by Chubby Checker
CAN’T GET USED TO LOSING YOU by Andy Williams
YOU’RE THE REASON I’M LIVING by Bobby Darin
EASIER SAID THAN DONE by The Essex
IF YOU WANNA BE HAPPY by Jimmy Soul
BLOWIN’ IN THE WIND by Peter, Paul & Mary
OUR DAY WILL COME by Ruby & the Romantics
BE MY BABY by The Ronettes
RUBY BABY by Dion
WIPE OUT by The Surfaris
THE NIGHT HAS A THOUSAND EYES by Bobby Vee
HEAT WAVE by Martha & the Vandellas
YOU CAN’T SIT DOWN by The Dovells
BOBBY’S GIRL by Marcie Blane
BUSTED by Ray Charles
BIG GIRLS DON’T CRY by The Four Seasons
CANDY GIRL by The Four Seasons
IF I HAD A HAMMER by Trini Lopez
DEEP PURPLE by Nino Tempo & April Stevens
BLUE ON BLUE by Bobby Vinton
PIPELINE by The Chantays
SURFER GIRL by The Beach Boys
CRY BABY by Garnet Mimms & and the Enchanters
SOUTH STREET by The Orlons
RETURN TO SENDER by Elvis Presley
I LOVE YOU BECAUSE by Al Martino
MEMPHIS, TENNESSEE by Lonnie Mack
DA DOO RON RON by The Crystals
BLAME IT ON THE BOSSA NOVA by Eydie Gormé
WASHINGTON SQUARE by The Village Stompers
HELLO STRANGER by Barbara Lewis
HELLO MUDDAH, HELLO FADDAH! (A LETTER FROM CAMP) by Allan Sherman
MEAN WOMAN BLUES by Roy Orbison
TELL HIM by The Exciters
SALLY GO ‘ROUND THE ROSES by The Jaynetts
UP ON THE ROOF by The Drifters
(YOU’RE THE) DEVIL IN DISGUISE by Elvis Presley
IN DREAMS by Roy Orbison
HOTEL HAPPINESS by Brook Benton
BABY WORKOUT by Jackie Wilson
TWO FACES HAVE I by Lou Christie
TIE ME KANGAROO DOWN, SPORT by Rolf Harris
JUDY’S TURN TO CRY by Lesley Gore
STILL by Bill Anderson
MY DAD by Paul Petersen
FOOLISH LITTLE GIRL by The Shirelles
TWO LOVERS by Mary Wells
THEN HE KISSED ME by The Crystals
LOSING YOU by Brenda Lee
WILD WEEKEND by The Rebels
THOSE LAZY-HAZY-CRAZY DAYS OF SUMMER by Nat King Cole
WHAT WILL MY MARY SAY by Johnny Mathis
YOU’VE REALLY GOT A HOLD ON ME by The Miracles
I CAN’T STAY MAD AT YOU by Skeeter Davis
MOCKINGBIRD by Inez & Charlie Foxx
IT’S ALL RIGHT by The Impressions
THE MONKEY TIME by Major Lance
DONNA THE PRIMA DONNA by Dion DiMucci
THE LONELY BULL (EL SOLO TORO) by the Tijuana Brass featuring Herb Alpert
ONE FINE DAY by The Chiffons
FROM A JACK TO A KING by Ned Miller
OUR WINTER LOVE by Bill Pursell
RELEASE ME by Esther Phillips “Little Esther”
LOOP DE LOOP by Johnny Thunder
MARIA ELENA by Los Indios Tabajaras
IT’S UP TO YOU by Rick Nelson
MORE by Kai Winding
DENISE by Randy & the Rainbows
I’M LEAVING IT UP TO YOU by Dale & Grace
DON’T SAY NOTHIN’ BAD (ABOUT MY BABY) by The Cookies
ZIP-A-DEE DOO-DAH by Bob B. Soxx and the Blue Jeans
FOOLS RUSH IN by Rick Nelson
DON’T HANG UP by The Orlons
MICKEY’S MONKEY by The Miracles
YOUNG LOVERS by Paul & Paula
YOU ARE MY SUNSHINE by Ray Charles
PRIDE AND JOY by Marvin Gaye
WONDERFUL! WONDERFUL! by The Tymes
REVEREND MR. BLACK by The Kingston Trio
TAKE THESE CHAINS FROM MY HEART by Ray Charles
PEPINO, THE ITALIAN MOUSE by Lou Monte
1964
Did you enjoy this 1964 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
HELLO, DOLLY! by Louis Armstrong
I WANT TO HOLD YOUR HAND by The Beatles
SHE LOVES YOU by The Beatles
I GET AROUND by The Beach Boys
OH, PRETTY WOMAN by Roy Orbison
A HARD DAY’S NIGHT by The Beatles
EVERYBODY LOVES SOMEBODY by Dean Martin
MY GUY by Mary Wells
LOUIE LOUIE by The Kingsmen
WHERE DID OUR LOVE GO by The Supremes
DO WAH DIDDY DIDDY by Manfred Mann
THERE! I’VE SAID IT AGAIN by Bobby Vinton
RAG DOLL by The Four Seasons
CHAPEL OF LOVE by The Dixie Cups
WE’LL SING IN THE SUNSHINE by Gale Garnett
LOVE ME WITH ALL YOUR HEART (CUANDO CALIENTA EL SOL) by The Ray Charles Singers
BREAD AND BUTTER by The Newbeats
LOVE ME DO by The Beatles
A WORLD WITHOUT LOVE by Peter and Gordon
LAST KISS by J. Frank Wilson & the Cavaliers
DAWN (GO AWAY) by The Four Seasons
DANCING IN THE STREET by Martha and the Vandellas
JAVA by Al Hirt
THE HOUSE OF THE RISING SUN by The Animals
CAN’T BUY ME LOVE by The Beatles
UNDER THE BOARDWALK by The Drifters
TWIST AND SHOUT by The Beatles
PEOPLE by Barbra Streisand
POPSICLES AND ICICLES by the Murmaids
DOMINIQUE by the Singing Nun
SUSPICION by Terry Stafford
FORGET HIM by Bobby Rydell
PLEASE PLEASE ME by The Beatles
MEMPHIS by Johnny Rivers
LITTLE CHILDREN by Billy J. Kramer & The Dakotas
YOU DON’T OWN ME by Lesley Gore
GLAD ALL OVER by The Dave Clark Five
HEY LITTLE COBRA by The Rip Chords
SINCE I FELL FOR YOU by Lenny Welch
DON’T LET THE RAIN COME DOWN (CROOKED LITTLE MAN) by The Serendipity Singers
BABY LOVE by The Supremes
THE LITTLE OLD LADY FROM PASADENA by Jan and Dean
UM, UM, UM, UM, UM, UM by Major Lance
BITS AND PIECES by The Dave Clark Five
REMEMBER (WALKING IN THE SAND) by The Shangri-Las
SURFIN’ BIRD by The Trashmen
WISHIN’ AND HOPIN’ by Dusty Springfield
DO YOU WANT TO KNOW A SECRET by The Beatles
G.T.O. by Ronny & the Daytonas
DEAD MAN’S CURVE by Jan and Dean
WALK ON BY by Dionne Warwick
MY BOY LOLLIPOP by Millie Small
LET IT BE ME by Betty Everett & Jerry Butler
OUT OF LIMITS by The Marketts
BECAUSE by The Dave Clark Five
DON’T LET THE SUN CATCH YOU CRYING by Gerry and the Pacemakers
IT HURTS TO BE IN LOVE by Gene Pitney
THE GIRL FROM IPANEMA by Stan Getz & Astrud Gilberto
C’MON AND SWIM by Bobby Freeman
THE SHOOP SHOOP SONG (IT’S IN HIS KISS) by Betty Everett
CAN’T YOU SEE THAT SHE’S MINE by The Dave Clark Five
FUN, FUN, FUN by The Beach Boys
HAVE I THE RIGHT? by The Honeycombs
CALIFORNIA SUN by the Rivieras
NAVY BLUE by Diane Renay
COME A LITTLE BIT CLOSER (#3*) by Jay and the Americans
YOU DON’T HAVE TO BE A BABY TO CRY by the Caravelles
FOR YOU by Rick Nelson
A SUMMER SONG by Chad & Jeremy
BABY I NEED YOUR LOVING by the Four Tops
RONNIE by The Four Seasons
THE NITTY GRITTY by Shirley Ellis
TALK BACK TREMBLING LIPS by Johnny Tillotson
ANYONE WHO HAD A HEART by Dionne Warwick
(JUST LIKE) ROMEO AND JULIET by The Reflections
IT’S OVER by Roy Orbison
LEADER OF THE PACK by The Shangri-Las
DANG ME by Roger Miller
KEEP ON PUSHING by The Impressions
WHITE ON WHITE by Danny Williams
LITTLE HONDA by The Hondells
DRIP DROP by Dion DiMucci
THE DOOR IS STILL OPEN TO MY HEART by Dean Martin
QUICKSAND by Martha and the Vandellas
DRAG CITY by Jan and Dean
THE WAY YOU DO THE THINGS YOU DO by The Temptations
WHEN I GROW UP (TO BE A MAN) by The Beach Boys
I LOVE YOU MORE AND MORE EVERY DAY by Al Martino
CHUG-A-LUG by Roger Miller
MIDNIGHT MARY by Joey Powers
AS USUAL by Brenda Lee
SEE THE FUNNY LITTLE CLOWN by Bobby Goldsboro
BAD TO ME by Billy J. Kramer & The Dakotas
MY HEART BELONGS TO ONLY YOU by Bobby Vinton
HOW DO YOU DO IT? by Gerry and the Pacemakers
STOP AND THINK IT OVER by Dale and Grace
HAUNTED HOUSE by Jumpin’ Gene Simmons
WALK, DON’T RUN ’64 by The Ventures
I WANNA LOVE HIM SO BAD by The Jelly Beans
NEEDLES AND PINS by The Searchers
1965
Did you enjoy this 1965 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
YOU’VE LOST THAT LOVIN’ FEELIN’ by The Righteous Brothers
WOOLY BULLY by Sam the Sham and the Pharaohs
MRS. BROWN, YOU’VE GOT A LOVELY DAUGHTER by Herman’s Hermits
I CAN’T HELP MYSELF (SUGAR PIE HONEY BUNCH) by Four Tops
DOWNTOWN by Petula Clark
(I CAN’T GET NO) SATISFACTION by The Rolling Stones
COME SEE ABOUT ME by the Supremes
I FEEL FINE by The Beatles
MY GIRL by The Temptations
HELP! by The Beatles
THIS DIAMOND RING by Gary Lewis & the Playboys
YOU WERE ON MY MIND by We Five
STOP! IN THE NAME OF LOVE by The Supremes
HANG ON SLOOPY by The McCoys
KING OF THE ROAD by Roger Miller
MR. LONELY by Bobby Vinton
HELP ME, RHONDA by The Beach Boys
THE ‘IN’ CROWD by Ramsey Lewis Trio
CRYING IN THE CHAPEL by Elvis Presley
THE BIRDS AND THE BEES by Jewel Akens
I GOT YOU BABE by Sonny & Cher
LOVE POTION NO. 9 by The Searchers
MR. TAMBOURINE MAN by The Byrds
YESTERDAY by The Beatles
EVE OF DESTRUCTION by Barry McGuire
CAN’T YOU HEAR MY HEART BEAT by Herman’s Hermits
TICKET TO RIDE by The Beatles
I’LL NEVER FIND ANOTHER YOU by The Seekers
SHOTGUN by Junior Walker & the All Stars
UNCHAINED MELODY by The Righteous Brothers
GOIN’ OUT OF MY HEAD by Little Anthony & the Imperials
A LOVER’S CONCERTO by The Toys
CARA MIA by Jay and the Americans
GAME OF LOVE by Wayne Fontana & The Mindbenders
BACK IN MY ARMS AGAIN by The Supremes
SILHOUETTES by Herman’s Hermits
I’M HENRY THE EIGHTH, I AM by Herman’s Hermits
WHAT’S NEW PUSSYCAT? by Tom Jones
THE NAME GAME by Shirley Ellis
EIGHT DAYS A WEEK by The Beatles
YES, I’M READY by Barbara Mason
THE JERK by The Larks
TREAT HER RIGHT by Roy Head
I KNOW A PLACE by Petula Clark
THE JOLLY GREEN GIANT by The Kingsmen
KEEP ON DANCING by The Gentrys
GET OFF OF MY CLOUD by The Rolling Stones
CALIFORNIA GIRLS by The Beach Boys
I’M TELLING YOU NOW by Freddie and the Dreamers
COUNT ME IN by Gary Lewis & the Playboys
LIKE A ROLLING STONE by Bob Dylan
WHAT THE WORLD NEEDS NOW IS LOVE by Jackie DeShannon
THE SEVENTH SON by Johnny Rivers
FERRY CROSS THE MERSEY by Gerry and the Pacemakers
SAVE YOUR HEART FOR ME by Gary Lewis & the Playboys
WONDERFUL WORLD by Herman’s Hermits
SHE’S NOT THERE by the Zombies
HOLD ME, THRILL ME, KISS ME by Mel Carter
JUST ONCE IN MY LIFE by The Righteous Brothers
YOU’RE THE ONE by The Vogues
KEEP SEARCHIN’ (WE’LL FOLLOW THE SUN) by Del Shannon
HOW SWEET IT IS (TO BE LOVED BY YOU) by Marvin Gaye
EVERYBODY LOVES A CLOWN by Gary Lewis and the Playboys
CATCH US IF YOU CAN by The Dave Clark Five
FOR YOUR LOVE by The Yardbirds
IT’S THE SAME OLD SONG by Four Tops
RED ROSES FOR A BLUE LADY by Bert Kaempfert
CAST YOUR FATE TO THE WIND by Sounds Orchestral
GOLDFINGER by Shirley Bassey
TIRED OF WAITING FOR YOU by The Kinks
ALL DAY AND ALL OF THE NIGHT by The Kinks
SHE’S A WOMAN by The Beatles
YOU TURN ME ON by Ian Whitcomb
SHA LA LA by Manfred Mann
PAPA’S GOT A BRAND NEW BAG by James Brown
1-2-3 by Len Barry
HOLD WHAT YOU’VE GOT by Joe Tex
RINGO by Lorne Greene
SHAKE by Sam Cooke
TELL HER NO by The Zombies
JUST A LITTLE by The Beau Brummels
BABY DON’T GO by Sonny & Cher
DOWN IN THE BOONDOCKS by Billy Joe Royal
IT’S NOT UNUSUAL by Tom Jones
I GO TO PIECES by Peter and Gordon
NOWHERE TO RUN by Martha and the Vandellas
IT AIN’T ME BABE by The Turtles
DO YOU BELIEVE IN MAGIC by The Lovin’ Spoonful
I’LL BE DOGGONE by Marvin Gaye
HUSH, HUSH, SWEET CHARLOTTE by Patti Page
BABY, I’M YOURS by Barbara Lewis
BABY THE RAIN MUST FALL by Glenn Yarbrough
YOU’VE GOT YOUR TROUBLES by The Fortunes
DON’T JUST STAND THERE by Patty Duke
A TASTE OF HONEY by Herb Alpert and the Tijuana Brass
HEART FULL OF SOUL by The Yardbirds
LIAR, LIAR by the Castaways
AMEN by the Impressions
RESCUE ME by Fontella Bass
GO NOW by The Moody Blues
1966
Did you enjoy this 1966 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
BALLAD OF THE GREEN BERETS by SSgt. Barry Sadler
96 TEARS by and the Mysterians
(YOU’RE MY) SOUL AND INSPIRATION by The Righteous Brothers
WE CAN WORK IT OUT by The Beatles
THESE BOOTS ARE MADE FOR WALKIN’ by Nancy Sinatra
CALIFORNIA DREAMIN’ by The Mamas & the Papas
REACH OUT I’LL BE THERE by Four Tops
YOU CAN’T HURRY LOVE by The Supremes
LI’L RED RIDING HOOD by Sam the Sham and the Pharaohs
LAST TRAIN TO CLARKSVILLE by The Monkees
CHERISH by The Association
GOOD LOVIN’ by The Young Rascals
STRANGERS IN THE NIGHT by Frank Sinatra
MONDAY, MONDAY by The Mamas & the Papas
KICKS by Paul Revere & the Raiders
SUNSHINE SUPERMAN by Donovan
SUMMER IN THE CITY by The Lovin’ Spoonful
THE SOUND OF SILENCE by Simon & Garfunkel
SUNNY by Bobby Hebb
WILD THING by The Troggs
FIVE O’CLOCK WORLD by The Vogues
PAINT IT, BLACK by The Rolling Stones
PAPERBACK WRITER by The Beatles
WHEN A MAN LOVES A WOMAN by Percy Sledge
HANKY PANKY by Tommy James and the Shondells
DAYDREAM by The Lovin’ Spoonful
SEE YOU IN SEPTEMBER by The Happenings
A GROOVY KIND OF LOVE by The Mindbenders
19TH NERVOUS BREAKDOWN by The Rolling Stones
LIGHTNIN’ STRIKES by Lou Christie
RED RUBBER BALL by The Cyrkle
NOWHERE MAN by The Beatles
NO MATTER WHAT SHAPE (YOUR STOMACH’S IN) by The T-Bones
I AM A ROCK by Simon & Garfunkel
YOU DON’T HAVE TO SAY YOU LOVE ME by Dusty Springfield
WHAT BECOMES OF THE BROKENHEARTED by Jimmy Ruffin
MY LOVE by Petula Clark
SHE’S JUST MY STYLE by Gary Lewis & The Playboys
DID YOU EVER HAVE TO MAKE UP YOUR MIND? by The Lovin’ Spoonful
POOR SIDE OF TOWN by Johnny Rivers
SECRET AGENT MAN by Johnny Rivers
BANG BANG (MY BABY SHOT ME DOWN) by Cher
OVER AND OVER by The Dave Clark Five
TIME WON’T LET ME by The Outsiders
SLOOP JOHN B by The Beach Boys
I GOT YOU (I FEEL GOOD) by James Brown
I’M SO LONESOME I COULD CRY by B. J. Thomas
TURN! TURN! TURN! (TO EVERYTHING THERE IS A SEASON) by The Byrds
YELLOW SUBMARINE by The Beatles
RAINY DAY WOMEN by Bob Dylan
COOL JERK by The Capitols
WALK AWAY RENÉE by The Left Banke
HOMEWARD BOUND by Simon & Garfunkel
BORN A WOMAN by Sandy Posey
LET’S HANG ON! by The Four Seasons
THE PIED PIPER by Crispian St. Peters
ELUSIVE BUTTERFLY by Bob Lind
UPTIGHT (EVERYTHING’S ALRIGHT) by Stevie Wonder
BUS STOP by The Hollies
SWEET PEA by Tommy Roe
BEAUTY IS ONLY SKIN DEEP by The Temptations
BARBARA ANN by The Beach Boys
IF I WERE A CARPENTER by Bobby Darin
CRYING TIME by Ray Charles
HOORAY FOR HAZEL by Tommy Roe
BAREFOOTIN’ by Robert Parker
EBB TIDE by The Righteous Brothers
MY WORLD IS EMPTY WITHOUT YOU by The Supremes
JUST LIKE ME by Paul Revere & the Raiders
I SAW HER AGAIN by The Mamas & the Papas
FLOWERS ON THE WALL by the Statler Brothers
BLACK IS BLACK by Los Bravos
CHERRY, CHERRY by Neil Diamond
LISTEN PEOPLE by Herman’s Hermits
PSYCHOTIC REACTION by Count Five
FEVER by The McCoys
DANDY by Herman’s Hermits
LAND OF 1000 DANCES by Wilson Pickett
DON’T MESS WITH BILL by The Marvelettes
GLORIA by The Shadows of Knight
HUNGRY by Paul Revere & the Raiders
OH HOW HAPPY by The Shades of Blue
SOMEWHERE MY LOVE by Ray Conniff Singers
WORKING IN THE COAL MINE by Lee Dorsey
DAY TRIPPER by The Beatles
A MUST TO AVOID by Herman’s Hermits
THE MEN IN MY LITTLE GIRL’S LIFE by Mike Douglas
GUANTANAMERA by The Sandpipers
AIN’T TOO PROUD TO BEG by The Temptations
MOTHER’S LITTLE HELPER by The Rolling Stones
MESSAGE TO MICHAEL by Dionne Warwick
MAKE THE WORLD GO AWAY by Eddy Arnold
WOULDN’T IT BE NICE by The Beach Boys
IT’S A MAN’S MAN’S MAN’S WORLD by James Brown
GREEN GRASS by Gary Lewis & The Playboys
SWEET TALKIN’ GUY by the Chiffons
I FOUGHT THE LAW by Bobby Fuller Four
I’VE GOT YOU UNDER MY SKIN by The Four Seasons
YOU DIDN’T HAVE TO BE SO NICE by The Lovin’ Spoonful
THE DUCK by Jackie Lee
1967
Did you enjoy this 1967 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
I’M A BELIEVER by The Monkees
LIGHT MY FIRE by The Doors
WINDY by The Association
ODE TO BILLIE JOE by Bobbie Gentry
CAN’T TAKE MY EYES OFF YOU by Frankie Valli
HAPPY TOGETHER by The Turtles
THE LETTER by The Box Tops
LITTLE BIT O’ SOUL by The Music Explosion
SOMETHIN’ STUPID by Frank & Nancy Sinatra
GROOVIN’ by The Young Rascals
SNOOPY VS. THE RED BARON by The Royal Guardsmen
NEVER MY LOVE by The Association
COME BACK WHEN YOU GROW UP by Bobby Vee
TELL IT LIKE IT IS by Aaron Neville
I WAS MADE TO LOVE HER by Stevie Wonder
RESPECT by Aretha Franklin
I THINK WE’RE ALONE NOW by Tommy James and the Shondells
GEORGY GIRL by The Seekers
TO SIR WITH LOVE by Lulu
SWEET SOUL MUSIC by Arthur Conley
KIND OF A DRAG by The Buckinghams
WINCHESTER CATHEDRAL by The New Vaudeville Band
RUBY TUESDAY by The Rolling Stones
APPLES, PEACHES, PUMPKIN PIE by Jay & the Techniques
LOVE IS HERE AND NOW YOU’RE GONE by The Supremes
A WHITER SHADE OF PALE by Procol Harum
REFLECTIONS by The Supremes
A LITTLE BIT ME, A LITTLE BIT YOU by The Monkees
ALL YOU NEED IS LOVE by The Beatles
THE HAPPENING by The Supremes
COME ON DOWN TO MY BOAT by Every Mother’s Son
DEDICATED TO THE ONE I LOVE by The Mamas & the Papas
SUGAR TOWN by Nancy Sinatra
SAN FRANCISCO (BE SURE TO WEAR FLOWERS IN YOUR HAIR) by Scott McKenzie
RELEASE ME (AND LET ME LOVE AGAIN) by Engelbert Humperdinck
SOUL MAN by Sam & Dave
EXPRESSWAY TO YOUR HEART by The Soul Survivors
GOOD THING by Paul Revere & the Raiders featuring Mark Lindsay
THAT’S LIFE by Frank Sinatra
MELLOW YELLOW by Donovan
I GOT RHYTHM by The Happenings
THIS IS MY SONG by Petula Clark
BABY I LOVE YOU by Aretha Franklin
(WE AIN’T GOT) NOTHIN’ YET by Blues Magoos
PENNY LANE by The Beatles
YOUR PRECIOUS LOVE by Marvin Gaye & Tammi Terrell
BABY I NEED YOUR LOVIN’ by Johnny Rivers
THEN YOU CAN TELL ME GOODBYE by The Casinos
FOR WHAT IT’S WORTH (STOP, HEY WHAT’S THAT SOUND) by Buffalo Springfield
IT MUST BE HIM by Vikki Carr
THERE’S A KIND OF HUSH by Herman’s Hermits
DEVIL WITH A BLUE DRESS ON/GOOD GOLLY MISS MOLLY by Mitch Ryder & the Detroit Wheels
WORDS OF LOVE by The Mamas & the Papas
HOW CAN I BE SURE by The Young Rascals
DON’T YOU CARE by The Buckinghams
GIMME LITTLE SIGN by Brenton Wood
PLEASANT VALLEY SUNDAY by The Monkees
(YOUR LOVE KEEPS LIFTING ME) HIGHER AND HIGHER by Jackie Wilson
MERCY, MERCY, MERCY by The Buckinghams
SOCK IT TO ME-BABY! by Mitch Ryder & the Detroit Wheels
UP, UP AND AWAY by The 5th Dimension
STANDING IN THE SHADOWS OF LOVE by Four Tops
BERNADETTE by Four Tops
YOU’RE MY EVERYTHING by The Temptations
JIMMY MACK by Martha and the Vandellas
MY CUP RUNNETH OVER by Ed Ames
SOMEBODY TO LOVE by Jefferson Airplane
98.6 by Keith
GOOD VIBRATIONS by The Beach Boys
WESTERN UNION by Five Americans
I NEVER LOVED A MAN (THE WAY I LOVE YOU) by Aretha Franklin
BROWN EYED GIRL by Van Morrison
SHE’D RATHER BE WITH ME by The Turtles
ON A CAROUSEL by The Hollies
INCENSE AND PEPPERMINTS by Strawberry Alarm Clock
SILENCE IS GOLDEN by The Tremeloes
FUNKY BROADWAY by Wilson Pickett
CARRIE ANNE by The Hollies
GET ON UP by The Esquires
GIMME SOME LOVIN’ by The Spencer Davis Group
COLD SWEAT by James Brown
LITTLE OLE MAN (UPTIGHT, EVERYTHING’S ALRIGHT) by Bill Cosby
THE BEAT GOES ON by Sonny & Cher
HIM OR ME – WHAT’S IT GONNA BE by Paul Revere & the Raiders featuring Mark Lindsay
CLOSE YOUR EYES by Peaches & Herb
WHITE RABBIT by Jefferson Airplane
LET’S LIVE FOR TODAY by The Grass Roots
A NATURAL WOMAN (YOU MAKE ME FEEL LIKE) by Aretha Franklin
YOU KEEP ME HANGIN’ ON by The Supremes
PLEASE LOVE ME FOREVER by Bobby Vinton
A GIRL LIKE YOU by The Young Rascals
DON’T SLEEP IN THE SUBWAY by Petula Clark
ALL I NEED by The Temptations
(I KNOW) I’M LOSING YOU by The Temptations
STRAWBERRY FIELDS FOREVER by The Beatles
YOU GOT WHAT IT TAKES by the Dave Clark Five
NASHVILLE CATS by The Lovin’ Spoonful
I HAD TOO MUCH TO DREAM (LAST NIGHT) by The Electric Prunes
MIRAGE by Tommy James and the Shondells
TELL IT TO THE RAIN by the Four Seasons
1968
Did you enjoy this 1968 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
HEY JUDE by The Beatles
LOVE IS BLUE by Paul Mauriat
(SITTIN’ ON) THE DOCK OF THE BAY by Otis Redding
HONEY by Bobby Goldsboro
PEOPLE GOT TO BE FREE by The Rascals
WOMAN, WOMAN by Gary Puckett & The Union Gap
JUDY IN DISGUISE (WITH GLASSES) by John Fred & His Playboy Band
THIS GUY’S IN LOVE WITH YOU by Herb Alpert
YOUNG GIRL by Gary Puckett & The Union Gap
HARPER VALLEY PTA by Jeannie C. Riley
MRS. ROBINSON by Simon & Garfunkel
TIGHTEN UP by Archie Bell & the Drells
THE GOOD, THE BAD AND THE UGLY by Hugo Montenegro
HELLO, I LOVE YOU by The Doors
DAYDREAM BELIEVER by The Monkees
GREEN TAMBOURINE by The Lemon Pipers
BEND ME, SHAPE ME by The American Breed
CRY LIKE A BABY by The Box Tops
LITTLE GREEN APPLES by O. C. Smith
SPOOKY by Classics IV
I HEARD IT THROUGH THE GRAPEVINE by Gladys Knight & the Pips
FIRE by The Crazy World of Arthur Brown
STONED SOUL PICNIC by The 5th Dimension
HELLO GOODBYE by The Beatles
BORN TO BE WILD by Steppenwolf
(SWEET SWEET BABY) SINCE YOU’VE BEEN GONE by Aretha Franklin
THE HORSE by Cliff Nobles
(THEME FROM) VALLEY OF THE DOLLS by Dionne Warwick
MONY MONY by Tommy James and the Shondells
I SECOND THAT EMOTION by Smokey Robinson & the Miracles
LADY WILLPOWER by Gary Puckett & The Union Gap
CHAIN OF FOOLS by Aretha Franklin
LADY MADONNA by The Beatles
I WISH IT WOULD RAIN by The Temptations
GRAZING IN THE GRASS by Hugh Masekela
A BEAUTIFUL MORNING by The Rascals
JUMPIN’ JACK FLASH by The Rolling Stones
LIGHT MY FIRE by José Feliciano
MIDNIGHT CONFESSIONS by The Grass Roots
CLASSICAL GAS by Mason Williams
LA-LA (MEANS I LOVE YOU) by The Delfonics
SIMON SAYS by 1910 Fruitgum Company
THE BALLAD OF BONNIE AND CLYDE by Georgie Fame
TURN AROUND, LOOK AT ME by The Vogues
YUMMY YUMMY YUMMY by Ohio Express
GIRL WATCHER by The O’Kaysions
COWBOYS TO GIRLS by The Intruders
SUNSHINE OF YOUR LOVE by Cream
THE LOOK OF LOVE by Sérgio Mendes
DANCE TO THE MUSIC by Sly & the Family Stone
MACARTHUR PARK by Richard Harris
ANGEL OF THE MORNING by Merrilee Rush
THOSE WERE THE DAYS by Mary Hopkin
NOBODY BUT ME by The Human Beinz
HURDY GURDY MAN by Donovan
1, 2, 3, RED LIGHT by 1910 Fruitgum Company
I GOT THE FEELIN’ by James Brown
I’VE GOTTA GET A MESSAGE TO YOU by The Bee Gees
OVER YOU by Gary Puckett & The Union Gap
SLIP AWAY by Clarence Carter
REVOLUTION by The Beatles
REACH OUT OF THE DARKNESS by Friend & Lover
THINK by Aretha Franklin
DIFFERENT DRUM by the Stone Poneys featuring Linda Ronstadt
VALLERI by The Monkees
GOIN’ OUT OF MY HEAD/CAN’T TAKE MY EYES OFF YOU by The Lettermen
LOVE IS ALL AROUND by The Troggs
YOU KEEP ME HANGIN’ ON by Vanilla Fudge
BOOGALOO DOWN BROADWAY by the Fantastic Johnny C.
BABY, NOW THAT I’VE FOUND YOU by The Foundations
THE UNICORN by The Irish Rovers
ELENORE by The Turtles
THE FOOL ON THE HILL by Sérgio Mendes
HOLD ME TIGHT by Johnny Nash
AIN’T NOTHING LIKE THE REAL THING by Marvin Gaye & Tammi Terrell
BOTTLE OF WINE by The Fireballs
HUSH by Deep Purple
HERE COMES THE JUDGE by Shorty Long
SUSAN by the Buckinghams
JUST DROPPED IN (TO SEE WHAT CONDITION MY CONDITION WAS IN) by the First Edition
STAY IN MY CORNER by The Dells
YOU’RE ALL I NEED TO GET BY by Marvin Gaye & Tammi Terrell
I WONDER WHAT SHE’S DOING TONIGHT by Tommy Boyce & Bobby Hart
WHITE ROOM by Cream
TIME HAS COME TODAY by The Chambers Brothers
I SAY A LITTLE PRAYER by Aretha Franklin
SKINNY LEGS AND ALL by Joe Tex
LOVE CHILD by The Supremes
THE MIGHTY QUINN by Manfred Mann
TAKE TIME TO KNOW HER by Percy Sledge
THE HOUSE THAT JACK BUILT by Aretha Franklin
SAY IT LOUD – I’M BLACK AND I’M PROUD by James Brown
IF YOU CAN WANT by The Miracles
INCENSE AND PEPPERMINTS by Strawberry Alarm Clock
INDIAN LAKE by The Cowsills
I THANK YOU by Sam and Dave
SUZIE Q. by Creedence Clearwater Revival
THE RAIN, THE PARK & OTHER THINGS by The Cowsills
MY SPECIAL ANGEL by the Vogues
YOU BETTER SIT DOWN KIDS by Cher
1969
Did you enjoy this 1969 Music Through the Years Video above? Then be sure to subscribe to our YouTube channel to see all of our Top40Weekly videos!
SUGAR, SUGAR by The Archies
AQUARIUS/LET THE SUNSHINE IN by The 5th Dimension
CRIMSON AND CLOVER by Tommy James and the Shondells
HONKY TONK WOMEN by The Rolling Stones
GET BACK by The Beatles with Billy Preston
I HEARD IT THROUGH THE GRAPEVINE by Marvin Gaye
I CAN’T GET NEXT TO YOU by The Temptations
EVERYDAY PEOPLE by Sly & the Family Stone
DIZZY by Tommy Roe
CRYSTAL BLUE PERSUASION by Tommy James and the Shondells
HAIR by The Cowsills
BUILD ME UP BUTTERCUP by The Foundations
LOVE THEME FROM “ROMEO AND JULIET” by Henry Mancini
IN THE YEAR 2525 by Zager & Evans
I’M GONNA MAKE YOU LOVE ME by The Supremes & The Temptations
SPINNING WHEEL by Blood, Sweat & Tears
IT’S YOUR THING by The Isley Brothers
A BOY NAMED SUE by Johnny Cash
PROUD MARY by Creedence Clearwater Revival
BAD MOON RISING by Creedence Clearwater Revival
GREEN RIVER by Creedence Clearwater Revival
TOUCH ME by The Doors
ONE by Three Dog Night
HOT FUN IN THE SUMMERTIME by Sly & the Family Stone
JEAN by Oliver
I’LL NEVER FALL IN LOVE AGAIN by Tom Jones
TOO BUSY THINKING ABOUT MY BABY by Marvin Gaye
SWEET CAROLINE by Neil Diamond
EASY TO BE HARD by Three Dog Night
YOU’VE MADE ME SO VERY HAPPY by Blood, Sweat & Tears
GET TOGETHER by The Youngbloods
SUSPICIOUS MINDS by Elvis Presley
LOVE (CAN MAKE YOU HAPPY) by Mercy
LITTLE WOMAN by Bobby Sherman
GOOD MORNING STARSHINE by Oliver
WHAT DOES IT TAKE (TO WIN YOUR LOVE) by Jr. Walker & The All Stars
WITCHITA LINEMAN by Glen Campbell
IN THE GHETTO by Elvis Presley
SOULFUL STRUT by Young-Holt Unlimited
HOOKED ON A FEELING by B.J. Thomas
GRAZING IN THE GRASS by The Friends of Distinction
ONLY THE STRONG SURVIVE by Jerry Butler
TIME OF THE SEASON by The Zombies
MY CHERIE AMOUR by Stevie Wonder
FOR ONCE IN MY LIFE by Stevie Wonder
GALVESTON by Glen Campbell
THESE EYES by The Guess Who
WEDDING BELL BLUES by The 5th Dimension
TRACES by Classics IV
THE WORST THAT COULD HAPPEN by Johnny Maestro & the Brooklyn Bridge
RUNAWAY CHILD, RUNNING WILD by The Temptations
LOVE CHILD by The Supremes
CAN I CHANGE MY MIND by Tyrone Davis
BABY IT’S YOU by Smith
PUT A LITTLE LOVE IN YOUR HEART by Jackie DeShannon
INDIAN GIVER by 1910 Fruitgum Company
ATLANTIS by Donovan
THIS GIRL’S IN LOVE WITH YOU by Dionne Warwick
BABY, I LOVE YOU by Andy Kim
LAY LADY LAY by Bob Dylan
SOMETHING by The Beatles
THIS MAGIC MOMENT by Jay and the Americans
COME TOGETHER by The Beatles
BABY, BABY DON’T CRY by The Miracles
CLOUD NINE by The Temptations
GITARZAN by Ray Stevens
THE BOXER by Simon & Garfunkel
MOTHER POPCORN by James Brown
I LOVE HOW YOU LOVE ME by Bobby Vinton
COLOR HIM FATHER by The Winstons
OH HAPPY DAY by Edwin Hawkins Singers
TIME IS TIGHT by Booker T & the M.G.’s
STORMY by the Classics IV featuring Dennis Yost
HAWAII FIVE-O by The Ventures
WHO’S MAKING LOVE by Johnnie Taylor
TWENTY-FIVE MILES by Edwin Starr
CINNAMON by Derek
RUBY, DON’T TAKE YOUR LOVE TO TOWN by Kenny Rogers & The First Edition
THE BALLAD OF JOHN AND YOKO by the Beatles
TRACY by The Cuff Links
I’VE GOTTA BE ME by Sammy Davis, Jr.
EVERYBODY’S TALKIN’ by Harry Nilsson
YOU SHOWED ME by The Turtles
HANG ‘EM HIGH by Booker T & the M.G.’s
GAMES PEOPLE PLAY by Joe South
ABRAHAM, MARTIN AND JOHN by Dion
THIS GIRL IS A WOMAN NOW by Gary Puckett & The Union Gap
SON-OF-A PREACHER MAN by Dusty Springfield
OH, WHAT A NIGHT by The Dells
I STARTED A JOKE by the Bee Gees
THAT’S THE WAY LOVE IS by Marvin Gaye
GOING UP THE COUNTRY by Canned Heat
MORE TODAY THAN YESTERDAY by Spiral Starecase
HURT SO BAD by The Lettermen
POLK SALAD ANNIE by Tony Joe White
MY WHOLE WORLD ENDED (THE MOMENT YOU LEFT ME) by David Ruffin
BLACK PEARL by Checkmates, Ltd.
LAUGHING by The Guess Who
SWEET CHERRY WINE by Tommy James and the Shondells
IF I CAN DREAM by Elvis Presley
What songs were popular in the 1960s?
The 1960s were a pivotal decade for music, introducing various popular songs that have stood the test of time. This era saw the rise of rock and roll, soul, and pop, with artists like The Beatles, The Rolling Stones, and Aretha Franklin dominating the charts.
Hits of the 60s, such as “I Want to Hold Your Hand” by The Beatles, “Satisfaction” by The Rolling Stones, and “Respect” by Aretha Franklin, were not just songs from the 1960s but anthems that defined the decade. The influence of 60s music hits remains profound, reflecting the social and cultural changes of the time.
What were the top 10 songs of the 1960s?
The top 10 songs of the 1960s include a mix of rock, pop, and soul tracks that have become iconic. Among these best 60s songs are “Hey Jude” by The Beatles, “Good Vibrations” by The Beach Boys, and “What a Wonderful World” by Louis Armstrong.
This list also features “My Girl” by The Temptations, “I Can’t Help Myself” by The Four Tops, and “You Can’t Hurry Love” by The Supremes, showcasing the decade’s diverse musical landscape. These top songs from the 1960s encapsulate the era’s revolutionary spirit and musical innovation.
What was the biggest hit of the 60s?
The biggest hit of the 60s, often cited in lists of the 100 greatest songs of the ’60s, is “Hey Jude” by The Beatles. Released in 1968, this song became an anthem of the era, showcasing the band’s songwriting prowess and emotional depth.
“Hey Jude” topped charts worldwide, cementing its place in music history and becoming a defining piece of 60s music. Its universal message of hope and love resonates with audiences even today, making it a timeless classic.
Who has the most top 40 hits in the 1960s?
The Beatles hold the record for the most Top 40 hits in the 1960s. Their groundbreaking presence on the Billboard Top 40 chart was unmatched, with numerous singles reaching top positions. This British band’s influence extended far beyond their hit songs as they transformed the landscape of pop and rock music.
The Beatles’ innovative approach to music and ability to consistently produce hits of the 60s made them one of the most influential bands of the decade and of all time.
What were the top hits of the 60s and 70s?
The top hits of the 60s and 70s include various genres, from rock to disco. In the 60s, iconic songs like “Satisfaction” by The Rolling Stones and “Like a Rolling Stone” by Bob Dylan captured the revolutionary spirit of the era.
Moving into the 70s hits such as “Stairway to Heaven” by Led Zeppelin and “Bohemian Rhapsody” by Queen represented the decade’s musical diversity. Both decades are celebrated for their influential 60s music hits and the emergence of new sounds that shaped the future of music.
|
|||||
1487
|
dbpedia
|
0
| 86
|
https://www.fayobserver.com/story/lifestyle/fort-bragg-life/2020/03/07/first-rap-record-didnrsquot-come-from-sugarhill-gang-it-came-from-fayettevillersquos-bill-curtis-and/112372824/
|
en
|
The first rap record didn’t come from the Sugarhill Gang. It came from Fayetteville’s Bill Curtis and his Fatback Band
|
[
"https://www.gannett-cdn.com/-mm-/b0147f4fde465c7b3b3c73266a9721b38285bd87/c=222-0-3777-2666/local/-/media/2020/07/25/Fayetteville/ghows-NC-200308889-53d9cb0d.jpg?width=320&height=240"
] |
[] |
[] |
[
""
] | null |
[
"Michael Futch, The Fayetteville Observer",
"Michael Futch"
] |
2020-03-07T00:00:00
|
Long before J. Cole, the popular rapper from Fayetteville whose verse is characterized by his flow of words, there...
|
en
|
The Fayetteville Observer
|
https://www.fayobserver.com/story/lifestyle/fort-bragg-life/2020/03/07/first-rap-record-didnrsquot-come-from-sugarhill-gang-it-came-from-fayettevillersquos-bill-curtis-and/112372824/
|
Long before J. Cole, the popular rapper from Fayetteville whose verse is characterized by his flow of words, there was Bill Curtis and the Fatback Band.
Curtis, another Fayetteville native, gets credit from many authorities and source books for recording the first rap record of the hip-hop era.
The release of that song, “King Tim III (Personality Jock),” actually predated the Sugarhill Gang’s multi-platinum seller “Rapper’s Delight,” though the latter is often cited as the first commercially released rap song.
Both “King Tim III” and “Rapper’s Delight” emerged during 1979, within months of each other, at the dawn of hip-hop.
“It was a milestone,” Curtis said of his band’s historical hip-hop recording.
Curtis, a drummer and percussionist, founded the Fatback Band in the early 1970s and continues to lead the current incarnation of his funk/dance franchise.
Whereas “King Tim III” failed to cross over from any R&B activity into the mainstream, never cracking the Billboard Top 40, “Rapper’s Delight” became a worldwide smash.
“I was out then, but on the B-side (of a single). It was the first recorded rap,” Curtis said of “King Tim III.”
• • •
Short in stature, Curtis speaks in a stately, melodious voice that has a mellow groove of its own. During an interview from his longtime home off Country Club Drive, he sat comfortably on a brown leather couch in his stocking feet. He sipped a root-based beverage that he despises, yet drinks on a daily basis for his kidneys.
In the kitchen, Terri Everett, his partner for a quarter-century, was baking an experimental pound cake without milk.
More than once, Curtis called out, asking when the cake would be ready. In the meantime, she offered him a sample of what was to come with a crusty cupcake made from the same mix.
“I’m close to vegan,” he said. “I don’t eat that much meat. As you grow older, you learn to fall out of love for food.”
His love for music — especially, making music — has never waned.
Based out of New York City, the Fatback Band started as a jazz-funk outfit before finding most of its success in the ’70s and ’80s with a string of rhythm-and-blues hits like “(Do The) Spanish Hustle”, “I Like Girls,” “Gotta Get My Hands on Some (Money),” “Backstrokin' ” and “I Found Lovin.”
Curtis estimates that his band’s music has been sampled 35 to 45 times over the years. In music, sampling is the reuse of a portion, or sample, of a sound recording in another recording. Samples may be rhythm, melody, speech, sounds or entire bars of music.
Two years ago, Curtis and his band’s stock rose again when soul diva Chaka Khan’s single “Like Sugar” gained widespread attention. The song heavily sampled the Fatback Band’s 1975 funk-jam, “(Are You Ready) Do the Bus Stop.”
“Chaka Khan did a remake of ‘Bus Stop,’ and that really opened up the doors again for me,” he said. “She took all the Fatback music from ‘Bus Stop,’ and she wrote some new lyrics to it. She called it sugar — ‘Like Sugar.’ And that really opened the doors. That opened up little avenues for me to tour, plus opened up some commercial and movie things.”
Curtis, an only child who moved back to Fayetteville around 1997 to live with his elderly mother, continues to make his own music. These days, he releases singles only on his Fatback Records label.
Born and raised on Ann Street near the First Presbyterian Church in Fayetteville, Curtis is the son of a model/beautician and shoemaker.
After starting with the piano, he switched to drums in 1943. Curtis joined the band at E.E. Smith High School, a program that produced a string of top-notch drummers during the middle of the century, with Curtis, Belton Evans, Herbert Drake and Ernest Moore at the top of the class.
All those stickmen would experience successful professional careers. Curtis credits the late Evans, who played behind some of the best in the early days of rock ’n’ roll, with teaching him to play the drums.
After serving a stint in the Army, Curtis studied percussion at the Mannes School of Music in New York and at the New York College of Music.
The party music may pay the bills, but he’s a classically trained musician.
Early on, Curtis played as a sideman and recorded with a number of accomplished R&B and jazz artists, including Paul Williams, Big Maybelle, Bill Doggett, Sil Austin, King Curtis, Dinah Washington and Clyde McPhatter of Drifters fame. That’s him on drums on McPhatter’s 1965 recording “Live at the Apollo Theater.”
More recently, the Fatback Band has been playing the African World Peace Festival every other year in his hometown, and the group remains a strong draw in Europe. On Feb. 29, the band — under the name Fatback Band New Generation — was flying to England for a tour that includes dates in Amsterdam, Germany and The Netherlands.
Fatback has been booked for three music festivals in the United Kingdom, according to Curtis. “We’re like a local band in England,” he said, adding that his group’s music is popular in Japan, too.
• • •
This first-class party band, always known to lock into a killer groove and work it to death, beat the Sugarhill Gang to the punch. Fatback was the first R&B act to acknowledge the populist form of rap art that first emerged from the streets of New York City more than four decades ago.
“I heard people rapping up in the Bronx,” the 88-year-old Curtis said late last month. “In New York, they had street parties in the boroughs. We played all around New York. I was playing up in the Bronx and I heard the DJs up there — I think it was Grandmaster (Flash, another early rap artist) — they rapping and scratching on records and all that. You see, the Bronx was the birthplace of rap.”
Around that same time, Curtis was in the studio recording the “Fatback XII” album. He said he had no intentions of recording a rap song, but once the album was finished, he failed to hear hit potential from any of the recorded tracks.
“That’s the way I go — on instinct, on feeling,” he said.
Curtis told his partner, Jerry Thomas, who has co-produced most of the Fatback Band catalog with him, that he didn’t think he had a possible hit on the disc.
“‘We’ve got to do something different in there.’ And I had this one tune in there,” Curtis said, “which was kind of like an instrumental called ‘Catch the Beat.’ I said, ‘Jerry, let’s do a rap.’
“First thing Jerry said, ‘Can’t nobody in the band rap. What do you mean, let’s do a rap?’ In the meantime,” Curtis added, “one of the roadies was in the studio with me and heard me say that. He said, ‘I have a friend that lives in the projects that can rap.’ I said, ‘Yeah, bring him in tomorrow night.’ And he brought in Timothy Washington. That’s his name. He brought Timothy in and I said, ‘Go in the studio and start rapping.’ And he went in there and laid it down in two shots. Bang! Then we changed his name to King Tim III.”
• • •
Hip-hop’s roots as a musical phenomenon are subject to debate, although its roots as a commercial phenomenon are considered much clearer.
There is some debate in the music industry as to which record came first, but the general consensus is that the first rap record was by the Fatback Band followed by what has been called the “granddaddy” of rap records, "Rapper's Delight."
It can be argued that rap on record had been around for years, with James Brown, Gil Scott-Heron and the Last Poets among those who recorded rhyme-like spoken word passages that have been likened to rap music at an earlier stage. Some music archivists even argue that such jazz scat artists as Louis Armstrong, Ella Fitzgerald and Al Jarreau were rapping on record years before the arrival of the hip-hop era.
Still, “King Tim III (Personality Jock)” — which first came out on the Spring Records label — marks the beginning of recorded hip-hop.
“‘King Tim’ remains a killer blast of hip-hop, seamlessly mixing a slick old-school rap into the band's intensely funky blend of organ, energetic horn blasts and a relentless walking bassline,” the online All Music Guide says in its review of “Fatback XII.”
Curtis always has claimed that his rap record came out roughly three weeks before “Rapper’s Delight.”
Yet, according to online sources, “King Tim III” was released March 25, 1979, months before “Rapper’s Delight” hit the streets on Sept. 16, 1979. Eventually, the Sugarhill Gang’s dance-groove track filled the airwaves and made the DJs’ rotation in the nation’s disco clubs.
"Rapper’s Delight,“ released on Sugar Hill Records, may not have been first, but it is credited for introducing hip-hop music to a wide audience. Likewise, it proved there was money to be made in hip-hop records.
Whereas the Sugarhill Gang’s song was far more successful — with the New Jersey-based hip-hop trio producing the first rap single to become a Top 40 hit (it reached No. 36 on Jan. 5, 1980) on the American Billboard Hot 100 — the Fatback Band’s first rap release was issued as a B-side, or the flip side, of the 7-inch single, “You’re My Candy Sweet.”
Curtis said he pushed for “King Tim III” to be the A-side of the single. But he was told that Spring Records refused to put up any money to market the song that label executives largely saw as a novelty, at most.
They didn’t think it would catch on with listeners.
“‘You’re My Candy Sweet’ was me on the vocal,” Curtis said, before adding with his infectious laugh, “and I can’t carry a tune.”
• • •
Closing in on his 90th birthday, Curtis said he’s considering backing off as a percussionist with Fatback and taking on more of a management role.
“I’m going to go until I drop,” he said with that high-pitched snicker of a laugh. “Our music — they’re just catching up to us. They’re just catching up to what we were doing. The DJs was raised on Fatback; the Djs was weened on Fatback.”
He figures approximately 50 albums have been issued under the Fatback or Fatback Band name. Those records were released on the labels Perception, Polygram, Spring and his own Fatback Records.
“It’s my life’s work and it tells me where I came from,” he said. “I didn’t do it by myself. I was surrounded by good people and people on the same page I was on.”
Following “King Tim III,” he said, Fatback recorded at least a couple more rap records. “After that,” Curtis said, “I got away from it. I had done rap. I try to tell people — don’t try to pigeonhole it. It’s just rap.”
“It’s not a big deal to me,” he replied, when asked if it bothers him that he doesn’t always receive proper credit for making the first-recorded hip-hop era rap song. “I’m a record man. I love to make music. I know what I did. I know what I did.”
Staff writer Michael Futch can be reached at mfutch@fayobserver.com.
|
|||||
1487
|
dbpedia
|
1
| 24
|
https://www.hotpress.com/music/on-this-day-in-1965-bob-dylan-released-like-a-rolling-stone-22980629
|
en
|
On this day in 1965: Bob Dylan released 'Like a Rolling Stone'
|
[
"https://www.hotpress.com/i/logo.png?v=2",
"https://www.hotpress.com/music/user.avatar",
"https://www.hotpress.com/i/logo-white.png?v=2",
"https://www.hotpress.com/music/user.avatar",
"https://www.hotpress.com/i/social-share/twitter_icon.svg",
"https://www.hotpress.com/i/social-share/facebook_icon.svg",
"https://www.hotpress.com/i/social-share/whatsapp_icon.svg",
"https://www.hotpress.com/i/social-share/linkedin_icon.svg",
"https://www.hotpress.com/i/social-share/pinterest_icon.svg",
"https://www.hotpress.com/i/social-share/reddit_icon.svg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjNcXFwvMDdcXFwvMjAxMDUwMjdcXFwvU2NyZWVuc2hvdC0yMDIzLTA3LTIwLWF0LTEwLjUwLjIzLnBuZ1wiLFwid2lkdGhcIjpcIjk2OFwiLFwiaGVpZ2h0XCI6XCJcIixcImRlZmF1bHRcIjpcImh0dHBzOlxcXC9cXFwvd3d3LmhvdHByZXNzLmNvbVxcXC9pXFxcL25vLWltYWdlLnBuZz92PTlcIixcIm9wdGlvbnNcIjpbXX0iLCJoYXNoIjoiZjY4ZDQ3ZjhmYTI0YjViYzkzMjVkYzQ1ZTUzYzNmZmE2ZDdlZGRhOCJ9/screenshot-2023-07-20-at-10-50-23.png",
"https://www.gravatar.com/avatar/922bafa22ad820e6afe51c6097ed8899.jpg?s=200&d=https://www.hotpress.com/i/author-default.png",
"https://media.hotpress.com/uploads/2023/07/20102444/9780571223855-uk.jpg",
"https://www.hotpress.com/i/social-share/twitter_icon.svg",
"https://www.hotpress.com/i/social-share/facebook_icon.svg",
"https://www.hotpress.com/i/social-share/whatsapp_icon.svg",
"https://www.hotpress.com/i/social-share/linkedin_icon.svg",
"https://www.hotpress.com/i/social-share/pinterest_icon.svg",
"https://www.hotpress.com/i/social-share/reddit_icon.svg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDNcXFwvMjIxMTQxNTdcXFwvU2NyZWVuc2hvdC0yMDI0LTAzLTIyLWF0LTExLjQxLjUyLWUxNzExMTA3NzYxNzg5LnBuZ1wiLFwid2lkdGhcIjpcIjMwOVwiLFwiaGVpZ2h0XCI6XCIyMTBcIixcImRlZmF1bHRcIjpcImh0dHBzOlxcXC9cXFwvd3d3LmhvdHByZXNzLmNvbVxcXC9pXFxcL25vLWltYWdlLnBuZz92PTlcIixcIm9wdGlvbnNcIjpbXX0iLCJoYXNoIjoiMmQ1YTM1NmVjNDE2MTE2YTRiZTc0MzU3ZDU4ZjgxMWEzM2VlYjVkMiJ9/screenshot-2024-03-22-at-11-41-52-e1711107761789.png",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjFcXFwvMTJcXFwvMTQwODMzMDdcXFwvVFBXMTUzMDlfMjAyMTExMTY3MTMzOTk1Ny5qcGdcIixcIndpZHRoXCI6XCIzMDlcIixcImhlaWdodFwiOlwiMjEwXCIsXCJkZWZhdWx0XCI6XCJodHRwczpcXFwvXFxcL3d3dy5ob3RwcmVzcy5jb21cXFwvaVxcXC9uby1pbWFnZS5wbmc_dj05XCIsXCJvcHRpb25zXCI6W119IiwiaGFzaCI6ImU0NDE4OWI5MWMxNmIyZWJhYWYwNzc3NjYzZTc1ODJjMGUzY2Q4MjQifQ==/tpw15309-2021111671339957.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDFcXFwvMjIxMzQ2NTZcXFwvMzQ4MjcyN18zLWUxNzA1OTMxMjg5NDk1LmpwZ1wiLFwid2lkdGhcIjpcIjMwOVwiLFwiaGVpZ2h0XCI6XCIyMTBcIixcImRlZmF1bHRcIjpcImh0dHBzOlxcXC9cXFwvd3d3LmhvdHByZXNzLmNvbVxcXC9pXFxcL25vLWltYWdlLnBuZz92PTlcIixcIm9wdGlvbnNcIjpbXX0iLCJoYXNoIjoiZGY4NGMxNGZjOGQ3YTkwODk5MmU2MmYyZDEwYmZiZTNkYTUwYWU1ZiJ9/3482727-3-e1705931289495.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjBcXFwvMDlcXFwvMDMxMDI3NTZcXFwvcm9sbGluZy1zdG9uZXMuanBnXCIsXCJ3aWR0aFwiOlwiMzA5XCIsXCJoZWlnaHRcIjpcIjIxMFwiLFwiZGVmYXVsdFwiOlwiaHR0cHM6XFxcL1xcXC93d3cuaG90cHJlc3MuY29tXFxcL2lcXFwvbm8taW1hZ2UucG5nP3Y9OVwiLFwib3B0aW9uc1wiOltdfSIsImhhc2giOiI1MDMxOGZmNmY4N2FmNGU2NzUxN2U3YTY0MjQyYmIyMmNiMWJjNzEwIn0=/rolling-stones.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDhcXFwvMzAxNjE5MTlcXFwvU2NyZWVuc2hvdC0yMDI0LTA4LTMwLWF0LTE2LjE5LjExLWUxNzI1MDMxMTg1MTkxLnBuZ1wiLFwid2lkdGhcIjpcIjMwOVwiLFwiaGVpZ2h0XCI6XCIyMTBcIixcImRlZmF1bHRcIjpcImh0dHBzOlxcXC9cXFwvd3d3LmhvdHByZXNzLmNvbVxcXC9pXFxcL25vLWltYWdlLnBuZz92PTlcIixcIm9wdGlvbnNcIjpbXX0iLCJoYXNoIjoiZDQ5MTNjZmNlMjcyNWQ5ZjhhZGQxYzViOTA5ZjM5MTk3OGEzZGY4MyJ9/screenshot-2024-08-30-at-16-19-11-e1725031185191.png",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDNcXFwvMDQxMzI2MjJcXFwvQ2hhcHBlbGwtUm9hbi1lMTcwOTU1ODg5MTUwMi5qcGdcIixcIndpZHRoXCI6XCIzMDlcIixcImhlaWdodFwiOlwiMjEwXCIsXCJkZWZhdWx0XCI6XCJodHRwczpcXFwvXFxcL3d3dy5ob3RwcmVzcy5jb21cXFwvaVxcXC9uby1pbWFnZS5wbmc_dj05XCIsXCJvcHRpb25zXCI6W119IiwiaGFzaCI6IjEzOGM4YjIzMzA3NTFmYWRhZGVjZDc2YmRlMTVhMDM2MDQwN2RhOTcifQ==/chappell-roan-e1709558891502.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDhcXFwvMzAxNTQ3MjBcXFwvQ29sZHBsYXktYXQtQ3Jva2UtUGFyay1ieS1NaWd1ZWwtUnVpel93ZWItMjAuanBnXCIsXCJ3aWR0aFwiOlwiMzA5XCIsXCJoZWlnaHRcIjpcIjIxMFwiLFwiZGVmYXVsdFwiOlwiaHR0cHM6XFxcL1xcXC93d3cuaG90cHJlc3MuY29tXFxcL2lcXFwvbm8taW1hZ2UucG5nP3Y9OVwiLFwib3B0aW9uc1wiOltdfSIsImhhc2giOiI2MmI1NzE5MTM4OTc5ZDI5ZWU4YWE5YTU3YzNiMWYwNDQ4ZjA4NDZlIn0=/coldplay-at-croke-park-by-miguel-ruiz-web-20.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDhcXFwvMDExMjUxNDFcXFwvRm9udGFpbmVzLURDLUZhdm91cml0ZS1waG90by1jcmVkaXQtU2ltb24tV2hlYXRsZXktMDEtZTE3MjI1MTMxMzEzMDYuanBnXCIsXCJ3aWR0aFwiOlwiMzA5XCIsXCJoZWlnaHRcIjpcIjIxMFwiLFwiZGVmYXVsdFwiOlwiaHR0cHM6XFxcL1xcXC93d3cuaG90cHJlc3MuY29tXFxcL2lcXFwvbm8taW1hZ2UucG5nP3Y9OVwiLFwib3B0aW9uc1wiOltdfSIsImhhc2giOiJjOGFiZmE0NGE1ZjY3NjY5M2M1YmNjOTk0YmU0ODViN2M4MjA4MTIzIn0=/fontaines-dc-favourite-photo-credit-simon-wheatley-01-e1722513131306.jpg",
"https://img.resized.co/hotpress/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmhvdHByZXNzLmNvbVxcXC91cGxvYWRzXFxcLzIwMjRcXFwvMDRcXFwvMTcxMTI5MjVcXFwvNDAwMTgzMzMxXzMxNzE0MzQ1MTA1MjA5OV8zNzIzNDU1MDMzMzI2NjQzNDk1X24tZTE3MTMzNDk3OTEyNjQuanBlZ1wiLFwid2lkdGhcIjpcIjMwOVwiLFwiaGVpZ2h0XCI6XCIyMTBcIixcImRlZmF1bHRcIjpcImh0dHBzOlxcXC9cXFwvd3d3LmhvdHByZXNzLmNvbVxcXC9pXFxcL25vLWltYWdlLnBuZz92PTlcIixcIm9wdGlvbnNcIjpbXX0iLCJoYXNoIjoiZDU3OWUxY2FmMGUzNTNiMjc2MGRlODVlZWY4OWVlZGY0ZDhmZjI3ZiJ9/400183331-317143451052099-3723455033326643495-n-e1713349791264.jpeg",
"https://www.hotpress.com/i/logo-white.png?v=2"
] |
[
"https://www.youtube.com/embed/IwOfCgkyEj0"
] |
[] |
[
""
] | null |
[
"Peter Murphy"
] |
2023-07-20T10:53:26+00:00
|
On July 20, 1965, Bob Dylan released his iconic song, 'Like a Rolling Stone', as the first single from his upcoming album, Highway 61 Revisited. The deeply ...
|
Hotpress
|
https://www.hotpress.com/music/on-this-day-in-1965-bob-dylan-released-like-a-rolling-stone-22980629
|
Originally published in Hot Press in 2005...
‘Like A Rolling Stone’ may not be the song the baby-boomers, peaceniks or political activists would prefer to remember Bob Dylan by, but as a recorded performance, its downright mean energy has ensured that to this day it remains the most anticipated ritual in his live show.
When Greil Marcus’s publishers suggested a book to commemorate the 40th anniversary of the song’s recording, the writer rejected the idea almost out of hand. Marcus’s best books, as anyone who’s read Mystery Train, Lipstick Traces or Invisible Republic will attest, are usually too ambitious, unruly and overarching to stay put within such a linear pitch. Yet once implanted, he couldn’t get the idea out of his head, and almost before he knew it, the book was completed.
Like A Rolling Stone: Bob Dylan At The Crossroads is, by Marcus’s standards, a spontaneous blurt rather than an epic discourse (although his forthcoming treatise on prophesy and the American voice sounds like a major work-in-progress).
The book’s most interesting revelation results from Dylan’s management granting the author access to tapes of the original Tom Wilson-produced recording sessions that took place in Columbia Records’ New York studios in June 1965.
Advertisement
What Marcus heard was not a strategic attempt to nail the song so much as a rag-tag bunch of session pros, plus new bloods like Mike Bloomfield and Al Kooper, fumbling and stumbling toward that single ark-of-the-covenant take, and thereafter struggling – and failing – to repeat the spark. The knowledge that the song only really came alive one time, with no out-takes of note, retrospectively imbues the recording with a dramatic sense of event.
“It’s the last thing I expected,” Marcus says, headquartered in the Faber & Faber offices for the duration of his London promotional trip, looking exactly like what he is – a 60-year-old professor of popular music, white-haired, craggy and pleasant-featured. “When I heard I was going to be able to listen to a tape of the whole session over the two days that they were trying to record this song, I knew that I would end the book with that. And before I heard what you just described, that they fumbled their way toward it, flailing around, I never would’ve expected this sense of terrible suspense."
It’s worth pointing out that the Pollock-like nature of Dylan’s creative process was not lost on Martin Scorsese (whose Bob biog No Direction Home was one of the music-television highlights of the year). The director used the song as a motif in one of his most overlooked works, the Dostoevsky-inspired, Richard Price-scripted ‘Life Lessons’ segment of New York Stories (the other two episodes of the 1988 film featured Woody Allen and Francis Ford Coppola on auto-pilot). Scorsese’s 40-minute piece depicted Nick Nolte as a big bear of a hard-drinking abstract expressionist painter, tormented by sexual jealousy, savagely hurling paint on the canvas as a live version of ‘Like A Rolling Stone’ blares through his studio.
“The heart of the book for me is that ‘Like A Rolling Stone’ has a total sound,” says Marcus. “One of the metaphors that came to me when I was writing was a ship pitching on the sea in the middle of a terrible storm, that’s how it feels. It’s a sense that nothing has been predicted, that these are people playing in the dark in a way.”
|
||||||
1487
|
dbpedia
|
0
| 29
|
https://halfhearteddude.com/tag/ray-charles/
|
en
|
Any Major Dude With Half A Heart
|
http://halfhearteddude.files.wordpress.com/2009/09/rubber_soul.jpg
|
[
"http://halfhearteddude.files.wordpress.com/2009/09/nat_king_cole.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/beatles_blackpool.jpg?w=240",
"http://halfhearteddude.files.wordpress.com/2009/09/freddie_lennon.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/hollies.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/merry_xmas.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/rubber_soul.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/byrds.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/taxman.jpg",
"http://halfhearteddude.files.wordpress.com/2009/09/boogaloo.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/dushon.jpg?w=231",
"http://halfhearteddude.files.wordpress.com/2009/04/steviewonder_foronce.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/boffalongo.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/valentine-brothers.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/hoagy-georgia-on-my-mind.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/ray_charles_georgia1.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/tony-joe-white.jpg",
"http://halfhearteddude.files.wordpress.com/2009/04/brook_benton.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/jerry-jeff-walker.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/pino-donaggio.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/strangeloves.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/bow-wow-wow.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/vibrations.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/don-gibson.jpg",
"http://halfhearteddude.files.wordpress.com/2009/01/raycharles.jpg?w=300"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
In this series, of which this is the second instalment, I am to a large extent guided by Tim English” fine book Sounds Like Teen Spirit (website and buy), which inspired it in the first place. It must be stressed that I am not necessarily imputing unethical behaviour on part of those who created music that sounds like somebody else”s. A reader calling himself Fudge, in his comment to the first post, explained the legal case for plagiarism: “In terms of songwriting, lawmakers decided that melody and chord structure are the basis of the song (in terms of pop music anyway) and therefore those parts are the most protected. I think the term is “˜interpolate”. That”s why The Jam can “˜borrow” “Taxman” for “Start!” and not get sued, or Steely Dan can nip Horace Silver”s cool bass line.”
I will also include a few songs where similarity has been suggested, but I can”t see it. You shall be the judge. Let me know what you think.
* * *
Nat “˜King” Cole – Answer Me My Love (1961).mp3
Ray Charles ““ Georgia On My Mind (1960).mp3
The Beatles – Yesterday (live in Blackpool) (1965).mp3
In my introduction to the first instalment, I cited Paul McCartney”s concern that he unconsciously plagiarised (the technical term for that is cryptomnesia) Yesterday as an example of a songwriter”s scruples. In his comment to the post, Mick alerted me to a suggestion in 2003 by British musicologists that Nat “˜King” Cole”s Answer Me My Love from 1953 “” available here in a 1961 re-recording “” inspired McCartney on a sub-conscious level (and kindly uploaded the song as well).
The case here rests on a line in Cole”s song which does bear some resemblance lyrically and in its phrasing. Cole sings: “Yesterday, I believed that love was here to stay, won”t you tell me where I”ve gone astray” (0:38). McCartney”s line goes: “Yesterday, all my troubles seemed so far away, now I need a place to hide away.” The musicologists suggested that McCartney must have been aware of the Cole song but kindly allowed that the influence was subliminal.
To my mind, this is hardly a case of Byron stealing from Shelley. It is not the most unlikely coincidence when two lyricist 12 years apart arrive at similar rhymes to the word “yesterday”. The phrasing charge doesn”t stick either. Yesterday was floating around with nonsense lyrics (“Scambled eggs, oh my darling you have lovely legs”) until McCartney eventually wrote the lyrics while in Portugal. He could not really phrase the lyrics in many other ways over the existing melody. Others have suggested that he borrowed the structure and chord progression from Ray Charles” version of Georgia On My Mind. I don”t quite see that. So in more than 40 years, the best theories to support the notion that the most famous pop song of all time was influenced by other songs concern a generic rhyme and a song that sounds nothing like Yesterday. Members of the jury, there is no case.
Instead, enjoy this live performance of Yesterday, recorded at the Blackpool Night Out, with George Harrison”s introduction, “For Paul McCartney of Liverpool, opportunity knocks”, and Lennon”s attribution of the performance to Ringo at the end.
.
Freddie Lennon – That’s My Life (My Love And My Home) (1965).mp3
Freddie Lennon – The Next Time You Feel Important.mp3
John Lennon ““ Imagine (1971).mp3
In early 1940 Alfred Lennon impregnated Julia and soon left her with little John Winston who”d barely hear of his seafaring father again. Alfred predictably turned up when the Beatles became successful. A reunion with his son was icy “” funny enough, John was not impressed with the old man”s sudden paternal interest. Still, John later bought the old man a cottage. In the interim, Alfred tried to cash in by recording a self-justifying single, a precursor for My Way in many ways (in a “I”m a good bloke, ain”t I? I just like the sea more than my offspring” fashion). To John, the single was a running joke; he”d play it as a gag for his friends.
Tim English in his book suggests that John might have been unconsciously influenced by his father”s novelty record when he wrote Imagine. English refers to the stately tone of both songs, which in itself is no smoking gun. More crucially, he points to the similarity in the chord progression in the verses. These are not terribly complex or unusual, but the similarity is recognisable. Still, even if John was not in any way influenced, it is a delicious irony that John Lennon”s hypocritical hymn to idealism bears a resemblance to his father”s ridiculous novelty record. As a bonus, I”m including the b-side to Freddie”s single as well (it”s pretty awful).
.
The Hollies ““ Stewball (1966).mp3
John Lennon & Yoko Ono – Merry X-Mas (War Is Over) (1971).mp3
We might acquit John from nicking chords from his Dad, but his Christmas standard will have the jury wanting exonerating evidence before it can acquit. Stewball, an American folk song adapted from a British ballad about an 18th century racehorse, had been recorded many times before Lennon wrote Merry X-Mas. The folk-influenced Lennon might have been familiar with the versions by Woody Guthrie, the Weavers, Peter Paul & Mary or Joan Baez. It is likely too that he knew the Hollies” version, which appeared on their 1966 album Would You Believe?. Their version sounds close to Lennon”s song in arrangement, apart from the distinct melodic similarity.
Did John directly plagiarise? Well, Stewball came from a folk tradition in which melodies were routinely recycled and adapted with new lyrics. Bob Dylan did that with Blowin” In The Wind (see here) sounding more than just suspiciously like No More Auction Block. If we want to get Lennon off the charge on a technicality, at least we have recourse to a defence based on precedent.
English refers to another inspiration, acknowledged by Lennon: the arrangement, by Phil Spector, was lifted from a song Spector and George Harrison had produced for Ronnie Spector, titled Try Some Buy Some (later recorded by Harrison). Apparently the song was so bad, Ronnie thought her husband and George were joking when presenting her with it. Harrison later put another arrangement from the Ronnie sessions (which she did not record) to his hit song You.
.
The Beatles – Norwegian Wood (Take 1) (1965).mp3
Bob Dylan – 4th Time Around (1966).mp3
In his book, English writes that John Lennon almost had a fit when he heard 4th Time Around on Bob Dylan”s Blonde On Blonde album: it ripped off Norwegian Wood, which the Beatles had released a little earlier on Rubber Soul. One can understand Lennon”s point: listen to 4th Time Around a few times, and latest by the third time around the similarities become glaring, especially two-thirds of the way through, and not only in subject matter.
Of course, Dylan had influenced Lennon profoundly. You”ve Got To Hide Your Love Away is John”s musical homage to acoustic Dylan. It”s fair to say that without the Dylan influence, John would not have written something like Norwegian Wood. Posted here is the first take of Norwegian Wood, recorded nine days before the version which made it on to the album. Some people prefer this take.
.
The Byrds – Bells Of Rhymney (1965).mp3
The Beatles – If I Needed Someone (1965).mp3
And if Dylan ripped off Norwegian Wood, the Beatles borrowed and adapted the jangling guitar intro of the Byrds” version of Pete Seeger”s Bells Of Rhymney for If I Needed Someone. Still with Dylan in mind, it is of interest to note that he was influenced to go electric by the Byrds and the Beatles. And just to add to the mix, the Byrds” Gene Clark was moved by She Loves You to abandon the straight folk of the New Christy Minstrels, and instead co-found the Byrds, who borrowed further from the Beatles to get their guitar- and harmony-based sound (Tim English notes that Roger McGuinn bought his essential 12-string Rickenbacker after seeing Harrison use one in A Hard Day”s Night).
Harrison cheerfully admitted, in public and to the Byrds, that he had copied the intro to If I Needed Someone from the Byrds” song, which had just been released when the Beatles recorded Rubber Soul.
.
The Beatles – Taxman (alternative take) (1966).mp3
The Jam ““ Start! (1980).mp3
This is the rip-off every fan of English music immediately thinks off. As Fudge said, copying a riff does not constitute legal plagiarism. Here The Jam lifted the guitar and bass riff from Harrison”s rather mean-spirited complaint about having to pay taxes (which, admittedly, were punitive in Britain). The guitar and bass parts in Taxman, incidentally, were played by McCartney. Harrison took over Lennon”s rhythm guitar, and John (who contributed the bipartisan falsetto “Ah ha Mr Wilson; Ah ha Mr Heath”, replaced in the take featured here with the line “Anybody got a bit of money”) did tambourine and backing vocals duty. Start! Was The Jam”s second UK #1 hit after Going Underground.
.
Ringo Starr – Back Off Boogaloo (1972).mp3
Franz Ferdinand – Take Me Out (2004).mp3
Ringo Starr wrote his hit after having a dinner with T. Rex”s Marc Bolan who repeatedly used the word “boogaloo” (I am happy to dismiss the story that Boogaloo was Ringo”s nickname for Paul McCartney, who was engaged in legal action with the other Beatles at the time). The song was produced by George Harrison and was a hit on both sides of the Atlantic.
Glaswegians Franz Ferdinand appeared on the scene in 2004 with Take Me Out, supported by a superb video. Take Me Out sounded a bit like a mash of several unfinished songs. It was Libertines singer and celebrity junkie Pete Doherty who, in an unfamiliar moment of lucidity, accused Franz Ferdinand of copying the riff and song structure of Ringo”s song. Apart from Boogaloo”s riff, the “I know I won”t be leaving here” bridge certainly bears a close resemblance. Theft or not? What do you think?
…
More Copy Borrow Steal
This time, we”re looking at the originals (and, in some cases, more than one covers) of For Once In My Life, Dancing In The Moonlight, Money”s Too Tight (To Mention), Georgia On My Mind and Rainy Night In Georgia.
* * *
Jean DuShon – For Once In My Life (1966).mp3
Barbara McNair – For Once In My Life (1966).mp3
Stevie Wonder – For Once In My Life (1967/68).mp3
Ron Miller and Orlando Murden were staff writers for the Jobete publishing company which was owned by Motown. In 1966 they wrote For Once In My Life, but were still struggling with it. Miller asked the little-known singer, signed to Chess Records but then performing in a nightclub, singer Jean DuShon to work with him on the vocal arrangement. He was so impressed with DuShon”s interpretation that he had her record and release the record on Chess. Sadly Chess didn”t promote the record (some say due to pressure by Motown boss Berry Gordy), and it flopped. Hearing that the songwriters had given the song to a non-Motown artist, Berry Gordy insisted that it be immediately recorded by an act on his label. The song was given to Barbara McNair (whose stint at Motown was brief and who never was a priority for Gordy), and over the next few months was recorded by non-Motown artists, including Tony Bennett, who had a minor pop but decent easy listening charts hit with it.
Motown regularly produced the same songs by different artists. In summer 1967, the Temptations recorded For Once In My Life, and included their take “” like all the others, read as a ballad “” in their live repertoire. At about the same time Stevie Wonder, still a teenager, gave it an exuberant, uptempo treatment. Gordy didn”t like Stevie”s versions and declined to release it. When, at the bidding of Billie Jean Brown, head of Motown”s Quality Control Department (!), it was released as a single (and title song of Stevie’s new LP) in late 1968, it became a massive hit, peaking at #2 (topping the charts was another Motown hit Gordy had previously vetoed, Marvin Gaye”s I Heard It Through The Grapevine).
Ron Miller wrote other hits for Stevie Wonder: Heaven Help Us All, Yester-Me Yester-You Yesterday, and A Place In The Sun. But before Stevie had a hit with For Once In My Life, it was considered Tony Bennett”s song. When Ella Fitzgerald introduced it on her 1968 Live in Berlin album (recorded before Stevie”s version was issued), she described it as Bennett”s song. A few years ago, Bennett and Wonder finally sang the song together, on the former”s album of duets. The pair took Grammies home for their efforts, and performed the song at the awards ceremony where Stevie dedicated it to his recently deceased mother and Bennett to”¦his sponsors.
Also recorded by: Barbara McNair (1966), Tony Bennett (1967, Carmen McRae (1967), Nancy Wilson (1968), Ella Fitzgerald (1968), Vikki Carr (1968), Dorothy Squires (1969), Jim Nabors (1969), Mantovani (1969), Erma Franklin (1969), Charlie Byrd (1969), Nancy Sinatra (1969), Andy Williams (1969), Slim Jim (1969), O.C. Smith (1969), Frank Sinatra (1969), Sammy Davis Jr. (1970), Bill Medley (1970), James Brown (1970), Kiki Dee (1970), Cilla Black (1970), Dean Martin (1971), John Farnham (1971), The Rance Allen Group (1973), Gladys Knight & The Pips (1973), Peter Nero (1974), Roberto Carlos (1979), Dean Martin (1986), Pia Zadora (1986), Frank Sinatra, Gladys Knight & Stevie Wonder (1994), Dionne Farris (1996), Jack Jones (1998), Patti Austin (1999), Trijntje Oosterhuis (1999), Vonda Shephered (2001), Justin Guarini (2002), Michael Bublé (2003), Natalia (2003), Harry Connick Jr (2004), Stefan Gwildis (as Es kommt eine Zeit, 2005), Michael Fucking Bolton (2006), Gilbert Montagné (2006), Michael McDonald (2008) a.o.
.
Boffalongo – Dancing In The Moonlight (1970).mp3
King Harvest – Dancing In The Moonlight (1972).mp3
When Toploader had a UK top 10 hit with Dancing In The Moonlight in 2000, the question of who originally recorded the song became a popular piece of trivia. Most self-appointed quiz masters got it wrong. Dancing In The Moonlight was written by Sherman Kelly of the not very successful American band Boffalongo, which recorded the song in 1970. Sherman”s brother Wells was the drummer for King Harvest (named after the song by The Band), and introduced the song to his group, which recorded it in 1972 and had their one big hit with it.
The Toploader version, which I see no cause for featuring here, was a bit of a joke in that the singer even copied the frog-in-the-mouth diction of King Harvest singer (evraburdy’s dancin’ in moonlight). The Boffalongo version, it may be noted, also features some serious drawling.
Also recorded by: Young Generation (1973), Liza Minnelli (1973), The Keane Brothers (1979), M.O.T.O. (1991), Baha Man (1994), Joe Esposito (1996), Toploader (2000), Aswad (2002), David Kitt (2005), Orleans (2005), Jack Wagner (2005) a.o.
.
The Valentine Brothers – Money”s Too Tight (To Mention) (1982).mp3
Simply Red – Money”s Too Tight (To Mention) (1985).mp3
The lyrics of this song have recovered pertinence in the aftermath of greedy capitalist bastards selling the world economy down the toilet. The economy was not in a great state in the early “80s, so money was pretty tight then.
Money”s Too Tight To Mention was Simply Red”s breakthrough hit in the summer of 1985, creating what seemed to be a fresh take on an old soul number. It was, in fact, a cover of a song barely three years old (the Reaganomics reference, of course, hints at that). But even in its original form, the track sounds like a “60s throwback, musically and lyrically. The narrative borrows from down-on-luck numbers such as Sam Cooke”s A Change Is Gonna Come (absent the trace of optimism), and musically you can imagine Otis Redding singing it. Simply Red”s take is not wildly different from the funkier Valentine Brothers” version. And the iconic exclamation, “Cut-back!” is there in the original.
The Valentine Brothers, a duo from Ohio (one of whom, Billy, had been a member of jazz trio Young-Holt Unlimited), never enjoyed much success, their career fizzling out after a couple of albums. Billy Valentine still seems to be recording and writing. I”ve once read that, happily, the brothers didn”t sell the right to Money”s Too Tight, which will have brought in a fair amount of royalties.
Also recorded by: Nobody I could find
.
Hoagy Carmichael – Georgia On My Mind (1930).mp3
Mildred Bailey – Georgia On My Mind (1931).mp3
Billie Holiday – Georgia On My Mind (1941).mp3
Ray Charles – Georgia On My Mind (1960).mp3
Georgia On My Mind was a standard long before Ray Charles recorded it, but when he did, he made the song his own. It was written by Hoagy Carmichael and lyricist Stuart Gorrell in 1930. The Georgia of the title was originally intended to refer to Hoagy”s sister, but realising that the words could apply also to the southern US state, Carmichael and Gorrell were happy to keep things ambiguous. The plan worked: the song was a massive hit especially in the South, and since 1979 it has been the state song of Georgia (a better choice than the tourist-unfriendly Rainy Night In Georgia, the loser-comes-home Midnight Train To Georgia, or the infrastructure-deficient The Lights Went Out In Georgia).
Carmichael”s version features jazz legend Bix Beiderbecke on cornet. He died a few months later at 28, but Carmichael went on to enjoy a long career, and is perhaps even better known for Stardust and Heart And Soul than he is for Georgia (which he nonetheless re-recorded a few times). Frankie Trumbauer scored a hit with the song in 1931, as did Mildred Bailey with her very appealing version.
Ray Charles, who was born in Georgia but grew up in Florida, recorded his version in 1960, reportedly at the advice of his driver who had heard Ray sing it to himself in the car. It was an instant hit, topping the US charts, and became something of a signature tune for Ray. When Georgia adopted the song, two years before Hoagy”s death, it was Ray Charles who performed it at ceremony in Atlanta. Willie Nelson sang Georgia On My Mind at Ray”s funeral.
Also recorded by: Frankie Trumbauer & his Orchestra (1931), Milded Bailey (1932), Louis Armstrong (1932), Gene Krupa (1941), Billie Holiday (1941), Artie Shaw & his Orchestra (1942), Fats Waller (1942), Jo Stafford (1946), Peggy Lee (1946), Frankie Laine (1953), Dean Martin (1955), Eddy Arnold (1958), Lawrence Welk (1960), Rusty Draper (1960), Oscar Peterson Trio (1962), Lou Rawls (1963), Richard Chamberlain (1963), The Righteous Brothers (1963), Jimmy Smith (1963), Jackie Wilson (1965), The Spencer Davis Group (1965), Doc Severinsen (1966), Tom Jones (1966), Gonks (1966), Wes Montgomery (1968), Anita Kerr (1968), Jerry Reed (1969), Bobby “˜Blue” Bland (1969), James Brown (1970), Geoff & Maria Muldaur (1970), Herbie Mann (1973), Glenn Barber (1974), The Band (1976), Mike Auldridge (1976), Deep Purple (1976), Jerry Lee Lewis (1977), Jerry Lee Lewis (1977), Willie Nelson (1978), Cold Chisel (1978), Mina (1978), Willie Nelson (1980), Nat Gonella (1981), Ella Fitzgerald & Joe Pass (1983), Stanley Jordan (1987), Michael Fucking Bolton (1989), George Adams (1989), Maceo Parker (1992), James Brown (1992), Bobby Kimball (1993), Shirley Horn (1993), Emilio Aragón & Greta (1996), Günther Neefs (1997), Crystal Gayle (1999), Roderick Paulin (1999), Coco Schumann (1999), Boston Brass (2001), Van Morrison (2002), Booker T. & the MG’s (previously unreleased, 2003), Steve Tyrell (2003), Joeri (2004), John Scofield (2005), Nicoletta (2006), Gerald Albright (2006), Jools Holland and His Rhythm & Blues feat. india.arie (2006), Willie Nelson & Wynton Marsalis (2008), Russell Watson (2008) a.o.
.
Tony Joe White – Rainy Night In Georgia (1969).mp3
Brook Benton – Rainy Night In Georgia (1970).mp3
Ray Charles – Rainy Night In Georgia (1972).mp3
Randy Crawford – Rainy Night In Georgia (1981).mp3
Louisiana-born “swamp rocker” Tony Joe White was only19 when he wrote Rainy Night In Georgia in 1962. He didn”t release the song until seven later, and even then it was his Polk Salad Annie which grabbed all the attention (covered to good effect by Elvis). At the same time, deep-voiced soul veteran Brook Benton was looking for a hit to launch his comeback on an Atlantic subsidiary, Cottillion Records. The legendary Jerry Wexler alerted Benton to White”s song, and the singer scored a massive 1970 hit with his version, produced by the great Arif Mardin.
Rainy Night In Georgia has been recorded many times (ex-Temptations singer David Ruffin put down a version at about the same time as Benton did; it was not released until 2004), as soul and as country songs. Ray Charles (1972) put his own blues spin on it, taking the tune to unexpected places. But my favourite version is that from 1981 by Randy Crawford, one of soul”s finest but least appreciated singers, whose clear and warm voice captures the resigned spirit of the lyrics exquisitely.
Also recorded by: Nat Stuckey (1970), Boots Randolph (1970), Johnny Rivers (1970), Ken Parker (1970), Wynn Stewart (1970), Tennessee Ernie Ford (1971), Hank Williams Jr (1974), John Holt (1977), Tony Worsley (1990), Amos Garrett (1992), Ross Hanniford Trio (1994), Sam Moore & Conway Twitty (1994), Beaucoup Blue (2005), Boozoo Bajou (2006), Hem (2006), Aaron Neville feat. Chris Botti (2006) a.o.
.
More Originals
Jerry Jeff Walker – Mr. Bojangles (1968).mp3
Bobby Cole ““ Mr. Bojangles (1968).mp3
Nitty Gritty Dirt Band ““ Mr. Bojangles (1971).mp3
Sammy Davis Jr ““ Mr. Bojangles (1972).mp3
There is no truth to the old chestnut that Mr Bojangles tells the story of the great Bill Robinson. Folk/country singer Jerry Jeff Walker, who wrote and first recorded the song, tells the story of being in a New Orleans holding cell for public disorderliness with, among others, a street dancer (a white one, because cells were segregated). These public performers were generically nicknamed Bojangles (after Robinson). This man told his tales of life and of his grief for his dog. Urged on by the other cellmates, he proceeded to give them a tap dance. In 1968, three years after the incident, Walker recorded the song about that experience. Mr Bojangles is by far his most famous contribution to popular music. The second-most important would be to inspire Townes van Zandt to start writing songs.
The song was covered by several well known performers but became a hit only in 1971, when the Nitty Gritty Band took it the US #9, drawing from Walker”s folk arrangement. The best, and probably best-known, version was recorded a year later, drawing from the arrangement of Bobby Cole”s version (props to Ill Folks blog), which was in the lower reaches of the US charts at the same time as Walker”s. Cole added to the song the vaudeville sounds which evoked the tap-dancing ambience. It was that quality of Cole”s version from which Sammy Davis Jr seems to have drawn. Sammy was a hoofer himself, of course, so in his younger days would have known many characters such as Mr Bojangles, even in his family of entertainers. Sammy could identify with the song, and he delivers a beautiful performance, with the right mix of carefree spirit (the whistling) and drama which his protagonist projects. To some the line about the dog gone dying might be overwrought; I get goosebumps when I hear it.
Also recorded by: Rod McKuen (1968), Neil Diamond (1969), The Byrds (1969), Harry Nilsson (1969), Neil Diamond (1969), Lulu (1970), Harry Belafonte (1970), John Denver (1970), Ronnie Aldrich & his Two Pianos (1971), Nina Simone (1971), King Curtis (1971), Nancy Wilson (1971), David Bromberg (1972), John Holt (1973), Bob Dylan (1973), Esther Phillips (1986), Chet Atkins (1996), Edwyn Collins (1997), Steve Hall (1997), Whitney Houston (1998), Magna Carta (2000), Robbie Williams (2001), Jamie Cullum (2003), Luba Mason (2004), The Bentones (2005), Ray Quinn (2007) and loads of others for whom I have no years of recording: Frank Sinatra, Glenn Yarbrough, Arlo Guthrie, Frankie Laine, Elton John, Michael Bublé, and more.
—————-
Pino Donaggio – Io che non vivo (senza te).mp3
Dusty Springfield ““ You Don”t Have To Say You Love Me.mp3
Pino Donaggio is best known as a composer of the scores for films such as Don”t Look Now, Carrie and Dressed To Kill. But before that, he was a big pop star in Italy, having abandoned the classical training he received as a teenager (and which prepared him for his soundtrack career) for pop after performing with Paul Anka in the late 1950s.
He performed Io che non vivo (senza te), which he wrote with Vito Pallavicini, at the San Remo Festival in 1965 with the country singer Jody Miller. Dusty Springfield was there and then asked Vicki Wickham, producer of the British music TV show Ready Steady Go! and a songwriter, to set the song to English lyrics for her. Wickham asked Simon Napier-Bell (one-time manager of the Yardbirds, Marc Bolan and Wham!) to help her. Napier-Bell later remembered that they wrote the lyrics in a taxi. Springfield”s version (reportedly recorded in 47 takes) was released in 1966 and became one of her signature hits.
The original title means, roughly translated, “I, who cannot live without you”. My Italian being rusty, I have no idea how Donaggio riffed on that theme (EDIT: Paolo helps us out in the comments section). The English lyrics express the “If you love someone, let them go” motto. The intent of the lyrics may be the converse of the original (I don”t know, and nor did Napier-Bell), but the dramatic arrangement does not differ substantially “” other than Dusty”s mighty, heartbroken vocals begging the object of her unrequited affection to decline her offer of romantic freedom.
Also recorded by: Smokey Robinson & the Miracles (1966), John Davidson (1966), Carla Thomas (1966), Cher (1966), Vikki Carr (1966), Jackie De Shannon (1966), Connie Francis (1967), Matt Monro (1967), Bill Medley (1968), Kiki Dee (1970), Elvis Presley (1970), Guys & Dolls (1976), Helen Reddy (1981), Tanya Tucker (1981), Ferrante & Teicher (1992), Maureen McGovern (1992), Denise Welch (1995), Clarence Carter (1997), Brenda Lee (1998), Marti Jones (2000), Fire-Ball (2004), Jill Johnson (2007), John Barrowman (2008), Shelby Lynne (2008) a.o.
—————-
The Strangeloves ““ I Want Candy.mp3
Bow Wow Wow ““ I Want Candy.mp3
I Want Candy originally was a Bo Diddley-inspired 1965 US #11 hit for the Strangeloves, a joke project of songwriter/producers Bob Feldman, Jerry Goldstein and Richard Gottehrer (the latter would go on to produce the likes of Blondie and the Go-Go”s, and co-founded the Sire label on which Madonna launched her career). The conceit was that the Strangeloves were Australian brothers who had made a fortune by crossbreeding a new type of sheep, named after Gottehrer. The gag did not acquire much public traction, but it did present a problem when I Want Candy”s success imposed the demand for live performances by the Strangeloves. The three producers solved the problem by putting together a band of session musicians. Their adventures on the road will form part of the story in the next entry.
The touring versions of the Strangeloves were artificially put together, as were Bow Wow Wow 15 years later, albeit with much more of a plan. After he had finished managing the punk version of the Spice Girls, Malcolm McLaren went on to inspire Adam Ant & the Ants to success, and just as the group got there, stole the Ants from Adam to form a new group, Bow Wow Wow, in 1980. Ever mindful of the gimmick imperative, he found a precocious 14-year-old girl to front the band, Burmese-born Annabella Lwin (born Myint Myint Aye, which allegedly means High High Cool “” my Burmese is as rusty as my Italian).
Lwin was not shy to flaunt her sexuality, appearing nude on the cover of the group”s debut album, simply titled See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over Go Ape Crazy. The now15-year-old”s parents were so outraged that they threatened to institute legal action against McLaren. Evidently Malcolm got the girl”s parents around to his point of view: the single cover for I Want Candy depicted Annabella again in a state of some undress. McLaren, incidentally, had considered a second singer to partner Lwin, but the artist he had in mind, going by the name Lieutenant Lush, was considered to wild. The disorderly vocalist went on to find success as Boy George.
Bow Wow Wow”s 1982 version of I Want Candy was produced by Kenny Laguna, who at the time was scoring big with singers such as Joan Jett and Kenny Loggins. The story goes that Laguna had the band already in the Florida studio to record the song when he realised that he had no recording, no lyrics and no songsheet for it. So he got in touch with Richard Gottehrer (at the time in a studio recording another cover version, the Go-Go”s Vacation) who taught him the song over the telephone. Gottehrer also had to persuade Laguna that the guitar hook was an integral part of the song. Bow Wow Wow were not pleased with what they considered a bubble gum song. Still, it was their only hit, reaching #9 in the UK. It was only a minor hit in the US. Yet, strong rotation on MTV ensured its status as an “80s classic.
Also recorded by: Brian Poole And The Tremeloes (1965), The Bishops (1978), The Bouncing Souls (1994), Chrome (1995), Candy Girls (1996), Black Metal Box (1997), Aaron Carter (1998), Good Charlotte (2001), Melanie C (2007)
—————-
The Vibrations – My Girl Sloopy.mp3
The McCoys ““ Hang On Sloopy.mp3
The Debs – Sloopy’s Gonna Hang On.mp3
Earlier in the series, The McCoys featured with their original of Sorrow, famously covered by David Bowie. Oddly enough, the group”s 1965 signature hit, Hang On Sloopy, was a cover version, of the Vibrations” 1964 US top 30 hit My Girl Sloopy, written by the legendary Bert Berns (who also had an association with the Strangeloves) and Wes Farrell. The Vibrations were a soul group from Los Angeles which kept going well into the 1970s; one if their members, Ricky Owens, even joined the Temptations very briefly. Several of their songs are Northern Soul classics (which basically means that they were so unsuccessful that the records are rare).
I promised in the entry for I Want Candy that the story of the Strangeloves would have a sequel. Our three producer heroes were on tour, shadowing the session musicians playing their songs, when they decided My Girl Sloopy should be the follow-up to I Want Candy. The Dave Clark Five, on tour with the Strangeloves, got wind of it, and said they”d record Sloopy too. So the Strangelove trio, afraid that the Dave Clark Five might have a hit with the song before they could release theirs, acted fast to scoop the English group. They recruited an unknown group based in Dayton, Ohio, called Rick and the Raiders, renamed them The McCoys, and in quick time released the retitled Hang On Sloopy.
But it wasn”t all the McCoys playing on the single, only singer Rick Zehringer (later Derringer) performed on it “” his vocals having been overlaid on the version already recorded by the Strangeloves, and a guitar solo added to it. The single was a massive hit, reaching the US #1. In 1985 it was adopted as the official rock song of Ohio (honestly). And, for the hell of it, there”s also the answer song by The Debs. Oh, and the Sloopy of the title is jazz singer Dorothy Sloop.
Also recorded by: The Invictas (1965), Quincy Jones (1965), Little Caesar & The Consuls (1965), The Newbeats (1965), The Yardbirds (1965), Jan & Dean (1965), The Eliminators (1966), The Raves (1966), The Wailers (1966), Ramsey Lewis Trio (1966), The Phantoms (1966), The Supremes (1966), The Fevers (1966), Count Basie & his Orchestra (1968), The Lettermen (1970), Ramsey Lewis (1973), Skid Row (1976), BAP (1980, in the Cologne dialect Kölsch), Daddy Memphis (1998), Aaron Carter (2000), Die Toten Hosen (2000), Saving Jane (2006)
—————-
Don Gibson – I Can’t Stop Loving You.mp3
Ray Charles – I Can’t Stop Loving You.mp3
It is a mark of Ray Charles” genius that he, the Father of Soul, took a country song to the US #1, still sounding like a country song. It is fair to say that sometimes there is a pretty thin line between southern soul and country. Brook Benton is perhaps the best example of a soul singer casually entering country territory. Indeed, it is that cross-germination of white country and black R&B which helped give rise to Rock & Roll, a musical form of racial integration which anticipated the intensification of the civil rights struggle. But that is a debate for another day, unhelpfully dealt with in 35 words.
When Ray Charles released his seminal Modern Sounds in Country and Western Music (in 1962, at the height of the civil rights struggle), he let it be known that country music has soul “” an elementary truth which the haters of the genre have too easily ignored. Don Gibson, hardly the prototype for sweaty, sexy party music, had soul. You can hear it on his 1958 original of I Can”t Stop Loving You, one of 150 country songs shortlisted for the Ray Charles LP. If anything, Ray Charles (and arranger Sid Feller) added Nashville schmaltz to the song. Indeed, it is the one song on the album that is still recognisably a country number. This wasn”t Charles” first foray into country. A few years earlier he had recorded Hank Snow”s I”m Movin” On.
Gibson recorded I Can”t Stop Loving You during the same December 1957 session that produced the great country classic, Oh Lonesome Me (which Johnny Cash later covered to great effect, and one of the few covers Neil Young ever recorded). I Can”t Stop”¦ was the b-side to Oh Lonesome Me, a US top 10 hit. Before Ray Charles got hold of it, the song had already been covered several times, including a version by Roy Orbison. Indeed, at the same time the song was a b-side for Gibson, Kitty Wells had a big hit with it in the country charts.
Also recorded by: Kitty Wells (1958), Roy Orbison (1960), Rex Allen (1961), Rick Nelson (1961), Tab Hunter (1962), John Foster (as Non finirò d’amarti, 1962), Connie Francis (1962), Bobby Sitting & the Twistin’ Guy’s (1962), Hank Locklin (1962), Grant Green (1962), The Ventures (1963), Count Basie (1963), Peggy Lee (1963), Paul Anka (1963), Webb Pierce (1963), Ferlin Husky (1963), Floyd Cramer (1964), Faron Young (1964), Jim Reeves (1964), Jean Shepard (1964), Nancy Wilson (1964), Chet Atkins & Hank Snow (1964), Frank Sinatra & Count Basie (1964), Dinah Shore (1965), Tom Jones (1965), Gene Pitney (1965), George Semper (1966), Tennessee Ernie Ford (1966), Bettye Swann (1967), Pucho & the Latin Soul Brothers (1968), Jimmy Dean (January 1968), Long John Baldry (1968), Jerry Lee Lewis (1969, as a blues), Elvis Presley (1969), Jim Nabors (1970), Eddy Arnold (1971), Charlie McCoy (1972), Conway Twitty (1972), Sammi Smith (1977), Jerry Lee Lewis (1979, as a country song), Van Morrison (1991), Arlen Roth (1993), Diane Schuur & B.B. King (1994), Anne Murray (2002), John Scofield (2005), Mica Paris (2005), Martina McBride (2005) a.o.
More Originals
|
|||||||
1487
|
dbpedia
|
3
| 9
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
en
|
The 50 Greatest Bob Marley Songs
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Get-Up-Stand-Up22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/NoWoman.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Redemption-Song”-—-‘Uprising’-1980.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Trench-Town-Rock-—-Non-Album-Single-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22I-Shot-the-Sheriff22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Concrete-Jungle22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Positive-Vibration22-—-Rastaman-Vibration-1976.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Buffalo-Soldier22-—-Confrontation-1983.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Natural-Mystic22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Soul-Rebel22-—-Soul-Rebels-1970.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Roots-Rock-Reggae22-—-Rastaman-Vibration-1976.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Stir-It-Up22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Lively-Up-Yourself22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22No-More-Trouble22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Them-Belly-Full22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Kaya22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Small-Axe22-—-African-Herbsman-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Burnin-and-Lootin-22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Sun-Is-Shining22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Slave-Driver22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Selassie-Is-the-Chapel22-—-Non-Album-Single-1968.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Put-It-On22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22African-Herbsman22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Duppy-Conqueror”-—-‘African-Herbsman’-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Marley.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/wailers.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/BobMarley.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/OneLove.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Natty-Dread22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Nice-Time22-—-Non-Album-Single-1967.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Waiting-in-Vain22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Exodus22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Bobbb.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/CouldYouBeLoved.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Three-Little-Birds.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Stand-Alone”-—-‘Soul-Revolution’-1971-—.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Jamming22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Caution22-—-The-Best-of-the-Wailers-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Guava-Jelly.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/So-Much-Things-to-Say.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Bend-Down-Low.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Zimbabwe.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Fussing-and-Fighting”-—-‘Soul-Revolution’.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/KinkyReggae.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/War.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Night-Shift.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Midnight-Ravers.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Punky-Reggae-Party.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Lick-Samba.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/NattyDread.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif"
] |
[
"https://open.spotify.com/embed/playlist/7GKEOAYsKCKKVyUfIIxYVg?utm_source=oembed"
] |
[] |
[
""
] | null |
[
"David Browne",
"Jon Dolan",
"Patrick Doyle",
"Kory Grow",
"Will Hermes",
"David Marchese",
"Christopher Weingarten",
"Douglas Wolk"
] |
2020-02-05T16:00:45+00:00
|
Bob Marley's 50 greatest songs, from "Trench Town Rock" to "Jamming" and beyond
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
This list was originally published March 28th, 2014. It’s being republished in honor of what would have been Bob Marley’s 75th birthday, February 6th, 2020.
In the 1981 Rolling Stone obituary, Bob Marley biographer Timothy White wrote, “The pervasive image of Bob Marley is that of a gleeful Rasta with a croissant-sized spliff clenched in his teeth, stoned silly and without a care in the world. But, in fact, he was a man with deep religious and political sentiments who rose from destitution to become one of the most influential music figures in the last 20 years.”
Make that 50. Marley’s stature and influence as a singer, songwriter, and international pop-culture prophet have only grown since those words were written. He is a cornerstone of 21st-century music, covered by countless singers, sampled and quoted by just as many hip-hop acts whose artistic DNA is shaped profoundly by the Jamaican music Marley defined. His artistic fearlessness and social commitment remain an inspiration to activists, musical and otherwise. His songs of freedom have become universal hymns.
“Marley sang about tyranny and anger, about brutality and apocalypse, in enticing tones, not dissonant ones,” Mikal Gilmore wrote in 2005. “His melodies take up a resonance in our minds, in our lives, and that can provide admission to the songs’ meanings… He was the master of mellifluent insurgency.”
Those melodies sing on. Here are their stories.
|
|||||
1487
|
dbpedia
|
1
| 65
|
https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/
|
en
|
Artists who released one single…and nothing else
|
[
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/39/39070.jpg?1366561888",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/4/4798.jpg?1356122193",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/32/32893.jpg?1432680150",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/39/39070.jpg?1366561888",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/0/844.jpg?1361602876",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/styles/default/xenforo/avatars/avatar_m.png",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/38/38097.jpg?1512212393",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/13/13951.jpg?1352778295",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/32/32136.jpg?1425393954",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/10/10375.jpg?1352936257",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/31/31040.jpg?1402234535",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/38/38097.jpg?1512212393",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/42/42179.jpg?1380317936",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/38/38759.jpg?1364434619",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/6/6869.jpg?1705589240",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/39/39070.jpg?1366561888",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/17/17087.jpg?1352778314",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/6/6869.jpg?1705589240",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/20/20191.jpg?1352778328",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/images/smilies/thumpsup.gif",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/21/21824.jpg?1722101341",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/images/smilies/thumbsup2.gif",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/2/2395.jpg?1352778222",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/2/2395.jpg?1352778222",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/2/2395.jpg?1352778222",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/2/2395.jpg?1352778222",
"https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/data/avatars/m/2/2395.jpg?1352778222",
"https://forums.stevehoffman.tv/images/2017logo-780w-2.png"
] |
[
"https://www.youtube.com/embed/XKKM3JRWwF4"
] |
[] |
[
""
] | null |
[] | null |
There are plenty of instances of artists releasing a lone album and nothing else, but I was wondering how many examples there are when the artist's...
|
en
|
/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
|
https://forums.stevehoffman.tv/threads/artists-who-released-one-singleand-nothing-else.341442/
|
There are plenty of instances of artists releasing a lone album and nothing else, but I was wondering how many examples there are when the artist's only release was a single. I think it may be a little too difficult to find some artists who released one single and then were never heard from again because a lot of them are very obscure, so I'm also counting one off supergroups, solo releases and singles by singers or groups who later changed their names or joined/became other groups and may or may not have had success afterwards. However, I'm not counting singles released by already-established artists under one-off pseudonyms.
At the moment I can only think of three examples: the first is The Dum Dum Ditty / Sophisticated Boom Boom by The Goodies - no, not the British comedy trio; I'm referring to the American girl group signed to Blue Cat Records. This single was released in 1965, but after that there was nothing else from them (though it turns out they nearly got to record Leader of the Pack before it was given to The Shangri-Las, but the label were anxious about the song so they chanced it by giving the song to an already-established artist to record instead. Talk about so close yet so far).
The second is another single from 1965, Weekend People / I Get So Disgusted by The Mystics (or Mystic as they're named on the label). The group are still around from what I've heard, but this is the only record they've released.
http://www.youtube.com/watch?v=JwrTRguDQEw
(For the record, the 'George Martin' credited as coproducer of this song is not the George Martin - it's someone else with the same name)
The third is Bev Bevan's Let There Be Drums / Heavy Head, released in 1976. This is one of the lone solo releases; he was already an established drummer, having played with The Move and ELO, but this single is his only solo release to date. It's nothing too special, but it did result in a reunion of sorts of the original ELO line-up on the b-side.
http://www.youtube.com/watch?v=sKvVokm7NYU
EDIT: Just removed the Emerson single because it turns out they released another song called Maybe Someday that appeared on a comp sometime after their single.
Yeah, it's most likely the majority of artists who've existed never got past one single, but it's also most likely that they're greatly overlooked and lots of music listeners haven't heard of them at all, and most likely it's as a result of the fact that they never released anything else and only have a couple of songs to represent them (at least performance-wise) when compared to artists who released other singles, even if the lone single charted. Even if the artist went on to have greater fame afterwards in another band or under a different name, the lone single is still often overlooked, especially by those who aren't familiar with the successful act the artist joined/became. Take the Larry Lurex single you mentioned for example - I can guarantee that there are a lot of Queen and Freddie Mercury fans who either haven't heard of it or (in my case) hadn't until much later after they became more familiar with Queen or Freddie Mercury outside a handful of the hit singles. I'm sure there are people who've heard of it who aren't too familiar with Queen, but honestly the reason the single is best remembered for is because of Freddie Mercury's involvement.
All I'm trying to do is highlight these overlooked lone singles, get users to participate by giving examples and hopefully introduce others to these artists.
Great idea for a thread, but The Goodies don't really qualify-- They had other records: Condition Red and an incredible version of Double Shot (Of My Baby's Love). More details:
http://en.wikipedia.org/wiki/The_Goodees
|
||||
1487
|
dbpedia
|
0
| 91
|
https://www.toledoblade.com/business/development/2024/08/02/thrills-over-theme-cedar-points-meteoric-rise-from-regional-resort-amusement/stories/20240728028
|
en
|
Thrills over theme: Cedar Point’s meteoric rise from regional resort to national flagship
|
[
"https://a9a1263f9caafb223a0e-ed6332b96e149fbe46aac9e4618971f3.ssl.cf2.rackcdn.com/images/pgmisc/facebook-messenger-icon-75px.png"
] |
[
"//www.googletagmanager.com/ns.html?id=GTM-TR3FCT"
] |
[] |
[
"Toledo Blade",
"Development"
] | null |
[] |
2024-08-02T00:00:00
|
SANDUSKY — When businessmen George A. Roose and Emile Legros announced their intention to buy Cedar Point in 1956, their plans to turn the amusement park ...
|
en
|
/apple-touch-icon.png?v=lk2d0BAGPx
|
The Blade
|
https://www.toledoblade.com/business/development/2024/08/02/thrills-over-theme-cedar-points-meteoric-rise-from-regional-resort-amusement/stories/20240728028
| |||||
1487
|
dbpedia
|
0
| 2
|
https://relix.com/blogs/detail/17_lost_hits_of_1965/
|
en
|
17 “Lost” Hits of 1965
|
[
"https://www.facebook.com/tr?id=1470182086346459&ev=PageView&noscript=1",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/jambands_icon--grey.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/jambands_icon--grey.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/mobileMenu.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/mobileMenu.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/relix-logo.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/relix-logo.png",
"https://relix.com/wp-content/uploads/2024/07/July-cover-FINAL_nobarcode_1080wide.jpg",
"https://relix.com/wp-content/uploads/2024/07/July-cover-FINAL_nobarcode_1080wide.jpg",
"https://relix.com/wp-content/uploads/2023/12/classic-dad-hat-white-front-6650c7a2b6097.webp",
"https://relix.com/wp-content/uploads/2023/12/classic-dad-hat-white-front-6650c7a2b6097.webp",
"https://relix.com/wp-content/uploads/2023/12/106_cdf0ad38-4e57-46e8-914c-2f423f7d8abb.webp",
"https://relix.com/wp-content/uploads/2023/12/106_cdf0ad38-4e57-46e8-914c-2f423f7d8abb.webp",
"https://relix.com/wp-content/uploads/2023/12/20230511_DMB_issueBundle_1080x1080_fa9334a1-34fa-486c-a0b0-5815b88336e3.webp",
"https://relix.com/wp-content/uploads/2023/12/20230511_DMB_issueBundle_1080x1080_fa9334a1-34fa-486c-a0b0-5815b88336e3.webp",
"https://relix.com/wp-content/uploads/2023/12/aikoAikoPin_1080x1080_6920367d-fa9c-4f85-aa47-c1abde262155.webp",
"https://relix.com/wp-content/uploads/2023/12/aikoAikoPin_1080x1080_6920367d-fa9c-4f85-aa47-c1abde262155.webp",
"https://relix.com/wp-content/uploads/2023/12/MUSICPRO_1000x.webp",
"https://relix.com/wp-content/uploads/2023/12/MUSICPRO_1000x.webp",
"https://relix.com/wp-content/uploads/2023/12/2024_yinYang_tshirt_1080x1080_4904dc3a-97e5-416b-875b-a103120b8236.webp",
"https://relix.com/wp-content/uploads/2023/12/2024_yinYang_tshirt_1080x1080_4904dc3a-97e5-416b-875b-a103120b8236.webp",
"https://relix.com/wp-content/uploads/2023/10/eggy_vinylOnly_1080x1080_6ea88890-80c8-4421-9797-27c9a6b001b5.webp",
"https://relix.com/wp-content/uploads/2023/10/eggy_vinylOnly_1080x1080_6ea88890-80c8-4421-9797-27c9a6b001b5.webp",
"https://relix.com/wp-content/uploads/2023/12/ad06c8a55b565b24ca6f91e9a963b71b85322a2fce0d19b2a90641fe6e4e8184_720x.webp",
"https://relix.com/wp-content/uploads/2023/12/ad06c8a55b565b24ca6f91e9a963b71b85322a2fce0d19b2a90641fe6e4e8184_720x.webp",
"https://relix.com/wp-content/uploads/2023/10/toddler-staple-tee-pink-front-664e2dbe54d99.webp",
"https://relix.com/wp-content/uploads/2023/10/toddler-staple-tee-pink-front-664e2dbe54d99.webp",
"https://relix.com/wp-content/uploads/2023/12/2023_danielDonato_reflector_relixRedVariant_1080x1080_85c70830-dcb1-4a92-be79-e44443b89591.webp",
"https://relix.com/wp-content/uploads/2023/12/2023_danielDonato_reflector_relixRedVariant_1080x1080_85c70830-dcb1-4a92-be79-e44443b89591.webp",
"https://relix.com/wp-content/uploads/2023/12/2024_tapeStack_sticker_1080x1080_2db3767d-4874-49e9-8126-255cc23d6a3a.webp",
"https://relix.com/wp-content/uploads/2023/12/2024_tapeStack_sticker_1080x1080_2db3767d-4874-49e9-8126-255cc23d6a3a.webp",
"https://relix.com/wp-content/uploads/2023/10/2024_philLesh_Friends_martianCrewneck.webp",
"https://relix.com/wp-content/uploads/2023/10/2024_philLesh_Friends_martianCrewneck.webp",
"https://relix.com/wp-content/uploads/2024/08/unnamed-6-100x70.jpg",
"https://relix.com/wp-content/uploads/2024/08/unnamed-6-100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/unnamed-7-1-100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/unnamed-7-1-100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/Tab-Benoit-Jean-Frank-Photography--100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/Tab-Benoit-Jean-Frank-Photography--100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/DSC_3619-100x70.jpg",
"https://relix.com/wp-content/uploads/2024/07/DSC_3619-100x70.jpg",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/relix-logo.png",
"https://relix.com/wp-content/themes/Relix/images/_pages/_global/relix-logo.png",
"https://relix.com/wp-content/uploads/2018/11/0.jpg",
"https://relix.com/wp-content/uploads/2018/11/0.jpg",
"https://relix.com/wp-content/uploads/2018/11/Screen-Shot-2018-12-05-at-2.24.45-PM-1.jpg",
"https://relix.com/wp-content/uploads/2018/11/Screen-Shot-2018-12-05-at-2.24.45-PM-1.jpg",
"https://pixel.quantserve.com/pixel/p-9QHtmaHzhaG_g.gif"
] |
[
"https://www.youtube.com/embed/tbrsvmHWxio",
"https://www.youtube.com/embed/QtAc_CtmW7A",
"https://www.youtube.com/embed/hEDd8XbAZC4",
"https://www.youtube.com/embed/MtUz-gYbvNs",
"https://www.youtube.com/embed/Ll6oGHecVg0",
"https://www.youtube.com/embed/aXD1B2651X8",
"https://www.youtube.com/embed/1GcOMAG0w5Q",
"https://www.youtube.com/embed/h0Qhb6JPIrk",
"https://www.youtube.com/embed/IC42ZHJcJWg",
"https://www.youtube.com/embed/cq6jquFrb08",
"https://www.youtube.com/embed/PzIYODcRx_Y",
"https://www.youtube.com/embed/USof3kgU3yE",
"https://www.youtube.com/embed/uCx8qU8oAR0",
"https://www.youtube.com/embed/_G90MrE0-_M",
"https://www.youtube.com/embed/xbb8ZyTA43o",
"https://www.youtube.com/embed/0wNSHPQj0W8",
"https://www.youtube.com/embed/jf-cCL3TOCo"
] |
[] |
[
""
] | null |
[
"dean"
] |
2015-11-06T19:34:00+00:00
|
For many baby boomers, 2015 has served as something of a reality check as we’ve celebrated the 50th anniversary of the formation of the Grateful Dead,
|
en
|
Relix Media
|
https://relix.com/blogs/detail/17_lost_hits_of_1965/
|
For many baby boomers, 2015 has served as something of a reality check as we’ve celebrated the 50th anniversary of the formation of the Grateful Dead, Jefferson Airplane and several other bands that would later become game-changers. But in 1965, the 45 r.p.m. single was still where it was at—at least until the release of the Beatles’ Rubber Soul album in December. In fact, it was one of the greatest years ever for hit singles. For starters, there are these: “Satisfaction,” “Like a Rolling Stone,” “Yesterday,” “The Sounds of Silence” and “Mr. Tambourine Man.” You could easily write a book on the impact of any one of those songs!
Want more ammunition? How about “You’ve Lost That Lovin’ Feelin’,” the Phil Spector-produced Righteous Brothers masterpiece that, in 1999, BMI named the most played song of all time on radio and TV? There are plenty of other great songs from that year: From the Motown machine, there were the Temptations’ “My Girl,” the Miracles’ “The Tracks of My Tears” and the Four Tops’ “I Can’t Help Myself.” How about the Beach Boys’ “California Girls” and “Help Me, Rhonda,” James Brown’s “Papa’s Got a Brand New Bag” and the Yardbirds’ first, “For Your Love”? Even the year’s biggest-selling hit, “Wooly Bully” by Sam the Sham and the Pharaohs, remains, despite its inherent silliness, something of a classic.
But those mega-tunes only scratched the surface. There were dozens of other gifts to pop history that found their way to record buyers that year—some top 10s that have largely been forgotten and others that didn’t make that huge a dent at the time but should have. Here are 17 of them.
1) Sandie Shaw—“Girl Don’t Come”
When David Johansen of the New York Dolls launched his first solo tour in 1978, some astute audience members at his gig at New York’s Bottom Line noticed a photo of a sexy young brunette (sort of resembling a proto-Chrissie Hynde) perched on one of the amplifiers. Her real name was Sandra Goodrich but she was known professionally as Sandie Shaw. In the mid-’60s she’d been—along with Dusty Springfield, Cilla Black, Petula Clark and a few others—one of the reigning female stars in the U.K. In America her luck wasn’t as great. Signed to the Frank Sinatra-founded Reprise label in the U.S. she’d just missed the top 50 in 1964 with her classy cover of Bacharach-David’s “(There’s) Always Something There to Remind Me,” and this, her followup, didn’t fare much better. But “Girl Don’t Come,” written by Chris Andrews, is a stunningly framed, utterly compelling piece of music. In little more than two minutes, Shaw, to a shuffling rhythm straddling waltz and bossa nova, the melody punctuated by emotionally swirling choruses, regales the listener with a sorrowful tale of the humiliating pain of being stood up. “You wanna see her, oh, you wanna see her, oh, yeah, but you wait, you wait and wait, girl don’t come,” she sings, in the third person (no one in their right mind would stand up Sandie!), to the dejected male half of the date (it’s the girl that “don’t come,” remember). Shaw’s delivery is so sympathetic that you end up hoping that she’ll stand in for the MIA snob and give the guy a date he’ll remember, but we never do find out. As for Johansen, he loved Shaw enough to include a snippet of the song on the live album he ultimately released from those NYC gigs. Shaw was later re-discovered by a young British fellow named Morrissey, whose band the Smiths cut a hit track with her in 1984 called “Hand in Glove.” Today, although she remains active in political and social causes, Shaw is apparently retired from music, never having done a proper tour of the United States.
2) Adam Faith—“It’s Alright”
Adam Faith (1940-2003, nee Terence Nelhams-Wright) was virtually unknown in the U.S. but in his native Britain he was, for a short while, hot stuff, both as an actor and as one of a handful of pompadoured pre-Beatles pop stars who churned out a string of largely innocuous top 10 singles beginning in 1959. Oddly, “It’s Alright” wasn’t even released as a single at home, but in the U.S. it found its way to the independent Amy label and in early ’65 piqued interest at just enough radio stations to provoke a climb to the number 31 position in Billboard. The song is utterly uncharacteristic of Faith’s other, more sedate, work, but what a killer! Backed by his regular band the Roulettes (whose members Bob Henrit and Russ Ballard later joined Unit 4 + 2 and then Argent), Faith turned into a raging, growling rocker for this tune. It starts off almost drearily, Faith droning, “Well, if you want me it’s alright” a few times over a lone bluesy harmonica. Then, suddenly, without warning, Faith transforms into a maniacally obsessed demon with one thing on his mind: the lyrics throughout the record almost never deviate from variations on the repeated “If you want me, it’s alright” refrain, save for a few breaks to tell the recipient of this plea that she’s welcome to call him anytime and that he wouldn’t mind being held real tight. Just how does he feel about this girl though, really? This is our only clue and it’s slyly mysterious at that: “I really, really love you a lot, dear, really love you, so what dear, if you want me it’s alright.” So what? We really wouldn’t blame her for thinking maybe Adam—who only scored once more in the States, with a song that stalled at #97—was a wee bit too mercurial and intense to get involved with.
3) Sir Douglas Quintet—“She’s About a Mover”
They took a British-sounding name in order to appeal to the teenybopper set, and then the Sir Douglas Quintet went about creating one of the all-time great Texas rock classics. Doug Sahm was, at 23 when he formed the band, already a veteran within the state’s South Central region, having performed on stage and on the radio, largely in the country music field, since he was 5 years old (at 11, in 1952, he shared a stage with Hank Williams just before the country giant died). By ’64 though, with the British Invasion sweeping so much homegrown American music aside, multi-instrumentalist and singer Sahm decided to grab a piece of the action and formed a group—with Vox Continental organist Augie Meyers, bassist Jack Barber, horn man and keyboardist Frank Morin and drummer Johnny Perez—with the hope of fooling buyers into thinking they were English. Under the guidance of producer Huey P. Meaux, the Quintet released Sahm’s “She’s About a Mover” on Tribe Records, and although it bore almost nothing in common with the latest Brit imports—it fused a basic chugging Tex-Mex rhythm with simple blues changes—the song, with Sahm on lead vocals, soared to number 13 in the spring of 1965. Although the title phrase understandably caused some head scratching (what exactly did they mean by “about a mover”?), the danceable beat and the much less ambiguous lyrics (“Well, she strolled on up to me, and said, ‘Hey, big boy, what’s your name?’ Hey, hey”) caught on with the nation’s teens. The SDQ, with slightly altered lineup, returned to the singles chart three more times, most notably with 1969’s “Mendocino.” Sahm went on to enjoy an amazingly prolific solo career, with Meyers joining him on many of his subsequent ventures, most famously the Texas Tornados, an Americana supergroup that reigned from 1989 until Sahm’s death a decade later.
4) The Zombies—“Tell Her No”
Their first hit, 1964’s “She’s Not There,” made it immediately obvious that the Zombies were not like other British Invasion bands. For starters, their lead instrument was Rod Argent’s electric piano, not a guitar—his solo on the record was intricate, jazzy and technically flawless, and when combined with the breathy, sensuous lead vocal of Colin Blunstone, it gave the quintet (rounded out by guitarist Paul Atkinson, bassist Chris White and drummer Hugh Grundy) a refinement absent from most of their contemporaries’ music. A few months after their debut, the Zombies returned with another Argent-penned single on the Parrot label, “Tell Her No,” which traded in much of the complex arrangement of “She’s Not There” for a tighter rhythm, hookier melody and syncopated chorus. There really wasn’t much to it—in place of the first hit’s lyrical ambiguity was a cautionary tale (“if she tempts you with her charms,” stay away—she’s bad news), its titular refrain repeated ad infinitum (to be exact, the word “no” is sung 21 consecutive times in the chorus, just to make sure you got the message). Midway, the band breaks away and revs it up. “I know she’s the kind of girl who’d throw my love away,” Blunstone roars in a keening voice, “but I still love her so don’t hurt me now, don’t hurt me now.” All of this is set to a clever combination of major and minor chords, Argent repeating the same piano phrase in a hypnotic way that grabbed listeners, who sent it to number 6 on the chart (four points lower than “She’s Not There”). The Zombies would return one final time, with “Time of the Season,” from their album Odessey and Oracle, released in 1969—two years after they’d already split. Ignored at the time, O&O is now considered one of the great rock albums of all time. And Argent and Blunstone are still at it—since the ’90s, they’ve reunited several times and continue to create excellent music together. As this is being written, they’re currently on tour, perform Odessey & Oracle in its entirety, along with music from their new album, Still Got That Hunger, which recently became their first album to hit the Billboard charts since 1969.
5) Fontella Bass—“Rescue Me”
In the first 15 seconds, before Fontella Bass even opens her mouth, “Rescue Me” has already stopped you in your tracks with a driving bass line by Louis Satterfield and crackling drums played by one Maurice White, who would, several years later, find his way to massive success with a little band he put together called Earth, Wind and Fire. That formidable rhythm section was, for now, part of a virtuosic studio team at Chicago’s Chess Records, which was in sore need of some hits by 1965, long after its peak as one of the world’s greatest blues and early rock and roll labels, home to such American music legends as Howlin’ Wolf, Muddy Waters, Bo Diddley and Chuck Berry. Bass was no kid—at 25 the St. Louis-born singer had already logged a respectable number of years on the R&B and gospel circuits, most notably with the band of blues great Little Milton. An audition for Chess landed Bass a deal, and, on the company’s Checker imprint, she’d already scored a couple of chart hits in 1965 when an impromptu jam during some studio downtime led to what would become “Rescue Me.” Credited to producers/writers Carl Smith and Raynard Miner, the recording took shape after arranger Phil Wright and producer Billy Davis joined the club. (Bass later claimed to have co-written the lyrics, but, typical of the day, went uncredited.) At the session, Bass gave it her soulful all, backed by Chess’ in-house musicians (one of the guitarists on this record, Pete Cosey, would later become a key component of Miles’ Davis’ fusion-era lineup) and singer Minnie Riperton (later an R&B star in her own right). It’s a tour-de-force performance, packed with punchy horns and a sexy outro that leaves Bass “um-hmm”-ing to herself with only Satterfield’s bass offering support. The song’s sentiment isn’t complicated: “Rescue me, take me in your arms, rescue me, I want your tender charm, ’cause I’m lonely and I’m blue, I need you and your love too, come on and rescue me,” Bass sang. But it wasn’t the words themselves, or her Aretha-level vocal delivery (Franklin, in fact, later covered it), or even that all-star backing crew that made “Rescue Me” a number 4 hit in the fall of ’65; it was all of it, the entire package. It was ’60s dancefloor soul personified; to this day it still sounds electrifying and contemporary. Fontella Bass later married jazz musician Lester Bowie and tried her hand at jazz, gospel and soul recordings but she never again reached this level of fame. She died in 2012 at age 72.
6) Them—“Here Comes the Night”
To most American record-buying kids in the mid-’60s, “Gloria” was a rockin’ little top 10 record by a group out of Chicago called the Shadows of Knight. Few who bought it in 1966 had ever heard the original the previous year by some northern Irish quintet with the curious name Them, whose version crashed at number 93 in the States. Fewer still had probably given any consideration at all to the author credit on either version, which simply said Morrison. Over in the U.K., however, rock and roll fans were already hip to Them and their diminutive, later-to-be-legendary frontman, George Ivan Morrison, a.k.a. Van, who possessed a blues-informed voice as startlingly pure as Mick Jagger’s or Eric Burdon’s. Strangely, “Gloria” was a non-starter there, relegated to the B-side of an old blues standard, “Baby, Please Don’t Go,” which made the British top 10 in early ’65. For their followup, Them chose to cut “Here Comes the Night,” which wasn’t penned by Morrison but rather the aforementioned Bert Berns, an American songwriter and record producer who’d discovered the band during a U.K. visit in 1964 and offered his song and his services. “Here Comes the Night” had already been released by the singer Lulu a few months before Them’s version hit the market but had topped out at number 50, clearing the way for Them to give it a shot. Theirs took, ultimately making it all the way to number 2 in Britain on the Decca label and number 24 in the U.S., on Parrot Records. Typical of the times, the members of Them didn’t even play on their own recording—instead, Berns used studio musicians, including a young upstart guitarist named Jimmy Page, whose weighty, stinging chords and skippy rhythms provided a perfect complement to Morrison’s clenched-teeth tough but subtly vulnerable vocal, filled with tension and release. The song itself ? Little more than another what-are-you-doing-with-that-bum-instead-of-me tearjerker, but a classic nonetheless—and the real career launcher for one of the most significant artists of our time.
7) Roy Head—“Treat Her Right”
“Treat Her Right” is like a million other uptempo soul vamps based on traditional blues changes—except that it’s not. For starters, there’s the opening half-minute: lead guitar, crisp unison horns and a take-no-prisoners rhythm section holding court as the lead singer sets the scene. But that singer, Texan Roy Head, is in no hurry to do any singing—like the rest of us, he’s having too much fun grooving to his band, the Traits. “Ha, ha, ha, ha, ha, yeah, my man,” he says in a cool and sly voice. “Alright! Hey! Aw, you lookin’ good, baby!” That disposed of, he gets down to business: “I wanna tell you a story every man oughta know,” he continues. “If you want a little lovin’, you gotta start real slow/She’s gonna love you tonight now, if you just treat her right now.” And so it goes. It’s a life lesson, told by one who obviously knows of what he speaks. Written by Head and bassist Gene Kurtz, the track was recorded in Houston at Gold Star Studios and released on Don Robey’s Back Beat label, which promoted it till it reached number 2, kept out of the top spot only by the Beatles’ “Yesterday.” That latter song may be the most recorded of all time, but “Treat Her Right” has also had a good run, covered live or on record by everyone from Bob Dylan to Bruce Springsteen, Sammy Davis Jr. to Mae West. Take that, Paul McCartney! As for Roy Head, as of today he’s 74 and still at it, and still a showman to be reckoned with.
8) Mel Carter—“Hold Me, Thrill Me, Kiss Me”
Romantic ballads have always been around and will never go away, and that was so even at the height of the ’60s rock era. But few have ever been quite as unabashedly sexy as this one, cut in early 1965 for Imperial Records by the Cincinnati-born singer/actor Mel Carter. The song, written by Harry Noble (and bearing no relation whatsoever to U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” other than the lifted title), had been a hit for the largely forgotten Karen Chandler in 1953, in a comparatively orchestral big band arrangement conducted by Jack Pleis. Carter took it to another level, maintaining the orchestral setting, adding backup vocal and basic rock-soul instrumentation and imbuing the lyric with off-the-charts drama and sensuality. Noble’s lyric is inherently poetic and dreamy but it really reaches for the stars in the third verse: “They told me be sensible with your new love, don’t be fooled, thinking this is the last you’ll find,” Carter sings with appropriate caution. “But they never stood in the dark with you, love, when you take me in your arms and drive me slowly out of my mind.” That last bit, sung with bursting erotic desire by Mel Carter, who at 76 is apparently still performing, has to be a contender for the single most impassioned line ever put down on record, and that’s saying something.
9) The Fortunes—“You’ve Got Your Troubles”
By any measure, the Fortunes, from Birmingham, England, were not one of the top-tier groups of the British Invasion. But they did manage to place half a dozen chart hits in the U.S. and five at home, of which this top 10 single was their first and finest. They were, primarily, a vocal group, singing in harmony more often than not, and in fact every line of “You’ve Got Your Troubles,” save one, is rendered in close three-part harmony. It’s that one line, however, that jumps out and makes the song memorable. For the first two-and-a-half minutes, the group faithfully relays Roger Greenaway and Roger Cook’s sorry story of two sad-sack guys who’ve both lost their loves. “I see that worried look upon your face,” sings the first love-loser, only to be interrupted by love-loser number two, who doesn’t want to hear it: “You’ve got your troubles, I’ve got mine,” he offers. He then proceeds to relate how it was until one day it wasn’t: “She used to love me, that I know, and it don’t seem so long ago, that we were walking, that we were talking, the way that lovers do.” This goes on and on for a while, to a half-cheerier-than-it-should-be, half-melancholy folk-rock-ish melody arranged by Les Reed and punctuated by mournful trumpet and plucked guitar. Then, out of nowhere, that single solo vocal line breaks out, bassist Rod Allen stepping up to the plate: “It must seem to you, my friend, that I ain’t got no pity for you,” he sings, “well, that ain’t true, you see I lost my lost my lost my little girl too.” It only lasts a few seconds, those couple of lines, and then he’s gone back into the harmony pool, but the line sure does touch the heart and make us feel for the poor fellow. “You’ve Got Your Troubles” was later covered by a variety of artists from Brenda Lee to Neil Diamond, and the Fortunes, undergoing numerous lineup shifts along the way, remain active today. They returned to the U.S. charts notably with “Here It Comes Again” later in’65, and a full six years later with “Here Comes That Rainy Day Feeling Again.” The true success story here, though, were songwriters Greenaway and Cook, whose many subsequent hit compositions included the New Seekers’ “I’d Like to Teach the World to Sing (in Perfect Harmony)” and the Hollies’ “Long Cool Woman in a Black Dress.”
10) Jr. Walker & the All Stars—“Shotgun”
Sure, it’s easy to rave about Motown. This was, after all, the hit factory that produced dozens of timeless chart-toppers by Stevie Wonder, Marvin Gaye, Smokey Robinson, Diana Ross and the Supremes, the Temptations and so many others. But often lost in that shuffle are Jr. Walker & the All Stars, who churned out a string of proto-funky floor-shakers beginning with this one in early ’65. Walker was born Autry DeWalt Mixon Jr. in Arkansas in 1931, which made him considerably older than most of the label’s other mainstay artists. But his age also gave him some serious experience, and he was a killer saxophonist with a simultaneous streetwise and smooth style by the time Berry Gordy picked him and his group up. “Shotgun,” written by Walker and produced by Gordy, probably makes more out of a single chord (an A-flat 7th) than any other record in history, and it didn’t hurt that Gordy used some of his top studio musicians, including bassist James Jamerson (and possibly drummer Benny Benjamin, although there are no confirmed studio logs), on the session. “Shotgun” shot up to number 4 on Motown’s Soul subsidiary and was followed by such other R&B tunes—generally grittier in sound than was typical for Motown at that time—as “(I’m a) Roadrunner” and “Pucker Up Buttercup.” Walker enjoyed one more top 10, “What Does It Take (to Win Your Love),” in 1969, then faded from the charts by the ’70s with Motown’s move to L.A. He died of cancer in 1995.
11) The Shangri-Las—“I Can Never Go Home Anymore”
They were the darlings of Cambria Heights, Queens, a working-class neighborhood in outer New York City that wasn’t exactly known for producing hitmakers. But for a few years, they defied those odds several times over, beginning with “Remember (Walkin’ in the Sand)” and, just a couple of months later in the fall of 1964, the number 1 “Leader of the Pack,” as iconic a girl group record as the world has ever known. The Shangri-Las were originally two pairs of sisters, lead singer Mary (all of 15 when they signed with Red Bird Records) and Betty Weiss and identical twins Marge and Mary Ann Ganser. Aligned with producer George “Shadow” Morton, the Shangri-Las, looking like the tough, gum-chewing, wisecracking girls at school no one wanted to mess with, appealed to both teenaged girls and boys with their melodramatic sagas and real-life language (“When I say I’m in love, you’d best believe I’m in love, l-u-v,” began their timeless “Give Him a Great Big Kiss”). By the time they got around to “I Can Never Go Home Anymore” in the fall of ’65, the Shangs’ fortunes had already begun to wane but this Shadow Morton tune was strong enough to carry them to the top 10 one final time. Like many of their songs, it takes teen angst to a new level, Mary proclaiming at the get-go that if her annoying mom doesn’t leave her alone, she’s going to run away. Don’t do it, caution her friends, because there’s no turning back, but Mary doesn’t listen and … let’s just say it doesn’t end well: “Don’t do to your mom what I did to mine, she grew so lonely in the end, angels picked her for a friend.” And, as the song tells us at the very end, “That’s called sad.”
12) Joe Tex—“Hold What You’ve Got”
Joseph Arlington Jr. was born in Rogers, Texas, and as Joe Tex, he became one of the most successful and acclaimed R&B singers of the ’60s and early ’70s. Most of his hits, exemplified by the ass-kicking “Show Me” and the quasi-hilarious “Skinny Legs and All,” were uptempo hard soul or, later on, funk and disco—who could forget “Ain’t Gonna Bump No More (With No Big Fat Woman)”? But his very first chart hit, on the Atlantic-distributed Dial Records (where he remained for most of his career), was a rather tender ballad that gave little indication that Tex had the makings of a fiery showman. He’d been around for a while by that time, signed initially to King Records in the mid-’50s and then other labels, but he’d had no luck gaining a foothold—he’d reportedly released 30 singles already, to no recognition worth getting excited about. “Hold What You’ve Got,” written by Tex and recorded at the legendary Fame Studios in Muscle Shoals, Alabama, had something different, though: two spoken-word sections in which Tex lectured first the boys, and then the girls (“Ha, ha, listen girls, this goes for you, too”) not to lose their good thing. It was a simple enough message—hold on to what you’ve got—and it caught on. So too, did Joe Tex, who quickly showed his diversity and became one of the great soul men of his era. Tex died in 1982.
13) Paul Revere and the Raiders—“Steppin’ Out”
Most folks in America first saw Paul Revere and the Raiders on TV’s Where the Action Is or Hullabaloo. Or they heard them when the quintet broke through in late 1965 with “Just Like Me” or, the following spring, when they hit the top 5 with Barry Mann and Cynthia Weil’s anti-drugs anthem “Kicks.” But by that time the Raiders had already been kicking around for a good seven years, having formed in Idaho when restaurant owner/keyboardist Paul Revere (real name: Paul Revere Dick) met wannabe vocalist Mark Lindsay and they agreed to form a band. By the early ’60s they’d become popular around the Pacific Northwest playing a brand of R&B-inflected garage rock, and the group—whose classic mid-’60s lineup included Revere, Lindsay, guitarist Drake Levin, bassist Phil “Fang” Volk and drummer Mike “Smitty” Smith—had released a handful of singles, only one of which, 1961’s “Like Long Hair,” had made the charts. (Another single, their version of “Louie Louie,” may or may not have predated the Kingsmen’s, but the latter had the major smash with it.) It took a few smart moves until the Raiders found their way to the top rung of American rock and roll: first, their decision to don silly but memorable Revolutionary War costumes and, second, their signing to Columbia Records. The label nurtured the group, and a regular gig on the Dick Clark vehicle Where the Action Is turned them into a household name. “Steppin Out,” co-written by Lindsay and Revere, and produced by Terry Melcher, was released by Columbia in the early fall of ’65, and although it didn’t become a major chart hit (it reached number 46 in Billboard), its stomping beat, finger-wagging have-you-been-cheating-on-me? lyrics and, especially, Lindsay’s hard-charging vocal, served notice that this was a band to watch out for.
14) The McCoys—“Fever”
What an unlikely choice for a rock cover—or maybe not. “Fever” was written in 1956 by Eddie Cooley and Otis Blackwell (under the pseudonym John Davenport) and was turned into a fair-sized hit that year on King Records for Little Willie John, an R&B singer out of Arkansas. But his version, great as it was, was eclipsed by Peggy Lee’s cover two years later. The Caucasian Lee had long had an ear for great black music and her sultry, finger-snapping take on “Fever” caught on big, making it into the top 10 and becoming the star performer’s signature hit. Others covered it as well, including Elvis Presley, but it was the McCoys who gave it yet another life with their 1965 turn. With members from both Indiana and Ohio—the latter including two brothers, drummer Randy and guitarist Rick Zehringer—the McCoys had been around since 1962 but didn’t find their way to national success until signing with Bert Berns’ Bang Records in 1965. They attracted immediate national love there with “Hang on Sloopy,” written by Berns (under his sometime pseudonym Bert Russell) and Wes Farrell and recorded originally the year before by the R&B group the Vibrations, as “My Girl Sloopy.” The McCoys gave the song a pronounced, mid-tempo progressive beat and a nothing-held-back chorus and went straight to number 1 with their version (later curiously named the state song of Ohio), but what to do for a followup? Easy—take another old song, strip it down to a couple of verses and a chorus, give it an almost identical rhythm and arrangement and see what happens. It worked—“Fever” too took off, climbing to number 7 in Billboard and giving the McCoys their second big hit of the year. It would also be their last, ever—although the McCoys did place several other singles on the charts, none came close to matching the performance of those first two. No worries for them though—both Zehringer brothers and bassist Randy Hobbs teamed up with guitar superstar Johnny Winter in 1970 and became the “And” part of his new group Johnny Winter And. Oh, and Rick Zehringer? He changed his last name to Derringer and is still going strong today at age 68.
15) Roy Orbison—“Ride Away”
Nearly a year after his biggest hit, “Oh, Pretty Woman,” first entered the Billboard chart, the Sun Records veteran—who’d left rockabilly behind four years ago to apply his quasi-operatic tenor to a string of mega-successes at Monument—returned with this midtempo tale of heartbreak. Like the protagonist of Glen Campbell’s “By the Time I Get to Phoenix,” Roy, in his typically dramatic manner, longs to hit the road. Unappreciated, in need of something greater, he sings, “I’ll ride the highway, I’m going my way, I’ll leave a story untold.” The single stalled at number 25, his last to make it that high until 1989, and these days it’s providing the soundtrack for a GEICO commercial that inexplicably ties it to a “free-range chicken” on the road. It deserves better.
16) Dixie Cups—“Iko Iko”
A lot of history here, and almost none of it suggesting that “Iko Iko” would some day become a hit for the girl group best known for their number 1 smash “Chapel of Love.” To fully grasp the cultural significance of “Iko Iko,” it probably helps to know a little something about the New Orleans’ Mardi Gras Indians, “tribes” that attire themselves in elaborate Native American-inspired costumes that can often take a full year to design and sew, and then parade through the city’s streets proudly on various occasions. The tribes each chant and sing and some of their more popular songs have become embedded into New Orleans’ cultural history. “Iko Iko” is one of those songs. Like much of the music of the Mardi Gras Indians, its origin is somewhat murky but it’s generally accepted that it started life as “Jock-a-Mo,” written in 1953 by James “Sugar Boy” Crawford and recorded by him as Sugar Boy and his Cane Cutters. Not much happened with it then, and it wasn’t until the Dixie Cups—New Orleanian sisters Barbara Ann and Rose Lee Hawkins and their cousin Joan Marie Johnson—that the song found its way to the popular music lexicon. The trio, signed to Red Bird Records—the vanity label formed by songwriters/producers Jerry Leiber and Mike Stoller and record man George Goldner—had already become stars via “Chapel of Love” and the followup “People Say” in 1964 and were goofing around in a New York studio when they began getting down with “Iko Iko” without prompting. Singing it a cappella with only an aluminum chair, a studio ashtray and a Coke bottle as percussion, the girls’ rhythmically mesmerizing and lyrically mysterious tune (“My flag boy and your flag boy were sittin’ by the fire/My flag boy told your flag boy I’m gonna set your flag on fire”) was captured on tape by their producers. The studio mavens added minimal rhythm and some backup vocals and released “Iko Iko” in the spring of ’65. Somehow it caught on, making it all the way up to number 20, the Dixie Cups’ final chart entry. (It was later the subject of authorship court battles but that’s another story.) Many others have since recorded it, notably Dr. John, the Neville Brothers, Cyndi Lauper and the Grateful Dead, and it’s become something of a performance staple in New Orleans.
17. Georgie Fame and the Blue Flames—“Yeh, Yeh”
Like many other British male rockers of the early ’60s—Billy Fury, Cliff Richard, Adam Faith, etc.—Georgie Fame started life with a more mundane name, Clive Powell. Unlike those other rechristened pinup boys, though, Fame—a skilled pianist and organist who wore his jazz and blues influences on his sleeve—had no interest in being a pop star; his debut album, recorded in the fall of 1963, was in fact called Rhythm And Blues at the Flamingo. Due to that purist approach, Fame wasn’t finding much success. Then he stumbled upon “Yeh, Yeh,” a rhythmically addictive Latin-tinged tune written by Rodgers Grant and Pat Patrick, with lyrics added by Jon Hendricks of the vocal trio Lambert, Hendricks and Ross. Originally recorded by Afro-Cuban great Mongo Santamaria, Fame put a drawling, Mose Allison-like vocal to his recording—a simple tale of lights-low/hi-fi-high romance—which featured his group the Blue Flames. Its soulful come-hither sound and tension-and-release pacing caught the ear of the British public first and then crossed over to the U.S. in early ’65, released here on the Imperial label. It only reached number 21 and although Fame never found true fame, he eventually made the top 10 with “The Ballad of Bonnie and Clyde” three years later. Still active at age 72, Fame has served as a member of Van Morrison’s band, worked with the Stones’ Bill Wyman and, most recently, collaborated with jazz star Diana Krall on her own cover of “Yeh, Yeh.”
And let’s not forget these other great 1965 hits worth a fresh listen…
The Ad Libs—“The Boy From New York City”
Jewel Akens—“The Birds and the Bees”
Len Barry—“1-2-3”
The Beau Brummels—“Just a Little”
The Castaways—“Liar, Liar”
Freddy Cannon—“Action”
The Chiffons—Nobody Knows What’s Goin’ On
Dave Clark Five—“Any Way You Want It”
Jackie DeShannon—“What The World Needs Now Is Love”
Wayne Fontana and the Mindbenders—“Game Of Love”
The Four Seasons—“Bye Bye Baby”
Marvin Gaye—“I’ll Be Doggone”
The Gentrys—“Keep on Dancing”
Gerry and the Pacemakers—“Ferry Cross the Mercy”
Dobie Gray—“The ‘In’ Crowd”
Herman’s Hermits—“Can’t You Hear My Heartbeat”
The Impressions—“People Get Ready”
The Ivy League—“Tossin’ and Turnin’”
Tom Jones—“It’s Not Unusual”
The Kinks—“Tired of Waiting for You”
Barbara Lewis—“Baby, I’m Yours”
Gary Lewis and the Playboys—“Save Your Heart for Me”
The Lovin’ Spoonful—“Do You Believe in Magic”
Martha and the Vandellas—“Nowhere to Run”
Barbara Mason—“Yes, I’m Ready”
Barry McGuire—“Eve of Destruction”
Roger Miller—“King of the Road”
The Moody Blues—“Go Now”
Peter and Gordon—“I Go to Pieces”
Elvis Presley—“Crying in the Chapel”
Johnny Rivers—“Seventh Son”
Billy Joe Royal—“Down in the Boondocks”
The Searchers—“Love Potion No. 9”
The Seekers—“I’ll Never Find Another You”
Del Shannon—“Keep Searchin’ (We’ll Follow the Sun)”
The Strangeloves—“I Want Candy”
Unit Four Plus Two—“Concrete and Clay”
The Toys—“A Lover’s Concerto”
The Vogues—“You’re the One”
We Five—“You Were on My Mind”
Ian Whitcomb—“You Turn Me On”
|
|||||
1487
|
dbpedia
|
1
| 32
|
https://www.imdb.com/title/tt0059742/
|
en
|
Meine Lieder, meine Träume (1965)
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-7288963-9553211:4P4PAY6XDZBT4Z9HNE2Z$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D4P4PAY6XDZBT4Z9HNE2Z:0",
"https://m.media-amazon.com/images/M/MV5BZThiMjk0ZDctOWNkNC00MDUyLTg1NzktYWFlYmQ4MDQwZjMzXkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UY281_CR4,0,190,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmVkZjk4N2MtNzBhNy00ZTNhLWE0YzMtMzk4NTA5MDBlYzllXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmVkZjk4N2MtNzBhNy00ZTNhLWE0YzMtMzk4NTA5MDBlYzllXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWViMmQyZjUtODExYS00OTMxLTkxOGItY2IyOGU1NzQxYTg1XkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjdhMjdkMWUtMjAwMy00Yjk3LTkxMjEtMDMwNzVkMTVjOTVjXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,59,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNjY2YmZmM2EtZTlmOS00ZDZlLWJmYTgtNzMyNzNjN2Q0MGFmXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BZDg0ZjFlZjQtMzFiZi00ZjIyLTk4ZGUtOWFmOTBkZjg1YmQwXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_QL75_UX500_CR0,109,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BYmM0OGUxYWEtNWMzMy00ODE1LWE2OGItNzRlZmNjNDE0MjVkXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQ3ZTc5YmMtODI1ZC00YjEzLTg3MDctNjM4Y2YwZGE1NWNhXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_QL75_UX500_CR0,47,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWI0ZDJhZjctMjUwMS00YzkyLWFmNDUtZTI0YWY2ZTNjODcxXkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BODhlNTM1NmQtOWM1MC00YmU4LTgwYmUtMjE5MDhjYzQwMzVhXkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_QL75_UY281_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNGNkNDc1YzUtZGVjYi00ZjgwLTlhOGYtYjlhZjg1NWRiYTcxXkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_QL75_UY281_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDQzNmE4NDMtMjNhNy00ZjQ4LWI4NzItNmQ5NTMzNmQyYTM0XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_QL75_UY281_CR62,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BMWQxNzYzNzItZDk4Zi00ZTg4LWI2YmMtNjJmNjlhMThkNWJjXkEyXkFqcGdeQXVyMDM2NDM2MQ@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTgxNzYxNTA0Ml5BMl5BanBnXkFtZTgwMTI0Mjk1NDM@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY1OTM0NjI5NV5BMl5BanBnXkFtZTgwMzg1NTc3MDE@._V1_QL75_UY140_CR18,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTUzMTMwMDcyMl5BMl5BanBnXkFtZTcwMzU0MTUzNA@@._V1_QL75_UY140_CR26,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjEyNDc2MDMyNV5BMl5BanBnXkFtZTcwNDU0MTUzNA@@._V1_QL75_UY140_CR18,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTgyNDAyMjkwMV5BMl5BanBnXkFtZTcwNjU0MTUzNA@@._V1_QL75_UY140_CR25,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjI3OTQ2OTE2Nl5BMl5BanBnXkFtZTcwNzU0MTUzNA@@._V1_QL75_UY140_CR8,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjc0MTAyNjYyMF5BMl5BanBnXkFtZTcwODU0MTUzNA@@._V1_QL75_UY140_CR28,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjE1Mzg4MDg5MF5BMl5BanBnXkFtZTcwOTU0MTUzNA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTUxMTU0NTM4NF5BMl5BanBnXkFtZTYwOTUyNjg2._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTMyNTA4OTM4Nl5BMl5BanBnXkFtZTYwMTYyNjg2._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg0OTE5MzkxNV5BMl5BanBnXkFtZTYwNTYyNjg2._V1_QL75_UY140_CR25,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjExMTYyODA2Ml5BMl5BanBnXkFtZTYwMTgyMDA0._V1_QL75_UX140_CR0,9,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU5MzQ5MDY3NF5BMl5BanBnXkFtZTcwNzMxOTU5Ng@@._V1_QL75_UX140_CR0,7,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU0MTE1MDYxMF5BMl5BanBnXkFtZTcwODU2NTUwOA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjkxNzM0NTY2OF5BMl5BanBnXkFtZTcwNzQ3NjAxOA@@._V1_QL75_UX140_CR0,30,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTYyMTkyNjAxOV5BMl5BanBnXkFtZTcwOTc1NjAyOA@@._V1_QL75_UX140_CR0,13,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY5MDI5ODU5MV5BMl5BanBnXkFtZTcwNTk2MDQwOA@@._V1_QL75_UX140_CR0,3,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BNzg1ODU2MzY1N15BMl5BanBnXkFtZTgwOTUyNDU0NDM@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BZjM5NDU5ZWQtNDZmMC00OWNhLTkzYjEtNTliNmQ0OWEzNTcxXkEyXkFqcGdeQXVyNjUxMjc1OTM@._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM3OTU5NjQ0OV5BMl5BanBnXkFtZTcwOTM1MTQwOA@@._V1_QL75_UX140_CR0,21,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM4NjgxNjAzOF5BMl5BanBnXkFtZTcwNzI3NTEzMQ@@._V1_QL75_UX140_CR0,7,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTYwODcyNDk4N15BMl5BanBnXkFtZTcwMjQxMzAyOA@@._V1_QL75_UX140_CR0,7,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmNjZDM1OGItMDhiYy00YTFkLWJmMTEtOWIwYjM3ZjRjOGQ0XkEyXkFqcGdeQXVyMjQwMDg0Ng@@._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTkyMzIxNjc0M15BMl5BanBnXkFtZTcwMzA5OTExOA@@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmIyYTI3MTgtZmIyYy00YWU0LThiMjktMzQ5Yzc0YmRiYWRkXkEyXkFqcGdeQXVyMzI2MDEwNA@@._V1_QL75_UX140_CR0,12,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTU3MmZlMjAtMzczMS00ZjQ4LWJiYzktOTBhZTY4NTQ1ODdmL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyOTA4NDY2Mw@@._V1_QL75_UX140_CR0,7,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BZTg4Y2M3MmItMjA1Zi00ZmZmLWI5ZjEtYmIxMDhhZWRkYTllXkEyXkFqcGdeQXVyMTcyODY2NDQ@._V1_QL75_UX140_CR0,0,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTUyNTExNTI4N15BMl5BanBnXkFtZTcwNTk0MzAyOA@@._V1_QL75_UX140_CR0,4,140,140_.jpg",
"https://m.media-amazon.com/images/M/MV5BNzZlZjFhMjItYzllYy00OTYyLWFhNGQtYzRmNGE5ZWZiMjFiXkEyXkFqcGc@._V1_QL75_UX500_CR0,0,500,281_.jpg",
"https://m.media-amazon.com/images/M/MV5BNmI4OWVjMjEtNWI1ZS00MzE4LTg4OTMtZmIzYzBjZWRkZDM5XkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYmMxYTIyMjYtMTY3Ny00NjA3LWE3Y2YtZjBiMGVhY2JkYjc0XkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BYWFlN2VkZDQtNWY2NC00MTRmLTljMWMtOGZlNGM4ODZkNDU5XkEyXkFqcGdeQXVyNjY5NDU4NzI@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNGM0ZTU3NmItZmRmMy00YWNjLWEzMWItYzg3MzcwZmM5NjdiXkEyXkFqcGdeQXVyNDYyMDk5MTU@._V1_QL75_UY207_CR6,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZjc4NDZhZWMtNGEzYS00ZWU2LThlM2ItNTA0YzQ0OTExMTE2XkEyXkFqcGdeQXVyNjUwMzI2NzU@._V1_QL75_UY207_CR1,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZGU2ZjNmOWYtZjRjNy00OWUzLThiOWMtOWU1ZDkwYmRiOTg0XkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZjUzNjE5NmMtZTRkZS00YzQ1LWIwNDQtMTlkY2VhMWYwNDI1XkEyXkFqcGdeQXVyNjkwOTQ4MDE@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY1NTI0ODUyOF5BMl5BanBnXkFtZTgwNTEyNjQ0MDE@._V1_QL75_UX140_CR0,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BNmYxNTVmMTctMTZmMC00OGY0LWJkZjUtNjk5MGJmNWE0ZmVkXkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_QL75_UY207_CR4,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGYzNzM2MWYtOWE4MS00OTlmLTljNWMtZTE2MmEyYTNlMTM1XkEyXkFqcGdeQXVyNjI0MTA1MTM@._V1_QL75_UY207_CR3,0,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BMDU2ZWJlMjktMTRhMy00ZTA5LWEzNDgtYmNmZTEwZTViZWJkXkEyXkFqcGdeQXVyNDQ2OTk4MzI@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BY2NjZThmNDUtMjQwNy00NWJlLTlhYjItMjZkMmQ3MTYwMGMyXkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UX140_CR0,1,140,207_.jpg",
"https://m.media-amazon.com/images/M/MV5BZThiMjk0ZDctOWNkNC00MDUyLTg1NzktYWFlYmQ4MDQwZjMzXkEyXkFqcGdeQXVyMTYzMDM0NTU@._V1_QL75_UY133_CR2,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-7288963-9553211:4P4PAY6XDZBT4Z9HNE2Z$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D4P4PAY6XDZBT4Z9HNE2Z:0"
] |
[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
1965-12-25T00:00:00
|
Meine Lieder, meine Träume: Directed by Robert Wise. With Julie Andrews, Christopher Plummer, Eleanor Parker, Richard Haydn. A young novice is sent by her convent in 1930s Austria to become a governess to the seven children of a widowed naval officer.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0059742/
|
The Sound of Music (1965) is an all time classic family musical that has always been one of my favorites. Ever since I was child, I would watch this movie and just love every minute of it. This movie really was destined for greatness from the beginning, anyone at all could have seen that. Between the A list cast, great performances, top notch singing, and the enchanting story.... there's no wonder people still love it to death. Julie Andrews stars as Maria, who is a nun, but not a very good one, and she gets sent to be a governess to the Von Trapp family. The Von Trapp family is a very well to do family in Austria. The father is a former captain and the mother died some time ago. Christopher Plummer plays captain Von Trapp, and he does a great job. Every member of the cast does a great job with their performances, both singing and non. The singing alone in this film is just astounding, every single musical number is just as good, if not better than the previous one. If you do not care for musicals, then I wouldn't really suggest this movie to you. It really is a lot of singing, but it is great singing by talented artists, which is really why it will forever have a place in classic great cinema. 10/10 for The Sound of Music. Enchanting story with lovely entertaining music.
|
|||||
1487
|
dbpedia
|
3
| 11
|
https://www.facebook.com/groups/240098362684435/
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
[
"https://facebook.com/security/hsts-pixel.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://www.facebook.com/login/
| ||||
1487
|
dbpedia
|
0
| 13
|
https://en.wikipedia.org/wiki/Classic_Rock_(Time-Life_Music)
|
en
|
Classic Rock (Time
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2011-05-05T23:10:35+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Classic_Rock_(Time-Life_Music)
|
Classic Rock was a 31-volume series issued by Time Life during the late 1980s and early 1990s. The series spotlighted popular music played on Top 40 radio stations of the mid-to-late-1960s.
Much like Time-Life's other series chronicling popular music, volumes in the "Classic Rock" series covered a specific time period, including single years in some volumes and stylistic trends in others. Each volume was issued on a compact disc, cassette or (on volumes issued through 1990) 2-LP vinyl record set. Individual volumes generally contained 22 tracks, and represented the highlighted time period's most popular and noteworthy tracks. Also included was a booklet, containing liner notes written by some of the most respected historians of the genre, photographs of the artists, and information on the songs (writers, performers and peak position on Billboard magazine's Hot 100 chart).
"Classic Rock" was first issued in the winter of 1988, with the first volume in the series titled Classic Rock: 1965. Like most compilation albums, songs by two of the era's most successful groups – The Beatles and The Rolling Stones – were not included due to licensing issues; however, several albums had cover art with drawings of male rock singers resembling The Beatles.
As was the case with Time-Life's other series, "Classic Rock" was advertised in television and magazine advertisements. The series was available by subscription (by calling a 1-800 number); those who purchased the series in that fashion received a new volume roughly every other month (on the format of their choice), and had the option of keeping the volumes they wanted.
Each volume was also offered for individual sale. When the series was fully issued, a customer could purchase the entire series at once (or a group of albums, as packaged by Time-Life as part of a promotion), often at a discounted price.
New volumes continued to be issued through 1991, the final one being a volume titled Classic Rock: Rock Renaissance IV (an album of hard rock from the mid- to late-1960s). An additional volume, titled Totally Fantastic '60s, was released in 1996.
Time-Life continued to offer "Classic Rock" through the early-2000s (decade), after which it was replaced by other series.
In 1999, Time-Life issued a "budget" box set, "Classic '60s: Greatest Hits", containing three CDs or cassettes of 12 songs each, for retail sale.
As with many of Time-Life Records' multi-volume releases, the volumes were not issued in a logical, sequential order by date or era of the subject; that is, issuing volumes covering 1964 before progressing to 1965. In the track information section, the volumes will be listed sequentially by era; the following list is the order in which the volumes were released.
Classic Rock: 1965
Classic Rock: 1966
Classic Rock: 1964
Classic Rock: 1968
Classic Rock: 1967
Classic Rock: 1969
Classic Rock: 1966: The Beat Goes On
Classic Rock: 1965: The Beat Goes On
Classic Rock: 1964: The Beat Goes On
Classic Rock: 1967: The Beat Goes On
Classic Rock: 1968: The Beat Goes On
Classic Rock: 1969: The Beat Goes On
Classic Rock: 1966: Shakin' All Over
Classic Rock: 1965: Shakin' All Over
Classic Rock: 1967: Shakin' All Over
Classic Rock: 1964: Shakin' All Over
Classic Rock: Rock Renaissance
Classic Rock: Creedence Clearwater Revival
Classic Rock: 1968: Shakin' All Over
Classic Rock: 1969: Shakin' All Over
Classic Rock: Rock Renaissance II
Classic Rock: 1966: Blowin' Your Mind
Classic Rock: 1965: Blowin' Your Mind
Classic Rock: 1967: Blowin' Your Mind
Classic Rock: On the Soul Side
Classic Rock: Rock Renaissance III
Classic Rock: 1968: Blowin' Your Mind
Classic Rock: On the Soul Side II
Classic Rock: 1964: A Go Go
Classic Rock: Bubblegum, Garage and Pop Nuggets
Classic Rock: Rock Renaissance IV
Classic Rock: Totally Fantastic '60s
"Do Wah Diddy Diddy" - Manfred Mann
"She's Not There" - The Zombies
"What Kind of Fool (Do You Think I Am)" - The Tams
"You Never Can Tell" - Chuck Berry
"Come See About Me" - Diana Ross & The Supremes
"Needles and Pins" - Searchers
"I Get Around" - The Beach Boys
"Farmer John" - The Premiers
"Out of Limits" - The Marketts
"Nobody I Know" - Peter & Gordon
"I'm So Proud" - The Impressions
"Hippy Hippy Shake" - The Swinging Blue Jeans
"You Really Got Me" - The Kinks
"Bread and Butter" - The Newbeats
"Dead Man's Curve" - Jan & Dean
"Bad to Me" - Billy J. Kramer with the Dakotas
"The Way You Do the Things You Do" - The Temptations
"Fun, Fun, Fun" - The Beach Boys
"I Like It" - Gerry and the Pacemakers
"Come a Little Bit Closer" - Jay & The Americans
"A World Without Love" - Peter & Gordon
"Stop and Think It Over" - Dale & Grace
"Remember (Walking in the Sand)" - The Shangri-Las
"Have I the Right?" - The Honeycombs
"Where Did Our Love Go" - Diana Ross & The Supremes
"People Say" - The Dixie Cups
"Mercy Mercy" - Don Covay
"Popsicles and Icicles" - The Murmaids
"It's Over" - Roy Orbison
"Louie Louie" - The Kingsmen
"Give Him a Great Big Kiss" - The Shangri-Las
"Keep On Pushing" - The Impressions
"Oh No Not My Baby" - Maxine Brown
"When I Grow Up (To Be a Man)" - The Beach Boys
"Love Potion No. 9" - The Searchers
"(Just Like) Romeo and Juliet" - The Reflections
"How Sweet It Is (To Be Loved by You)" - Marvin Gaye
"I Wanna Love Him So Bad" - The Jelly Beans
"Baby I Need Your Loving" - Four Tops
"I'm Gonna Be Strong" - Gene Pitney
"Hey Little Cobra" - Rip Chords
"Penetration" - The Pyramids
"The Name Game" - Shirley Ellis
"You're a Wonderful One" - Marvin Gaye
"Amen" - The Impressions
"Oh, Pretty Woman" - Roy Orbison
"Um, Um, Um, Um, Um, Um" – Major Lance
"I Don't Want to See You Again" – Peter & Gordon
"Nadine (Is It You?)" – Chuck Berry
"Every Little Bit Hurts" – Brenda Holloway
"Don't Worry Baby" – The Beach Boys
"Little Honda" – The Hondells
"Haunted House" – Jumpin' Gene Simmons
"Needle In a Haystack" – The Velvelettes
"Walk On By" – Dionne Warwick
"Don't Let the Sun Catch You Crying" – Gerry and the Pacemakers
"Baby Love" – The Supremes
"Don't Throw Your Love Away" – The Searchers
"Walk, Don't Run '64" – The Ventures
"Too Many Fish in the Sea" – The Marvelettes
"I'm on the Outside (Looking In)" – Little Anthony & the Imperials
"Saturday Night at the Movies (song)" - The Drifters
"Steal Away" – Jimmy Hughes
"Ain't Nothing You Can Do" – Bobby Bland
"Drag City" – Jan & Dean
"Quicksand" – Martha and the Vandellas
"Talking About My Baby" – The Impressions
"Mr. Lonely" – Bobby Vinton
"Mr. Tambourine Man" - The Byrds
"For Your Love" - The Yardbirds
"In the Midnight Hour" - Wilson Pickett
"The Tracks of My Tears" - The Miracles
"Just a Little" - The Beau Brummels
"You've Lost That Lovin' Feelin'" - The Righteous Brothers
"My Girl" - The Temptations
"Wooly Bully" - Sam the Sham and the Pharaohs
"Down in the Boondocks" - Billy Joe Royal
"Help Me, Rhonda" - The Beach Boys
"Baby I'm Yours" - Barbara Lewis
"Do You Believe in Magic" - The Lovin' Spoonful
"I Can't Help Myself (Sugar Pie Honey Bunch)" - Four Tops
"Tired of Waiting for You" - The Kinks
"Hang On Sloopy" - The McCoys
"Heart Full of Soul" - The Yardbirds
"Shotgun" - Junior Walker & the All-Stars
"I Got You Babe" - Sonny & Cher
"Liar, Liar" - The Castaways
"Back in My Arms Again" - Diana Ross & The Supremes
"This Diamond Ring" - Gary Lewis & the Playboys
"A Lover's Concerto" - The Toys
"Eve of Destruction" - Barry McGuire
"Rescue Me" - Fontella Bass
"1-2-3" - Len Barry
"California Girls" - The Beach Boys
"Laugh, Laugh" - The Beau Brummels
"Ooo Baby Baby" - The Miracles
"All Day and All of the Night" - The Kinks
"Nowhere to Run" - Martha and the Vandellas
"Treat Her Right" - Roy Head
"The Boy from New York City" - The Ad Libs
"I've Been Loving You Too Long" - Otis Redding
"Turn, Turn, Turn (To Everything There is a Season) - The Byrds
"It's the Same Old Song" - Four Tops
"Jenny Take a Ride" - Mitch Ryder & the Detroit Wheels
"She's About a Mover" - Sir Douglas Quintet
"I Hear a Symphony" - The Supremes
"I Can Never Go Home Anymore" - The Shangri-Las
"Keep on Dancing" - The Gentrys
"I'll Be Doggone" - Marvin Gaye
"It Ain't Me Babe" - The Turtles
"Hold What You've Got" - Joe Tex
"I'm a Man" - The Yardbirds
"Papa's Got a Brand New Bag" - James Brown
"Tell Her No" - The Zombies
"Ride Your Pony" - Lee Dorsey
"All I Really Want to Do" - Cher
"I Go to Pieces" - Peter and Gordon
"What the World Needs Now Is Love" - Jackie DeShannon
"Land of a Thousand Dances" - Cannibal & the Headhunters
"Count Me In" - Gary Lewis & the Playboys
"The Jerk" - The Larks
"You're the One" - The Vogues
"Set Me Free" - The Kinks
"Unchained Melody" - The Righteous Brothers
"Stop! In the Name of Love" - The Supremes
"Ain't That Peculiar" - Marvin Gaye
"I Want Candy" - The Strangeloves
"I'm Telling You Now" - Freddie and the Dreamers
"Make Me Your Baby" - Barbara Lewis
"People Get Ready" - The Impressions
"Downtown" - Petula Clark
"Shakin' All Over" - The Guess Who
"You Were on My Mind" - We Five
"It's Growing" - The Temptations
"Yes, I'm Ready" - Barbara Mason
"Here Comes the Night" - Them
"Game of Love" - Wayne Fontana & the Mindbenders
"Since I Lost My Baby" - The Temptations
"The 'In' Crowd" - Dobie Gray
"Respect" - Otis Redding
"Baby Don't Go" - Sonny & Cher
"The Birds and the Bees" - Jewel Akens
"I'm a Fool" - Dino, Desi & Billy
"Who'll Be the Next in Line" - The Kinks
"You Tell Me Why" - The Beau Brummels
"Ferry Cross the Mersey" - Gerry and the Pacemakers
"Iko Iko" - The Dixie Cups
"Save Your Heart for Me" - Gary Lewis & the Playboys
"Run, Baby Run (Back Into My Arms)" - The Newbeats
"Don't Fight It" - Wilson Pickett
"Ask the Lonely" - Four Tops
"Laugh at Me" - Sonny
"Agent Double-O Soul" - Edwin Starr
"You Turn Me On" - Ian Whitcomb
"Nothing but Heartaches" - The Supremes
"Go Now" - The Moody Blues
"Hurt So Bad" - Little Anthony & the Imperials
"Good Vibrations" - The Beach Boys
"(I Know) I'm Losing You" - The Temptations
"Good Lovin'" - The Young Rascals
"Dirty Water" - The Standells
"Sunshine Superman" - Donovan
"Tell It Like It Is" - Aaron Neville
"Summer in the City" - The Lovin' Spoonful
"Standing in the Shadows of Love" - Four Tops
"I Fought the Law" - The Bobby Fuller Four
"Beauty Is Only Skin Deep" - The Temptations
"When a Man Loves a Woman" - Percy Sledge
"Reach Out I'll Be There" - Four Tops
"Gloria" - The Shadows of Knight
"Barbara Ann" - The Beach Boys
"Shapes of Things" - The Yardbirds
"Did You Ever Have to Make Up Your Mind?" - The Lovin' Spoonful
"Monday, Monday" - The Mamas & the Papas
"You Keep Me Hangin' On" - The Supremes
"Wild Thing" - The Troggs
"I'm a Believer" - The Monkees
"Kicks" - Paul Revere & the Raiders
"Psychotic Reaction" - Count Five
"Eight Miles High" - The Byrds
"California Dreamin'" - The Mamas & the Papas
"Walk Away Renée" - The Left Banke
"Hold On, I'm Comin'" - Sam & Dave
"Mellow Yellow" - Donovan
"Wouldn't It Be Nice" - The Beach Boys
"Hanky Panky" - Tommy James and the Shondells
"Lies" - The Knickerbockers
"My World Is Empty Without You" - The Supremes
"Lightnin' Strikes" - Lou Christie
"Daydream" - The Lovin' Spoonful
"Hungry" - Paul Revere & the Raiders
"Cool Jerk" - The Capitols
"Devil with the Blue Dress On/Good Golly Miss Molly" - Mitch Ryder & the Detroit Wheels
"Last Train to Clarksville" - The Monkees
"Going to a Go-Go" - The Miracles
"Time Won't Let Me" - The Outsiders
"Uptight (Everything's Alright)" - Stevie Wonder
"Black Is Black" - Los Bravos
"Land of 1000 Dances" - Wilson Pickett
"Along Comes Mary" - The Association
"Over Under Sideways Down" - The Yardbirds
"These Boots Are Made for Walkin'" - Nancy Sinatra
"Stop Stop Stop" - The Hollies
"Ain't Too Proud to Beg" - The Temptations
"Double Shot (Of My Baby's Love)" - The Swingin' Medallions
"I'm Your Puppet" - James & Bobby Purify
"What Becomes of the Brokenhearted" - Jimmy Ruffin
"Li'l Red Riding Hood" - Sam the Sham & the Pharaohs
"Working in the Coal Mine" - Lee Dorsey
"Little Girl" - Syndicate of Sound
"This Old Heart of Mine (Is Weak for You)" - The Isley Brothers
"You Didn't Have to Be So Nice" - The Lovin' Spoonful
"Five O'Clock World" - The Vogues
"Just Like Me" - Paul Revere & the Raiders
"(You're My) Soul and Inspiration" - The Righteous Brothers
"Don't Mess with Bill" - The Marvelettes
"634-5789 (Soulsville, U.S.A.)" - Wilson Pickett
"A Well Respected Man" - The Kinks
"Bang Bang (My Baby Shot Me Down)" - Cher
"Red Rubber Ball" - The Cyrkle
"Knock on Wood" - Eddie Floyd
"Barefootin'" - Robert Parker
"Sweet Talkin' Guy" - The Chiffons
"Bus Stop" - The Hollies
"You Can't Hurry Love" - The Supremes
"Sunny Afternoon" - The Kinks
"A Groovy Kind of Love" - The Mindbenders
"Sunny" - Bobby Hebb
"Baby, Scratch My Back" - Slim Harpo
"Gloria" - Them
"(I'm a) Road Runner" - Jr. Walker & the All Stars
"Get Ready" - The Temptations
"I Saw Her Again Last Night" - The Mamas & the Papas
"Warm and Tender Love" - Percy Sledge
"Summertime" - Billy Stewart
"The Cheater" - Bob Kuban and the In-Men
"Rhapsody in the Rain" - Lou Christie
"Turn-Down Day" - The Cyrkle
"Sloop John B" - The Beach Boys
"Oh How Happy" - Shades of Blue
"Elusive Butterfly" - Bob Lind
"You Baby" - The Turtles
"But It's Alright" - J. J. Jackson
"Holy Cow" - Lee Dorsey
"Love Makes the World Go Round" - Deon Jackson
"Somebody to Love" - Jefferson Airplane
"The Letter" - The Box Tops
"Happy Together" - The Turtles
"Dedicated to the One I Love" - The Mamas & the Papas
"Love Is Here and Now You're Gone" - The Supremes
"Groovin'" - The Young Rascals
"(Your Love Keeps Lifting Me) Higher and Higher" - Jackie Wilson
"I Think We're Alone Now" - Tommy James and the Shondells
"I Second That Emotion" - Smokey Robinson & the Miracles
"San Francisco (Be Sure to Wear Flowers in Your Hair) - Scott McKenzie
"A Whiter Shade of Pale" - Procol Harum
"Respect" - Aretha Franklin
"Kind of a Drag" - The Buckinghams
"Good Thing" - Paul Revere & the Raiders
"I Heard It Through the Grapevine" - Gladys Knight & the Pips
"Funky Broadway" - Wilson Pickett
"Incense and Peppermints" - Strawberry Alarm Clock
"Sweet Soul Music" - Arthur Conley
"I Had Too Much to Dream (Last Night)" - The Electric Prunes
"Little Bit O' Soul" - The Music Explosion
"Bernadette" - Four Tops
"Daydream Believer" - The Monkees
"I Was Made to Love Her" - Stevie Wonder
"Gimme Little Sign" - Brenton Wood
"Let's Live for Today" - The Grass Roots
"Soul Man" - Sam & Dave
"Brown Eyed Girl" - Van Morrison
"Your Precious Love" - Marvin Gaye & Tammi Terrell
"Carrie Anne" - The Hollies
"Jimmy Mack" - Martha and the Vandellas
"Nashville Cats" - The Lovin' Spoonful
"Mercy, Mercy, Mercy" - The Buckinghams
"(You Make Me Feel Like) A Natural Woman" - Aretha Franklin
"Expressway to Your Heart" - The Soul Survivors
"You're My Everything" - The Temptations
"Western Union" - Five Americans
"Get on Up" - The Esquires
"(We Ain't Got) Nothin' Yet" - Blues Magoos
"Pleasant Valley Sunday" - The Monkees
"Gimme Some Lovin'" - The Spencer Davis Group
"Him or Me – What's It Gonna Be?" - Paul Revere & the Raiders
"Sock It to Me Baby" - Mitch Ryder & the Detroit Wheels
"The Happening" - The Supremes
"A Little Bit Me, a Little Bit You" - The Monkees
"I'm A Man" - Spencer Davis Group
"Ain't No Mountain High Enough" - Marvin Gaye & Tammi Terrell
"On a Carousel" - The Hollies
"Apples, Peaches, Pumpkin Pie" - Jay & the Techniques
"(I'm Not Your) Steppin' Stone" - The Monkees
"Tramp" Otis Redding & Carla Thomas
"Friday On My Mind" - Easybeats
"Tell Mama" - Etta James
"Boogaloo Down Broadway" - Fantastic Johnny C
"Creeque Alley" - The Mamas & the Papas
"Dry Your Eyes" - Brenda & the Tabulations
"Windy" - The Association
"98.6" - Keith
"Reflections" - Diana Ross & The Supremes
"Talk Talk" - Music Machine
"Baby I Love You" - Aretha Franklin
"Society's Child" - Janis Ian
"She'd Rather Be with Me" - The Turtles
"The Beat Goes On" - Sonny & Cher
"I've Been Lonely Too Long" - The Rascals
"Soul Finger" - Bar-Kays
"Ode to Billie Joe" - Bobbie Gentry
"So You Want to Be a Rock 'n' Roll Star" - The Byrds
"Heroes and Villains" - The Beach Boys
"Words of Love" - The Mamas & the Papas
"It Takes Two" - Marvin Gaye and Kim Weston"
"Everlasting Love" - Robert Knight
"Close Your Eyes" - Peaches & Herb
"Shake a Tail Feather" - James and Bobby Purify
"Skinny Legs and All" - Joe Tex
"The Hunter Gets Captured by the Game" - The Marvelettes
"Here Comes My Baby" - The Tremeloes
"Try a Little Tenderness" - Otis Redding
"Seven Rooms of Gloom" - The Four Tops
"Pata Pata" - Miriam Makeba
"Honey Chile" - Martha Reeves and the Vandellas
"Then You Can Tell Me Goodbye" - The Casinos
"New York Mining Disaster 1941" - Bee Gees
"Darling Be Home Soon" - The Lovin' Spoonful
"Neon Rainbow" - The Box Tops
"Let It Out (Let It All Hang Out)" - The Hombres
"She's My Girl" - The Turtles
"How Can I Be Sure" - The Young Rascals
"I Never Loved a Man (The Way I Love You)" - Aretha Franklin
"Born To Be Wild" - Steppenwolf
"Cry Like a Baby" - Box Tops
"Crimson and Clover" - Tommy James & The Shondells
"I Thank You" - Sam & Dave
"Love Is All Around" - Troggs
"(Sittin' On) The Dock of the Bay" - Otis Redding
"Sunshine of Your Love" - Cream
"Everyday People" - Sly & The Family Stone
"Pictures of Matchstick Men" - Status Quo
"(Sweet Sweet Baby) Since You've Been Gone" - Aretha Franklin
"Hurdy Gurdy Man" - Donovan
"Abraham, Martin and John" - Dion
"Cloud Nine" - Temptations
"Midnight Confessions" - Grass Roots
"On the Road Again" - Canned Heat
"Tighten Up - Archie Bell & The Drells
"A Beautiful Morning" - Rascals
"La La Means I Love You" - Delfonics
"You Keep Me Hangin' On" - Vanilla Fudge
"Love Child" - Diana Ross & The Supremes
"Valleri - The Monkees
"Think" - Aretha Franklin
"Who's Making Love" - Johnnie Taylor
"Like to Get to Know You" - Spanky & Our Gang
"Nobody But Me" - Human Beinz
"Magic Carpet Ride" - Steppenwolf
"Mony Mony" - Tommy James & The Shondells
"Cowboys to Girls" - Intruders
"People Got to Be Free" - Rascals
"Ain't Nothing Like the Real Thing" - Marvin Gaye & Tammi Terrell
"I Heard It Through the Grapevine" - Marvin Gaye
"Soulful Strut" - Young-Holt Unlimited
"Eleanore" - The Turtles
"With a Little Help from My Friends" - Joe Cocker
"I Wish It Would Rain" - The Temptations
"Dance to the Music" - Sly & The Family Stone
"Girl Watcher" - O'Kaysions
"Itchycoo Park" - Small Faces
"Green Tambourine" - Lemon Pipers
"Chain Of Fools" - Aretha Franklin
"Slip Away" - Clarence Carter
"There Is" - Dells
"Bend Me, Shape Me" - American Breed
"Bottle of Wine" - The Fireballs
"Just Dropped In (To See What Condition My Condition Was In) - The First Edition
"Hush - Deep Purple
"All Along the Watchtower" - Jimi Hendrix Experience
"Piece of My Heart" - Big Brother & The Holding Company
"The House That Jack Built" - Aretha Franklin
"The Horse" - Cliff Nobles & Company
"Spooky" - Classics IV
"You're All I Need To Get By" - Marvin Gaye & Tammi Terrell
"Summertime Blues" - Blue Cheer
"I Love You" - People
"Jennifer Juniper" - Donovan
"Stoned Soul Picnic" - The Fifth Dimension
"Take Time to Know Her" - Percy Sledge
"Time Has Come Today" - The Chambers Bros.
"Quick Joey Small" - Kasenetz-Katz Singing Orchestral Circus
"Baby Now That I've Found You" - The Foundations
"Different Drum" - The Stone Poneys
"Susie-Q, Part 1" - Creedence Clearwater Revival
"Journey to the Center of the Mind" - Amboy Dukes
"Judy In Disguise (With Glasses)"- John Fred & His Playboy Band
"Reach Out of the Darkness" - Friend & Lover
"Young Girl" - Gary Puckett & Union Gap
"Stay In My Corner" - The Dells
"Fire" - The Crazy World of Arthur Brown
"I Can't Stop Dancing" - Archie Bell and The Drells
"Hey, Western Union Man" - Jerry Butler
"If I Could Build My Whole World Around You" - Marvin Gaye and Tammi Terrell
"Son of a Preacher Man" - Dusty Springfield
"Darlin'" - The Beach Boys
"The Happy Song (Dum-Dum)" - Otis Redding
"Soul Serenade" - Willie Mitchell
"I'm a Midnight Mover" - Wilson Pickett
"I Put a Spell On You" - Creedence Clearwater Revival
"In-A-Gadda-Da-Vida" - Iron Butterfly
"Yummy Yummy Yummy" - Ohio Express
"I Wonder What She's Doing Tonight" - Tommy Boyce and Bobby Hart
"Cinnamon" - Derek
"Stormy" - Classics IV
"Angel of the Morning" - Merrilee Rush
"Words" - The Bee Gees
"Hold Me Tight" - Johnny Nash
"Simon Says" - 1910 Fruitgum Co.
"She's a Heartbreaker" - Gene Pitney
"My Baby Must Be a Magician" - The Marvelettes
"Here Comes the Judge" - Shorty Long
"I Want You Back" - The Jackson 5
"Venus" - Shocking Blue
"Hot Fun In the Summertime" - Sly & The Family Stone
"I'm Gonna Make You Love Me" - Diana Ross & The Supremes & The Temptations
"You Showed Me" - Turtles
"Oh What a Night" - Dells
"Get Together" - Youngbloods
"Build Me Up Buttercup" - Foundations
"I Can't Get Next to You" - Temptations
"No Time" - The Guess Who
"One" - Three Dog Night
"Time of the Season" - The Zombies
"Let's Work Together" - Wilbert Harrison
"Dizzy" - Tommy Roe
"Soul Deep" - Box Tops
"What Does It Take (To Win Your Love)" - Junior Walker & The All-Stars
"Baby Baby Don't Cry" - Smokey Robinson & The Miracles
"Hawaii Five-O" - The Ventures
"Crystal Blue Persuasion" - Tommy James & The Shondells
"Only the Strong Survive" - Jerry Butler
"Put a Little Love In Your Heart" - Jackie DeShannon
"Mendicino" - Sir Douglas Quintet
"Hey There Lonely Girl" - Eddie Holman
"She Came In Through the Bathroom Window" - Joe Cocker
"Games People Play" - Joe South
"Take a Letter Maria" - R.B. Greaves
"Sugar, Sugar" - The Archies
"Polk Salad Annie" - Tony Joe White
"My Whole World Ended (The Moment You Left Me)" - David Ruffin
"I Want to Take You Higher" - Sly & The Family Stone
"Spinning Wheel" - Blood Sweat & Tears
"Sweet Cherry Wine" - Tommy James & The Shondells
"Time Is Tight" - Booker T. & MGs
"Everybody's Talkin'" - Nilsson
"In the Year 2525 (Exordium and Terminus)" - Zager and Evans
"Run Away Child Running Wild" - The Temptations
"I Got a Line on You" - Spirit
"Going Up the Country" - Canned Heat
"Backfield In Motion" - Mel & Tim
"Israelites" - Desmond Dekker & The Aces
"Rock Me" - Steppenwolf
"Too Busy Thinking About My Baby" - Marvin Gaye
"Jam Up Jelly Tight" - Tommy Roe
"Can I Change My Mind" - Tyrone Davis
"Oh Happy Day" - Edwin Hawkins Singers
"Aquarius/Let the Sunshine In" - The Fifth Dimension
"Eli's Coming" - Three Dog Night
"My Pledge of Love" - Joe Jeffrey Group
"These Eyes" - The Guess Who
"Nothing But a Heartache" - The Flirtations
"I Started a Joke" - The Bee Gees
"I'm Gonna Make You Mine" - Lou Christie
"It's Your Thing" - The Isley Brothers
"Na Na Hey Hey Kiss Him Goodbye" - Steam
"Someday We'll Be Together" - Diana Ross & The Supremes
"Going In Circles" - Friends Of Distinction
"Commotion" - Creedence Clearwater Revival
"Twenty-Five Miles" - Edwin Starr
"The Thrill Is Gone" - B.B. King
"That's the Way Love Is" - Marvin Gaye
"Something In the Air" - Thunderclap Newman
"Crossroads" - Cream
"Stand" - Sly & The Family Stone
"Hang 'Em High" - Booker T. & The MG's
"Worst That Could Happen" - Johnny Maestro & The Brooklyn Bridge
"Atlantis" - Donovan
"Purple Haze" - The Jimi Hendrix Experience
"Till the End of the Day" - The Kinks
"All I Really Want To Do" - The Byrds
"Get Me to the World On Time" - The Electric Prunes
"Black Magic Woman" - Fleetwood Mac
"Kentucky Woman" - Deep Purple
"Whipping Post" - The Allman Brothers Band
"Sookie Sookie" - Steppenwolf
"Feelin' Alright" - Joe Cocker
"Sugar and Spice" - The Cryan Shames
"Catch the Wind" - Donovan
"Kick Out the Jams" - MC5
"Seven & Seven Is" - Love
"I'm Gonna Love You Too" - The Hullaballoos
"Ballad of Easy Rider" - The Byrds
"Paper Sun" - Traffic
"Homburg" - Procol Harum
"Hey Joe" - Leaves
"Money" - The Kingsmen
"Happenings Ten Years Time Ago" - The Yardbirds
"I-Feel-Like-I'm-Fixin'-To-Die Rag" - Country Joe & The Fish
"Combination of the Two" - Big Brother & The Holding Company
01 - Cream - White Room
02 - Seeds - Pushin' Too Hard
03 - Byrds - My Back Pages
04 - Hollies - Pay You Back With Interest
05 - Searchers - Bumblebee
06 - Pretty Things - Don't Bring Me Down
07 - Troggs - I Can't Control Myself
08 - Love - My Little Red Book
09 - Kinks - Dedicated Follower of Fashion
10 - Santana - Evil Ways
11 - Traffic - Forty Thousand Headmen
12 - Them - Mystic Eyes
13 - Velvet Underground - Sweet Jane
14 - Van Morrison - Moondance
15 - Flying Burrito Brothers - Christine's Tune
16 - Balloon Farm - A Question of Temperature
17 - Yardbirds - Stroll On
18 - Cream - Tales Of Brave Ulysses
19 - Standells - Sometimes Good Guys Don't Wear White
20 - Sir Douglas Quintet - The Rains Came
21 - Quicksilver Messenger Service - Who Do You Love
22 - Blind Faith - Can't Find My Way Home
01 - Nashville Teens - Tobacco Road
02 - Paul Revere & The Raiders - Steppin' Out
03 - Searchers - When You Walk In the Room
04 - Bobby Fuller Four - Love's Made a Fool of You
05 - Troggs - "With a Girl Like You"
06 - Barbarians - Are You a Boy Or Are You a Girl
07 - Seeds - "Can't Seem to Make You Mine"
08 - Sonics - Psycho
09 - Byrds - 5 D (Fifth Dimension)
10 - Chocolate Watch Band - Let's Talk About Girls
11 - Five Americans - I See the Light
12 - Nazz - Hello It's Me
13 - Procol Harum - A Salty Dog
14 - Moody Blues - Ride My See Saw
15 - Cream - I Feel Free
16 - Joe Cocker - Delta Lady
17 - Allman Brothers Band - Midnight Rider
18 - Steppenwolf - The Pusher
19 - Blood Sweat & Tears - I Can't Quit Her
20 - Electric Flag - Groovin' Is Easy
21 - Van Morrison - Caravan
22 - Blind Faith - Presence of the Lord
1 - I’m So Glad - Cream 3:57
2 - Alone Again Or - Love 3:14
3 - When I Was Young - Eric Burdon and the Animals 2:59
4 - Season of the Witch - Donovan 4:55
5 - Tuesday Afternoon (Forever Afternoon) - The Moody Blues 4:50
6 - Jesus is Just Alright - The Byrds 2:10
7 - Open My Eyes - Nazz 2:39
8 - Are You Gonna Be There (At the Love In) - The Chocolate Watchband 2:25
9 - Blackberry Way - The Move 3:35
10 - Flying High - Country Joe and the Fish 2:38
11 - Darkness, Darkness - The Youngbloods 3:49
12 - Shakin’ Street - MC5 2:21
13 - Whiskey Train - Procol Harum 4:30
14 - Second Generation Woman - Family 3:15
15 - Meet on the Ledge - Fairport Convention 2:51
16 - Fresh Air - Quicksilver Messenger 5:20
17 - Space Cowboy - The Steve Miller Band 4:57
18 - San Francisco Girls (Return of the Native) - Fever Tree 3:57
19 - Buy for Me the Rain - The Nitty Gritty Dirt Band 2:24
20 - Abba Zaba - Captain Beefheart & the Magic Band 2:42
21 - Venus in Furs - The Velvet Underground and Nico 5:06
|
||||
1487
|
dbpedia
|
2
| 0
|
https://en.wikipedia.org/wiki/Billboard_Year-End_Hot_100_singles_of_1965
|
en
|
End Hot 100 singles of 1965
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Sam_the_sham_1965.jpg/190px-Sam_the_sham_1965.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Herman%27s_Hermits_1967.jpg/190px-Herman%27s_Hermits_1967.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2011-01-07T19:33:40+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Billboard_Year-End_Hot_100_singles_of_1965
|
This is a list of Billboard magazine's Top Hot 100 songs of 1965.[1] The Top 100, as revealed in the year-end edition of Billboard dated December 25, 1965, is based on Hot 100 charts from the issue dates of January 2 through October 30, 1965.
No. Title Artist(s) 1 "Wooly Bully" Sam the Sham and the Pharaohs 2 "I Can't Help Myself (Sugar Pie Honey Bunch)" Four Tops 3 "(I Can't Get No) Satisfaction" The Rolling Stones 4 "You Were on My Mind" We Five 5 "You've Lost That Lovin' Feelin'" The Righteous Brothers 6 "Downtown" Petula Clark 7 "Help!" The Beatles 8 "Can't You Hear My Heartbeat" Herman's Hermits 9 "Crying in the Chapel" Elvis Presley 10 "My Girl" The Temptations 11 "Help Me, Rhonda" The Beach Boys 12 "King of the Road" Roger Miller 13 "The Birds and the Bees" Jewel Akens 14 "Hold Me, Thrill Me, Kiss Me" Mel Carter 15 "Shotgun" Junior Walker & the All Stars 16 "I Got You Babe" Sonny & Cher 17 "This Diamond Ring" Gary Lewis & the Playboys 18 "The 'In' Crowd" Ramsey Lewis Trio 19 "Mrs. Brown, You've Got a Lovely Daughter" Herman's Hermits 20 "Stop! In the Name of Love" The Supremes 21 "Unchained Melody" The Righteous Brothers 22 "Silhouettes" Herman's Hermits 23 "I'll Never Find Another You" The Seekers 24 "Cara Mia" Jay and the Americans 25 "Mr. Tambourine Man" The Byrds 26 "Cast Your Fate to the Wind" Sounds Orchestral 27 "Yes, I'm Ready" Barbara Mason 28 "What's New Pussycat?" Tom Jones 29 "Eve of Destruction" Barry McGuire 30 "Hang On Sloopy" The McCoys 31 "Ticket to Ride" The Beatles 32 "Red Roses for a Blue Lady" Bert Kaempfert 33 "Papa's Got a Brand New Bag" James Brown 34 "Game of Love" Wayne Fontana & The Mindbenders 35 "The Name Game" Shirley Ellis 36 "I Know a Place" Petula Clark 37 "Back in My Arms Again" The Supremes 38 "Baby I'm Yours" Barbara Lewis 39 "The Jolly Green Giant" The Kingsmen 40 "Hush, Hush, Sweet Charlotte" Patti Page 41 "Like a Rolling Stone" Bob Dylan 42 "I'm Telling You Now" Freddie and the Dreamers 43 "Ferry Cross the Mersey" Gerry and the Pacemakers 44 "Just Once in My Life" The Righteous Brothers 45 "The Seventh Son" Johnny Rivers 46 "I'm Henry the Eighth, I Am" Herman's Hermits 47 "A Walk in the Black Forest" Horst Jankowski 48 "For Your Love" The Yardbirds 49 "California Girls" The Beach Boys 50 "Go Now" The Moody Blues 51 "Goldfinger" Shirley Bassey 52 "Down in the Boondocks" Billy Joe Royal 53 "Baby the Rain Must Fall" Glenn Yarbrough 54 "Catch Us If You Can" The Dave Clark Five 55 "Eight Days a Week" The Beatles 56 "Just a Little" The Beau Brummels 57 "You Turn Me On" Ian Whitcomb 58 "I'll Be Doggone" Marvin Gaye 59 "Save Your Heart for Me" Gary Lewis & the Playboys 60 "Tired of Waiting for You" The Kinks 61 "Count Me In" Gary Lewis & the Playboys 62 "All Day and All of the Night" The Kinks 63 "What the World Needs Now Is Love" Jackie DeShannon 64 "It's Not Unusual" Tom Jones 65 "She's About a Mover" Sir Douglas Quintet 66 "Shake" Sam Cooke 67 "Wonderful World" Herman's Hermits 68 "Nowhere to Run" Martha and the Vandellas 69 "Heart Full of Soul" The Yardbirds 70 "Love Potion No. 9" The Searchers 71 "Laurie (Strange Things Happen)" Dickey Lee 72 "Baby Don't Go" Sonny & Cher 73 "It Ain't Me Babe" The Turtles 74 "Tell Her No" The Zombies 75 "I Go to Pieces" Peter and Gordon 76 "Red Roses for a Blue Lady" Vic Dana 77 "Don't Just Stand There" Patty Duke 78 "The Tracks of My Tears" The Miracles 79 "Too Many Rivers" Brenda Lee 80 "I Like It Like That" The Dave Clark Five 81 "Little Things" Bobby Goldsboro 82 "True Love Ways" Peter and Gordon 83 "It's the Same Old Song" Four Tops 84 "You've Got Your Troubles" The Fortunes 85 "Hold What You've Got" Joe Tex 86 "We Gotta Get Out of This Place" The Animals 87 "Laugh, Laugh" The Beau Brummels 88 "The Last Time" The Rolling Stones 89 "Do You Believe in Magic" The Lovin' Spoonful 90 "All I Really Want to Do" Cher 91 "Take Me Back" Little Anthony and the Imperials 92 "I Want Candy" The Strangeloves 93 "Ooo Baby Baby" The Miracles 94 "Laugh at Me" Sonny 95 "Treat Her Right" Roy Head 96 "The Race Is On" Jack Jones 97 "I'm a Fool" Dino, Desi & Billy 98 "The Boy from New York City" The Ad Libs 99 "Keep Searchin' (We'll Follow the Sun)" Del Shannon 100 "How Sweet It Is (To Be Loved by You)" Marvin Gaye
See also
[edit]
1965 in music
List of Billboard Hot 100 number-one singles of 1965
List of Billboard Hot 100 top-ten singles in 1965
|
||||||
1487
|
dbpedia
|
1
| 28
|
https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-beatles_canon.shtml
|
en
|
The official Beatles' canon
|
[
"https://www.icce.rug.nl/~soundscapes/LAYOUT/LOGO1.PNG",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/LOGO2.PNG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/AWP.GIF",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/ARROWLEFT.GIF",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/PIXEL205.GIF",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover01.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover02.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover03.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover04.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover05.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover06.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover07.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover08.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover09.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover10.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover11.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover12.JPG",
"https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/IMAGES/Beatles_cover13.JPG",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/ARROWLEFT.GIF",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/UP.GIF",
"https://www.icce.rug.nl/~soundscapes/LAYOUT/ARROWLEFT.GIF"
] |
[] |
[] |
[
"Ger Tillekens",
"Beatles",
"Paul McCartney",
"John lennon",
"George Harrison",
"Ringo Starr"
] | null |
[
"Ger Tillekens"
] | null |
A list of all 212 Beatles' songs and covers officially released on record between 1962 and 1970.
|
en
|
../../favicon.png
| null |
journal on media culture
ISSN 1567-7745
databases Alan W. Pollack's Notes On ... —
Markus Heuger's Beabliography —
Zeezender Discografie —
A list of all 212 Beatles' songs and covers officially released on record between 1962 and 1970 by Ger Tillekens The official Beatles' canon covers all songs the Beatles recorded and authorized for publication in their years as a performing group. In those years between 1962 and 1970 the Beatles released 219 songs or song variants, which are listed below in order of appearance. In this list there are 24 covers (C), and 1 traditional (T), leaving us with up to 194 released recordings of original Beatles' songs. Among those 194 we find 9 song variations and 1 song fragment. Of those 10 performances most authors of Beatles' books and commentaries discard 7 tracks as just variants or invalid members of the Beatles' songbook, leaving us with exactly 187 canonical Beatles' originals, 24 covers and 1 traditional: a total of 212 songs. [1] The links on this page all point towards Alan W. Pollack's Notes on ... Series. MD-numbers refer to the standard "MacDonald Verzeichnis" of the Beatles' songs. 1 Single: Love Me Do (released: 05.10.1962 [UK] on Parlophone 45-R 4949)
001 / MD001: Love Me Do (with Ringo on drums)
002 / MD002: P.S. I Love You
2 Single: Please Please Me (released: 11.01.1963 [UK] on Parlophone 45-R 4983)
003 / MD003: Please Please Me
004 / MD004: Ask Me Why
3 LP: Please Please Me (released: 22.03.1963 [UK] on Parlophone PMC 1202 [mono]; Parlophone PCS 3042 [stereo])
005 / MD006: I Saw Her Standing There
006 / MD008: Misery
C01 / MD009b: Anna (Go To Him)
C02 / MD009d: Chains
C03 / MD009c: Boys
004 / MD004: Ask Me Why
003 / MD003: Please Please Me
007 / MD001: Love Me Do (drums played by Andy White)
002 / MD002: P.S. I Love You
C04 / MD009e: Baby It's You
008 / MD007: Do You Want To Know A Secret
C05 / MD006b: A Taste of Honey
009 / MD005: There's A Place
C06 / MD009f: Twist and Shout
4 Single: From Me To You (released: 11.04.1963 [UK] on Parlophone R 5015)
010 / MD010: From Me To You
011 / MD011: Thank You Girl
5 Single: She Loves You (released: 23.08.1963 [UK] on Parlophone R 5055)
012 / MD012: She Loves You
013 / MD013: I'll Get You
6 LP: With The Beatles (released: 22.11.1963 [UK] on Parlophone PMC 1206 [mono]; Parlophone PCS 3045 [stereo])
014 / MD014: It Won't Be Long
015 / MD018: All I've Got To Do
016 / MD015: All My Loving
017 / MD020: Don't Bother Me
018 / MD017: Little Child
C07 / MD013e: Till There Was You
C08 / MD013f: Please Mister Postman
C09 / MD014b: Roll Over Beethoven
019 / MD009: Hold Me Tight
C10 / MD013b: You Really Got A Hold On Me
020 / MD016: I Wanna Be Your Man
C11 / MD013d: Devil In Her Heart
021 / MD019: Not A Second Time
C12 / MD013c: Money (That's What I Want)
7 Single: I Want To Hold Your Hand (released: 29.11.1963 [UK] on Parlophone R 5084)
022 / MD021: I Want To Hold Your Hand
023 / MD022: This Boy
8 Single: Komm, Gib Mir Deine Hand (released: March 1964 [BRD])
024: Komm, Gib Mir Deine Hand
025: Sie Liebt Dich
9 Single: Can't Buy Me Love (released: 20.03.1964 [UK] on Parlophone R 5114)
026 / MD023: Can't Buy Me Love
027 / MD024: You Can't Do That
10 EP: Long Tall Sally (released: 19.06.1964 [UK] on Parlophone GEP 8913)
C13 / MD029b: Long Tall Sally
028 / MD030: I Call Your Name
C14 / MD032b: Slow Down
C15 / MD031b: Matchbox
11 Single: A Hard Day's Night (released: 10.07.1964 [UK] on Parlophone R 5160)
029 / MD031: A Hard Day's Night
030 / MD035: Things We Said Today
12 LP: A Hard Day's Night (released: 26.06.1964 [US]; 10.07.1964 [UK] on Parlophone PMC 1230 [mono]; Parlophone PCS 3058 [stereo])
029 / MD031: A Hard Day's Night
031 / MD026: I Should Have Known Better
032 / MD028: If I Fell
033 / MD029: I'm Happy Just To Dance With You
034 / MD025: And I Love Her
035 / MD027: Tell Me Why
026 / MD023: Can't Buy Me Love
036 / MD034: Any Time At All
037 / MD032: I'll Cry Instead
030 / MD035: Things We Said Today
038 / MD036: When I Get Home
027 / MD024: You Can't Do That
039 / MD033: I'll Be Back
13 Single: I Feel Fine (released: 23.11.1964 [US]; 27.11.1964 [UK] on Parlophone R 5200)
040 / MD045: I Feel Fine
041 / MD044: She's A Woman
14 LP: Beatles For Sale (released: 04.12.1964 [UK] on Parlophone PMC 1240 [mono]; Parlophone PCS 3062 [stereo])
042 / MD042: No Reply
043 / MD038: I'm A Loser
044 / MD037: Baby's In Black
C16 / MD046c: Rock And Roll Music
045 / MD046: I'll Follow The Sun
C17 / MD038b: Mr. Moonlight
C18 / MD044b: Kansas City - Hey, Hey, Hey, Hey
046 / MD043: Eight Days A Week
C19 / MD046d: Words Of Love
C20 / MD046e: Honey Don't
047 / MD039: Every Little Thing
048 / MD040: I Don't Want To Spoil The Party
049 / MD041: What You're Doing
C21 / MD046b: Everybody's Trying To Be My Baby
15 Single: Ticket To Ride (released: 09.04.1965 [UK] on Parlophone R 5265)
050 / MD047: Ticket To Ride
051 / MD050: Yes It Is
16 LP: Beatles VI (released: 14.06.1965 [US] on Capitol T 2358 [stereo])
C18 / MD044b: Kansas City - Hey, Hey, Hey, Hey
046 / MD043: Eight Days A Week
052 / MD052: You Like Me Too Much
C22 / MD056c: Bad Boy
048 / MD040: I Don't Want To Spoil The Party
C19 / MD046d: Words Of Love
049 / MD041: What You're Doing
051 / MD050: Yes It Is
C23 / MD056b: Dizzy Miss Lizzy
053 / MD054: Tell Me What You See
047 / MD039: Every Little Thing
17 Single: Help! (released: 19.07.1965 [US]; 23.07.1965 [UK] on Parlophone R 5305)
054 / MD056: Help!
055 / MD058: I'm Down
18 LP: Help! (released: 06.08.1965 [UK] on Parlophone PMC 1255 [mono]; Parlophone PCS 3071 [stereo])
054 / MD056: Help!
056 / MD051: The Night Before
057 / MD053: You've Got To Hide Your Love Away
058 / MD049: I Need You
059 / MD048: Another Girl
060 / MD055: You're Going To Lose That Girl
050 / MD047: Ticket To Ride
C24 / MD060b: Act Naturally
061 / MD060: It's Only Love
052 / MD052: You Like Me Too Much
053 / MD054: Tell Me What You See
062 / MD057: I've Just Seen A Face
063 / MD059: Yesterday
C23 / MD056b: Dizzy Miss Lizzy
19 Single: We Can Work It Out (released: 03.12.1965 [UK] on Parlophone R 5389 as double A-side single)
064 / MD068: We Can Work It Out
065 / MD065: Day Tripper
20 LP: Rubber Soul (released: 03.12.1965 [UK] on Parlophone PMC 1267 [mono]; Parlophone PCS 3075 [stereo])
066 / MD064: Drive My Car
067 / MD063: Norwegian Wood (This Bird Has Flown)
068 / MD075: You Won't See Me
069 / MD069: Nowhere Man
070 / MD073: Think For Yourself
071 / MD074: The Word
072 / MD071: Michelle
073 / MD072: What Goes On
074 / MD076: Girl
075 / MD070: I'm Looking Through You
076 / MD067: In My Life
077 / MD061: Wait
078 / MD066: If I Needed Someone
079 / MD062: Run For Your Life
25 Single: Paperback Writer (released: 30.05.1966 [US]; 10.06.1966 [UK] on Parlophone R 5452 as double A-side single)
080 / MD080: Paperback Writer
081 / MD081: Rain
21 Single: Eleanor Rigby (released: 05.08.1966 [UK] on Parlophone R 5493 as double A-side single)
082 / MD086: Eleanor Rigby
083 / MD088: Yellow Submarine
22 LP: Revolver (released: 05.08.1966 [UK] on Parlophone PMC 7009 [mono]; Parlophone PCS 7009 [stereo])
084 / MD084: Taxman
082 / MD086: Eleanor Rigby
085 / MD085: I'm Only Sleeping
086 / MD079: Love You To
087 / MD091: Here, There, And Everywhere
083 / MD088: Yellow Submarine
088 / MD092: She Said She Said
089 / MD090: Good Day Sunshine
090 / MD083: And Your Bird Can Sing
091 / MD087: For No One
092 / MD082: Doctor Robert
093 / MD089: I Want To Tell You
094 / MD078: Got To Get You Into My Life
095 / MD077: Tomorrow Never Knows
23 Single: Strawberry Fields Forever (released: 13.02.1967 [US]; 17.02.1967 [UK] on Parlophone R 5570 as double A-side single)
096 / MD093: Strawberry Fields Forever
097 / MD095: Penny Lane
24 LP: Sgt. Pepper's Lonely Hearts Club Band (released: 01.06.1967 [UK] on Parlophone PMC 7027 [mono]; Parlophone PCS 7027 [stereo])
098 / MD097: Sgt. Pepper's Lonely Hearts Club Band
099 / MD107: With A Little Help From My Friends
100 100 / MD103: Lucy In The Sky With Diamonds
101 / MD104: Getting Better
102 / MD099: Fixing A Hole
103 / MD106: She's Leaving Home
104 / MD101: Being For The Benefit Of Mr. Kite
105 / MD105: Within You Without You
106 / MD094: When I'm Sixty-Four
107 / MD102: Lovely Rita
108 / MD098: Good Morning, Good Morning
109 / MD108: Sgt. Pepper's Lonely Hearts Club Band (Reprise)
110 / MD096: A Day In The Life
26 Single: All You Need Is Love (released: 07.07.1967 [UK] on Parlophone R 5620; the title song was aired on the Eurovision program "Our World" on 25.06.1967)
111 / MD114: All You Need Is Love
112 / MD110: Baby You're A Rich Man
27 Single: Hello Goodbye (released: 24.11.1967 [UK] on Parlophone R 5655)
113 / MD120: Hello Goodbye
114 / MD116: I Am The Walrus
28 LP: Magical Mystery Tour (released: 27.11.1967 [US])
115 / MD109: Magical Mystery Tour
116 / MD119: The Fool On The Hill
117 / MD118: Flying
118 / MD117: Blue Jay Way
119 / MD115: Your Mother Should Know
114 / MD116: I Am The Walrus
113 / MD120: Hello Goodbye
096 / MD093: Strawberry Fields Forever
097 / MD095: Penny Lane
112 / MD110: Baby You're A Rich Man
120 / MD114: All You Need Is Love (Refrain only)
29 EP: Magical Mystery Tour (released: 08.12.1967 [UK] on Parlophone MMT-1 [mono] and SMMT-1 [stereo])
115 / MD109: Magical Mystery Tour
119 / MD115: Your Mother Should Know
114 / MD116: I Am The Walrus
116 / MD119: The Fool On The Hill
117 / MD118: Flying
118 / MD117: Blue Jay Way
30 Single: Lady Madonna (released: 15.03.1968 [UK] on Parlophone R 5675)
121 / MD122: Lady Madonna
122 / MD121: The Inner Light
31 Single: Hey Jude (released: 26.08.1968 [US]; 30.08.1968 [UK] on Apple/Parlophone R 5722)
123 / MD137: Hey Jude
124 / MD132: Revolution
32 LP: The Beatles [White Album] (released: 22.11.1968 [UK] on Parlophone PMC 7067-7068 [mono]; Parlophone PCS 7067-7068 [stereo])
125 / MD142: Back In The USSR
126 / MD143: Dear Prudence
127 / MD144: Glass Onion
128 / MD131: Ob-La-Di, Ob-La-Da
129 / MD141: Wild Honey Pie
130 / MD154: The Continuing Story Of Bungalow Bill
131 / MD136: While My Guitar Gently Weeps
132 / MD148: Happiness Is A Warm Gun
133 / MD151: Martha My Dear
134 / MD153: I'm So Tired
135 / MD128: Blackbird
136 / MD147: Piggies
137 / MD140: Rocky Raccoon
138 / MD126: Don't Pass Me By
139 / MD155: Why Don't We Do It In the Road
140 / MD145: I Will
141 / MD156: Julia
142 / MD146: Birthday
143 / MD139: Yer Blues
144 / MD138: Mother Nature's Son
145 / MD129: Everybody's Got Something To Hide Except For Me And My Monkey
146 / MD135: Sexy Sadie
147 / MD134: Helter Skelter
148 / MD152: Long, Long, Long
149 / MD125: Revolution (1)
150 / MD149: Honey Pie
151 / MD150: Savoy Truffle
152 / MD133: Cry Baby Cry
153: Can You Take Me Back (untitled song fragment)
154 / MD127: Revolution #9
155 / MD130: Good Night
33 LP: Yellow Submarine (released: 13.01.1969 [US]; 17.01.1969 [UK] on Parlophone PMC 7070 [mono]; Parlophone PCS 7070 [stereo])
083 / MD088: Yellow Submarine
156 / MD100: Only A Northern Song
157 / MD111: All Together Now
158 / MD124: Hey Bulldog
159 / MD113: It's All Too Much
111 / MD114: All You Need Is Love
34 Single: Get Back (released: 11.04.1969 [UK] on Apple/Parlophone R 5777)
160 / MD160: Get Back (with Billy Preston on piano)
161 / MD159: Don't Let Me Down (with Billy Preston on piano)
35 Single: The Ballad Of John And Yoko (released: 30.05.1969 [UK] on Apple/Parlophone R 5786)
162 / MD168: The Ballad Of John And Yoko
163 / MD169: Old Brown Shoe
36 LP: Abbey Road (released: 26.09.1969 on [UK] Parlophone PCS 7088 [stereo])
164 / MD179: Come Together
165 / MD170: Something
166 / MD178: Maxwell's Silver Hammer
167 / MD171: Oh! Darling
168 / MD172: Octopus's Garden
169 / MD167: I Want You (She's So Heavy)
170 / MD177: Here Comes The Sun
171 / MD185: Because
172 / MD173: You Never Give Me Your Money
173 / MD181: Sun King
174 / MD182: Mean Mr Mustard
175 / MD183: Polythene Pam
176 / MD184: She Came In Through The Bathroom Window
177 / MD175: Golden Slumbers
178 / MD176: Carry That Weight
179 / MD180: The End
180 / MD174: Her Majesty
37 Single: Let It Be (released: 06.03.1969 [UK] on Apple/Parlophone R 5833)
181 / MD164: Let It Be (with Billy Preston on piano)
182 / MD112: You Know My Name (Look Up The Number)
39 LP: Let it Be (released: 08.05.1970 [UK] on Apple/Parlophone PCS 7096 [stereo])
184 / MD161: Two Of Us
185 / MD157: Dig A Pony
186 / MD123: Across The Universe (remixed)
187 / MD186: I Me Mine
188 / MD162: Dig It
189 / MD164: Let It Be (with Billy Preston on piano; produced by Phil Spector)
T01 / MD161b: Maggie Mae
190 / MD158: I've Got A Feeling
191 / MD166: One After 909
192 / MD165: The Long And Winding Road
193 / MD163: For You Blue
194 / MD160: Get Back (with Billy Preston on piano; produced by Phil Spector)
41 Single: Real Love (released: 04.03.1996 on Apple/EMI CDR 6425, CD-single)
196 / MD188: Real Love
Notes 1. Those seven discarded songs are all doubles:
007: Love Me Do, double of 001, but with Andy White sitting behind the drums;
024: Komm, Gib Mir Deine Hand, German version of 022: I Want To Hold Your Hand (same basic track with added vocals and handclaps);
025: Sie Liebt Dich, German version of 012: She Loves You (commonly taken as a complete rerecording of the original, but maybe just like 024 the same basic track with new vocals);
120: refrain of 111: All You Need Is Love;
186: Across The Universe, remix by Phil Spector of 183: Across The Universe without wildlife sounds;
189: Let It Be, remix by Phil Spector of the single version 181: Let It Be (same take, but slightly longer and with a different solo guitar track);
194: Get Back, mixed by Phil Spector from a take that was recorded a day before (27.01.69) that of the single 160: Get Back;
The one song fragment can be found on the White Album midbetween "Cry Baby Cry" and "Revolution #9":
153: Can You Take Me Back (untitled song fragment by McCartney on the White Album).
Your browser does not support the audio element. This "ditty" was written and sung by Paul McCartney at the recording sessions of "I Will" on 16th September 1968 as take 19 of this song. The full song lasts 2'21 minutes and is not copyrighted. Most Beatles' commentaries exclude it from their lists. Having listened to the take several times, I'm inclined to do the opposite.
|
|||||
1487
|
dbpedia
|
1
| 90
|
https://faroutmagazine.co.uk/tom-jones-favourite-song/
|
en
|
Tom Jones on his favourite song of all time
|
[
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/img/newsletter.gif",
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/logo/faroutmagazine.co.uk/minimal-logo.svg?ver=1.1.3",
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/logo/faroutmagazine.co.uk/plain-logo.svg?ver=1.1.3",
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/logo/faroutmagazine.co.uk/sticky-logo.svg?ver=1.1.3",
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/logo/faroutmagazine.co.uk/homepage-logo.svg?ver=1.1.3",
"https://faroutmagazine.co.uk/static/uploads/1/2023/04/Tom-Jones-London-1965-on-stage-4-Far-Out-Magazine-F-1140x855.jpg",
"https://faroutmagazine.co.uk/wp-content/themes/far-out-magazine/logo/faroutmagazine.co.uk/homepage-logo.svg?ver=1.1.0"
] |
[
"https://www.youtube.com/embed/xPrUaPcSkvQ?feature=oembed"
] |
[] |
[
""
] | null |
[
"Jordan Potter"
] |
2024-08-06T16:10:00+01:00
|
In a past interview, Tom Jones remembered singing a duet of his favourite song of all time with his longstanding musical "idol". Read more here.
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/tom-jones-favourite-song/
|
Tom Jones remembers singing his favourite song with his musical “idol”
Although Tom Jones emerged in the 1960s alongside The Beatles’ towering presence, his style was less progressive. The Welsh crooner adopted a pop sound that was more in keeping with the previous couple of decades, which jazz-inspired musicians like Frank Sinatra and Dean Martin dominated. From his traditional setting, Jones was initially critical of some contemporary stars, especially Bob Dylan, whose voice was far from conventional.
Though it was released in 1964, Jones’ second single, ‘It’s Not Unusual’, struck number one in 1965 and set a precedent for the remainder of the year, which would turn out to be the most momentous of his career. Concurrently, Bob Dylan, an established young folk star on the other side of the Atlantic, was beginning to welcome rock influences to his folk style. In August 1965, he made history with his bold, controversial decision to “go electric” during his set at the famous Newport Folk Festival.
Jones caught wind of Dylan’s work earlier in the decade and failed to connect with his voice. However, that all changed in the summer of ’65 when he first laid ears on Dylan’s early folk hit ‘Blowin’ in the Wind’ while touring in the US.
“I wasn’t struck by Dylan’s voice at first,” he admitted to The Guardian. “But then I heard ‘Blowin’ in the Wind’, and I’ve been a fan ever since. The lyrics are fantastic. He’s basically asking, ‘How many times do we have to go through all this shit before we realise that we’re fucking up the world?'”
Noting Dylan’s talent for vivid imagery and culturally pertinent themes, Jones suggested that the song was among his all-time favourites in songwriting terms. “He paints pictures with his songs so you can see things happening,” he added. “What good am I if I just stand by and let things happen that I know I should be changing? He was the first singer-songwriter to make me think.”
Jones has remained a big fan of Dylan’s work over the past six decades despite his preference for conventional singing styles. In 2010, he recorded a cover of Dylan’s 1989 song ‘What Good Am I’ for his album Praise & Blame and in 2021, he recorded the 1976 Desire cut ‘One More Cup of Coffee’ for his album Surrounded By Time. With his earthy Welsh croon and Dylan’s lyrics, Jones might fancy that he recorded some of the greatest songs around.
When it comes to singing, Jones sees Whitney Houston, Aretha Franklin, Prince and Stevie Wonder as about as good as it gets. In a Q&A with the BBC, the ‘What’s New Pussycat?’ singer revealed that he would love to have been a judge on The Voice many decades ago and to have discovered one of these eminent vocalists.
Elsewhere in the conversation, Jones revealed the point at which clever songwriting and compelling vocals converge. For him, nothing beats Jerry Lee Lewis’s early rock ‘n’ roll single, ‘Great Balls of Fire’. Jones described the 1957 classic as his “favourite record of all time,” adoringly referring to Lewis as “The Killer” of Sun Records.
Jones continued to describe Lewis, who passed away in 2022 aged 87, as his “idol” and reflected on their duet as one of his career highlights. “The most memorable duet I’ve ever done in my life is with my idol Jerry Lee Lewis when he was on my TV show in England in 1969,” he beamed. “It was at Elstree Studios, the same place where we’re doing our Live Voice UK shows, believe it or not!” During the medley, the pair set out with a rendition of ‘Great Balls of Fire’.
|
|||||
1487
|
dbpedia
|
0
| 33
|
https://tamcopaint.com/products/ford-springtime-yellow-8-1955-1965-1967-oem-ag-series-single-stage
|
en
|
Ford Springtime Yellow | 8 / 1955 | 1965-1967 | OEM AG Series Single Stage
|
http://tamcopaint.com/cdn/shop/products/FordSpringtimeYellow81955-agss.jpg?v=1677702660
|
http://tamcopaint.com/cdn/shop/products/FordSpringtimeYellow81955-agss.jpg?v=1677702660
|
[
"https://tamcopaint.com/cdn/shop/files/Tamco_Logo_2048_x_2048_PNG_1_145x@2x.png?v=1643386229",
"https://tamcopaint.com/cdn/shop/products/FordSpringtimeYellow81955-agss_{width}x.jpg?v=1677702660",
"https://tamcopaint.com/cdn/shop/products/FordSpringtimeYellow81955-agss_800x.jpg?v=1677702660",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131391841_152406719649982_4691991787793609205_n_1080_e8a676f7-2288-4b2c-88d3-ac75bee876c9_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131391841_152406719649982_4691991787793609205_n_1080_e8a676f7-2288-4b2c-88d3-ac75bee876c9_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_133274509_516909232558735_3892943976059544756_n_1080_6c893dfb-de6e-40f1-b7e6-dd34a385008e_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_133274509_516909232558735_3892943976059544756_n_1080_6c893dfb-de6e-40f1-b7e6-dd34a385008e_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347770242_961686148320179_4745637032031067225_n_1080_ea078f0e-c2cc-4b4a-9eb5-46e21c454a7e_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347770242_961686148320179_4745637032031067225_n_1080_ea078f0e-c2cc-4b4a-9eb5-46e21c454a7e_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132028636_739610283427600_5028230799899604194_n_1080_75481ac5-5e95-4d84-bb70-bee6e8ec1a1d_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132028636_739610283427600_5028230799899604194_n_1080_75481ac5-5e95-4d84-bb70-bee6e8ec1a1d_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/240083492_129441836072208_433970758040958492_n_57ed4b4c-4526-42b9-b1eb-5ce857b6b207_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/240083492_129441836072208_433970758040958492_n_57ed4b4c-4526-42b9-b1eb-5ce857b6b207_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347641020_192157643314082_5369692372606685102_n_1080_d25d3333-c7df-4a33-8fee-ae12e764ff5b_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347641020_192157643314082_5369692372606685102_n_1080_d25d3333-c7df-4a33-8fee-ae12e764ff5b_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132205685_3658503700883441_6435920911199454045_n_1080_abdbe52e-f0c7-45d0-84f5-76b370b05f6c_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132205685_3658503700883441_6435920911199454045_n_1080_abdbe52e-f0c7-45d0-84f5-76b370b05f6c_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131974827_871601013634038_7897172621865060834_n_1080_64f0dda6-3dc2-46a6-b2c7-ea8db7d94aec_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131974827_871601013634038_7897172621865060834_n_1080_64f0dda6-3dc2-46a6-b2c7-ea8db7d94aec_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132331032_152814622933415_1275406864630653338_n_1080_542b9dce-7a73-4b87-a53c-5d7fb4895b20_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132331032_152814622933415_1275406864630653338_n_1080_542b9dce-7a73-4b87-a53c-5d7fb4895b20_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132296247_175782154276961_3251886102161653602_n_1080_ef50012d-8a8a-4fcb-985c-045ef5c46029_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132296247_175782154276961_3251886102161653602_n_1080_ef50012d-8a8a-4fcb-985c-045ef5c46029_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132623283_263579605187833_197904453862033642_n_1080_1_379605fd-a27a-4832-b21f-f25f478f9758_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132623283_263579605187833_197904453862033642_n_1080_1_379605fd-a27a-4832-b21f-f25f478f9758_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123438456_968925156967105_1544296551833075509_n_887918d2-64ca-4b39-8fe8-1e36412abc86_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123438456_968925156967105_1544296551833075509_n_887918d2-64ca-4b39-8fe8-1e36412abc86_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123454663_685510349040168_5650558776815628628_n_1d39784b-5b04-40f8-9b94-0487bb119da5_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123454663_685510349040168_5650558776815628628_n_1d39784b-5b04-40f8-9b94-0487bb119da5_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123414487_3447923101966851_168205490403092671_n_21610922-0eea-4bb2-94f6-c625f3c90dd2_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123414487_3447923101966851_168205490403092671_n_21610922-0eea-4bb2-94f6-c625f3c90dd2_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123592246_197627478504346_5127431908363750089_n_48afed42-246e-47b0-92e9-d5ba8e9f003a_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123592246_197627478504346_5127431908363750089_n_48afed42-246e-47b0-92e9-d5ba8e9f003a_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123386864_382589586426284_1282232845866830325_n_39eb8584-2db1-4963-bea8-407917c4c6f8_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123386864_382589586426284_1282232845866830325_n_39eb8584-2db1-4963-bea8-407917c4c6f8_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123419765_381322656643024_8528455780642540295_n_fc7a821c-7e3f-4af3-883e-5f1ccacb6213_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123419765_381322656643024_8528455780642540295_n_fc7a821c-7e3f-4af3-883e-5f1ccacb6213_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123489744_116260236804054_2969276389371464757_n_1f9c82bb-8c31-4d4d-b93e-2cdd7e6ad07f_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123489744_116260236804054_2969276389371464757_n_1f9c82bb-8c31-4d4d-b93e-2cdd7e6ad07f_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123851581_282547823018740_8706300762444110027_n_ea04deb5-fe3b-4539-82fe-871a914f4e20_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123851581_282547823018740_8706300762444110027_n_ea04deb5-fe3b-4539-82fe-871a914f4e20_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125237859_167928281713582_1018752944297316406_n_1080_16844def-8d66-4085-9627-ad932a5075ab_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125237859_167928281713582_1018752944297316406_n_1080_16844def-8d66-4085-9627-ad932a5075ab_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125201160_4033415440021406_6696012799249410044_n_1080_25ab05c2-5565-44d3-a55b-f84bca78b933_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125201160_4033415440021406_6696012799249410044_n_1080_25ab05c2-5565-44d3-a55b-f84bca78b933_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125347049_393186041878094_4247171049644841923_n_1080_aa3143bc-76e7-4c05-8bee-16ce34d30188_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125347049_393186041878094_4247171049644841923_n_1080_aa3143bc-76e7-4c05-8bee-16ce34d30188_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125164597_737587527106906_5839335611539955314_n_1080_7094499d-84db-493c-a162-0ae41d70cadd_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125164597_737587527106906_5839335611539955314_n_1080_7094499d-84db-493c-a162-0ae41d70cadd_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125078554_2425472071090484_1571431461561204075_n_1080_1584615a-f3ff-4626-b560-b738bce4cbda_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125078554_2425472071090484_1571431461561204075_n_1080_1584615a-f3ff-4626-b560-b738bce4cbda_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125006546_406975647346105_5108007419132422214_n_1080_b6ff8741-a26f-4165-98c2-1929410c2e47_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125006546_406975647346105_5108007419132422214_n_1080_b6ff8741-a26f-4165-98c2-1929410c2e47_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125317835_380328559973014_5601788231658437882_n_1080_51adcb19-abbf-466b-b80d-62961d676454_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125317835_380328559973014_5601788231658437882_n_1080_51adcb19-abbf-466b-b80d-62961d676454_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/preview_images/e111dddda1964449a3f86a1e28df9def.thumbnail.0000000000_1024x.jpg?v=1704482097",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128872550_2880077545553555_3452731125804683815_n_1080_a1c893ed-7f4b-487b-8252-03095e75edf7_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128872550_2880077545553555_3452731125804683815_n_1080_a1c893ed-7f4b-487b-8252-03095e75edf7_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128665600_192307925839805_8357243759360434656_n_1080_1bff65fa-97df-450b-8760-5d47f3e8b763_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128665600_192307925839805_8357243759360434656_n_1080_1bff65fa-97df-450b-8760-5d47f3e8b763_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_129579666_376698406728480_8056745037702482670_n_1080_35da1dfb-60cf-4b4f-860e-4ba68fba98f0_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_129579666_376698406728480_8056745037702482670_n_1080_35da1dfb-60cf-4b4f-860e-4ba68fba98f0_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128981051_873471246801545_2649309562071258981_n_1080_48187377-f827-4542-9eb6-8a38f309a281_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128981051_873471246801545_2649309562071258981_n_1080_48187377-f827-4542-9eb6-8a38f309a281_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131405936_407611810589974_3738592348662619767_n_1080_a364a19b-9022-497e-89c2-af669598ce68_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131405936_407611810589974_3738592348662619767_n_1080_a364a19b-9022-497e-89c2-af669598ce68_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131520790_2497319043896969_3821898349885443031_n_1080_41b92049-0966-4455-9220-09cba25e760f_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131520790_2497319043896969_3821898349885443031_n_1080_41b92049-0966-4455-9220-09cba25e760f_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131903074_235159971322491_5894628506216200485_n_1080_166e5b0a-9302-48fb-9fb1-275d35702cdb_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131903074_235159971322491_5894628506216200485_n_1080_166e5b0a-9302-48fb-9fb1-275d35702cdb_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131631806_2803172176598112_8567772232050929107_n_1080_01052853-dd5a-4a7e-89b6-c8b957d0b3ce_{width}x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131631806_2803172176598112_8567772232050929107_n_1080_01052853-dd5a-4a7e-89b6-c8b957d0b3ce_800x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/products/FordSpringtimeYellow81955-agss_130x.jpg?v=1677702660",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131391841_152406719649982_4691991787793609205_n_1080_e8a676f7-2288-4b2c-88d3-ac75bee876c9_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_133274509_516909232558735_3892943976059544756_n_1080_6c893dfb-de6e-40f1-b7e6-dd34a385008e_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347770242_961686148320179_4745637032031067225_n_1080_ea078f0e-c2cc-4b4a-9eb5-46e21c454a7e_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132028636_739610283427600_5028230799899604194_n_1080_75481ac5-5e95-4d84-bb70-bee6e8ec1a1d_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/240083492_129441836072208_433970758040958492_n_57ed4b4c-4526-42b9-b1eb-5ce857b6b207_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_347641020_192157643314082_5369692372606685102_n_1080_d25d3333-c7df-4a33-8fee-ae12e764ff5b_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132205685_3658503700883441_6435920911199454045_n_1080_abdbe52e-f0c7-45d0-84f5-76b370b05f6c_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131974827_871601013634038_7897172621865060834_n_1080_64f0dda6-3dc2-46a6-b2c7-ea8db7d94aec_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132331032_152814622933415_1275406864630653338_n_1080_542b9dce-7a73-4b87-a53c-5d7fb4895b20_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132296247_175782154276961_3251886102161653602_n_1080_ef50012d-8a8a-4fcb-985c-045ef5c46029_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_132623283_263579605187833_197904453862033642_n_1080_1_379605fd-a27a-4832-b21f-f25f478f9758_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123438456_968925156967105_1544296551833075509_n_887918d2-64ca-4b39-8fe8-1e36412abc86_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123454663_685510349040168_5650558776815628628_n_1d39784b-5b04-40f8-9b94-0487bb119da5_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123414487_3447923101966851_168205490403092671_n_21610922-0eea-4bb2-94f6-c625f3c90dd2_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123592246_197627478504346_5127431908363750089_n_48afed42-246e-47b0-92e9-d5ba8e9f003a_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123386864_382589586426284_1282232845866830325_n_39eb8584-2db1-4963-bea8-407917c4c6f8_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123419765_381322656643024_8528455780642540295_n_fc7a821c-7e3f-4af3-883e-5f1ccacb6213_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123489744_116260236804054_2969276389371464757_n_1f9c82bb-8c31-4d4d-b93e-2cdd7e6ad07f_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/123851581_282547823018740_8706300762444110027_n_ea04deb5-fe3b-4539-82fe-871a914f4e20_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125237859_167928281713582_1018752944297316406_n_1080_16844def-8d66-4085-9627-ad932a5075ab_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125201160_4033415440021406_6696012799249410044_n_1080_25ab05c2-5565-44d3-a55b-f84bca78b933_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125347049_393186041878094_4247171049644841923_n_1080_aa3143bc-76e7-4c05-8bee-16ce34d30188_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125164597_737587527106906_5839335611539955314_n_1080_7094499d-84db-493c-a162-0ae41d70cadd_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125078554_2425472071090484_1571431461561204075_n_1080_1584615a-f3ff-4626-b560-b738bce4cbda_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125006546_406975647346105_5108007419132422214_n_1080_b6ff8741-a26f-4165-98c2-1929410c2e47_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_125317835_380328559973014_5601788231658437882_n_1080_51adcb19-abbf-466b-b80d-62961d676454_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/preview_images/e111dddda1964449a3f86a1e28df9def.thumbnail.0000000000_130x.jpg?v=1704482097",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128872550_2880077545553555_3452731125804683815_n_1080_a1c893ed-7f4b-487b-8252-03095e75edf7_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128665600_192307925839805_8357243759360434656_n_1080_1bff65fa-97df-450b-8760-5d47f3e8b763_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_129579666_376698406728480_8056745037702482670_n_1080_35da1dfb-60cf-4b4f-860e-4ba68fba98f0_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_128981051_873471246801545_2649309562071258981_n_1080_48187377-f827-4542-9eb6-8a38f309a281_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131405936_407611810589974_3738592348662619767_n_1080_a364a19b-9022-497e-89c2-af669598ce68_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131520790_2497319043896969_3821898349885443031_n_1080_41b92049-0966-4455-9220-09cba25e760f_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131903074_235159971322491_5894628506216200485_n_1080_166e5b0a-9302-48fb-9fb1-275d35702cdb_130x.jpg?v=1704482215",
"https://tamcopaint.com/cdn/shop/files/Snapinsta.app_131631806_2803172176598112_8567772232050929107_n_1080_01052853-dd5a-4a7e-89b6-c8b957d0b3ce_130x.jpg?v=1704482215"
] |
[] |
[] |
[
""
] | null |
[] | null |
SPRINGTIME YELLOW | TAMCO PAINT AG Single Stage Kit Our OEM Matched Tamco Paint's Single Stage is a 4:1 Mix ratio with our INCLUDED 76XX Series Hardener. OEM Make: Ford OEM COLOR CODE: 8 / 1955 (PPG#81510) FOUND ON: 1965 Ford Fairlane, 1965 Ford Falcon, 1965 Ford Ford Truck, 1965 Ford Galaxie, 1965 Ford Mustang, 1966 F
|
en
|
//tamcopaint.com/cdn/shop/files/RWB_Shopify_96x96.jpg?v=1629478220
|
Tamco Paint Manufacturing
|
https://tamcopaint.com/products/ford-springtime-yellow-8-1955-1965-1967-oem-ag-series-single-stage
|
Tamco Paint will accept, upon receiving and inspection, all unopened items that are not damaged and in resalable condition that is not mixed paint for a full refund minus any shipping fees.
Customer must request to return items with 30 days of purchase.
Any mixed paint cannot be returned for credit. If you believe there is an issue with your product, contact us. (757) 627-9551
20% Restocking fees will be added on all accepted items returned.
Any Shipping charges will not be issued a credit for Late, delayed, damaged, lost, or stolen orders.
Shipping Insurance will not be refunded at any time.
You will be responsible for return shipping fees and all Hazardous materials fees
Hazardous Materials being returned may be subject to a hazardous transportation fee.
Refunds are for the value of the product only.
Proof of purchase is required.
All returns must have an RMA (Return Merchandise Authorization) number.
Sending returns back without an RMA will delay and slow down the process. Unauthorized returns are not guaranteed to be refunded or replaced - all returns need to be authorized prior to being shipped back.
Packaging a Return
Returns should be packaged in original box with original packing materials. If the original box and packing materials are not available, Double boxing with sturdy boxes may be used with packing peanuts. It is important to make sure items are secure and well packed in the return box, so that the item does not sustain damage.
Be sure to enclose a copy of your original order with RMA (Return Merchandise Authorization) number.
When will I receive my refund/replacement?
Once an item is returned and inspected, refunds are usually issued/replacements shipped within 7-10 business days.
Limits and Exclusions
To help protect our customer and make sure every return or exchange is dealt with fairly this policy is subject to a few important conditions:
Items that, in our opinion, have been abused or misused will not be eligible for a refund or replacement.
All returns for exchange or refund must be complete, with all parts and accessories.
If the return is the fault of Tamco Paint(manufacturer defect) Tamco Paint will cover the cost of the return shipping. If the return is customer requested the customer will be responsible for the return shipping.
Shipments that are returned to us as "refused delivery" will be subject to a 20% restocking fee.
Proof of purchase is required
Any mixed paint is not returnable.
Shipping and handling charges are nonrefundable
Tamco Paint holds the right to offer a replacement over a full replacement.
Valid for all items purchased from Tamco Paint and authorized distributors of Tamco Paint. All purchases from an unapproved third party are subject to the policies of the third party.
Orders that ship via truck freight, LTL (not normal ground delivery services such as FedEx, UPS, or USPS) must be inspected before accepting delivery and are generally neither refundable nor returnable. Buyer bears the cost of return shipping and may incur as much as a 25% restocking fee. The buyer will also bear the cost of any storage charges assessed for merchandise that cannot be delivered due to lack of response from the buyer.
Tamco Paint's shipping fees are "real time rates" meaning, we charge you what it costs to ship depending on what you ordered and where it is shipping. That said, we offer free shipping to the lower 48 states in the USA if your order is $500+!
Please keep in mind, we DO NOT guarantee delivery transit times. The shipping companies include "Estimated Delivery Times" which are estimates and should be treated as such. Also Tamco Paint will NOT refund for late deliveries, delayed transit, or any other wait due to the shipping and handling involved.
If you forgot an item, we will not ship the rest for free. Send us a message on our on-site Chat by clicking the chat bubble in the bottom right to add onto your order. We usually can help make that happen if your order hasn't been packaged up yet.
Under normal circumstances, ship the next day (M-F , some holidays change this as well). If you order early AM or early afternoon, we will most likely be able to get your order out that day! CALL for order changes!! (please note we do not ship the next day for mixed paint.)
We use Fedex & UPS and USPS (for non-hazardous products). Orders that reach "Free shipping" will be chosen by Tamco Paint.
|
||
1487
|
dbpedia
|
3
| 5
|
https://www.coursesidekick.com/electrical-engineering/1057003
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
1487
|
dbpedia
|
1
| 69
|
https://www.smoothradio.com/artists/tom-jones/best-songs-list/
|
en
|
The 15 greatest Tom Jones songs ever, ranked
|
https://imgs.smoothradio.com/images/158284?width=1200&crop=16_9&signature=I_KT72UY1pDdMdWGPtsTe1rGB6M=
|
https://imgs.smoothradio.com/images/158284?width=1200&crop=16_9&signature=I_KT72UY1pDdMdWGPtsTe1rGB6M=
|
[
"https://mediaweb.musicradio.com/player/image.aspx?i=///mediaweb.musicradio.com/artwork/ses/21407c83-8fef-45cc-a066-edf0a81c33c0&h=144",
"https://images.musicrad.io/resizer/?image=aHR0cHM6Ly9pczUtc3NsLm16c3RhdGljLmNvbS9pbWFnZS90aHVtYi9NdXNpYzEyNC92NC9hMy84ZS9iOC9hMzhlYjg3ZS1iMzk5LWU5ZjQtNWEwNC02ODExMjg3NGIyZjAvc291cmNlLzEyMDB4MTIwMGJiLmpwZw%3D%3D&width=225&signature=j_dlxvATjRsA_B69eXPdRmD6Fq4=",
"https://imgs.smoothradio.com/images/158284?crop=16_9&width=660&relax=1&format=webp&signature=A_1q9avw0O--1aaXD4d9H6b6aRA=",
"https://www.smoothradio.com/assets_v4r/gusto/img/facebook-share.png",
"https://www.smoothradio.com/assets_v4r/gusto/img/x-share.png",
"https://i.ytimg.com/vi/QMoXON7k--c/hqdefault.jpg",
"https://i.ytimg.com/vi/Ia6-5gC5ArM/hqdefault.jpg",
"https://i.ytimg.com/vi/iYuldgIOelY/hqdefault.jpg",
"https://i.ytimg.com/vi/JUI27WhoWBQ/hqdefault.jpg",
"https://i.ytimg.com/vi/TwL6SjjupbU/hqdefault.jpg",
"https://i.ytimg.com/vi/I8Q4vpE9DAs/hqdefault.jpg",
"https://i.ytimg.com/vi/bda0fPBOpjs/hqdefault.jpg",
"https://i.ytimg.com/vi/JzvJRwHj2uo/hqdefault.jpg",
"https://i.ytimg.com/vi/69G4A9Jl5N4/hqdefault.jpg",
"https://i.ytimg.com/vi/5uZQFOfMSfY/hqdefault.jpg",
"https://i.ytimg.com/vi/V43fGInXiLE/hqdefault.jpg",
"https://i.ytimg.com/vi/5vMx63ZCd88/hqdefault.jpg",
"https://i.ytimg.com/vi/u81CTfbc99c/hqdefault.jpg",
"https://i.ytimg.com/vi/tGRZBa4cKWA/hqdefault.jpg",
"https://i.ytimg.com/vi/S87jWwzvwd8/hqdefault.jpg",
"https://imgs.smoothradio.com/images/210196?width=105&crop=1_1&format=webp&signature=PpzYjQLF0N9H8FxQ7_-0xjc9NWM=",
"https://imgs.smoothradio.com/images/158284?width=105&crop=1_1&format=webp&signature=YvYwAn0K4E2DeN9Y0svJki8ieWg=",
"https://imgs.smoothradio.com/images/312858?width=105&crop=1_1&format=webp&signature=E-ck2L01be6WWhgzVxY-yahK52U=",
"https://imgs.smoothradio.com/images/656161?width=105&crop=1_1&format=webp&signature=YJwGASUuz62vI0xz4JeC8IUXUqQ=",
"https://imgs.smoothradio.com/images/618079?width=105&crop=1_1&format=webp&signature=zVbxdmLWPf942w8EvXMh2Ofnmzw=",
"https://imgs.smoothradio.com/images/581209?width=105&crop=1_1&format=webp&signature=goRxGsZ9O9jlLAb3ixJWh7K5Zsk=",
"https://imgs.smoothradio.com/images/668807?width=150&crop=1_1&format=webp&signature=q5qKfxnwbnCjqQahzg0-2tNcqIs=",
"https://imgs.smoothradio.com/images/668466?width=150&crop=1_1&format=webp&signature=mOACMtr9bsKPDqQ_jsH7nKXfHyI=",
"https://imgs.smoothradio.com/images/668669?width=150&crop=1_1&format=webp&signature=NOPBVV_eUv-QtveDiaOzHxKo0WQ=",
"https://imgs.smoothradio.com/images/668416?width=150&crop=1_1&format=webp&signature=wzTq3Rh2UCV7Rb5K4uwILnf3Lso=",
"https://imgs.smoothradio.com/images/668394?width=150&crop=1_1&format=webp&signature=zTls6WKBXg3ej86Zdb4L7RLASDQ=",
"https://assets.smoothradio.com/2023/39/smooth-videos-1695805821-editorial-mid-form-0.png",
"https://assets.smoothradio.com/2023/20/top-500-2023-1684250628-editorial-short-form-0.jpeg",
"https://assets.smoothradio.com/2023/04/smooth-soul-1674667891-editorial-short-form-0.jpg",
"https://assets.smoothradio.com/2024/02/smooth-country-hot-hits-1705501544-editorial-short-form-0.jpeg",
"https://assets.smoothradio.com/2023/39/concentration-playlist-1695824331-editorial-short-form-0.png",
"https://assets.smoothradio.com/2023/39/they-dont-teach-this-at-school-podcast-artwork-1695729525-editorial-short-form-0.jpeg",
"https://assets.smoothradio.com/2023/42/take-that-this-life-1697645714-editorial-short-form-0.jpg",
"https://assets.smoothradio.com/2019/17/runpod-1556642170-editorial-short-form-0.jpg",
"https://assets.smoothradio.com/2023/29/the-news-agents-1689865194-editorial-short-form-0.jpeg",
"https://www.smoothradio.com/assets_v4r/dist/gusto/img/app-store-badge.svg",
"https://www.smoothradio.com/assets_v4r/dist/gusto/img/google-play-badge.svg"
] |
[] |
[] |
[
""
] | null |
[
"Tom Eames"
] |
2022-09-02T14:27:44+01:00
|
Sir Tom Jones is one of the world's most celebrated British artists and in 2020 he celebrated his 80th birthday, but just what are the greatest Tom Jones songs of all time?
|
en
|
/assets_v4r/smooth/img/favicon-16x16.png
|
Smooth
|
https://www.smoothradio.com/artists/tom-jones/best-songs-list/
|
Sexbomb (with Mousse T)
Tom Jones, Mousse T. - Sexbomb (Official Video)
For Tom's hugely successful comeback album Reload, he teamed up with dance act Mousse T for this party anthem.
Containing a sample from 'All American Girls' by Sister Sledge, it gave him a number three hit in 1999.
Read more: Photos of Tom Jones through the years at 80: “The women, the sex… I don’t regret anything”
Thunderball
Thunderball Theme Song - James Bond
Read more: All the James Bond themes, ranked from worst to best
'Thunderball' became the lead song for the 1965 Bond film of the same name.
Tom Jones apparently fainted in the recording booth after singing the song's final, high note. He once said: "I closed my eyes and I held the note for so long when I opened my eyes the room was spinning."
Burning Down the House (with The Cardigans)
Tom Jones, The Cardigans - Burning Down The House (Official Video)
For his Reload collaborations album, Sir Tom Jones scored a big top 10 hit with this Talking Heads cover.
Sir Tom teamed up with Swedish band the Cardigans on the track, giving them both one of their biggest ever hits in 1999.
What's New Pussycat?
Tom Jones - What's new pussycat
Released in 1965, 'What’s New Pussycat' was written by Burt Bacharach and Hal David for the movie of the same name.
It has since been performed by everyone from The Four Seasons to Tony Bennett.
Mama Told Me Not To Come (with Stereophonics)
Tom Jones, Stereophonics - Mama Told Me Not To Come
Written by Randy Newman for Eric Burdon's solo album and later a hit for Three Dog Night, Sir Tom Jones covered this rock anthem with Stereophonics, who at the time were one of the biggest bands in 1999.
See more: What is Sir Tom Jones’ real name? The Voice UK judge makes surprising revelation
Sharing vocals with fellow Welsh star Kelly Jones, this gave Sir Tom yet another top 10 hit from his Reload album.
I (Who Have Nothing)
Tom Jones - I Who Have Nothing - This is Tom Jones TV Show 1970
This is an English language cover of the Italian song 'Uno dei Tanti', first recorded in English by Ben E King in 1963 with new lyrics by Jerry Leiber and Mike Stoller.
Also a big hit for Tom's fellow Welsh icon Shirley Bassey, Sir Tom scored a big hit in both the UK and US in 1970.
If He Should Ever Leave You
If He Should Ever Leave You
Sir Tom recorded this underrated pop gem for his 2008 album 24 Hours, his first album of mainly original material in years.
You Can Leave Your Hat On
Tom Jones performs 'You Can Leave Your Hat On' | The Voice UK 2017
Originally by Randy Newman in 1972 and later made famous by Joe Cocker, Sir Tom covered this naughty stripping anthem for the Full Monty soundtrack in 1997.
It famously played during the film's climax, and helped cement Sir Tom's impressive comeback of the late '90s.
Help Yourself
Tom Jones - Help Yourself
This catchy classic was a reworked English-language version of the Italian song 'Gli Occhi Miei' ('My Eyes').
Sir Tom's version gave him another top 10 hit in the UK, and it became one of his signature songs.
Kiss (with the Art of Noise)
Tom Jones and Art Of Noise - Kiss (Official Video)
In 1988, English group The Art of Noise released a cover of Prince’s ‘Kiss’, featuring Tom Jones on vocals.
The song reached number five on the UK Singles Chart – higher than the original, and gave Tom a deserved comeback. He also recorded a version of the song for his 2003 Reloaded: Greatest Hits album.
She's a Lady
Tom Jones - She's a Lady
Paul Anka wrote this song for Tom in 1971, and it became his biggest hit in the States, reaching number two.
Anka rewrote the first verse of the song (recorded with Tom) for his 2013 Duets album, because he disliked its chauvinistic lines.
I'll Never Fall in Love Again
TOM JONES - I'll Never Fall In Love Again (1967)
On first release in 1967, Tom's recording reached number two in the UK Chart but was less successful in the States, where it only peaked at number 49.
Not to be confused with the Burt Bacharach/Hal David song of the same name, this was originally by Lonnie Donegan in 1962.
The Green Green Grass of Home
Green Green Grass Of Home - Tom Jones
Originally made popular by Dolly Parton's longtime musical partner Porter Wagoner in 1965, it was recorded by Sir Tom in 1966, when it became a worldwide number one hit.
The death-row ballad was also the rather un-festive Christmas number one that year.
It's Not Unusual
Tom Jones "It's Not Unusual" on The Ed Sullivan Show
It’s Not Unusual was first recorded by a then-unknown Tom Jones, after having first been offered to Sandie Shaw.
Tom recorded what was intended to be a demo for Sandie, but when she heard it she was so impressed with Jones' delivery that she declined the song and recommended that Jones release it himself.
See more: The Voice UK: Tom Jones gives standing ovation after duo's jaw-dropping cover of Celine Dion's 'Think Twice'
When we spoke to Tom about it, he said: “I did the demo on this song when it was being offered to Sandie Shaw. I was just starting out and, God bless her, she said: 'Whoever's singing this, it's his song... I'm indebted to Sandie for being so generous."
It reached number one in the UK chart in 1965 and has since become one of Tom's signature songs. And we can't help but dance the 'Carlton' from The Fresh Prince of Bel-Air every single time.
|
||
1487
|
dbpedia
|
0
| 25
|
https://www.billboard.com/lists/best-pop-songs-all-time-hits/100-del-shannon-runaway-2/
|
en
|
The 500 Best Pop Songs: Staff List
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/100-Del-Shannon-Runaway-billboard-1240.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2022/09/The-Killers-Mr-Brightside-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/80-Aaliyah-Are-You-That-Somebody-billboard-1240.jpg?w=203",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/70-Natasha-Bedingfield-Unwritten-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/60-Whitney-Houston-I-Will-Always-Love-You-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2022/05/Rihanna-Umbrella-Orange-Version-Official-Music-Video-ft.-JAY-Z-screenshot-2022-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/45-Dr.-Dre-Nuthin-But-a-G-Thang-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/39-George-Michael-Freedom-90-billboard-1240.jpg?w=196",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Gloria-Gaynor-1975-billboard-1240.jpg?w=260",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2022/03/Adele-Rolling-in-the-Deep-screenshot-2022-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/25-Beach-Boys-Good-Vibrations-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/20-TLC-No-Scrubs-billboard-1240.jpg?w=261",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/19-Ronettes-1963-billboard-1548.jpg?w=258",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/18-Beyonce-Crazy-in-Love-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/17-Fleetwood-Mac-Dreams-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/16-Earth-Wind-Fire-September-billboard-1240.jpg?w=240",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/15-Mariah-Carey-Fantasy-billboard-1240.jpg?w=195",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/04/Outkast-Hey-Ya-screenshot-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2022/07/Nicki-Minaj-Super-Bass-screenshot-2022-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2021/12/Britney-Spears-...Baby-One-More-Time-screenshot-2021-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/11-Prince-Kiss-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Beatles-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/2Pac-Dre-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Carly-Rae-Jepson-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Michael-Jackson-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Madonna-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Kelly-Clarkson-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Backstreet-Boys-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Temptations-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Abba-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/uploads/2023/10/Whitney-Houston-500-best-pop-songs-billboard-1548.jpg?w=300",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Rania Aniftos",
"Katie Atkinson",
"Katie Bain",
"Anna Chan",
"Ed Christman",
"Hannah Dailey",
"Stephen Daw",
"Kyle Denis",
"Frank DiGiacomo",
"Thom Duffy"
] |
2023-10-19T15:50:00+00:00
|
Best pop songs of all time: Here are 500 hits that appeared on the Hot 100.
|
en
|
Billboard
|
https://www.billboard.com/lists/best-pop-songs-all-time-hits/
|
It all comes back to pop music. Pop is the backbone not only of the music industry, but of culture in general: Nothing else connects people, defines moments and lives and passes down history from generation to generation the way pop does. It’s our shared language, our communal experience. It’s why wedding receptions are usually joyous and celebratory occasions even if the DJ doesn’t know a thing about the people they’re playing to, why karaoke can feel like a spiritual awakening in the right circumstances, why top 40 and oldies radio remain cultural staples a decade into the streaming era. There is no safer bet, no easier sell than pop music.
And yet, there’s been relatively little attempt to properly canonize modern pop’s greatest works and practitioners. While rock as a genre has been listed and anthologized to death over the past 50 years, and hip-hop and country are finally starting to catch up, such pop histories are relatively few and far between. There’s no official pop hall of fame, like there is for those other genres. It shouldn’t be possible for the biggest music on the planet to be overlooked, but it does feel that way sometimes.
So we here at Billboard have decided to take the occasion of the 65th anniversary of the Billboard Hot 100 — with the chart finally having lived a full-enough life to be at retirement age, though it’s still as vital as ever and certainly nowhere near hanging it up — to take our shot at listing the 500 best pop songs since the chart’s debut. Though songs had to hail from the Hot 100 era to qualify for our list, this isn’t a charts-determined ranking: Rather, these are the songs our staff felt were simply the greatest, most enduring pop songs of that 65-year period, the songs that we most think of when we think of what pop music could and should be. (Because 500 is a much smaller number than you think when talking about 65 years of pop music, and because we wanted to be able to include as many different artists as possible, we capped the number of pop songs per lead artist at three.)
How are we defining “pop songs,” you might ask? Well, that’s a little tough: One of the reasons pop can be hard to summarize is because there’s no real sonic or musical definition to it. There are common elements to a lot of the biggest pop songs, but at the end of the day, “pop” means “popular” first and foremost, and just about any song that becomes popular enough — whether it be rock, dance, rap, R&B, country, reggaetón or some combination — can be considered a pop song. So the only hard-and-fast qualification we laid down for songs to be eligible for our list was that they had to have hit the Hot 100 at some point, in some version. (The only exception we made was for songs that came during the ’90s period where many huge airplay hits were ineligible for the Hot 100; read here for more details on that.)
All that said, the “pop” part of this project was still essential when determining our ranking. We were looking for the songs that most fit our idea of pop music — catchy, tight, rousing, emotional, immaculately crafted, instantly memorable. If a song didn’t strike us as an obvious pop song, we might have ranked it lower on our list than most other all-time songs lists have in the past, or left it off altogether. Conversely, if a song makes us go “now that’s a pop song!” every time we hear it, even if it’s not the kind of critically revered song that often ends up on all-time lists, we made sure to give it a little extra love here. Our definition of pop might differ from yours — we couldn’t even all agree on every song ourselves — but even if we can’t do much better than “we know it when we hear it,” we’re confident you’ll hear it plenty yourself while reading through the songs on our list.
Here are our staff’s 500 favorite pop songs since the introduction of the Billboard Hot 100 on Aug. 4th, 1958 — from Lesley Gore to Carly Rae Jepsen, from Sam Cooke to SZA, from The Kinks to The Chainsmokers, from Chubby Checker to Rae Sremmurd. We counted down from 500 to 301 Tuesday (Oct. 17), and Wednesday was 300 to 101 — as of today, you can see the whole list, including the top 100, along with more related articles you can read all about here.
Join us below all week, and feel free to sing along; we know you know the words.
|
|||||
1487
|
dbpedia
|
1
| 45
|
https://indra.com/~cliffcan/brels_us.htm
|
en
|
Beatles US Releases
|
[
"https://indra.com/cgi-bin/Count.cgi?df=cliffcan-brels_us|ft=1|dd=D"
] |
[] |
[] |
[
"Beatles",
"Capitol",
"Capitol Records",
"Beatle releases",
"Beatle records",
"Beatles releases",
"Beatles records"
] | null |
[
"Ken Westover"
] | null |
Tables of the Beatles' American LPs, EPs, and singles, showing the contents of each.
| null |
The Beatles 1962 - 1966 ("red" album, also on CD)
The Beatles 1967 - 1970 ("blue" album, also on CD)
Rock 'n' Roll Music
The Beatles at the Hollywood Bowl
Love Songs
The Beatles Ballads Rarities (US & UK versions are different)
Reel Music
20 Greatest Hits (US & UK versions different)
Past Masters: Volume One (also on CD)
Past Masters: Volume Two (also on CD)
|
|||||||
1487
|
dbpedia
|
1
| 12
|
https://www.beatlesbible.com/1965/09/13/us-single-yesterday/
|
en
|
US single release: Yesterday
|
[
"https://www.beatlesbible.com/wp/media/logo_long_03.png",
"https://www.beatlesbible.com/wp/media/logo_long_03.png",
"https://www.beatlesbible.com/wp/media/usa_yesterday-580x575.jpg 580w, https://www.beatlesbible.com/wp/media/usa_yesterday-960x952.jpg 960w, https://www.beatlesbible.com/wp/media/usa_yesterday-200x198.jpg 200w, https://www.beatlesbible.com/wp/media/usa_yesterday-768x762.jpg 768w, https://www.beatlesbible.com/wp/media/usa_yesterday-66x66.jpg 66w, https://www.beatlesbible.com/wp/media/usa_yesterday.jpg 1000w",
"https://www.beatlesbible.com/wp/media/usa_yesterday-580x575.jpg 580w, https://www.beatlesbible.com/wp/media/usa_yesterday-960x952.jpg 960w, https://www.beatlesbible.com/wp/media/usa_yesterday-200x198.jpg 200w, https://www.beatlesbible.com/wp/media/usa_yesterday-768x762.jpg 768w, https://www.beatlesbible.com/wp/media/usa_yesterday-66x66.jpg 66w, https://www.beatlesbible.com/wp/media/usa_yesterday.jpg 1000w",
"https://secure.gravatar.com/avatar/072d76e251d42371be643394f421e52e?s=88&d=https%3A%2F%2Fwww.beatlesbible.com%2Fwp%2Fwp-content%2Fthemes%2Fbeatles-bible-2016-truepixel%2Fimages%2Favatar_blank.jpg&r=g 2x",
"https://secure.gravatar.com/avatar/072d76e251d42371be643394f421e52e?s=44&d=https%3A%2F%2Fwww.beatlesbible.com%2Fwp%2Fwp-content%2Fthemes%2Fbeatles-bible-2016-truepixel%2Fimages%2Favatar_blank.jpg&r=g",
"https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-66x66.jpg 66w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-580x580.jpg 580w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-960x960.jpg 960w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-200x200.jpg 200w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-768x768.jpg 768w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-1536x1536.jpg 1536w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-2048x2048.jpg 2048w",
"https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/daytime-revolution_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/daytime-revolution_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/adidas-hey-jude-bellingham_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/adidas-hey-jude-bellingham_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/16284223364AD51244-C9CC-40B3-A4B9-27E2A01B4EE9.jpeg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/16284223364AD51244-C9CC-40B3-A4B9-27E2A01B4EE9.jpeg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/16284223364AD51244-C9CC-40B3-A4B9-27E2A01B4EE9.jpeg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/16284223364AD51244-C9CC-40B3-A4B9-27E2A01B4EE9.jpeg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1667805872BB-FF-pic.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1667805872BB-FF-pic.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1712065191The-Rolling-Stones-Hackney-Diamonds.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1712065191The-Rolling-Stones-Hackney-Diamonds.jpg",
"https://www.beatlesbible.com/wp/media/rsh-sidebar-336x250_01.jpg",
"https://www.beatlesbible.com/wp/media/rsh-sidebar-336x250_01.jpg",
"https://www.beatlesbible.com/media/riding-so-high_94x150.jpg",
"https://www.beatlesbible.com/media/riding-so-high_94x150.jpg",
"https://www.bowiebible.com/wp-content/media/favicon_01-32x32-200x200.png",
"https://www.bowiebible.com/wp-content/media/favicon_01-32x32-200x200.png",
"https://www.beatlesbible.com/paypal_pixel.gif",
"https://www.beatlesbible.com/paypal_pixel.gif"
] |
[] |
[] |
[
""
] | null |
[
"Joe"
] |
1965-09-13T00:00:00
|
Article on the US release of The Beatles' single Yesterday/Act Naturally, on the Beatles Bible website.
|
en
|
https://www.beatlesbible.com/wp/media/favicon.ico
|
The Beatles Bible
|
https://www.beatlesbible.com/1965/09/13/us-single-yesterday/
|
Although The Beatles chose not to release ‘Yesterday’ as a single in the UK, their US record label Capitol Records decided otherwise and released it with the b-side ‘Act Naturally’.
The single hit the charts by 29 September 1965, and from 9 October spent four weeks at number one. Altogether it spent 11 weeks on the charts, and sold over one million copies in the first five weeks.
Yesterday also became the most-played song on American radio for eight consecutive years, sealing its status as one of The Beatles’ most popular songs.
|
||||
1487
|
dbpedia
|
0
| 48
|
https://teachrock.org/lesson/bo-diddleys-unconventional-1950s-sound-and-its-anticipation-of-hip-hop/
|
en
|
Bo Diddley: The Grandfather of Hip Hop?
|
[
"https://www.facebook.com/tr?id=240345683375370&ev=PageView&noscript=1",
"https://teachrock.wpenginepowered.com/wp-content/uploads/tr-logo-alt.png",
"https://teachrock.wpenginepowered.com/wp-content/uploads/bodiddley.jpg",
"https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/tr-back.png",
"https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/classroom-pink.svg",
"https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/tr-back.png",
"https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/classroom-pink.svg",
"https://teachrock.wpenginepowered.com/wp-content/uploads/Mr._Sandman_Sheet_Music.jpg",
"https://teachrock.wpenginepowered.com/wp-content/uploads/Bo_Diddley_Sheet_Music.jpg",
"https://teachrock.wpenginepowered.com/wp-content/uploads/Ned_Sublette_Quote_About_Bo_Diddley.jpg",
"https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/tr-group-footer.png"
] |
[] |
[] |
[
""
] | null |
[] |
2017-01-13T10:03:17+00:00
|
en
|
https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/favicon.ico
|
TeachRock
|
https://teachrock.org/lesson/bo-diddleys-unconventional-1950s-sound-and-its-anticipation-of-hip-hop/
|
Images
Handouts
Handout 1: Lyrical Comparison of Chuck Berry and Bo Diddley Handout 2: Zora Neale Hurston and Hoodoo
Standards
New Jersey State Standards
New Jersey State Learning Standards for English Language Arts: Reading
NJSLSA.R1: Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
NJSLSRA.R4: Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.
NJSLSA.R6: Assess how point of view or purpose shapes the content and style of a text.
New Jersey State Learning Standards for English Language Arts: Writing
NJSLSA.W1: Write argument to support claims in an analysis of substantive topics or texts, using valid reasoning and sufficient evidence.
NJSLSA.W8: Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.
New Jersey State Learning Standards for English Language Arts: Speaking and Listening
NJSLSA.SL1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others ideas and expressing their own clearly and persuasively.
NJSLSA.SL2: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.
NJSLSA.SL3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.
New York State Standards
New York State Next Generation English Language Arts Learning Standards
Reading Anchor Standards
Key Ideas and Details
Standard 1: Read closely to determine what the text says explicitly/implicitly and make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
Craft and Structure
Standard 4: Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.
Standard 6: Assess how point of view or purpose shapes the content and style of a text, drawing on a wide range of global and diverse texts.
Writing Anchor Standards
Text Types and Purposes
Standard 1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
Research to Build and Present Knowledge
Standard 7: Gather relevant information from multiple sources, assess the credibility and accuracy of each source, and integrate the information in writing while avoiding plagiarism.
Speaking and Listening
Comprehension and Collaboration
Standard 1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners; express ideas clearly and persuasively, and build on those of others.
Standard 2: Integrate and evaluate information presented in diverse media and formats (including visual, quantitative, and oral).
Standard 3: Evaluate a speakers point of view, reasoning, and use of evidence and rhetoric.
NYS Next Generation 6-12 Literacy Standards in History/Social Studies, Science, and Technical Subjects
Literacy 6-12 Anchor Standards for Reading
Key Ideas and Details
Standard 1: Read closely to determine what the text says explicitly/implicitly and make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
Craft and Structure
Standard 4: Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.
Literacy 6-12 Anchor Standards for Writing
Text Types and Purposes
Standard 1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
Research to Build and Present Knowledge
Standard 6: Gather relevant information from multiple sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.
Texas State Standards
Texas Essential Knowledge and Skills for ELA & Reading
Make inference about text and use textual evidence to support understanding.
Summarize, paraphrase, and synthesize texts in ways that maintain meaning and logical order within a text and across texts.
Make intertextual links among and across texts, including other media (e.g. film, play, music) and provide textual evidence.
Make complex inference about text and use textual evidence to support understanding.
Texas Essential Knowledge and Skills for Fine and Performing Arts
Historical and cultural relevance: The student relates music to history, culture, and the world. The student is expected to: Identify relationships of concepts to other academic disciplines such as the relations between music and mathematics, literature, history, and the sciences.
Texas Essential Knowledge and Skills for Music
(5) Historical and cultural relevance. The student relates music to history, culture, and the world. The student is expected to:
(A) compare and contrast music by genre, style, culture, and historical period;
(B) define uses of music in societies and cultures;
(C) identify and explore the relationships between music and other academic disciplines;
(E) identify and explore the impact of technologies, ethical issues, and economic factors on music, musicians, and performances.
Common Core State Standards
College and Career Readiness Reading Anchor Standards for Grades 6-12 for Literature and Informational Text
Reading 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
Reading 4: Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.
Reading 6: Assess how point of view or purpose shapes the content and style of a text.
College and Career Readiness Writing Anchor Standards for Grades 6-12 in English Language Arts and Literacy in History/Social Studies, Science and Technical Subjects
Writing 1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
Writing 8: Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.
College and Career Readiness Anchor Standards for Speaking and Listening for Grades 6-12
Speaking and Listening 2: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.
Speaking and Listening 3: Evaluate a speakers point of view, reasoning, and use of evidence and rhetoric.
College and Career Readiness Anchor Standards for Language for Grades 6-12
Speaking and Listening 1: Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others ideas and expressing their own clearly and persuasively.
Speaking and Listening 2: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.
Social Studies – National Council for the Social Studies (NCSS)
Theme 1: Culture
Theme 2: Time, Continuity, and Change
Theme 3: Individual Development and Identity
National Standards for Music Education
Core Music Standard: Responding
Select: Choose music appropriate for a specific purpose or context.
Analyze: Analyze how the structure and context of varied musical works inform the response.
Interpret: Support interpretations of musical works that reflect creators’ and/or performers’ expressive intent.
Evaluate: Support evaluations of musical works and performances based on analysis, interpretation, and established criteria.
Core Music Standard: Connecting
Connecting 11: Relate musical ideas and works to varied contexts and daily life to deepen understanding.
National Core Arts Standards
Responding
Anchor Standard 7: Perceive and analyze artistic work.
Anchor Standard 8: Interpret intent and meaning in artistic work.
Anchor Standard 9: Apply criteria to evaluate artistic work.
Connecting
Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Anchor Standards 11: Relate artistic ideas and work with societal, cultural and historical context to deepen understanding.
Career Technical Education Standards (California Model) – Arts, Media and Entertainment Pathway Standards
Design, Visual and Media Arts (A)
1.0 Demonstrate ability to reorganize and integrate visual art elements across digital media and design applications.
A1.1 View and respond to a variety of industry-related artistic products integrating industry appropriate vocabulary.
A1.4 Select industry-specific works and analyze the intent of the work and the appropriate use of media.
A1.5 Research and analyze the work of an artist or designer and how the artist’s distinctive style contributes to their industry production.
A1.9 Analyze the material used by a given artist and describe how its use influences the meaning of the work. ia, and Entertainment |
A3.0 Analyze and assess the impact of history and culture on the development of professional arts and media products.
A3.2 Describe how the issues of time, place, and cultural influence and are reflected in a variety of artistic products.
A3.3 Identify contemporary styles and discuss the diverse social, economic, and political developments reflected in art work in an industry setting.
A3.4 Identify art in international industry and discuss ways in which the work reflects cultural perspective.
A3.5 Analyze similarities and differences of purpose in art created in culturally diverse industry applications.
A4.0 Analyze, assess, and identify effectiveness of artistic products based on elements of art, the principles of design, and professional industry standards.
A4.2 Deconstruct how beliefs, cultural traditions, and current social, economic, and political contexts influence commercial media (traditional and electronic).
A4.5 Analyze and articulate how society influences the interpretation and effectiveness of an artistic product.
A5.0 Identify essential industry competencies, explore commercial applications and develop a career specific personal plan.
A5.3 Deconstruct works of art, identifying psychological content found in the symbols and images and their relationship to industry and society.
Performing Arts (B)
B2.0 Read, listen to, deconstruct, and analyze peer and professional music using the elements and terminology of music.
B2.2 Describe how the elements of music are used.
B2.5 Analyze and describe significant musical events perceived and remembered in a given industry generated example.
B2.6 Analyze and describe the use of musical elements in a given professional work that makes it unique, interesting, and expressive.
B2.7 Demonstrate the different uses of form, both past and present, in a varied repertoire of music in commercial settings from diverse genres, styles, and professional applications.
B7.0 Analyze the historical and cultural perspective of multiple industry performance products from a discipline-specific perspective.
B7.3 Analyze the historical and cultural perspective of the musician in the professional setting.
B8.0 Deconstruct the aesthetic values that drive professional performance and the artistic elements necessary for industry production.
B8.4 Use complex evaluation criteria and terminology to compare and contrast a variety of genres of professional performance products.
|
|||||
1487
|
dbpedia
|
1
| 7
|
https://gaslightrecords.com/news/sam-the-sham-releases-the-biggest-hit-single-of-1965
|
en
|
May 12th, 1965: Sam The Sham releases the biggest hit single of 1965
|
[
"https://gaslightrecords.com/assets/img/gaslightrecords_logo--white.png",
"https://gaslightrecords.com/assets/img/artistImage/Sam-The-Sham-and-The-Pharaohs.jpeg",
"https://gaslightrecords.com/assets/img/feature/sam-sham-full.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/van-morrison-gloria.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/the-animals-1965.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/elmore-james-goodbye-baby.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/the-kinks-feature.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/52601/John-Prine-Tony-Russell-Redferns.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/joni-1972.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/52414/bruce-1972.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/black-sabbath-1970-evil-woman.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/spirit-in-the-sky-norm.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/jackson-5-1969.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/clancy-brothers-christmas-feature.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/the-doors-morrison-hotel-5-hd.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/mick-jagger-hells-altamont.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/the-rolling-stones-1969.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/emmylou-harris-1969.jpg",
"https://gaslightrecords.com/assets/img/feature/_coverArtSnapshot/peter-stone-brown-she-belongs-to-me.jpg",
"https://gaslightrecords.com/assets/img/ajax-loader.gif"
] |
[] |
[] |
[
""
] | null |
[
"Gaslight Writers"
] |
2015-05-12T11:00:00-04:00
|
In May 1965, Sam The Sham & The Pharaohs from Dallas, Texas released their single 'Wooly Bully'. The track went on to be named Billboard's 'Number One Record of the Year'.
|
en
|
Gaslight Records
|
https://gaslightrecords.com/news/sam-the-sham-releases-the-biggest-hit-single-of-1965
|
Please support Gaslight Records.
Here at Gaslight Records we’re trying shine a light in the dark, to reanimate a bygone era of musical brilliance…of peculiarity and independence.
And we’re trying to maintain that same peculiarity and independence ourselves. That ain’t easy. We believe that Mr Dylan summed it up nicely back in 1964: that ‘Advertising signs they con’ So we’re keeping the Gaslight distraction free.
But hey, we’re working hard blowin’ our thumbs out for no dollars a day, so consider this the cap on the road. Any little bit helps...
Whatever you can contribute - from wherever you are - it helps us get more articles written by more writers, and more ‘Live at the Gaslight’ recorded by more bands.
But first and foremost we’re here for you to enjoy…so it’s alright, ma, if you’re only reading.
Support Gaslight Records
|
|||||
1487
|
dbpedia
|
0
| 88
|
https://www.amazon.com/Simply-Put-Thoughts-Feelings-Heart/dp/1733205403
|
en
|
Amazon.com
|
[
"https://images-na.ssl-images-amazon.com/captcha/rhnrlggh/Captcha_dkjxujgwmy.jpg",
"https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=P58ES7SN68FXYRNVV4HA&js=0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
|||||||
1487
|
dbpedia
|
1
| 93
|
https://ksenam.com/ixp/295/p/rod-stewart-2025-tour/
|
en
|
Rod Stewart Adds 12 New Concerts for Spring 2025
|
[
"https://townsquare.media/site/126/files/2017/12/ksenam-logo1.png",
"https://townsquare.media/site/295/files/2020/10/Rod-Stewart1.jpg?w=980&q=75",
"https://ultimateclassicrock.com/files/2015/09/ucrsyndicate1.png",
"https://townsquare.media/site/126/files/2012/08/tax-form.jpg?w=980&q=75"
] |
[] |
[] |
[
"news",
"video"
] | null |
[
"Nick DeRiso"
] |
2024-08-07T12:53:41-04:00
|
Rod Stewart announced 12 more 2025 concert dates in August 2024.
|
en
|
KSEN AM 1150
|
https://ultimateclassicrock.com/rod-stewart-2025-tour/
|
Rod Stewart may think his "days are numbered," but that's not keeping him off stage. He announced 12 new dates for 2025 just as a lengthy Las Vegas residency was set to end.
"Vegas, I'm having too much fun for this to end so we are coming back for an encore!" Stewart said in a social media post.
"Rod Stewart: The Hits" ends tonight at the Colosseum at Caesars Palace. Some 12 more concerts, dubbed "The Encore Shows," will now follow in the spring. Presales begin on Thursday, Aug. 8. General ticketing begins at 10AM PT on Monday, Aug. 12. All shows begin at 7:30PM. The complete list of dates is below.
READ MORE: In Defense of 'Da Ya Think I'm Sexy?'
Between Vegas gigs, Stewart will also play a string of other U.S. shows in August and September – including a co-headlining show with Billy Joel in Cleveland. Stewart then heads to Europe in December before returning for two previously announced American dates in February.
Stewart has played Vegas for more than a dozen years, notching some 200 shows. These new dates include six concerts in March 2025, two more in May and four in June. Live Nation is promising a set list boasting Stewart's "biggest hits, plus surprises from the songbook, swing, as well as deep cuts, and stunning new production elements."
Rod Stewart's 2025 Encore Shows
March 12, Colosseum at Caesars Palace in Las Vegas
March 14, Colosseum at Caesars Palace in Las Vegas
March 15, Colosseum at Caesars Palace in Las Vegas
March 19, Colosseum at Caesars Palace in Las Vegas
March 21, Colosseum at Caesars Palace in Las Vegas
March 22, Colosseum at Caesars Palace in Las Vegas
May 29, Colosseum at Caesars Palace in Las Vegas
May 31, Colosseum at Caesars Palace in Las Vegas
June 1, Colosseum at Caesars Palace in Las Vegas
June 5, Colosseum at Caesars Palace in Las Vegas
June 7, Colosseum at Caesars Palace in Las Vegas
June 8, Colosseum at Caesars Palace in Las Vegas
|
|||||
1487
|
dbpedia
|
0
| 30
|
https://sonichits.com/video/The_Strangeloves/I_Want_Candy_(Single_Version)
|
en
|
The Strangeloves Lyrics, Meaning & Videos
|
https://sonichits.com/image/L2FydGlzdF9pbWFnZS9WR2hsSUZOMGNtRnVaMlZzYjNabGN3PT0vTm1WaVpUQTBabVl5WVdGa01UQTROV1ppTXpabFpqRTJNMlV3TldVeVlUYz0vZXh0cmFsYXJnZQ
|
https://sonichits.com/image/L2FydGlzdF9pbWFnZS9WR2hsSUZOMGNtRnVaMlZzYjNabGN3PT0vTm1WaVpUQTBabVl5WVdGa01UQTROV1ppTXpabFpqRTJNMlV3TldVeVlUYz0vZXh0cmFsYXJnZQ
|
[
"https://sonichits.com/artist_image/VGhlIFN0cmFuZ2Vsb3Zlcw==/NmViZTA0ZmYyYWFkMTA4NWZiMzZlZjE2M2UwNWUyYTc=/extralarge",
"https://sonichits.com/artist_image/VGhlIFN0cmFuZ2Vsb3Zlcw==/NmViZTA0ZmYyYWFkMTA4NWZiMzZlZjE2M2UwNWUyYTc=/extralarge",
"https://sonichits.com/artist_image/VGhlIFN0cmFuZ2Vsb3Zlcw==/NmViZTA0ZmYyYWFkMTA4NWZiMzZlZjE2M2UwNWUyYTc=/extralarge",
"https://sonichits.com/artist_image/VGhlIFN0cmFuZ2Vsb3Zlcw==/NmViZTA0ZmYyYWFkMTA4NWZiMzZlZjE2M2UwNWUyYTc=/extralarge"
] |
[] |
[] |
[
"The Strangeloves",
"I Want Candy (Single Version)",
"lyrics",
"song meanings",
"albums",
"videos",
"song text",
"lyric",
"music video",
"words"
] | null |
[] | null |
Lyrics to The Strangeloves I Want Candy (Single Version): I know a girl who's soft and sweet She's so fine, she can't be beat Got everything that I desire Sets the
|
en
|
/apple-touch-icon.png
|
SonicHits
|
https://sonichits.com/video/The_Strangeloves/I_Want_Candy_(Single_Version)
|
The Strangeloves's song "I Want Candy" is a playful tune about the desire for something sweet, using candy as a metaphor for a desirable girl. The first verse sets the stage for the song's subject matter - a girl who is soft and sweet, has everything the singer desires, and sets the summer sun on fire. The chorus then repeats the desire for candy, with the "Hey" interjections adding to the high-energy and playful nature of the song. In the second verse, the singer mentions seeing Candy with her hair hung down, emphasizing her beauty and the singer's admiration for her. The chorus repeats again, but this time, the singer adds a line about candy being what the doctor ordered, adding another layer of metaphor for a desired, yet ultimately unhealthy, indulgence. The last verse ties together the song's themes, with the singer expressing a desire to have Candy all the time, and using both literal and metaphorical descriptions of candy to emphasize his desire for the girl.
|
||
1487
|
dbpedia
|
1
| 85
|
https://rollingstonesdata.com/articles/rolling-stones-first-single-ever-come-on-released-60-years-ago/
|
en
|
Rolling Stones' first single ever 'Come On' released 61 years ago.
|
[
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/07/rsd-logo-171b2c.jpg?resize=360%2C360&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-come-on-cover.jpg?resize=763%2C400&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-come-on-1963-1.jpg?resize=600%2C603&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-come-on.jpg?resize=800%2C400&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-tv-1963-1.jpg?resize=736%2C941&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-tv-1963-2.jpg?resize=611%2C576&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-tv-1963-3.jpg?resize=612%2C577&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/05/rolling-stones-waiting-on-friend-video-st-marks-bar-cover.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2024/05/stones-undercover-COVER.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/05/the-rolling-stones-tropical-disease-1971-cover.png?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/01/rolling-stones-brian-jones-birthday.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/02/rolling-stones-eamonn-andrews-show-1967.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/05/rolling-stones-sucking-in-the-seventies-cover.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/01/rolling-stones-mick-taylor-birthday.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2022/05/rolling-stones-beggars-banquet-party-1968-cover.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/cover-art-stones-flowers.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/06/rolling-stones-come-on-60-anos.jpg?resize=210%2C140&ssl=1",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/05/rolling-stones-1st.jpg?resize=210%2C140&ssl=1",
"https://rollingstonesdata.com/wp-content/uploads/2022/01/mick-jagger-bianca-angela-davis-march-1972.bmp",
"https://i0.wp.com/rollingstonesdata.com/wp-content/uploads/2023/07/support.png?fit=179%2C189&ssl=1"
] |
[
"https://www.youtube.com/embed/KngAv7xUyQs?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[
"Marcelo Sonaglioni"
] |
2024-06-07T03:50:00+00:00
|
Rolling Stones Debut Song Erupts! Revisit their version of the Chuck Berry song that launched the legendary band in 1963.
|
en
|
ROLLING STONES DATA
|
https://rollingstonesdata.com/articles/rolling-stones-first-single-ever-come-on-released-60-years-ago/
|
If you like this, please consider making a donation with PayPal. From as little as $5, your support helps to pay for the site's maintenance costs. All donations are voluntary, you'll still be able to access all content. Thank you! *Donate here
rolling stones first single
Rolling Stones first single ‘Come On’ released 61 years ago today
*By Marcelo Sonaglioni
*Click for MORE STONES ARTICLES
It was May 2 1963 and The Rolling Stones’ new manager Andrew Loog Oldham had scheduled the band to record their first single. The only problem was, the band had no idea what to record. Mick Jagger and Keith Richard weren’t writing any songs at all, so they had to look through their record collections to find songs to cover. They ultimately decided on Chuck Berry’s “Come On” which they took from a Berry album released by Chess in October 1961.
All things considered, the song was chosen because it had the potential to appeal to the largest possible audience. The concept was Andrew’s, according to Keith Richards, “to get a strong single so they’d let us make an album, which back then was a privilege”. They chose Muddy Waters’ “I Want to Be Loved” for the B-side, a song they had previously attempted to record at IBC Studios two months prior before finding a manager and a record label interested in releasing their records.
In the meantime, on May 7 the band practiced at The Wetherby Arms (their rehearsal room in Chelsea, which was located right around the corner from Mick, Keith, and Brian’s apartment in Edith Grove) in order to give “Come On” their unique touch. Three days later, on May 10, the Stones entered Olympic Sound Studios in Carlton Street, the center of the city’s West End, for their first official recording session, with several songs captured on tape.
Among others, in Brian Jones: The Untold Life and Mysterious Death of a Rock Legend, journalist Laura Jackson mentions a fantastic rendition of “Dust My Blues” (by Elmore James) with Brian on slide guitar. Since May 2, Oldham had reserved the studio for a fee of £40 for just three brief hours.
Oldham’s production of “Come On” (which lasted just one minute and forty-five seconds) was suggested by sound engineer Roger Savage at the end of the session. However, since it was Oldham’s first session, he simply told Savage to finish it as he pleased. Oldham exclaimed, “I don’t know a damn thing about recording, or music for that matter. This is my baptism by fire as a producer”. As a result, Savage started the project himself. Although he was actually paid £5 per hour, he would remember working for free: “I agreed to record them one night without payment, because he didn’t have any money, so we sorta crept into Olympic late one night. We set up quickly and performed four songs”.
Dick Rowe and a few other Decca managers listened to the band and conferred about what should be done after being somewhat surprised by the results. This was a slap in the face to the ambitious Oldham, who was only nineteen at the time, when “Dick Rowe suggested to Eric Easton that the Stones go back into the studio with a ‘perhaps more qualified producer’ The entire song had to be redone, this time at Decca’s West Hampstead studios, but it didn’t go well. In fact, it ended up being worse than the Olympic session. Rowe ultimately made the decision to release the first version. Oldham later admitted that, “I’m the producer, and this is the first session that I’ve ever handled. I know absolutely nothing about recording or music in general”. While Mick described it as “a bunch of bloody amateurs going to make a hit single.”
(Ref. rolling stones first single)
With Brian Jones and Bill Wyman providing the backing vocals for the A-side, Mick provided the lead vocals on a double-tracked arrangement, along with Bill on bass and Charlie on drums. Keith played rhythm guitar, while Brian also played harmonica. While Chuck Berry’s original version of “Come On” used the phrase “some stupid jerk,” but Mick changed it to “some stupid guy.”
From Bill Wyman’s book Stone Alone:
“Beat Monthly described us as ‘five wild beatmen’. But we had more pressing -musical- matters on our minds. As Mick later said, ‘I don’t think “Come On” was very good. In fact it was shit. We disliked it so much we didn’t do it on any of our gigs.’ In fact, our first row with our managers developed because we so hated that first single that we refused to play it on live shows. We thought we’d compromised enough with Andrew to cut the bloody record; naive as we were, we thought it was his and Decca’s job then to go out and sell it. We must have been the only artists in the world to refuse to play their all-important debut single…
…To anyone who knew the group and its musical roots, the song was really a lie. Comparing it with the tapes we had recorded through Glyn Johns at IBC, it was obvious that Andrew was nudging us towards a hit at all costs. On stage, however, our blues repertoire remained intact. Press reaction to ‘Come On’ was lukewarm. New Musical Express was non-committal: ‘A song performance aimed straight at the current market for groups. Good chance of selling well.’…
…In Melody Maker, singer Craig Douglas reviewed the record, saying, ‘Very ordinary. I can’t hear a word they’re saying. I don’t know what this is all about. If there were a Liverpool accent it might get somewhere’ The paper also said: ‘One of the established R & B groups have suddenly turned up in Beatle haircuts and dark sweaters.’ This infuriated us. Pop Weekly insisted on the comparison: ‘Inspired by the Beatles-cum-Liverpool sound. A fast-moving, lively affair. The group has life and strength. This one just misses.’ Writing about the record later in the New Musical Express, Roy Carr said: ‘The Stones gave it a quick body job, stripped down the coachwork and totally rebuilt the chassis. Stuck in a new engine and tuned up the acceleration.’ That was just about right…
…The most accurate and intelligent comments came in Record Mirror from Norman Jopling, whose paper had been the first to interview us at Richmond. ‘The disc doesn’t sound like the Stones,’ he wrote, and he was right. ‘It’s good, catchy, punchy and commercial, but it’s not the fanatical R & B sound that the audiences wait hours to hear. It should make the charts in a smallish way.’ But there was a shaft of sunlight from the pop weekly Disc, in which Don Nicholl wrote: ‘The Beatles, who recommended the Stones [to Decca], may well live to rue the day. This group could be challenging them for top places in the immediate future. The sturdy beat will drive you mad this summer’ “
(Ref. rolling stones first single)
The Stones made their first-ever appearance on television when they lip-synced “Come On” on Lucky Stars Summer Spin, a popular English TV show, on July 7, one month after the song’s debut. At the moment, they were all dressed in houndstooth jackets in black and white with black velvet collars. The Stones responded by forbidding the song from being played during their performance.
Keith Richards: “He went crazy when we didn’t play “Come On” and we argued about it. He insisted that we use it at each performance”. But that didn’t last for very long. Afterwards the show’s producer told the Stones manager he should “get rid of that vile-looking lead singer with the tire-tread lips.” Eventually the rest of the band decided to keep Mick Jagger. Pianist Ian Stewart was absent in the show because he had already been dropped from the lineup by Oldham in May that year.
From the book Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, by Stephen Davis:
“Birmingham, Sunday, July 7 1963. The Rolling Stones appeared smiling nervously on TV for the first time (Lucky Stars Summer Spin), miming to a tape of “Come On” in their juvenile black-velvet-collared checked suits, last on a bill with half a dozen now-forgotten acts. Mick shook his Beatles-cut hair and twitched espastically as the studio crew on in horror. Critics in the papers began to compare the Stones unfavorably to the more charming Beatles. Words like “apes” and “cavemen” were deployed in an ultimately successful effort to brand the Stones as the ugly, thuggish flip side of the sunny and engaging lads from Liverpool. Andrew thought this was brilliant and encouraged it, to the dismay of the Stones’ families”
Four weeks after its release on June 7, “Come On” entered the charts on July 27, reaching No. 20 on the New Musical Express. The band had to go out and purchase additional copies of the new single because Decca reportedly only sent four to Oldham’s office, preventing them from having one each. The Stones weren’t too fond of their debut single. It surely lacked groove in comparison to Chuck Berry’s rendition, and the group comes off as static, devoid of any sense of humor or even a hint of their true musical identity… Nevertheless, their cover version has a certain charm. (Ref. rolling stones first single)
The rhythm is established by the Charlie Watts and Bill Wyman duo, with Wyman opening the introduction with a superb bass line that is incredibly precise. Using his Harmony H70 Meteor guitar and plenty of reverb, Keith Richards provides a solid rhythmic foundation. With his Hohner harmonica, Brian Jones makes contributions that are somewhat reminiscent of John Lennon in sound and phrasing, and Mick Jagger sings the lyrics with assurance and a voice texture that is ultimately similar to his own today. Bill and Brian’s backing vocals are overdubbed twice to give him a stronger voice. The only performer who didn’t play was “sixth Stone” Ian Stewart, who later admitted he didn’t like the song.
copyright
copyright
Copyright © Rolling Stones Data
All information on this website is copyright of Rolling Stones Data. All content by Marcelo Sonaglioni. When using information from this site (online or printed) please refer to its source detailing the website address (also don't forget to quote authors and sources, like this very page does) Thank you.
Related
|
|||||
1487
|
dbpedia
|
0
| 26
|
https://www.podomatic.com/podcasts/keddy/episodes/2023-01-10T23_16_08-08_00
|
en
|
Carolyn on KXSF 102.5fm San Francisco Community Radio January 10, 2023
|
[
"https://www.podomatic.com/assets/homebase/plogo-2a3c210cc885b0af0ec7b7456f52c1bf0fe49a6dccf591474aab5805b7273492.png",
"https://www.podomatic.com/assets/icons/mic-3f1d8a54a445ccb0e92e6a16f6c6d279a2a350fd0414a17e9f286e918714f755.svg",
"https://www.podomatic.com/assets/toolbar/icon-add-to-playlist-9a92745120deaf2b4eeb3e80e1c0e7fd7994939a9381f3278c9a9bdd1aacc20c.png",
"https://www.podomatic.com/assets/toolbar/icon-share-9e467772c064cb7f65ae637c77d71d563d89130de785cc8d63e0b374e3cc9021.png",
"https://www.podomatic.com/assets/toolbar/icon-download-c003a5bb7f9964b0a7cf5556130cd017c6c0a07bf9e26346ba6bcae91fd814ae.png",
"https://www.podomatic.com/assets/homebase/icon-drawer-down-f16c466749098494473a72cae36ce0d2c2f9dca056e9cbba6883a124b265f514.png",
"https://www.podomatic.com/assets/homebase/icon-drawer-up-0d655f69b4605ebe6fe9f0dd9b2011727e55dff2db1e1d398555b8043cfa51f6.png",
"https://www.podomatic.com/assets/toolbar/mag_glass-f7bfd7440d9103b62b95c5aebf8a755c85661d928a514c3e26d58f9289e6550b.png",
"https://www.podomatic.com/assets/homebase/icon-feed-large-e8e105c5c12255ef8d9882a1ef4fc5a0dd3c344c7d2d8dd4044d42a381d4a1cf.png",
"https://www.podomatic.com/assets/homebase/discover-bg-a3f5528d18c6b7d52f0d25a93c613da0474051f431e804f98bff8f13026ef696.webp",
"https://www.podomatic.com/assets/homebase/header-top-by-category-4a0aa0ee3afe50ff15048109b35cd3edb8b56eddd1c2342ab5fbb81b3026a292.webp",
"https://www.podomatic.com/assets/homebase/icon-star-ac5293f6acf210f6b929949e193117df9ff12154319db92f16ef3ef728455d03.png",
"https://www.podomatic.com/assets/homebase/arrow-right-icon-c6903ee89a79b2a261dafd46485b6e217b00860a554b83207123ccd4b6562a8c.png",
"https://www.podomatic.com/assets/homebase/arrow-left-icon-ca9681d8f811f6b4e9b1c879a368d4644949456b32ad6a1725616fa4bf4b5402.png",
"https://www.podomatic.com/assets/homebase/header-top-by-city-e966c0c74cc5be248dd3c088abb47ae2dbef70f7a6823aae60bb427f9cdef250.webp",
"https://www.podomatic.com/assets/homebase/icon-trophy-b4945dd95829288d0a85a32f3f88493cdea61fc4e88c2a9e9541ec2ccb7abd53.png",
"https://www.podomatic.com/assets/homebase/arrow-right-icon-c6903ee89a79b2a261dafd46485b6e217b00860a554b83207123ccd4b6562a8c.png",
"https://www.podomatic.com/assets/homebase/arrow-left-icon-ca9681d8f811f6b4e9b1c879a368d4644949456b32ad6a1725616fa4bf4b5402.png",
"https://www.podomatic.com/assets/homebase/icon-subhead-music-054da428d3b1f5df614f6a84299ed3a7e9f224484219d98f568c611b11ea2d07.png",
"https://www.podomatic.com/assets/homebase/icon-subhead-talk-ead4b8427c3899ea2fc46b4e97352af995826dab9079efeb5a5f2902efc84dc9.png",
"https://www.podomatic.com/assets/homebase/icon-profile-9808640796d775bf9553cc3179e728327bed3bbfbc30ee2605153a33fd71f368.png",
"https://www.podomatic.com/assets/homebase/icon-following-01689cfacfda5cb830d386e4b93e2a91e1df9eced224b26882bd56ac16e51cd5.png",
"https://www.podomatic.com/assets/homebase/icon-playlists-7badd7339c70ece39dbd177dd039bb91b719aaa82584f624a724bcfd99380f9a.png",
"https://www.podomatic.com/assets/homebase/share-btn-684040e6ce0d228a36e9b825d1d31e840a150e6aab3841fb8d706a66e74c5092.png",
"https://www.podomatic.com/assets/homebase/share-btn-684040e6ce0d228a36e9b825d1d31e840a150e6aab3841fb8d706a66e74c5092.png"
] |
[] |
[] |
[
"Carolyn on KXSF 102.5fm San Francisco Community Radio January 10",
"2023",
"Carolyn's podcast",
"podcast",
"podcasts",
"podcasting",
"free",
"how-to",
"weekly",
"daily",
"live",
"subscribe",
"best",
"itunes",
"audio",
"music",
"education",
"house",
"religious",
"talk",
"politics",
"comedy",
"radio",
"sports",
"news"
] | null |
[] | null |
Punk, garage and trash coolness with CarolynThe first of 2023 abbreviated by Mother Nature's continuing assault on the Bay Area12:01 PM The Strangeloves "Cara-Lin" from I Want Candy: The Best of the Strangeloves 1965 on Bang Records. Medium: LP12:03 PM Dow Jones & The Industrials "What's the Difference?" from Can't Stand the Midwest 1979-1981 2016 on Family Vineyard. Medium: LP 198012:05 PM Electric Eels "Splitterty Splat" from Jaguar Ride - Single 2014 on Hozac. Medium: 7 Inch12:07 PM Dave Dee, Dozy, Beaky, Mick & Tich "Hold Tight!" from Hold Tight - Single 1966 on Island Records. Medium: 7 Inch12:10 PM Alex Chilton "It Isn't Always That Easy (Demo Version)" from Free Again: The "1970" Sessions 2012 on Ace Records. Medium: LP12:13 PM Wolfmanhattan Project "Silky Narcotic" from Summer Forever and Ever 2022 on In The Red. Medium: LP12:19 PM Tee Vee Repairmann "Bus Stop" from What's On TV 2023 on Total Punk. Medium: LP12:21 PM Cosmit "Bad Luck" from It's Cosmit - EP 2022 on Specialist Subject. Medium: Other12:23 PM The Cool Greenhouse "The Ufos" from Sod's Toastie 2022 on Melodic. Medium: LP12:27 PM Delivery "Wear It Well" from Forever Giving Handshakes 2022 on Feel It Records. Medium: LP12:30 PM Fuzzstainz "My Kinda Girl" from Get Stained - EP 2022 on Beluga Records12:32 PM Split System "Run On" from Vol.1 2022 on Legless Records12:35 PM Wild Evel and the Trashbones "Berlin On Fire" from Berlin on Fire 7" - Single 2022 on S/R. Medium: 7 Inch12:38 PM The Mighty Moguls "Doodle Bug Race" from Teenage Party With The Mighty Moguls 2001 on Reelin' & Rockin'. Medium: CD12:40 PM Wet Leg "Chaise Longue" from Wet Leg 2022 on Domino Recording Co. Medium: LP12:45 PM Strange Attractor "Dog Walker" from Good Boy Bad Boy 2023 on Drunken Sailor. Medium: LP12:46 PM Hue Blanc's Joyless Ones "Winter Palace" from Hue Blanc's Joyless Ones 2022 on Bancroft Records. Medium: LP12:48 PM Mad Mojo Jett "Missing Stairs" from Get Your Mind Straight 2022 on Rum Bar Records. Medium: CD12:52 PM Vince Taylor and His Playboys "Brand New Cadillac" from Pledging My Love / Brand New Cadillac 1959 on Parlaphone. Medium: 7 Inch12:53 PM Knickers "Bored in the Supermarket" from Collection 2022 on Peroquébien. Medium: Other12:55 PM The Mudd Club "Brand New Shoes" from Give Me a Thrill 2022 on The Mudd Club. Medium: CD12:58 PM The C.I.A. "Inhale Exhale" from Surgery Channel 2023 on In The Red Records. Medium: LP1:03 PM CIVIC "End of The Line" from Taken By Force 2023 on ATO Records. Medium: LP1:07 PM Nasty Rumours "Modern World" from Bloody Hell, What a Pity! 2022 on Wanda Records1:09 PM Nylon Club "Television" from Nylon Club - EP 2022 on Self Released. Medium: Other1:11 PM Heavy Metal "It's Only Suicide" from IV: COUNTER ELECTRODE IRON MONO 2023 on Total Punk. Medium: LP1:15 PM Ivy Green "I'm Sure We're Gonna Make It" from I'm Sure We're Gonna Make It / Pak 'm Beet (reissue) 2022 on Wap Shoo Wap Records. Medium: 7 Inch 19781:17 PM Wasteland "Bombsite Baby" from Want Not EP 2022 on Breakout Records. Medium: 7 Inch 19791:21 PM Heavy Mother "Eenie Meenie" from This Time Around 2022 on Feel It Records. Medium: LP1:27 PM Beef "D.N.A." from D.N.A. 2023 on S/R. Medium: LP1:28 PM Snõõper "Subdivision" from Town Topic 2022 on S/R. Medium: 7 Inch1:31 PM Squid Ink "Sundown (feat. Wet Specimen)" from Typical Girls, Vol. 6 2022 on Emotional Response. Medium: LP1:34 PM Vess Ruhtenberg "Please Panic" from Polish Sausage Sauerkraut! - A Collection of Gizmos Covers 2022 on Gulcher. Medium: Other1:36 PM Displeasure "Nothing But A Nightmare" from Vortex of Sh*t 2022 on S/R. Medium: Other1:42 PM Corker "Lice" from Lice - Single 2022 on Feel it Records. Medium: Other1:44 PM Alien Nosejob "RNR Rubbish Bin" from Stained Glass 2022 on Total Punk. Medium: LP1:50 PM Spitting Image "Full Sun" from Full Sun 2023 on Slovenly. Medium: LP1:54 PM Smirk "Living in Hell" from Material 2022 on Feel It Records. Medium: LP1:57 PM The Drin "Venom" from Today My Friend You Drunk the Venom 2023 on Drunken Sailor Records. Medium: LP2:03 PM Neverland Ranch Davidians "Rat Patrol" from Neverland Ranch Davidians 2023 on Heavy Medication Records. Medium: LP2:07 PM Butthole Surfers "The Shah Sleeps In Lee Harvey's Grave" from Butthole Surfers 1983 on Alternative Tentacles. Medium: LP2:09 PM New Buck Biloxi "My Hole" from Cellular Automaton 2022 on Total Punk2:12 PM The Uglies "Still U.G.L.Y." from Still U.G.L.Y. EP 2022 on S/R. Medium: Other2:13 PM Swansea Sound "Music Lover" from Music Lover Christmas - Single 2022 on Skepwax. Medium: Other2:15 PM The Toxics "One Man Party" from A Place Called Razors Edge 2022 on Chaputa! Records. Medium: LP2:19 PM PSDSP "Overpass" from Just Gimme Five Bucks 2022 on S/R. Medium: Other2:25 PM Forever Pavot "Au diable" from L'idiophone 2022 on Born Bad Records. Medium: LP2:30 PM The Black Black "Songs About New York" from Songs About New York b/w Work - Single 2022 on S/R. Medium: 7 Inch2:30 PM Freez "Nothing" from Icebreaker 2023 on Wild Honey. Medium: LP2:32 PM The Passive Assassins "Chemical Man" from The Passive Assassins EP 2023 on S/R. Medium: Other2:36 PM Gaffer "Handcuff" from Dead End Beat 2023 on Drunken Sailor Records. Medium: LP2:42 PM Sad Roach "Ugh" from Fabricated Complexities EP 2022 on S/R. Medium: Other2:43 PM Uppendix "I'm a Lonely Head" from Bliss Is Solipsis 2022 on Discontinuous Innovation. Medium: Other2:45 PM spectrum/static "Blip on the Radar (I Know it was You)" from Thoughts Obtuse 2022 on S/R. Medium: CD2:49 PM Goodbye Blue Monday "Misery-Punk Ruined My Life" from Manchester Punk Festival Vol. 31 2022 on Manchester Punk Festival. Medium: Other2:52 PM D.R.L.N. "Power Static" from Power Static - Single 2023 on Sauna Suit Recordings2:55 PM Mit "Not Reliable" from The Male Idiot Theory 2022 on Peroquébien. Medium: Other2:58 PM Razar "Task Force" from Murder Punk Vol. 2 1979 on Murder Punk Inc. Medium: CD
|
/images/PodOcon.ico
|
Podomatic
|
https://www.podomatic.com/podcasts/keddy/episodes/2023-01-10T23_16_08-08_00
|
Best Podcasts By City
Discover, listen and subscribe to the best podcasts of 2024 worldwide.
Best Podcasts By Category
Listen to the top podcasts of 2024 on Podomatic
|
|||||
1487
|
dbpedia
|
0
| 71
|
https://bigtex.com/about-us/faq/
|
en
|
State Fair of Texas
|
[
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-general-information.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-activities.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-amenities-accessibility.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-football.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-work-with-the-fair.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-general-information.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-activities.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-amenities-accessibility.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-football.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/img/faq/faq-work-with-the-fair.svg",
"https://bigtex.com/wp-content/themes/mb-build-6-8-2024_9-21/library/build/css/svg/menu-icons/plan-your-visit/close.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2018-01-18T22:32:32+00:00
|
... read more
|
en
|
State Fair of Texas
|
https://bigtex.com/about-us/faq/
|
FAQs
What are you looking for?
Search FAQs for:
Know Before You Go
Print List
What are the Fair’s hours?
The 2024 State Fair of Texas will run September 27 – October 20, 2024. Gates will open Friday, September 27, at 10 a.m.
Hours of Operation
Sundays – Thursdays: 10 a.m. – 9 p.m.
Fridays – Saturdays: 10 a.m. – 10 p.m. Last entry time is 9 p.m.
Parking Gates & Ticket Booths
Open daily at 9 a.m.
State Fair of Texas Midway and Fair Park Museum hours vary
La Feria Estatal de Texas de 2024 se celebrará del 27 de Septiembre al 20 de Octubre del 2024. Las puertas se abrirán el viernes 27 de Septiembre a las 10 de la mañana.
Horario de apertura
De domingo a jueves 10 a.m. – 9 p.m.
Viernes y sábados: 10.00 a.m. – 10 p.m. Última hora de entrada: 9 p.m.
Puertas de estacionamiento y taquillas
Abiertas todos los días a las 9 a.m.
El horario del State Fair of Texas Midway y de los Museos del Fair Park varían
How do I get there?
To get to the Fair easily, navigate to the State Fair of Texas parking lot located at Gate 2 at 925 S. Haskell, Dallas, Texas 75223. Insert that address into your maps app or follow one of the directions below.
Directions by car:
From Sherman-Plano-Richardson
Take U.S. 75 (North Central Expressway) South toward downtown Dallas. Take exit 284A to connect to Interstate 30 East (toward Texarkana), then take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
From Austin-Waco
Take Interstate 35E North to downtown Dallas. Take exit 428B to connect to Interstate 30 East (toward Texarkana), then take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
From Fort Worth-Abilene-Weatherford
Take Interstate 30 East to Dallas. Follow signs for Interstate 30 East toward Texarkana. After passing downtown Dallas, take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
From Denton-Lewisville-Gainesville
Take Interstate 35E South to downtown Dallas and exit 427E. Immediately after taking the exit, move to one of the left two lanes and enter Interstate 30, Eastbound. Follow signs for Interstate 30 East toward Texarkana. After passing Downtown Dallas, take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
From Houston-Huntsville-Corsicana
Take Interstate 45 North to exit 284A. Move to the right lane and follow signs for Interstate 30 East. Take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
From Texarkana-Greenville-Rockwall
Take Interstate 30 West toward downtown Dallas. Take exit 48A, towards Haskell Avenue. Turn left on Haskell, go straight through the light at Parry Avenue, and enter at Gate 2.
Directions by train:
Using the DART Rail Green Line, visitors can arrive at the State Fair of Texas from two stations – Fair Park Station, located on Parry Avenue at the entrance of the fairgrounds or MLK, Jr. Station, located south of R.B. Cullum Blvd. and convenient to the MLK fairground entrance (Gate 6).
How much are tickets?
Ticket prices vary depending on discounts available and day of the week.
General admission: $25-$15
Child (ages 3 to 12): $18-$5
Child two and younger: FREE
Senior (ages 60 and older): $10-$18
Seniors ½ price every Thursday: $5
State Fair Season Pass & Packages
The State Fair Season Pass is only $60 and allows you attend the State Fair every day of the season. It also includes FREE State Fair gear, discounts, a bring-a-friend ticket, and much more! We also offer a variety of State Fair Combo packages. For more information check out our tickets page.
Group Discount
If you are attending the Fair with a group of more than 25 people, advance group discount tickets are available. The earlier you buy, the more you save!
For additional discounts offered during the State Fair, visit our discounts page.
Where can I park and how much is it?
While there are several parking options at the State Fair of Texas, the easiest and most convenient parking lot can be reached by entering at Gate 2 which is located at 925 S. Haskell, Dallas, Texas 75223. Click here to find your way to this gate. State Fair parking is $30 per space at official Fair lots. All State Fair parking is well lit and conveniently located near pedestrian gates. Bicycle racks are located inside Gates 5, 6, and 11, but they are on a first come first served basis.
PARKING SPACES FOR THE DISABLED REQUIRE A DESIGNATED LICENSE PLATE OR HANG TAG.
Overnight parking is prohibited. The only exception is TX vs. OU weekend only in designated RV parking lots. Space is allocated on a first come first served basis. Adjacent spaces may not be reserved. Cash or credit card payment is due at the gate upon entry unless you have already pre-paid for your space.
Click here for RV overnight parking information specific to each weekend.
Where can I stay nearby?
The Dallas-area is filled with places for visitors to stay. Our friends at Visit Dallas have compiled a list here.
What are coupons? How much is a coupon worth?
The State Fair of Texas uses coupons as its main form of currency. Each coupon is valued at $1. For example, a ride that costs 6 coupons is equal to $6.
As of 2023, fairgoers may now use coupons for food, rides, AND games! Don’t forget, coupons from previous Fairs are valid any year that you visit the State Fair of Texas. Coupons can be purchased online in advance or at booths inside the Fair.
Can I use coupons that I bought at last year’s Fair?
Yes! Food and Midway coupons do not expire and can be used for future Fairs.
What food and drinks can I buy at the Fair?
Small businesses from across the state sell State Fair food like corny dogs, turkey legs, cotton candy, Frito Pies, Sausage-on-a-Stick, and much more! Every year, these loyal food vendors create new Fair foods by putting a spin on gourmet, regional, national, and even international dishes. Check out our New Foods page to see this year’s lineup, learn more about each dish, and where you can find them on the fairgrounds. We also sell a variety of non-alcoholic and alcoholic drinks. Be sure to purchase your coupons once you get inside the gate or order them online in advance at BigTex.com/Tickets.
Additionally, the State Fair of Texas offers several vegetarian, vegan, and gluten-free food and beverage items. Visit any hospitality center or guest relations location for more information.
What should I wear to the Fair?
The State Fair of Texas is a casual, family-friendly environment. We suggest you dress comfortably, wear walking shoes – or cowboy boots if you prefer – and check the local weather report before you leave for the Fair.
Proper attire, including shoes and shirts, must always be worn. Texas themed shirts and hats are acceptable and encouraged.
The State Fair of Texas reserves the right to deny admission to or remove any person wearing attire that is considered inappropriate or could detract from the experience of other guests.
Ensuring the State Fair is family-friendly is an important part of the Fair experience. In that spirit, we ask you to use your discretion and common sense.
Attire that is not appropriate for the Fair — and may result in refusal of admittance — includes but is not limited to:
Clothing with objectionable material, including obscene language or graphics.
Clothing which, by nature, exposes excessive portions of the skin that may be viewed as inappropriate for a family environment.
Clothing with multiple layers are subject to search upon entry.
Offensive tattoos
Costumes or masks (unless they are for medical purposes) may not be worn by guests 12 years of age or older.
Costumes may not contain any weapons that resemble or could easily be mistaken for an actual weapon.
Masks may not cover the head and face entirely. Eyes must be visible.
Guests who do not adhere to these guidelines may be refused entry and/or removed from the State Fair of Texas, unless attire can be modified to meet the above standards.
How do I pay for food, drinks, rides, and games?
Food, drinks, rides, and games, are all paid for using State Fair Food & Midway Coupons. State Fair Food & Midway Coupons can be purchased at the numerous coupon booths around the grounds or in advance online at BigTex.com/Tickets.
As of 2023, fairgoers may use coupons for not only food and rides but now ALSO for games! If a fairgoer has a Midway game card with funds from a prior Fair, they may bring that game card to either of the Fair’s guest relations locations to exchange for Food & Midway Coupons. This new change will allow guests to use a single source of currency, thus simplifying their visit to the State Fair of Texas. And as always, coupons from previous Fairs are valid any year.
Can I use cash/credit card to buy food, ride a ride, or play a game?
No, coupons are used to purchase food and beverages, ride rides, or play games; however, you will need cash or a credit card to purchase items from our shopping exhibitors. Several ATMs are available throughout the fairgrounds. See their locations on the map.
Can I return or exchange my unused coupons for money?
Unused Food and Midway coupons cannot be exchanged for money, as they are good year after year and never expire.
What activities are FREE at the Fair?
The State Fair of Texas offers more than 100 FREE, daily activities that are included in the price of your admission ticket. Whether it be our weekend rodeos, 90-plus musical acts, or street performers, there’s something for fairgoers of all ages! Read more about our FREE attractions at BigTex.com/Attractions.
How much do rides and games cost?
Most rides at the State Fair of Texas range from 5-12 coupons. The majority of kiddie rides located on the Kidway, are less than 6 coupons. Games at the State Fair range from 3-20 coupons. The State Fair Midway is made up of a collection of small businesses that set their own prices. And don’t forget that every child wins a prize when they play select games on the State Fair of Texas Midway!
I have a game card; can I exchange it for coupons? How?
Yes! If you have a Midway game card with funds from a prior Fair, you may bring that game card to either guest relations location to exchange for Food & Midway Coupons.
We hope this new change will simplify your visit to the State Fair of Texas, allowing you to use a single source of currency for food, rides, AND games! As always, coupons from previous Fairs are valid any year.
Can I bring my pet to the Fair?
Pets are NOT allowed; however, a service animal is permitted for individuals with a disability. Under the ADA, a service animal is defined as a dog that has been individually trained to do work or perform tasks for an individual with a disability. The task(s) performed by the dog must be directly related to the person’s disability. All service animals must remain on a leash or harness and may not be left unattended. Service animal behavior is the responsibility of the owner, and you will be asked to leave the Fair if their behavior becomes a threat to the safety of another guest or employee. We do not have accommodations for pets at the fairgrounds.
For more information about service animals and the ADA, please visit their website.
Can I bring bull horns, air horns, megaphones, or similar items into the Fair?
Bull horns, air horns, megaphones, and similar items are NOT allowed. Please leave these items at home or in your vehicle prior to entering the fairgrounds. Use of these items on the fairgrounds is strictly prohibited and will result in the item being confiscated and could result in you being removed from the Fair.
Can I bring large signs, large props, or similar items into the Fair?
Large signs or props are NOT allowed. Please leave them at home or in your vehicle prior to entering the fairgrounds. Use of these items on the fairgrounds will result in confiscation of related materials and could result in you being removed from the Fair.
Can I bring selfie sticks, tripods, monopods, or other camera equipment into the Fair?
Unless credentialed through the State Fair of Texas’ PR office, selfie sticks, tripods, monopods, and similar items are NOT allowed. We ask that you leave your selfie sticks, tripods, monopods, and/or similar items at home or in your vehicle in the interest of the overall safety of our visitors. The use of these items on the fairgrounds is strictly prohibited and will result in the item being confiscated and could result in you being removed from the Fair. If you are a photographer interested in taking photographs with professional or extensive camera equipment, you must first visit BigTex.com/Media and fill out the State Fair of Texas Media Credentials Request Form.
Can I fly drones/UAVS/UASS at the Fair?
The State Fair of Texas is—and has always been—a private entity. The Fair leases the Fair Park property from the City of Dallas but is not part of the City or controlled by a government body.
The State Fair of Texas prohibits the use of Unmanned Aircraft Systems (UAS), commonly known as drones, within the 277 acres of Fair Park without prior written approval of State Fair’s Public Relations Department. This process safeguards that the remote pilot complies with current FAA rules, provisions, and guidance by taking a responsible, risk-based approach to ensure the safety of the thousands of “non-participants” within the dynamic “open-air assembly” nature of the Fair event. Law enforcement will respond to all unauthorized UAS to identify the pilot and document the aircraft in use. The State Fair of Texas prohibits the use of all remote controlled devices of any type, including, but not limited to, aircraft, drones, quad-copters, cars or trucks, on or above property owned, leased or controlled by the Fair. Individuals violating State Fair rules are subject to ejection from the grounds and/or criminal enforcement of applicable statutes.
Can I ride a bicycle, skateboard or roller blade at the Fair?
In the interest of the overall safety for our guests, bicycles, skateboards, scooters, roller skates, and/or other wheeled forms of transportation are prohibited inside the gates (wagons to transport small children are approved.)
Can I bring a Wagon into the Fair?
Small children may be pulled in a wagon.
Can I bring personal food and beverages, coolers, or ice chests into the Fair?
Tasting “Fair food” is a big reason why people visit the State Fair of Texas, but if you have any dietary restrictions or other reasons for wanting to bring your own food or beverages, please do. Fairgoers may only bring softshell coolers that meet the new bag policy sizing standard. Please note, loose ice is not permitted. Re-usable ice packs are recommended. Please note: Alcohol, glass containers, and metal knives and forks are prohibited, and your cooler will be searched as you enter the grounds.
When visiting the State Fair of Texas, what rules should I expect to follow?
State Fair of Texas Guest Code of Conduct
The State Fair of Texas is a nonprofit organization that’s mission is to celebrate all things Texan by promoting agriculture, education, and community involvement through quality entertainment in a family-friendly environment. We want to make sure the Fair is a fun – and safe – place for all our fairgoers, vendors, and Tex Team members.
When you join us on the fairgrounds and attend the Fair, all fairgoers are expected to respect and abide by the following rules:
We expect all fairgoers to be Fair-friendly and respectful of your fellow fairgoers.
Behavior that is unruly, disruptive, offensive, or illegal is not allowed on the fairgrounds.
Disruptive running is not allowed on the fairgrounds.
Improper or illegal use of motorized scooters or similar items will not be allowed. Dangerous behavior or failure to abide by scooter rules will result in loss of privilege to operate a scooter and subject the offender to possible eviction from the fairgrounds.
After 5 p.m. Minors Policy: Starting at 5:00 p.m. daily, all minors, age 17 and under, must be accompanied by a parent, guardian, or chaperone (21+) when they enter the Fair. Parents, guardians, or chaperones may accompany no more than six minors 17 years of age and under.
In addition to our safety measures on the fairgrounds, we also encourage guests to lock their vehicles and ensure they have properly stowed away any personal items or valuables.
Entry to the fairgrounds is contingent on a security screening process. All guests will be screened for weapons either by a walk-through or hand-held detection device. Bags, purses, coolers, and similar containers will be searched to determine if any illegal, prohibited, or suspicious items are present that may pose a safety or security concern within the property. For a full list of prohibited items, visit: BigTex.com/FAQ.
We ask that everyone remain “Fair Aware.” If you see something that doesn’t look right on the fairgrounds, please say something to a uniformed police officer or State Fair Safety Team member. Let’s all do our part to keep the State Fair safe.
Dress appropriately for a family-oriented and mostly outdoor event. Clothing must adequately cover the body. Visible undergarments are not permitted. Guests may be asked to remove masks, hoods, or other clothing that obscures the entire face of the person. Clothing likely to provoke a disturbance or involve other guests in open conflict is not permitted. Shoes must be worn at all times.
Not staging any form of public event or protest, soliciting, or distributing information of any kind without the prior written approval of State Fair of Texas management or security personnel.
Not leaving bags or baggage unattended. Any unattended bags are subject to search and possible seizure.
Only registered service animals that comply with the Americans with Disabilities Act (ADA) requirements are allowed. No pets are allowed. Dogs and other animals whose sole function is to provide comfort or emotional support do not qualify as service animals under the ADA. The State Fair of Texas reserves the right to deny access or require removal of any service animal that is disruptive or poses a direct threat to the health and safety of others.
Observing the hours of operation of the State Fair of Texas and its vendors, and promptly leaving at the close of business hours or as otherwise directed by State Fair of Texas management or security personnel.
By attending the State Fair of Texas, you agree to abide by all the Fair’s rules, including all health and safety rules. Violation of these rules may cause forfeiture of your admission ticket and removal from the premises. For additional rules and legal disclosures, please refer to the back of your State Fair of Texas admission ticket or visit BigTex.com/FAQ. State Fair of Texas management and public safety personnel reserve the right at any time to disperse crowds or remove any person or groups of people from any area of the property when necessary or otherwise deemed appropriate. Any person engaged in any unlawful activity may face criminal prosecution.
The State Fair of Texas respects the rights of all individuals and pledges the equitable enforcement of these rules, reserving the right to define and interpret conduct that may be unacceptable and to modify the terms of the Guest Code of Conduct at any time. The State Fair of Texas appreciates your cooperation in adhering to the Guest Code of Conduct.
After 5 p.m. Minors Policy
During the 2024 State Fair of Texas, starting at 5 p.m. daily, all minors, age 17 and under, must be accompanied by a parent, guardian, or chaperone (21+) when entering the Fair. Parents, guardians, or chaperones may accompany no more than six minors 17 years of age and under.
How can I purchase Food and Midway coupons?
You may purchase Food and Midway coupons online in advance, or inside the fairgrounds. Cash and credit cards are accepted. We also accept Apple Pay on our automated coupon kiosks.
If you choose to purchase your coupons in advance online, please know the following criteria MUST be met in order to redeem your online coupon pickup order:
Coupon vouchers must be presented by the original purchaser only.
Original purchaser must present a valid state issued photo ID & physical credit card used for purchase. No temporary IDs accepted.
Name & address on ID and credit card information must match billing address on order.
Coupon vouchers CAN NOT be transferred or gifted to another individual for use. i.e. cannot be purchased by a parent for pick-up by a child.
No PO Box billing addresses allowed for digital pick-up.
No Corporate Credit Cards allowed for digital pick-up.
No Virtual Credit Cards allowed for digital pick-up.
All sales are final sales and not eligible for refunds, exchanges, reschedule, or transfer.
All sales are final and are not eligible for refunds, exchanges, reschedules, or transfers.
Does the Fair take photos or video of its guests for various purposes?
When entering the fairgrounds during the annual State Fair of Texas, you hereby grant permission to SFT, its affiliates, and licensees, without compensation, to capture, film, video, photograph, publish, transmit, stream, display, reproduce, and otherwise use your image or likeness captured while attending the Fair or on the fairgrounds with or without your knowledge.
Can I bring any weapons into the Fair?
The State Fair of Texas prohibits fairgoers from carrying all firearms, knives with blades over 5.5 inches long, clubs, explosive devices, ammunition, chemical dispensing devices, replicas or hoaxes, or weapons of any kind. This includes concealed carry and open carry of firearms anywhere on the fairgrounds including Cotton Bowl Stadium. This policy does not include elected, appointed, or employed peace officers.
How will the State Fair enforce this new policy?
The State Fair is working diligently with its security partners to plan for the implementation of this policy.
Security team members will receive ample training to enforce this new policy. In addition, the State Fair has made significant financial investments in the security technology OPENGATE ® – a innovative Weapons Detection System designed for screening people as well as their bags. OPENGATEis one piece of the overall security screening process at every entry gate.
How is the weapons policy different from last year?
Previously, our weapons policy allowed licensed concealed carry. Now it does not.
Why did the Fair change its weapons policy?
Every year, the State Fair of Texas has an ongoing safety and security assessment, adding and adjusting security measures to ensure a safe environment for all fairgoers, employees, and vendors. For us to continue offering a safe event for all, we feel this is an important measure to implement.
Other events like the Houston Livestock Show and Rodeo, San Antonio Stock Show and Rodeo, and Rodeo Austin follow similar weapons policies as well.
CAN SOMEONE WITH A LICENSE TO CARRY (LTC) BRING THEIR FIREARM TO THE FAIR?
No.
How can I stay safe if I can’t use my License to Carry (LTC)?
The State Fair of Texas works with DPD, DFR, DART Police, DISD Police, regional, state, and federal partners as well as private security partners to help keep fairgoers, employees, and vendors safe. While each of the entities focuses on ensuring a safe and family-friendly environment at the State Fair of Texas, we also ask that everyone remain “Fair Aware.” If you see something that doesn’t look right on the fairgrounds, please say something to a uniformed police officer or State Fair Safety Team member. Let’s all do our part to keep the State Fair safe.
CAN A LICENSED PEACE OFFICER BRING THEIR FIREARM TO THE FAIR?
Yes. Whether on or off duty, peace officers from any jurisdiction must provide the appropriate credentials to the Dallas Police Officer posted at the entry gate for verification.
ASIDE FROM FIREARMS, AND KNIVES WITH BLADES OVER 5.5 INCHES LONG, WHAT WEAPONS ARE NOT ALLOWED INTO THE FAIR?
Other prohibited items include firearms and/or ammunition; air guns, BB guns, pellet guns, paintball guns, slingshots; firearm replicas, including non-firing imitations, toys, and their components. Other weapons of any kind. Any items deemed inappropriate or hazardous by the State Fair of Texas.
IS THERE A BAG POLICY FOR FAIRGOERS?
To continue providing a safe environment for the public and significantly expedite fairgoers’ entry into the park, the State Fair has implemented a policy that limits the size of bags that may be brought into the State Fair. Exceptions to this policy will be made for medical bags and parenting bags after proper inspection.
Approved Bags | The following outlines bags that are permitted:
Bags and soft-shell coolers that are 9 inches x 10 inches x 12 inches (9” x 10” x 12”) or smaller.
Medical bags and parenting/childcare bags.
These medical and parenting/childcare bags do not have to be 9” x 10” x 12” or smaller but will be searched at all entry gates.
All permitted bags are subject to search.
How will the State Fair enforce this new policy?
The State Fair is working diligently with its security partners to plan for the implementation of this policy.
Security team members will receive ample training to enforce this new policy. In addition, the State Fair has made significant financial investments in the security technology OPENGATE ® – a Weapons Detection System designed for screening people as well as their bags. OPENGATE is one piece of the overall security screening process at every entry gate.
What about bags for the football games in the Cotton Bowl?
The Cotton Bowl has followed a clear-bag policy for several years and will continue to. Please note the Cotton Bowl does not allow childcare/diaper bags, but items normally carried in a diaper bag may be put into a clear plastic bag for venue entry. For specific details prior to attending a football game in the Cotton Bowl we encourage fans to visit BigTex.com/Football.
WHAT BAGS ARE PROHIBITED FOR FAIRGOERS?
Prohibited Bags | Prohibited items include, but are not limited to:
All bags larger than 9” x 10” x 12.”
Hardshell coolers (Unless medically necessary.)
Medical bags are subject to search.
CAN FAIRGOERS BRING A MEDICAL BAG?
Yes. Medical bags may be brought into the Fair and do not have to be under 9” x 10” x 12” but will be searched at all entry gates.
What is considered an approved “medical bag?”
Medical bags contain medically necessary items, including but not limited to insulin, medication, portable oxygen, small soft pack coolers, and breast pumps.
How does a fairgoer ensure they can bring their medical bag in?
Upon entry, fairgoers should inform the security member who checks their bags that they or someone in their party has a bag containing medically necessary items.
CAN FAIRGOERS BRING A PARENTING/CHILDCARE/DIAPER BAG?
Yes. Parenting, childcare, or diaper bags may be brought into the Fair and do not have to be 9” x 10” x 12” or smaller but they will be searched at all entry gates.
What is considered an approved “Parenting, childcare, or diaper bag”?
Parenting, childcare, or diaper bags contain necessary items for childcare including but not limited to diapers, wipes, baby formula, and small snacks.
WILL THERE BE LOCKERS TO STORE ITEMS IF SOMEONE BRINGS A PROHIBITED BAG OR ITEM?
No. There are no lockers or bag checks at the State Fair. Guests with a prohibited bag or item must return it to their vehicle or discard it properly. Prohibited items can NOT be held by security, staff, or volunteers.
WHAT ITEMS ARE PROHIBITED AT THE FAIR?
The following prohibited items list is by no means exhaustive and may be modified at any time by the State Fair of Texas.
Bags, backpacks, and soft-sided coolers larger than 9 inches x 10 inches x 12 inches (9” x 10” x 12”). Soft-sided coolers cannot contain loose or dry ice. (Re-usable ice packs recommended)
Collapsible and folding chairs.
Hard-sided coolers and baskets of any size.
Hydration packs larger than 9” x 10” x 12”.
Firearms, ammunition, a knife with a blade over five and one-half inches, lasers and weapons of any kind including replicas, facsimiles, toys, and likenesses.
Costume, mask or face covering not for medical reasons
Chemical dispensing device for personal protection.
Aerosol cans (except sunscreen)
Illegal drug, substance, enriched product, or paraphernalia
Fireworks, sparklers, or explosives.
Smoke, fog, or haze emitting machine or device.
Alcoholic beverages. Glass containers (excluding baby food jars or similar.)
Horns, whistles, megaphones, or artificial noise makers.
UAV or UAS (unmanned aircraft – “drone”)
Skateboards, Hoverboards, roller and inline skates, and shoes installed with wheels.
Foot or electrically powered scooters, bicycles, tricycles, and unicycles.
Balloons, Beach balls, and Hula Hoops.
Any trailer-like object that is pushed, pulled, or towed by an Electric Conveyance Vehicle, wheelchair, stroller, or person.
Selfie sticks or camera extensions of any kind.
Commercial Audio, Video, or Camera equipment (Holders of State Fair Media Credentials exempted.)
Long stick, Golf-style umbrellas.
Sticks, bats, and poles.
Pets. (ADA certified service animals are exempt.)
Other carry-in deemed inappropriate by State Fair Management.
We reserve the right to prohibit the use or storage of any other item not listed above that we determine may be harmful or disruptive in our sole and absolute discretion.
WHAT ACTIVITIES ARE PROHIBITED AT THE FAIR?
The sale of goods or services, or the display of goods or services, unless prior written approval has been obtained.
The distribution or posting of printed or recorded materials of any kind unless prior written approval has been obtained.
Engaging with other guests or impeding operations while posing as or portraying any character in costume.
Engaging in any unsafe act or other act that may impede the operation of the State Fair of Texas or any part thereof.
Unauthorized access or entry into backstage areas or areas designated only for State Fair of Texas personnel.
Unauthorized events, speeches, or use of any flag, banner, sign or other material for commercial purposes, or as part of a demonstration.
Photography, videotaping or recording of any kind, or otherwise engaging in any activity, for unapproved commercial purposes.
Unauthorized solicitations of any kind, whether commercial, religious, educational or otherwise, or conducting any unauthorized commercial activities, including solicitations of money or other contributions or donations.
Obstructing sidewalks, entrances, driveways, patios, vestibules, stairways, corridors, halls or landings.
We reserve the right to prohibit the use or storage of any other item not listed above that we determine may be harmful or disruptive, in our sole and absolute discretion.
Inside the Fair Grounds
Print List
What rides and games are available at the Fair?
Rides
The State Fair Midway features more than 70 rides including the iconic 212 ft. Texas Star® Ferris wheel, the Kidway, the 500 ft. Top o’ Texas Tower and the 1914 Dentzel Carousel. In addition, we have the Kidway area, featuring rides suitable for children 2 years of age and older. The State Fair Midway also has a variety of fun games for you to play! Learn more about the Midway.
As of 2023, fairgoers may use coupons for not only food and rides but now ALSO for games! Coupons can be purchased online in advance or at booths inside the Fair. If a fairgoer has a Midway game card with funds from a prior Fair, they may bring that game card to either of the Fair’s guest relations locations to exchange for Food & Midway Coupons. This new change will allow guests to use a single source of currency, thus simplifying their visit to the State Fair of Texas. And as always, coupons from previous Fairs are valid any year.
Is there live music at the Fair?
Yes! The State Fair of Texas provides a FREE Texas-sized music festival each year with three stages and nearly 100 artists. The Chevrolet Main Stage is an outdoor venue with a huge festival-type stage and experience, as well as an ADA-compliant area for guests needing special assistance. Featuring headlining and regional acts, the Chevrolet Main Stage is located next to the Craft Pavilion, near the Hall of State.
In addition to the Chevrolet Main Stage, live music can be found across the grounds. The Bud Light Stage, located in the heart of Cotton Bowl Plaza, will showcase local and regional talent all 24 days of the Fair, just steps away from all your fried food favorites. The Yuengling Flight Stage, located outside the GO TEXAN Pavilion, will feature a Friday night comedy series titled “Deep Fried Comedy,” along with live music throughout the week where you can sit back and unwind with a glass of wine or beer. Learn more at BigTex.com/LiveMusic.
Where can I get information once I’m inside the fairgrounds?
Visit one of our ten Hospitality Centers spread throughout the fairgrounds. View the map for your nearest location.
Hay diez centros de información repartidos por todo el parque. Los amables miembros del Equipo Tex están a su disposición para responder a sus preguntas y ayudarle con mapas y direcciones.
Where is Guest Relations located on the fairgrounds?
The State Fair of Texas has two guest relations locations. Our first location is located on the Midway, near the Top o’ Texas Tower and Neon Big Tex. The second location is on the far end of the Centennial Building, closest to the Hall of State. See the map for the exact locations.
Los visitantes que tengan preguntas o dudas pueden acudir a una de las dos oficinas de Guest Relations (Servicios para visitantes) del recinto ferial. Guest Relations Centennial está situada en el edificio Centennial, cerca de Big Tex, y cierra a las 9 p.m. Guest Relations Midway está situada cerca de la Top o’ Texas Tower en el Midway, y está abierta hasta el cierre del Midway. Guest Relations Midway también alberga los siguientes servicios: Centro de Seguridad Infantil, Centro de Cuidado del Bebé, y Objetos perdidos.
What if my child gets lost or separated from me? What is the Safe Kids Program?
The Safe Kids Program ensures your little cowboys and cowgirls are safe if they ever get separated from you or the rest of your party at the Fair. Upon arrival, fill out your FREE child’s wristband at any Hospitality Center or guest relations location. We use a wristband system that allows fairgoers, Tex Team members, DPD, and our Safety Team to identify a lost child. Once a child is found and authorities are notified, they are taken to our Safe Kids Corral, located in the Guest Relations Midway Complex across from the Top o’ Texas Tower and Neon Big Tex.
Los niños que se han separados de sus padres son escoltados por agentes de la policía o miembros del Equipo de Seguridad hasta este centro. Safe Kids Corral (Centro de Seguridad Infantil) tiene miembros del Tex Team que cuidan los niños hasta que los padres los reclaman. Las pulseras de identificación Safe Kids están disponibles en las Casetas de Información de la Feria Estatal.
Do you have a Lost and Found?
Yes! If you lose an item you may stop by our Lost and Found, located in the Guest Relations Midway Complex across from the Top O’ Texas Tower and Neon Big Tex. Lost and Found can be contacted by calling (214) 565-2975 or emailing lostandfound@bigtex.com. Due to the seasonal nature of our event, our Lost and Found operates for one additional week after closing day of the State Fair of Texas. We do not retain any of the items past that additional week.
Situado en el área de Guest Relations (Servicio para Visitantes) en el Midway, los asistentes a la feria pueden localizar sus objetos perdidos o entregar los que encuentren en el recinto ferial. Por favor, espere a que los objetos lleguen a la oficina de objetos perdidos.
Are the Children’s Aquarium and Texas Discovery Gardens open during the Fair?
Yes! Both the Children’s Aquarium and Texas Discovery Gardens are open during the State Fair of Texas. Visit the web pages below for more information.
Texas Discovery Gardens: https://txdg.org/
Children’s Aquarium: https://www.childrensaquarium.com/
Additionally, the African American Museum and Hall of State are open to public and FREE with your admission ticket! Read about each location below and learn more about the featured exhibits during the 2024 State Fair of Texas.
African American Museum: https://aamdallas.org/
Hall of State: https://www.dallashistory.org/about/hall-of-state/
Why are similar items different prices throughout the Fairgrounds?
The State Fair of Texas is a collection of small businesses. The prices for concessions and rides are determined by the operators and concessionaires without input from the State Fair. Only the prices for parking and admission are set by the Fair.
Where can I find First Aid?
First Aid Stations are located in the Coliseum and on First Avenue, adjacent to the Children’s Aquarium. If in need of assistance, locate a State Fair employee or call the State Fair Command Center 214-421-8888.
Los puestos de primeros auxilios se encuentran en el Coliseo y en la Primera Avenida, junto al Acuario de los Niños. Si necesita ayuda, localice a un empleado de la Feria Estatal o llame al 214-421-8818. La policía puede llamar a los paramédicos para que acudan a otras zonas del parque.
Amenities & Accessibility
Print List
Baby Care Centers
Three Baby Care Centers are available for the convenience of guests. One next to the Children’s Aquarium, one in the Guest Relations Midway Complex near the Top o’ Texas Tower, and one near the Swine Barn and Backyard Steak-Out & Pizzeria. Please see map for exact location. Changing stations are located in all of the women’s restrooms and in the men’s restrooms located in Cattle Barn #1, both sides of the Coliseum, Embarcadero, the Midway, the Perot Museum, east of the Aquarium, 1st & MLK, and MLK & Coliseum. An area is also available in the Oak Farms Children’s Activity Center. Electrical outlets are available in the Baby Care Centers.
Estos centros de cuidado del bebé de la Feria ofrecen privacidad y un ambiente tranquilo tanto para la madre como para el bebé. Las instalaciones tienen aire acondicionado y están situadas en el centro, en United Ag & Turf Plaza, frente a la Laguna, y en el área de Guest Relations (Servicio para visitantes), en el Midway.
ATM Machines
ATMs are located throughout the grounds. Please pick up a Visitor’s Guide as you enter the Fair or from one of our many Hospitality Centers, you can also visit: BigTex.com/Map. Personal checks cannot be cashed on the fairgrounds.
ASL Interpretation
The State Fair of Texas offers sign Interpretation for the hearing impaired. Available Friday through Sunday at select shows. Check the online schedule for more details.
Weekend/Holiday Show Schedule: Location Sensory-Friendly Mornings Show Schedule: Location
11 a.m. – Fiestas de Marionetas McDonald’s Amphitheater 11 a.m. – Fiestas de Marionetas McDonald’s Amphitheater
1:30 p.m. – Creative Arts Cooking Demonstrations: In the Kitchen with Cutco
1 p.m. – Fiestas de Marionetas McDonald’s Amphitheater – Fiestas de Marionetas McDonald’s Amphitheater
4:30 p.m. – All-Star Stunt Dog Show Marine Corps Square
Se ofrece interpretación en lenguaje de señas para determinados espectáculos. Para más información, visite BigTex.com/schedule.
Wagons, Strollers, Wheelchairs and Mobility Scooters
The State Fair of Texas offers wagons, strollers, wheelchairs and mobility scooters for rent through HomeTown Mobility. Reservations can be made in advance at www.htmia.com or by calling 1-712-938-2029 from 9 a.m. – 5 p.m., Monday through Friday, as well as on weekends during the State Fair. A valid driver’s license or state ID is required for all rentals. Per the State Fair of Texas Improper or illegal use of motorized scooters or similar items will not be allowed. Dangerous behavior or failure to abide by scooter rules will result in loss of privilege to operate a scooter and subject the offender to possible eviction from the fairgrounds.
Reservations need to be made at least 24 hours in advance, and cancellations must be made 48 hours in advance to receive a refund, minus a $5 cancellation fee per rental unit. Rental locations are at the Front Gate (Parry Ave.), Grand Ave. (Gate 5), Pennsylvania Pedestrian Entrance (Gate 11), and Pan Am Gate (North side of the fairgrounds). Utilize BigTex.com/Map for more information.
Rental Prices:
Scooters $75 per day (8 a.m. – 10 p.m.)
Wheelchairs $30 per day
Single Strollers $20 per day
Double Stroller $25 per day
Wagons $20 per day
Personal Storage Cubical $5
Wheeled mobility devices with less than 3 wheels or devices that cannot maintain stability and balance when stopped, unpowered, and/or unoccupied are prohibited. Training wheels and/or modifications are not permitted. Devices must be manually or electrically powered and operated at a walking pace. Devices should be single rider and not exceed 36″ (92 cm) in width and 52″ (132 cm) in length.
Sensory-Friendly Mornings
On every Wednesday of the State Fair of Texas, fairgoers can enjoy Sensory-Friendly Mornings, where there will be adjustments made across the fairgrounds to better accommodate those with sensory-related concerns. In addition, fairgoers will be able to enjoy all the fun of the Midway without the usual lights and sounds from 12 p.m. to 1 p.m. Please note that the usual lights and sounds of the Midway will return at 1 p.m. There are also a few locations around the grounds designated if needed. Visit BigTex.com/Sensory closer to Opening Day of the Fair for more information.
The Fair invites individuals with autism, their families, and anyone else who may benefit from a sensory-friendly experience to come out and enjoy the great State Fair of Texas on Sensory-Friendly Mornings. See you at the Fair!
P.S. Wednesday is also the best discount day! Each person who brings five canned food items to donate to North Texas Food Bank will receive $5 admission.
Ride Sharing and Taxi Services
Ride sharing, and taxi services are to be staged at Haskell to 4206 Gurley Ave Dallas, TX 75223 – drop off and pick up only. While you can use these services at any gate on the fairgrounds, we recommend using the above address, as we find this is the most efficient area to allow for less traffic.
Work with the Fair
Print List
Interested in seasonal employment?
Please visit BigTex.com/jobs or contact hr@bigtex.com
Interested in exhibiting livestock?
Please visit BigTex.com/livestock or contact livestock@bigtex.com.
Interested in being a commercial exhibitor?
Please visit BigTex.com/get-involved/commercial-exhibitors/ or contact exhibits@bigtex.com.
Interested in being a vendor?
Please visit BigTex.com/get-involved/concessions/ or contact concessions@bigtex.com.
Interested in being a sponsor?
Please visit BigTex.com/get-involved/corporate-sponsorship or contact Leslie Jefferson at ljefferson@bigtex.com.
Interested in volunteering?
Please contact lolmstead@bigtex.com
|
|||||
1487
|
dbpedia
|
1
| 46
|
https://open.spotify.com/artist/22bE4uQ6baNwSHPVcDxLCe
|
en
|
The Rolling Stones
|
https://i.scdn.co/image/ab6761610000e5ebe4cea917b68726aadb4854b8
|
https://i.scdn.co/image/ab6761610000e5ebe4cea917b68726aadb4854b8
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Listen to The Rolling Stones on Spotify. Artist · 28.7M monthly listeners.
|
en
|
Spotify
|
https://open.spotify.com/artist/22bE4uQ6baNwSHPVcDxLCe
| ||||
1487
|
dbpedia
|
2
| 13
|
https://www.facebook.com/MusicChoice/videos/this-week-on-the-charts-1965/925696892117289/
|
en
|
Happy Valentine’s Day❤️ Did You Know?... This week in 1965’s No. 5 single, “My Girl” by The Temptations, was written by The Miracles’ Smokey Robinson...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Happy Valentine’s Day❤️ Did You Know?... This week in 1965’s No. 5 single, “My Girl” by The Temptations, was written by The Miracles’ Smokey Robinson...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/MusicChoice/videos/this-week-on-the-charts-1965/925696892117289/
| ||||||
1487
|
dbpedia
|
1
| 11
|
https://udel.edu/~mm/beatles/music/singles.html
|
en
|
Beatles Singles Discography
|
[
"https://udel.edu/~mm/beatles/music/pictures/bbc.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null | |||||||||
1487
|
dbpedia
|
1
| 50
|
https://www.thebeatles.com/albums
|
en
|
The Beatles
|
https://www.thebeatles.com/themes/custom/thebeatles_bs4/favicon.ico
|
https://www.thebeatles.com/themes/custom/thebeatles_bs4/favicon.ico
|
[
"https://www.thebeatles.com/themes/custom/thebeatles_bs4/logo.svg",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Please%20Please%20Me.jpg?itok=tzOPWi8O",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/With%20the%20Beatles.jpg?itok=3cGBeX7f",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/A%20Hard%20Days%20Night.jpg?itok=gDdWFeas",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/The%20Beatles%20for%20Sale.jpg?itok=wCTmlGz3",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Help.jpg?itok=Jz2wnyjj",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Rubber%20Soul.jpg?itok=TsRSHu1Q",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Revolver.jpg?itok=J0Q8YaGs",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Sgt%20Pepper.jpg?itok=0CcJLuzl",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Magical-Mystery-Tour.jpg?itok=8midCi2f",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/WA_Press_26.jpg?itok=WwQjTuUy",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Yellow%20Sub.jpg?itok=aj5oY5EQ",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Abbey%20Road.jpg?itok=OWcQY3Ee",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/CoverLetItBe.jpg?itok=giGHBt2f",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/62-A.jpg?itok=SZojd6uj",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/67-A.jpg?itok=TyaxJpOI",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/PastMasters.jpg?itok=EaLCnkb_",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/BBC-A.jpg?itok=i8nzI-pJ",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Anthology1-A.jpg?itok=vzuEcAOE",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Anthology2-A.jpg?itok=IG5F6h2n",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Anthology3-A.jpg?itok=MyRwj0dY",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/YS-A.jpg?itok=VxNXlio6",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/1-A.jpg?itok=CSVUFyfy",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Naked-A.jpg?itok=dk8Cfvil",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Love-Album%201024.png?itok=jv1ZNE2o",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/live_at_the_BBC.jpeg?itok=BFj-4OlA",
"https://www.thebeatles.com/sites/default/files/styles/responsive_thumbnail_mobile/public/2021-06/Beatles_HWB_sq_0.jpg?itok=AGgTu2xC",
"https://www.thebeatles.com/themes/custom/thebeatles_bs4/img/apple_corps_retina.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/themes/custom/thebeatles_bs4/favicon.ico
|
https://www.thebeatles.com/albums
| |||||
1487
|
dbpedia
|
0
| 84
|
https://www.justice.gov/crt/case-summaries
|
en
|
Civil Rights Division
|
[
"https://www.justice.gov/themes/custom/usdoj_uswds/assets/img/us_flag_small.png",
"https://www.justice.gov/themes/custom/usdoj_uswds/assets/img/icon-dot-gov.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/assets/img/icon-https.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-hamburger-menu.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-hamburger-close.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-main-seal-logo.svg",
"https://www.justice.gov/d9/2023-03/doj-logo-crt.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-header-search.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-hamburger-menu.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-hamburger-close.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-main-seal-logo.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/expand_more-rounded--white.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/expand_less-rounded--white.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-header-search.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/assets/img/angle-arrow-right-white.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-header-footer-icons/doj-icon-footer-mail.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-header-footer-icons/doj-icon-footer-phone.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-header-footer-icons/doj-icon-footer-smartphone.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-header-footer-icons/doj-icon-footer-twitter.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-main-header-logo.svg",
"https://www.justice.gov/themes/custom/usdoj_uswds/images/doj-icon-back-top-arrow-up.png"
] |
[] |
[] |
[
"",
""
] | null |
[] |
2015-08-06T09:30:07-04:00
|
en
|
https://www.justice.gov/crt/case-summaries
|
Disability National Origin Sex
On June 24, 2024, the Section entered into a settlement agreement with Fulton County Schools following an investigation into the district’s response to an escalating series of student-on-student sexual assaults on a school bus serving students with special needs. The agreement followed an investigation conducted under Title IX of the Education Amendments of 1972, Title II of the Americans with Disabilities Act (ADA), and the Equal Educational Opportunities Act of 1974. The investigation found that the school district’s policies and practices failed to ensure equal access to its educational programs based on sex, disability, and national origin/English Learner status. Under the settlement agreement, the district will, among other steps: revise its policies for responding to complaints of student-on-student sexual misconduct; provide appropriate district personnel with trainings on student-on-student sexual misconduct, including the vulnerabilities unique to students with disabilities; ensure it provides students with disabilities the accommodations they need to participate in the district’s educational programs; and ensure that appropriate language assistance services are available to Limited English Proficient parents and guardians. The United States will monitor compliance with the terms of the agreement. For more information, please see this press release in English and Spanish.
Settlement Agreement: English | Español (Spanish)
In this matter involving the Ganado Unified School District in Arizona, the Section conducted a review to determine whether the district was providing appropriate services to English Language Learner (“ELL”) students as required by the Equal Educational Opportunities Act of 1974 (EEOA), 20 U.S.C. §1703(f). On February 18, 2014, the Section and the district entered into an out-of-court settlement agreement to resolve the district’s noncompliance with the EEOA. The agreement requires the district to: improve language acquisition instruction to ELL students; conduct significant training for staff and teachers of ELL students; provide adequate materials to support their acquisition of English and academic content; monitor ELL students who opt out of ELL services and after they exit such services to ensure they are participating equally in instructional programs; and evaluate the effectiveness of the ELL program. The training-related remedies require teachers to facilitate ELL students’ access to the grade-level core content curriculum by using appropriate instructional strategies and providing a culturally responsive learning environment. For more information, please see this press release.
The U.S. Department of Education Office for Civil Rights (OCR) partnered with the U.S. Department of Justice, Civil Rights Division - Educational Opportunities Section (DOJ) to initiate a compliance review of the Gallup-McKinley County School District (District). The purpose of the review was to determine whether the District discriminated against Native Americans by excluding them from college and career readiness programs and courses, such as Gifted and Talented (GATE), Advanced Placement, International Baccalaureate and honors courses. We also evaluated whether the District discriminated against Native American parents by failing to ensure meaningful access to the information surrounding the aforementioned programs and courses.
On June 16, 2017, the District entered into a Resolution Agreement to address OCR and the DOJ’s concerns. As part of the Agreement, the District agreed to (i) retain a consultant to examine and make recommendations to address the underrepresentation of Native American students in the college and career readiness programs and courses; (ii) improve outreach to the Native American community to ensure that Native American students and their parents are timely informed about the various college and career readiness programs and courses, including the application and admission processes and procedures; (iii) review and revise its practices and procedures for identifying and recommending students to college and career readiness programs and courses; (iv) provide mandatory training to teachers involved in the identification or referral of students to the college and career readiness programs and courses; (v) increase the number of college and career readiness programs and courses offered in its high schools; (vi) monitor the academic performance of students enrolled in the college and career readiness programs and courses, providing academic support where necessary; and (vii) provide language assistance, including translation services, for limited English proficient parents/guardians.
On January 4, 2001, the court approved a five-year consent decree negotiated by the parties to eliminate further the vestiges of segregation in the Tennessee system of public higher education. Under this consent decree, the State committed to creating new high-demand programs at TSU, particularly at the downtown campus (the former UT-N site), to appeal in particular to nontraditional students. Other efforts included revitalization of the downtown TSU campus, an increase in system-wide efforts to recruit black undergraduate students, and the creation and funding of a TSU endowment for educational excellence. In an order dated September 21, 2006, the court recognized the parties' efforts and achievements in the case in establishing a unitary system of public higher education in Tennessee, and approved the parties' joint motion for a final order of dismissal and terminated this longstanding litigation.
The Department of Justice and the Department of Education filed a statement of interest on June 29, 2015 with the U.S. District Court for the Eastern District of Virginia in G.G. v. Gloucester County School Board. In this case, the plaintiff, a transgender boy, alleges that the Gloucester County School Board unlawfully discriminated against him and denied him equal treatment and benefits based on his sex when it passed a policy that prohibited transgender students from using facilities matching their gender identity. The plaintiff, represented by the A.C.L.U., asked the court for a Preliminary Injunction to permit him to use the boys’ restrooms the beginning of next school year. In the statement of interest, the departments advised the court that Title IX of the Education Amendments of 1972 prohibits discrimination against students because of their sex, including on the basis of a student's gender identity, transgender status, and nonconformity to sex stereotypes. The departments also stated that a sex-stereotyping claim can be based on an individual’s anatomical features, as well as behavior and appearance. The departments concluded that the plaintiff's Motion for a Preliminary Injunction had a likelihood of success on the merits under Title IX and that granting the relief would serve the public interest.
On June 10, 2024, the Department entered into a settlement agreement with Hawkins County Schools in eastern Tennessee in response to complaints of racial harassment and discrimination targeting Black students. The agreement resolved an investigation conducted jointly with the U.S. Attorney’s Office for the Eastern District of Tennessee under Titles IV and VI of the Civil Rights Act of 1964. The investigation focused on whether the school district insufficiently responded to the race-based harassment. Under the settlement agreement, the school district will take proactive steps to ensure it properly responds to complaints of harassment and monitors and addresses any racially hostile environment. The district will, among other steps: retain a consultant to support agreement implementation and creation of a discrimination-free learning environment for all; create a new electronic reporting portal; update its racial harassment and school discipline policies; train staff on identifying, investigating, and responding to complaints of racial harassment and discriminatory discipline practices; inform students and parents of how to report harassment and discrimination; conduct listening sessions, school climate surveys, training, and educational events on identifying and preventing race discrimination; and analyze discipline data and amend policies to ensure non-discriminatory enforcement of discipline policies. For more information, please see this findings letter and press release.
A sixth-grade student who practiced Islam wore her hijab, a religious head covering, for several weeks at the beginning of the 2003-04 school year in the Muskogee Public School District. On September 11, 2003, school officials told the sixth-grader that she could no longer wear her hijab because of the “no hats” policy in the school’s dress code. The dress code, however, had not been applied consistently, and the school district had allowed students to wear hats for medical, educational, and other secular purposes. When the sixth-grader refused to remove her hijab, she was suspended for eight days.
In October 2003, the student, through her father, sued the school district for alleged violations of her constitutional rights and Oklahoma law. The United States opened an investigation in November 2003, and then intervened in the lawsuit upon finding evidence to support a claim based on the denial of her rights under the Equal Protection Clause of the Fourteenth Amendment. On May 6, 2004, the United States filed a motion for summary judgment and an accompanying memorandum in support.
On May 20, 2004, the parties negotiated a consent order. Under the six-year consent order, the school district must: allow the plaintiff to wear her hijab; make similar religious accommodations for any other student in the school system who has a bona fide religious objection to the dress code; implement a training program for all teachers and administrators regarding the revised dress code; and publicize the revisions to students and parents. The district also must certify its compliance with the terms of the order to the United States for a four-year period. The private plaintiffs and the school district also negotiated a confidential damages settlement and the claim for expungement of her school records. For more on this settlement, please see the press release linked here.
In this matter involving the Horry County Schools, the Section examined whether South Carolina’s third-largest public school district was providing appropriate services to its rapidly growing population of English Learner (“EL”) students, as required by the Equal Educational Opportunities Act of 1974 (“EEOA”). On August 24, 2017, the Section and the district entered into an out-of-court settlement agreement outlining the steps that the district would take to resolve the issues identified by the United States and ensure compliance with Section 1703(f) of the EEOA. Among other things, the agreement required the district to: properly identify and place EL students when they enroll in school; provide adequate language services to all EL students, including those with disabilities, so that they can become proficient in English and access grade-level core content instruction; secure enough teachers certified in English as a Second Language to serve all EL students; adequately train the administrators and teachers who implement the EL program; monitor the academic performance of current and former EL students; and evaluate the effectiveness of the EL program over time. The agreement required the district to regularly report to the Section on the agreement’s implementation; the agreement was terminated December 2023.
In a long-standing desegregation case, the Huntsville City Schools proposed plans for construction to replace or expand several schools. Following negotiations, the United States agreed not to oppose the district's proposed motion for approval of school construction plan, which the district submitted to the U.S. District Court for the Northern District of Alabama. The court approved the plan on May 20, 2013. On April 21, 2015, the court issued an opinion setting forth its reasons for approving a consent order jointly filed by the United States and the Huntsville City Schools. The consent order revises attendance zones and strengthens magnet offerings across the school district; expands access to pre-K, gifted programs, advanced course offerings, academic after-school programs, and college counseling; and includes comprehensive remedies to address racial discrimination in student discipline, among other areas.
On August 28, 2023, the Section and the U.S. Attorney’s Office for the District of Kansas entered into a Settlement Agreement with Highland Community College in Kansas to resolve an investigation into allegations it discriminated against Black students—primarily Black student-athletes—on the basis of race in the administration of its discipline, housing and campus security policies and procedures, and its response to complaints of racial discrimination. The investigation was conducted under Title IV of the Civil Rights Act of 1964. Under the settlement, the college will strengthen its policies and procedures to ensure an effective response to students’ complaints of racial discrimination and clarify campus security policies, procedures, and training to promote consistent, non-discriminatory interactions between security personnel and students. The college will, among other steps, train relevant staff on how to respond to and resolve allegations of discrimination; promote fair and equitable application of discipline policies and analyze discipline data to ensure non-discrimination; train campus security and other staff on effective de-escalation techniques and non-coercive methods of gathering information; survey and improve the climate and culture of the college’s main campus and cultivate safe, welcoming spaces for Black students; and ensure students’ equitable access to the college’s education programs and activities regardless of race. For more information, please see the cover letter to the agreement and press release.
On November 22, 2022, the Section entered into a settlement agreement with Illinois Central College in Peoria, Illinois, to ensure that students with disabilities have access to the College’s programs, and to address concerns related to the College’s process for investigating complaints of disability discrimination. The agreement followed an investigation conducted under Title II of the Americans with Disabilities Act (ADA) based on allegations that a student with a hearing disability was denied access to the College’s theatre program, and that the College failed to adequately investigate the student’s complaint. Under the settlement agreement, the College will update its investigation process to ensure that student complaints of disability discrimination are handled in a fair and timely manner. In addition, the College will train the managers and staff involved in investigations, as well as staff in the College’s theatre department, on the new complaint investigation procedures and the requirements of the ADA. Finally, the College will appoint an ADA Coordinator charged with overseeing implementation of the revised processes and compliance with Title II of the ADA.
In this matter involving the Illinois State Board of Education (ISBE), the Section conducted a review to determine whether ISBE was providing appropriate guidance and monitoring of school districts' services to English Language Learner ("ELL") students as required by the Equal Educational Opportunities Act of 1974 (EEOA). The Section determined that ISBE was violating the EEOA because its administrative rules and guidance did not ensure that districts serve ELL students beyond the three-year requirement under State law for transitional bilingual education (TBE) and transitional program of instruction (TPI) services. Although ISBE denied violating the EEOA, it agreed to revise its administrative rules and guidance to make clear that ELLs must receive services until they achieve English proficiency on the State's mandated test. The amended rules were approved by ISBE on June 24, 2010, were cleared by the Joint Committee on Administrative Rules on July 13, 2010, and will take effect once filed with the Illinois Secretary of State. See press release. The amended rules require school districts that terminate TBE and TPI services at year three to submit to ISBE a plan explaining the ELL services to be provided beyond year three, the staff providing such services, and the resources available to implement those services. ISBE also agreed to monitor these plans to determine if they are sufficient and appropriately implemented. ISBE further agreed that it will issue guidance identifying educationally sound ELL services that could be provided in lieu of TBE and TPI services after year three. ISBE released this guidance in March 2011. Pursuant to the agreement between the Department and ISBE, ISBE will apply the amended rules and this guidance when monitoring districts' ELL programs.
Following negotiations, the parties agreed to a consent order, which the court approved on July 14, 2000. The order required the district to take steps to increase African-American student participation in its gifted program and its advanced classes. To decrease the number of African-American students in resource classes, the order also required the district to annually evaluate students in resource classes to determine if placement in a regular class would be more appropriate. The JISD provided three reports in conjunction with its requirements under the order, as well as supplemental reports requested by the Section. On October 16, 2001, the parties agreed to, and the court signed, an agreed order of dismissal, indicating that the JISD had achieved unitary states in all facets of its operations.
In September 2012, the U.S. Department of Justice, Civil Rights Division and the U.S. Department of Education, Office for Civil Rights began investigating the Jefferson Parish Public School System ("JPPSS") after the Departments received several complaints alleging violations of federal civil rights laws. Specifically, the complaints concerned JPPSS's policies and practices for student registration, enrollment, and graduation; JPPSS's policies and practices for communicating with national origin minority parents who have limited English proficiency; and JPPSS's response to alleged harassment of Latino students based on their national origin. After requesting and reviewing documents and information provided by JPPSS, the Departments visited Jefferson Parish and interviewed many administrators, faculty, and students in May 2013. At the conclusion of the Departments' visit, JPPSS voluntarily agreed to resolve the investigation by entering into an agreement that includes school-specific and parish-wide remedial measures to address the United States' concerns.
The agreement, signed by the parties on July 9, 2014, will ensure that all students who reside in Jefferson Parish can enroll in school regardless of their or their parents' national origin or immigration status. The agreement also requires JPPSS to review and revise its policies and practices for communicating with national origin essential parents who have limited English proficiency to make sure that parents receive important information in a language they can understand. Additionally, JPPSS will review and revise its policies and practices to ensure that all complaints alleging discrimination on the basis of race, color or national origin, including allegations of harassment, are appropriately investigated and resolved.
For more information, please see this press release and the full agreement available in English and Spanish.
Summary in: Spanish.
Summary in: Arabic.
Summary in: Vietnamese.
On January 14, 2010, in the Northern District of New York, the Section moved to intervene in J.L. v. Mohawk Central School District. The lawsuit was filed by the New York Civil Liberties Union on behalf of J.L., a 15-year-old student in the District. J.L. alleged that the District violated state and federal laws including the Equal Protection Clause of the Fourteenth Amendment and Title IX of the Education Amendments of 1972, both of which prohibit discrimination based on sex, including discrimination based on failure to conform to gender stereotypes. According to the United States' motion, J.L. failed to conform to gender stereotypes in both behavior and appearance. He exhibited feminine mannerisms, dyed his hair wore makeup and nail polish, and maintained predominantly female friendships. The alleged severe and pervasive student-on-student harassment based on sex escalated from derogatory name-calling to physical threats and violence. The United States further alleged that the District had knowledge of the harassment, but was deliberately indifferent in its failure to take timely, corrective action, and that the deliberate indifference restricted J.L.'s ability to fully enjoy the educational opportunities of his school. The District denied all allegations. Prior to the court ruling on the United States' intervention motion, an out-of-court settlement was reached among J.L., the District, and the United States. The court approved the settlement agreement on March 29, 2010. The agreement requires the District to (1) retain an expert consultant in the area of harassment and discrimination based on sex, gender identity, gender expression, and sexual orientation to review the District's policies and procedures; (2) develop and implement a comprehensive plan for disseminating the District's harassment and discrimination policies and procedures; (3) retain an expert consultant to conduct annual training for faculty and staff, and students as deemed appropriate by the expert, on discrimination and harassment based on sex, gender identity, gender expression, and sexual orientation; (4) maintain records of investigations and responses to allegations of harassment for five years; and (5) provide annual compliance reports to the United States and private plaintiffs. Lastly, $50,000.00 will be paid to J.L. and $25,000.00 in attorneys' fees will be paid to the New York Civil Liberties Foundation.
On May 5, 2006, Junior Does filed a complaint against the Allentown School District alleging that, as six- and seven-year-old students, they were sexually assaulted by another student in the bathrooms at Central Elementary School during the 2003-2004 school year. On April 21, 2009, Junior Does amended their complaint to include a sex discrimination claim pursuant to Title IX of the Education Amendments of 1972, 20 U.S.C. § 1681, and on July 10, 2009, the Division intervened. On August 3, 2011, Junior Does again amended their complaint to include allegations that a fifth student was sexually assaulted, adding another minor plaintiff as a party.
In the case, the Division alleged the following: that sexual assaults occurred on at least five separate occasions; that the district was made aware of each incident immediately after it occurred; and that despite this notice, the district did not take appropriate action, and in some circumstances took no action, to prevent the harassment from recurring. Furthermore, the department alleged that both before and after the sexual harassment of the students, the district failed to adopt and implement adequate and effective sexual harassment policies and procedure as required by federal law; had the district adopted and implemented such policies and procedures, the district would have prevented the continued sexual assault of students.
After extensive discovery, the Division and the school district negotiated a consent decree. The court approved the proposed consent decree on July 31, 2012. The consent decree provides for substantial systemic relief and requires the school district to take the following steps: develop and implement a comprehensive plan for addressing and preventing sexual harassment in all district schools; retain an expert consultant in the area of student-on-student harassment to draft and implement a sexual harassment policy and procedures; provide training to administrators, faculty, staff, students and parents on sex-based harassment; select qualified district and school-based equity coordinators to ensure proper implementation of the district's harassment policies and procedures and compliance with Title IX, including prompt investigation, resolution and reporting of sexual harassment complaints and allegations; create procedures for identifying, monitoring, and supervising students with a confirmed history of sexual harassment toward other students; develop and implement policies and procedures for communicating with outside agencies, such as police, hospital and child protection agencies, of allegations of sexual harassment in the district; and submit annual compliance reports to the Division.
On July 1, 2016, the Section and the United State Attorney’s Office for the District of Kansas filed two statements of interest to assist the U.S. District Court for the District of Kansas with evaluating the Title IX sexual assault claims in T.F. v. Kansas State University and S.W. v. Kansas State University. In these cases, the plaintiffs, both students of Kansas State University (K-State), allege that K-State discriminated against them on the basis of sex in violation of Title IX when K-State allegedly refused to respond to or investigate their reports of sexual assault by K-State students during parties hosted at and by fraternities recognized and supported by K-State. In the statements of interest responding to K-State’s motions to dismiss the plaintiffs’ Title IX claims, the United States advised the court that Title IX imposes an obligation on federally-funded schools to respond to reports of rape that occurred at off-campus school-recognized fraternity houses and events and to determine if a hostile educational environment exists in such school-recognized activities or other education programs or activities. The United States further argued that under the proper Title IX standards, Plaintiffs’ Title IX claims for damages and equitable relief should be allowed to proceed. On March 14, 2017, after considering the parties pleadings and the United States’ statements of interest, the court denied K-State’s motions to dismiss the plaintiffs’ Title IX claims, holding that both plaintiffs had alleged the elements required to state a plausible Title IX harassment claim. Specifically, the court held that the plaintiffs plausibly alleged that K-State had substantial control over the alleged assailants and the context of the assaults, which were so severe as to deny plaintiffs access to educational benefits and opportunities, and that K-State’s alleged deliberate indifference to the plaintiffs’ reports of rape made them “liable or vulnerable” to further harassment or assault.
Memorandum and Order - T.F. v. K-State
Memorandum and Order - S.W. v. K-State
In this case, formerly known as Lau v. Nichols, the United States Supreme Court held that the San Francisco Unified School District (SFUSD) had violated Title VI of the Civil Rights Act of 1964, 42 U.S.C. § 2000d, and its implementing regulations by failing to provide special programs designed to rectify the English language deficiencies of students who do not speak or understand English, or are of limited English-speaking ability, and by failing to provide these students with equal access to the instructional program. Lau v. Nichols, 414 U.S. 563 (1974). The Supreme Court remanded the case for the fashioning of appropriate relief. On October 22, 1976, the parties entered into a Consent Decree that incorporated a Master Plan that requires bilingual-bicultural education for the English Language Learner (ELL) students who speak Chinese, Filipino, and Spanish. Chinese and Spanish bilingual programs continue subsequent to the passage of California's Proposition 227. The Consent Decree also requires the provision of other special programs and English as a Second Language (ESL) for ELL students of other language groups, as well as the provision of bilingual instruction, whenever feasible. The Consent Decree calls for annual reporting to the Court by the SFUSD regarding its ELL programs and the establishment of a Bilingual Community Council (BCC) to assist the SFUSD in filing these annual reports.
On August 24, 2006, the Court issued an order requiring the parties to show cause why the Court should not relieve the SFUSD of responsibility for reporting under the extant Consent Decree. The United States filed a response to the show cause order that identified problems with the ELL programs and recommended continued reporting by the SFUSD, additional on-site visits of the ELL programs, and the development of an updated Master Plan for ELL programs. The SFUSD and the private plaintiffs filed responses agreeing to this approach for going forward. The Court continued the reporting obligations and assigned the case to an active judge. On May 1, 2007, the new judge held a status conference in which he agreed to let the parties continue their school visits and work collaboratively on developing an updated Master Plan. The United States' consultant and members of the BCC completed visits to twenty-four schools on May 18, 2007. The parties agreed to a new Master Plan that would replace the outdated plan and filed a stipulated application to modify the 1976 Consent Decree. On September 11, 2008, the Court approved the new Master Plan and entered an order modifying the 1976 Consent Decree.
The United States and the Private Plaintiffs then monitored SFUSD's implementation of the 2008 Master Plan through the District's annual reports, regular site visits, community meetings, and communications with parents and students. To resolve the United States' and Private Plaintiff's consistent concerns about SFUSD's compliance, the parties negotiated a Modified Consent Decree (MCD). On June 24, 2015, the parties jointly filed a motion and supporting memo seeking court approval of the MCD. The MCD, approved by the court on June 29, 2015, requires SFUSD to, among other things: promptly identify, assess, and place EL students in effective EL programs; offer a range of EL programs and services to meet the needs of all EL students, including newcomers, students with disabilities, and long-term EL students; expand translation and interpretation services for LEP families; adequately train employees who serve EL students so that they can fulfill their roles; and conduct robust monitoring. The MCD also protects the educational rights of the district's most at-risk and vulnerable EL students who are learning in alternative education or juvenile justice settings. If SFUSD implements the MCD fully and in good faith, the MCD and this historic case are expected to end in the fall of 2018. For more information about the MCD, please see the June 24, 2015 press release. Translated copies of the MCD are linked here in Chinese, Spanish, Vietnamese, Filipino, and Arabic.
This statewide settlement resolved issues relating to the overrepresentation of black students in the mental retardation and emotional disturbance special education classifications and the underrepresentation of black students in the specific learning disabilities and gifted and talented special education classifications. This consent decree, approved by the court on August 30, 2000, involves special education issues that were raised as a result of information gathered during unitary status reviews in eleven desegregation cases pending before the United States District Court in the Middle District of Alabama. Parties to the decree include the United States, private plaintiffs, and the Alabama State Department of Education.
The settlement required the State of Alabama to undertake initiatives in providing teacher training, to establish a program to improve reading achievement, and to make changes to Alabama administrative law in the areas of pre-referral, referral, evaluation procedures, and eligibility criteria. This emphasis on pre-referral intervention services resulted in substantial changes over the six years of implementing the consent decree. There have been significant reductions in racial disparities in the special education classifications of mental retardation (MR), and disparities have been virtually eliminated in the classifications of emotional disturbance (ED) and specific learning disabilities (SLD). There also has been an overall decrease in the number of students classified as MR or ED, and increases in students classified as SLD. The number of black students classified as gifted also has increased.
The settlement also required reevaluation of certain categories of minority students who had been identified as MR. As a result, several hundred students who had been inappropriately placed as MR were exited from special education. These students were provided with appropriate supplemental services to help transition successfully into the general education program, and were carefully monitored during this process.
On February 12, 2015, the U.S. District Court for the Northern District of Alabama approved a consent order filed by the Justice Department, together with private plaintiffs and the Calhoun County, Alabama School District, in this longstanding desegregation case. The order found that the district has met its desegregation obligations in certain areas and providing for additional, comprehensive relief in the areas of faculty and staff hiring and recruitment and student discipline and school climate.
In approving the consent order, the district court declared that the 9,200-student school district has eliminated the vestiges of prior segregation in the areas of student assignment, extracurricular activities, school facilities, and transportation, thereby ending the court's supervision in those areas. The order requires the district to take additional steps to reach full compliance, including adopting measures to promote racial diversity in its faculty and staff, expanding its use of positive behavioral supports and interventions throughout its schools, and revising its student discipline policies and procedures to ensure they are fair, non-discriminatory, and limit the use of exclusionary discipline such as suspensions and expulsions.
In this school desegregation case, the parties entered into a consent decree, which provided for the closure of two K-12 schools and the consolidation of the students into two central school zones. One of the K-12 schools to be closed had a virtually all-white student body and had never graduated a black student. The day after the decree was filed, the school board voted to rescind its consent. The Section filed a motion to enforce the consent decree, arguing that once the board had given its consent, granted authority to counsel to sign on its behalf, and jointly filed the consent decree, the board was bound by the terms of the consent decree.
At the same time, two groups moved to intervene in the case for the purpose of opposing the consent decree. The groups comprised parents, students, and other citizens from each of the two schools scheduled for closure. The Section filed briefs opposing both motions for intervention – one against the Mellow Valley School intervenors and one against the Bibb Graves School intervenors – arguing that the proposed intervenors did not express a cognizable interest in furthering desegregation, and, even if they had, the United States and private plaintiffs adequately represented any such interest.
On May 13, 2003, the district court accepted all of the Section's arguments and entered an order (1) denying the Board's motion to rescind its consent, (2) denying both motions to intervene, and (3) enforcing the consent decree. The parties worked to implement the consent decree, and the two schools were successfully closed prior to the beginning of the 2003-04 school year. The two groups of unsuccessful intervenors appealed to the Eleventh Circuit Court of Appeals, which ultimately dismissed the appeal for lack of jurisdiction.
In this matter involving the Lewiston, Maine school district, the United States reviewed whether the district was providing appropriate instruction and services to English Language Learners (ELLs)–particularly among the district’s large population of Somalian refugees–as required by the Equal Educational Opportunities Act of 1974 (EEOA). On June 4, 2007, the school district and the United States entered into a settlement agreement outlining the measures that the school district will take to ensure its compliance with the EEOA. The agreement requires the district to develop, among other things: standardized curricula for ELLs; adequate teacher training and collaborative opportunities; systematic monitoring and reporting on the academic progress of ELLs; and a comprehensive ELL program evaluation model.
This historic desegregation involving the St. Louis Public Schools (SLPS) began in 1972. The Section continues to monitor the SPLS’s compliance with a 1999 Agreement that set forth requirements to ameliorate the effects of segregation through voluntary interdistrict transfers, remedial programs, school improvement and accountability, and the provision of funds from the state to the SLPS. This Agreement has been consensually modified by new orders and agreements in recent years, including a 2011 agreement that allowed for the use of desegregation funds for specific programs, such as magnet school transportation, principal leadership training, early childhood, and enhanced computing and technology in the SLPS. Section 10 of the 1999 Agreement set aside funds for “construction and site acquisition costs to accommodate any reasonable anticipated net enrollment increase caused by any reduction or elimination of the voluntary transfer plan.” 1999 Agreement, Section 10, at 12. While the parties anticipated in 1999 that the voluntary transfer program would continue for a number of years, Section 10 was designed to provide for SLPS’ capital needs if the transfer program ended and numerous students returned at one time to the SLPS. Over the years, however, the assumptions underlying creation of the Section 10 fund did not come to pass, primarily as a result of population declines, the advent of charter schools, and the ongoing commitment by both city and county schools to the voluntary transfer program. Accordingly, in 2013, the court approved the parties’ agreement to allow the use of certain remedial funds set aside in the desegregation account to provide continued funding for the St. Louis Community Monitoring and Support Task Force.
On July 30, 2007, Kimberly Lopez filed a complaint against the Metropolitan Government of Nashville and Davidson County (“Metro”) alleging her son was sexually assaulted by another student while riding a special education school bus operated by Metro. On April 30, 2008, Plaintiff amended her complaint to add a sex discrimination claim against Metro pursuant to Title IX of the Education Amendments of 1972, 20 U.S.C. § 1681. Recognizing the United States’ substantial interest in ensuring recipients of federal funds do not discriminate on the basis of sex in violation of Title IX, the Court issued an order granting the United States Motion to Intervene and permitting the United States to file its complaint in intervention. In January 2009, the United States moved for summary judgment, and subsequently opposed Metro’s cross-motion for summary judgment on Plaintiffs’ Title IX claim and submitted a reply brief in support of its own motion. On July 7, 2009, the Court issued a memorandum opinion denying the parties' cross-motions for summary judgment but adopting the Section’s interpretation of Title IX in numerous key respects. On February 8, 2010, the parties entered into a consent decree that obligates the Nashville Public School District to take substantial steps to enhance the security of students with disabilities on its public school transportation system. These steps include staffing bus monitors to assist drivers on all special education buses; implementing comprehensive screening procedures to ensure that students with disabilities are not assigned to buses where they would be at risk of harassment; expediting the investigation of suspected acts of sexual harassment involving students with disabilities; and ensuring open lines of communication between transportation officials and school-based personnel. Metro also agreed to pay Plaintiff $1.475 million as part of the settlement.
The Section intervened in this same-sex peer harassment case alleging the school district violated Title IX of the Education Amendments of 1972 and the Equal Protection Clause of the Fourteenth Amendment by failing to respond appropriately to harassment of a student on the basis of sex. Specifically, the Section alleged in our complaint-in-intervention : from the eighth grade through the eleventh grade, Jeremy Lovins was subjected to harassment on the basis of sex (ostensibly because other students believed he was gay); Jeremy and his parents repeatedly informed school officials of the harassment but the harassment continued; and Jeremy was eventually subjected to an assault and forced to leave school because of the harassment. On July 31, 2000, the Court entered a consent decree settling the case
The consent decree included monetary relief for Mr. Lovins in the amount of $72,500 and injunctive relief. Under the consent decree, the school district agreed, among other things: to conduct a climate assessment of student-to-student and teacher-to-student relations within its schools; to develop a comprehensive plan to identify, prevent, and remedy harassment and discrimination on the basis of sex and sexual orientation; to educate and train teachers, staff, and students about the operation of the policy and procedures; to maintain written records of complaints and investigations; and to file implementation reports with the Section and the court.
The two plaintiffs alleged, among other things, that the Sullivan County Board of Education (SCBE) violated Title VI of the Civil Rights Act of 1964 and the Equal Protection Clause of the Fourteenth Amendment by failing to appropriately address known student-on-student harassment on the basis of race. Specifically, plaintiffs' amended complaint alleges that both Michael and Marquita Madison, who are black, were subjected to ongoing racial harassment while attending Sullivan East High School (East). This harassment included a constant barrage of racial slurs, some made within earshot of teachers, racially derogatory graffiti on walls and desks, and racially offensive paraphernalia. Though school officials knew or should have known of the harassment, they failed to take appropriate steps to address it. Marquita eventually transferred to another school after her sophomore year. Michael fell victim to a racially-motivated assault outside the school cafeteria his junior year. He did not return to East after the assault and finished high school on homebound studies.
The Section filed its complaint-in-intervention, motion to intervene, and supporting memorandum in November 2000. In our complaint-in-intervention, we sought monetary relief for the plaintiffs and injunctive relief, such as policies and procedures to prevent or address such harassment in the future. The court granted the Section's intervention on November 28, 2000. The parties conducted discovery in 2001 and early 2002. Following discovery, the parties negotiated a consent order and monetary settlement of the Title VI and equal protection claims. Under the consent order, which was approved by the Court on October 16, 2002, the school system agreed to retain an expert to develop a comprehensive plan to prevent, identify, and remedy harassment and discrimination; provide an education and training program for teachers, staff, and students about the school district's policies prohibiting harassment and discrimination; and maintain written records of each harassment allegation received, investigation conducted and corrective action taken by the district to ensure a consistent and effective review of allegations. For more details about the settlement, please see the press release linked here.
On June 12, 2023, the Section entered into a settlement agreement with the Madison County School District to address complaints of race-based harassment in its schools. The agreement followed an investigation conducted under Title IV of the Civil Rights Act of 1964, based on allegations that the school district denied students equal protection of the laws based on their race. Under the settlement agreement, the school district will undertake significant institutional reforms. The district will, among other steps: revise its anti-discrimination policies and procedures; create three new central office positions to oversee effective handling of complaints of race discrimination; update its racial harassment and discipline policies to more accurately track and consistently respond to complaints of race-based harassment; train staff on how to identify, investigate, and respond to complaints of racial harassment and discriminatory discipline practices; inform students and parents of how to report harassment and discrimination; update its centralized, electronic reporting system to track and manage complaints and the district’s response to complaints; implement focus groups, conduct surveys, training and educational events on identifying and preventing race discrimination, including discriminatory harassment; and analyze and review its discipline data and amend its policies to ensure non-discriminatory enforcement of discipline policies. For more information, please see this letter to the District and press release.
In this matter involving the Martin Luther King, Jr. Charter School of Excellence (“the School”), the Section and the United States Attorney’s Office for the District of Massachusetts examined whether the School was adequately serving its English Learner (EL) students, including EL students with disabilities, as required by Section 1703(f) of the Equal Educational Opportunities Act of 1974 (“EEOA”). On March 10, 2020, the School and the United States entered into an out-of-court settlement agreement to address the issues identified by the United States and ensure the School’s compliance with Section 1703(f) of the EEOA. Among other things, the agreement requires the School to: provide all EL students – who make up nearly a quarter of the School’s population – with an adequate amount of daily English as a Second Language (ESL) instruction taught by an ESL-certified teacher; actively recruit qualified, certified staff for ESL, core content area, and special education teaching positions; ensure all ELs with disabilities receive both ESL and special education services unless their parents/guardians voluntarily and knowingly waive one or both services; train special education and ESL-certified teachers who work with EL students with disabilities on how to provide services to ELs with disabilities; communicate with Limited English Proficient parents about essential school information in a language they understand; and properly monitor and evaluate the effectiveness of its EL program over time. The parties anticipate that the agreement will remain in place through the end of the 2021-22 school year.
Private plaintiffs filed this school desegregation case in 1965; the United States intervened later that year. On July 31, 1969, the Court approved the District's 1969-70 Revised Desegregation Plan, which was subsequently modified with the court's approval in 1970, 1971, 1973, 1975, and 1978. In 2007, the United States initiated a review of the District's compliance with the court's desegregation orders and applicable federal law. This review resulted in the filing of negotiated consent order, which was approved by the court on February 5, 2009. On July 27, 2012, the parties filed another motion for approval of a negotiated consent order, which was granted on August 21, 2012. On July 3, 2013, the parties filed another motion for approval of a negotiated consent order, which was granted on July 12, 2013. The consent order requires the district to close four of its seven elementary schools, including three racially identifiable schools; construct a new school; modify its attendance zones; and implement a controlled choice program at two of its elementary schools. The consent order also will require the district to continue certain intra-district transfers that have the effect of furthering the desegregation of the district's schools. On March 5, 2014, the court approved amendments to the July 12, 2013 consent order, which extended the timeline for implementing the elementary desegregation plan and established monitoring and reporting requirements sought by the United States. On October 11, 2023, the court declared the district had met its desegregation obligations in several areas of operations, including staff assignment, facilities, transportation and extracurricular activities, and approved a negotiated consent decree that requires the district to take measures to desegregate its gifted program and advanced and dual enrollment courses. The consent order also requires the district to implement changes to its student discipline policies designed to reduce racial disparities in discipline and eliminate the use of corporal punishment.
In this matter involving the Mercer County School District in West Virginia, the Section conducted a review to determine whether the district was providing appropriate services to English Language Learner ("ELL") students as required by the Equal Educational Opportunities Act of 1974 ("EEOA"). After determining that the school district was not complying with Section 1703(f) of the EEOA, the United States entered into a settlement agreement with the school district on January 31, 2012. This agreement addressed, among other things, the school district's obligations to: timely identify and assess all students with a primary or home language other than English; serve ELLs with appropriate instruction; provide adequate teacher training; and carefully monitor the academic progress of current and former ELLs.
On September 26, 2016, the Division filed a Statement of Interest to assist the U.S. District Court for the Middle District of Florida in evaluating the plaintiffs’ claims under Title VI, its implementing regulations, and the Equal Educational Opportunities Act (EEOA) in Methelus v. School Board of Collier County. The plaintiffs filed on behalf of their newly-arrived, foreign-born English Language Learner (ELL) children ages 15-17, arguing that the Collier County School Board (Board) has violated the EEOA and Title VI by refusing to enroll these children in its regular high schools and diverting some to enroll in Adult English for Speakers of Other Languages (ESOL) programs that charge a fee and do not earn credit toward a high school diploma. Among other claims, the plaintiffs alleged that the Board’s practices did not constitute “appropriate action to overcome language barriers” under Section 1703(f) of the EEOA and intentionally discriminated against these foreign-born, ELL children on the basis for their national origin in violation of Title VI. The Board moved to dismiss all of plaintiffs’ claims in their Amended Complaint. The United States’ Statement of Interest, filed in response to the motion to dismiss, sets forth the legal standards applicable to the claim under Section 1703(f) of the EEOA, including the Castaneda v. Pickard standards binding on the Florida federal court. The filing explains why under those standards the plaintiffs adequately pled facts supporting a plausible Section 1703(f) claim. The filing also sets forth the well-established Arlington Heights factors for evaluating intentional discrimination claims under Title VI, explaining how the plaintiffs’ factual allegations addressed many of these factors and sufficed to state a plausible Title VI claim.
On April 24, 2013, the Section entered into a settlement agreement with the Metropolitan School District of Decatur Township, Indiana to prevent and respond to peer-on-peer harassment in schools. The agreement resolved the Section's review of the district's policies and practices related to harassment and bullying, which was initiated in June 2011 after reports of possible racial harassment at a district school. The agreement requires the district to take a number of steps to prevent and address harassment based on race, color, national origin, sex, religion and disability, and to ensure a safe and supportive learning environment for all students. These steps include forming a district-wide anti-harassment task force to review and revise the district's policies and procedures related to harassment, bullying, and discipline; establishing a cohesive process for receiving, investigating and monitoring complaints of harassment and bullying, enabling the district to track repeated incidents involving individual students or groups targeted for their membership in a protected class; and providing training, professional development and school climate assessments for both students and staff at two of the district's schools. For more information, please see this press release.
On November 18, 1963, private plaintiffs filed this case complaining that the Gadsden City Board of Education was maintaining a segregated school system. On May 9, 1966, the Section intervened and joined the plaintiffs in seeking injunctive relief that would bring the school system into conformity with federal constitutional and statutory provisions.
Over the years, the court issued a series of orders aimed at eliminating the vestiges of past discrimination and completely desegregating the school system. In July 2003, the court approved the parties' proposed consent order that required the school district to take remedial actions in the areas of student assignment, personnel assignment, facilities, and quality of education. The consent order required the district to assign students randomly to classrooms and to enforce attendance zone lines strictly. With respect to personnel assignment, the consent order required the district to increase efforts to recruit minority teachers and to ensure that each school had a faculty whose racial diversity was reflective of the district-wide faculty. The consent order also required the district to make substantial improvements to its secondary schools so that these facilities were all of comparable quality. Finally, with respect to quality of education, the consent order required the district to equalize its offering of and access to advanced and honor classes among secondary schools. Having fulfilled these obligations, the district was declared unitary on August 26, 2005.
In this long-standing school desegregation case, the Jackson-Madison County School Board filed a motion for unitary status in December 1999, asserting that it had complied in good faith with prior desegregation decrees and had eliminated the vestiges of segregation to the extent practicable. The Section and the private plaintiffs opposed the board's motion for unitary status. The parties engaged in extensive negotiations, which resulted in an agreement shortly before trial in November 2000.
The agreement, which the court approved in December 2000, permits the board to proceed with its plan to construct five new schools and implement revised student attendance zones over the next four years. The agreement includes numerous measures that will further desegregation by voluntary means, including the construction of magnet schools and the introduction of other school choice options. The board is also required to take additional remedial action in faculty and staff assignments, and to encourage minority student participation in all programs and activities. Implementation and monitoring of the agreement is ongoing
Parents of students with disabilities who allege that their children were not properly identified, evaluated, and provided with special education services filed a class action lawsuit against the Newark Public Schools, the State of New Jersey, and several state officials. The lawsuit alleges that Newark does not have adequate systems in place to comply with the Individuals with Disabilities Education Act (IDEA) and that New Jersey has violated its obligation to supervise local implementation of IDEA requirements.
In its motion to dismiss, New Jersey raised a constitutional challenge to the IDEA, claiming that the Eleventh Amendment afforded it immunity against a private lawsuit to enforce the IDEA. The Section sought and was granted intervention to defend the constitutionality of the IDEA. In its brief, the Section argued that New Jersey had agreed to comply with the IDEA and waive its sovereign immunity when it accepted federal IDEA funds to defray the cost of educating students with disabilities. In the alternative, the Section argued that Congress validly abrogated state sovereign immunity pursuant to the Fourteenth Amendment. The district court accepted both arguments and denied the State's motion to dismiss. The defendants appealed the denials of their motions to dismiss, and the Appellate Section defended the IDEA's constitutionality on appeal. On September 16, 2003, the Third Circuit issued an opinion affirming the district court's holding that the State of New Jersey had waived its sovereign immunity.
In this matter involving the Nashua School District (“the District”) in New Hampshire, the Section and the U.S. Attorney’s Office for the District of New Hampshire investigated whether the District’s English Learner (EL) programs and practices complied with Section 1703(f) of the Equal Educational Opportunities Act of 1974. The investigation revealed that the District failed to provide EL students with the instruction and support they need to become proficient in English and participate equally in school. On May 24, 2021, the District and the United States entered into an out-of-court settlement agreement to resolve the District’s compliance issues identified by the United States. The agreement requires the District to provide English as a Second Language (ESL) instruction to all of its EL students, fully staff its EL programs with ESL-certified teachers, provide training to principals and core academic teachers of EL students, communicate effectively with Limited English Proficient parents about school activities, and monitor the EL program over time to evaluate its efficacy. The agreement will remain in place for three school years. For more information, please see this press release in English, Spanish, and Portuguese.
Settlement Agreement: Español (Spanish) | Português (Portuguese)
The United States initiated this litigation against the Nettleton Line Consolidated School District on September 8, 1969, and the court subsequently approved consent decrees requiring the District to desegregate on December 8, 1969 and June 19, 1970. On August 8, 2011, following negotiations between the United States and the District, the court issued a consent order requiring the District to revise its policies and procedures and to terminate its race-based selection and election procedures for extracurricular activities (e.g., elections for class officers, homecoming court, and class superlatives). After the United States completed a review of the District’s operations and compliance with the Court’s orders, on September 2, 2020 the court approved an additional consent order. The 2020 Consent Order granted partial unitary status and found that the District had eliminated the vestiges of de jure segregation in the areas of student assignment, staff, extracurricular activities, and facilities. The 2020 Consent Order also required the District to complete more work to demonstrate that it has eliminated the vestiges of de jure segregation in the areas of faculty and transportation. Therefore, the 2020 Consent Order requires the District to take steps to (i) increase its recruitment of black applicants for teacher vacancies; (ii) conduct its hiring with the goal of eliminating any real or perceived racial barriers in hiring; (iii) retain qualified, black faculty members who are employed by the District; (iv) eliminate overlapping or duplicative bus routes; and (v) eliminate or reduce the number of racially identifiable bus routes or at least mitigate the disparities between the percentages of black and white students assigned to each racially identifiable bus. The District may file a motion with the court for full or partial dismissal of the case after three full school years of compliance with the relevant provisions of the 2020 Consent Order.
In this matter involving the Newark Public Schools (“the District”), the Section and the U.S. Attorney’s Office for the District of New Jersey examined whether the District’s English Learner (“EL”) programs and practices complied with Section 1703(f) of the Equal Educational Opportunities Act of 1974 (“EEOA”). The United States initiated its investigation in response to a complaint alleging that the District was failing to appropriately communicate with parents who have limited proficiency in English (“LEP parents”). In addition to corroborating the District’s LEP parent communications failures, the United States found that the District failed to hire and retain enough qualified teachers to support its program, resulting in limited instruction time for some students, and for others, no language services at all. On September 1, 2021, the District and the United States entered into an out-of-court settlement agreement to address the noncompliant conditions identified by the United States and ensure the District’s compliance with Section 1703(f) of the EEOA. Among other things, the agreement requires the District to: identify and place EL students appropriately when they enroll in school; provide adequate language services to all EL students, including those with disabilities, so that they can become proficient in English; and locate and re-offer services to EL students who were exited improperly from the District’s programs without achieving English proficiency. The agreement also requires the District to ensure that English as a Second Language (“ESL”) classes and bilingual classes are taught by ESL-certified and bilingual-endorsed teachers; adequately train the administrators and teachers who implement the District’s EL programs; ensure meaningful communication with LEP parents about District and school programs and activities; and evaluate the effectiveness of the EL programs over time. The parties anticipate that the agreement will remain in place for at least three school years until the District has fully complied with its obligations. Translations of the Agreement are available in Spanish, French, Haitian Creole, and Portuguese. For more information, please see press releases available in English, Spanish, Portuguese, Haitian Creole, and French.
On September 15, 2022, the United States entered into a settlement agreement with the district to resolve the Section’s investigation of the district’s English Learner (EL) programs and practices under the Equal Educational Opportunities Act of 1974 (EEOA). The Section opened the investigation in 2020, after the U.S. Department of Justice received a complaint alleging that the district violated the EEOA by failing to communicate effectively with K’iche’-speaking Limited English Proficient parents and denying K’iche’-speaking EL students equal educational opportunities.
Through its investigation, the Section identified that the district: (1) failed to communicate adequately with Limited English Proficient parents, including K’iche’ speakers, about school-related programs and activities; (2) did not adequately train its faculty on providing appropriate services to its EL students, including training to address the specific needs of K’iche’ speakers to overcome language barriers; and (3) did not adequately evaluate its EL programs for effectiveness, including assessing the performance of K’iche’-speaking EL students to determine if they are overcoming language barriers.
The agreement requires, among other things, that the district implement effective measures to correctly identify the languages spoken by students and parents/guardians, so that school staff do not assume K’iche’ speakers are native Spanish speakers based on their country of origin. The district also agreed to improve its practices and professional development to address the specific needs of EL students who speak K’iche’ so that they can access the same educational opportunities as other students in the district. For more information on this settlement, please see this press release (in Spanish, Portuguese, and Cape Verdean Creole).
On September 28, 2012, the Educational Opportunities Section of the Civil Rights Division entered into a settlement agreement with the Northeastern Local School District (NELSD) in Springfield, Ohio, to resolve allegations of racial harassment of African-American students in the district.
In December 2011, the Section received a complaint alleging incidents of racial harassment, including race-based death threats, directed at an African-American student enrolled at Kenton Ridge High School in NELSD. The Section's investigation of the complaint revealed that the student had been subjected to significant harassment based on race and retaliation for reporting the harassment of which the District knew or should have known. In violation of Title IV of the Civil Rights Act of 1964, the District failed to investigate the alleged harassment and retaliation adequately, address it effectively, and prevent it from recurring. Because of the severe, pervasive, and persistent harassment and retaliation, the student was afraid to go to school and eventually left the district out of fear for her own safety. The investigation also revealed that other African-American students in the district had experienced racial harassment and retaliation for reporting racial harassment.
Under the terms of the agreement, the district agreed to take a variety of steps to prevent racial harassment at all of its schools, to respond appropriately to harassment that occurs, and to eliminate the hostile environment resulting from harassment. These steps include revising policies and procedures for handling racial harassment complaints; conducting trainings for faculty, staff, students, and parents; and reporting data to the Department of Justice for three years. For more information, please see this press release.
On December 31, 2020 the Section entered into a settlement agreement with the North Gibson School Corporation in Princeton, Indiana to address and prevent the discriminatory secluding and restraining of students with disabilities. The agreement followed an investigation conducted under Title II of the Americans with Disabilities Act (ADA) into a complaint that the school district inappropriately secluded and restrained students with emotional and behavioral disabilities in the district’s self-contained classrooms. Under the settlement agreement, the school district will, among other things: change its policies to prohibit use of seclusion rooms; report all instances of restraint and review whether they were justified; take steps to avoid placing students with emotional and behavioral disabilities on an abbreviated school day or homebound instruction and document those steps; create and implement a procedure for handling complaints of disability discrimination; provide appropriate training and resources to help schools implement the agreement; and appoint an Intervention Coordinator to ensure the district’s compliance with the agreement and Title II of the ADA. For more information, please see this press release.
In this matter involving the North Plainfield, New Jersey school district, the Section reviewed whether the district was providing appropriate instruction and services to English Language Learners (ELLs), as required by the Equal Educational Opportunities Act of 1974 (EEOA). Based on its review of the district, the Section raised concerns about, among other things: the school district's procedures for screening new students to determine whether they are ELLs; the opportunities that ELLs have to integrate with native speakers of English in a school setting; the extent to which the district's school libraries and media centers are accessible to ELLs; and the academic support provided by the district to ELLs who enroll in general education classes. The school district and the Section engaged in good-faith negotiations about these and other issues, and on September 3, 2004, entered into a settlement agreement outlining the measures that the school district was required to take to ensure its compliance with the EEOA. The district compiled in good faith with the settlement agreement that ended on September 3, 2007.
On December 20, 2022, the Section entered into a settlement agreement with the Okaloosa County School District in Fort Walton Beach, Florida to address the discriminatory use of seclusion and restraint against students with disabilities and the district’s responses to allegations of physical and verbal abuse. The agreement followed an investigation conducted under Title II of the Americans with Disabilities Act (ADA) based on allegations that the school district engaged in improper seclusion and restraint practices and failed to appropriately respond to known physical and verbal abuse of students. Under the settlement agreement, the school district will take proactive steps to ensure that its practices do not discriminate against students with disabilities. The district will, among other steps: continue to prohibit the use of seclusion; limit its use of restraint; clarify and improve crisis response team procedures and post-restraint procedures; report all instances of restraint and evaluate if they were justified and complied with district policy; reform district complaint procedures and improve internal district investigations into allegations of employee abuse or improper use of restraint or seclusion; develop and deliver appropriate trainings for personnel who restrain students and personnel who review restraint reports; and deliver appropriate training and resources to help schools implement the agreement. For more information, please see this letter and press release.
In this matter involving Old Dominion University (ODU) in Norfolk, Virginia, the Section conducted an investigation under Title II of the Americans with Disabilities Act (ADA), 42 U.S.C. §§ 12131 et seq. and Section 504 of the Rehabilitation Act of 1973. The Section received a complaint alleging that ODU discriminated and retaliated against a graduate student based on her disability and her related request for acknowledgement of her right to reasonable modifications of policy. The Section found that, in a series of retaliatory acts, ODU terminated the student’s relationship with her professor-advisor and his research lab, withdrew her from a professional conference where she was scheduled to present, and forced her to change her graduate course of study. On February 3, 2021, the Section entered into a settlement agreement with ODU to ensure that the University provides reasonable modifications of policy for students with disabilities. The agreement requires that ODU develop and disseminate a retaliation policy; train staff and faculty on the requirements of the ADA and Section 504; and provide compliance reports to DOJ. In addition, under the agreement ODU will pay the complainant $40,000 in compensatory damages. For more information, please see this press release.
This religious discrimination case arose after the principal of an elementary school in New Jersey prohibited an eight-year-old girl from singing a Christian song in a voluntary after-school talent show. On May 20, 2005, the student’s parents filed suit in federal district court, alleging that the school violated her constitutional rights by censoring her speech. The school defended the censorship by asserting that (1) the song had an overtly religious and proselytizing message and (2) permitting the song would have violated the Establishment Clause of the First Amendment.
On June 19, 2006, the Section filed an amicus brief in support of the student’s motion for summary judgment, arguing that the school engaged in unconstitutional viewpoint discrimination by censoring her performance based solely on the religious perspective of her song. The brief also contended that the school’s Establishment Clause justification was unavailing because the song clearly represented the student’s expression, not the school’s.
On December 11, 2006, the district court ruled in favor of the plaintiffs, granting summary judgment. In its opinion, the court held that the school’s censorship of “Awesome God” constituted unlawful viewpoint discrimination because the song conformed to the talent show guidelines and the school permitted other acts with religious and “proselytizing” content. The court found that the school did not have “a legitimate pedagogical concern in distancing itself from proselytizing religious speech.” The court further ruled that the school’s Establishment Clause concerns could not justify censoring the plaintiff’s song because the performances in the talent show did not represent school-sponsored speech.
On April 12, 2011, the Educational Opportunities Section of the Civil Rights Division and the Department of Education's Office for Civil Rights (OCR) reached a resolution agreement with the Owatonna Public School District ("District") in Owatonna, Minnesota, to resolve a complaint regarding the student-on-student harassment and disproportionate discipline of Somali-American students based on their race and national-origin.
The complaint arose from a November 2009 fight between several white and Somali-American students at Owatonna High School and alleged severe and pervasive harassment. Following DOJ's and OCR's investigation, the Section and OCR worked with the school district to resolve the complaint. The departments gathered evidence indicating that the district meted out disproportionate discipline for the students involved in the November 2009 incident and that the district's policies, procedures and trainings were not adequately addressing harassment against Somali-American students.
The District took affirmative steps to address the harassment and disproportionate discipline of Somali-American students, and voluntarily entered into the resolution agreement. Under the terms of the agreement, the District will take all reasonable steps to ensure that all students enrolled in the district are not subject to harassment or discrimination on the basis of race, color or national origin, and to respond promptly and appropriately to all reports of harassment. To that end, the District has agreed to improve its policies and procedures concerning harassment and discipline as necessary to make them effectively protect students from racial or national origin-based harassment. For more information, please see this press release.
This case involves religious harassment by students against a Jewish public school teacher in the Upper Peninsula of Michigan. Mr. Owen, a veteran teacher of more than 30 years, filed his lawsuit in federal district court in March 2000 after an investigation by the Detroit office of the U.S. Equal Employment Opportunity Commission concluded that his complaint had merit. The United States intervened in October 2000, alleging that the L'Anse Area Schools subjected Mr. Owen to religious harassment while he was employed by the school district. The United States alleged that Mr. Owen had been the target of numerous incidents of anti-Semitic harassment by his students, including the drawing and etching of swastikas and hate messages such as "Die Jews," "Kill Owen," "KKK," and "White Power" in and around his classroom on multiple occasions and the placement of a hangman's noose on his classroom door. The United States alleged that the school district failed to take effective measures to remedy the harassment and to keep it from recurring despite Mr. Owen's repeated complaints. Further, the United States alleged that as a result of the harassment, Mr. Owen was forced to take an extended medical leave and ultimately retire from the school district.
Following discovery and an unsuccessful motion for summary judgment by the school district, the parties entered mediation, reaching a settlement agreement in March 2002. Under the agreement, which the district court approved on April 11, 2002, Mr. Owen was paid $265,000. The agreement also required the school district to review and revise its policies; train its employees to recognize, investigate and address harassment and discrimination; and educate its students about the inappropriateness of harassment and discrimination. In addition, the agreement required the district’s faculty and staff to report actual or suspected incidents of harassment or discrimination to appropriate school officials. The Justice Department monitored the school district's compliance with the settlement agreement for three years, and the case was dismissed on December 15, 2005.
In September and November 2011, the Civil Rights Division of the United States Department of Justice notified the School District of Palm Beach County that it had received complaints regarding the District's enrollment and registration practices, as well as its practices of administering school discipline. The Division then conducted an investigation, including reviewing documents and data; conducting a site visit that included tours of schools and interviews with Principals, Area Superintendents, Assistant Superintendents, District Office staff, the School District of Palm Beach County Police Department, and the Superintendent; meeting with community members and local stakeholders; and reviewing and providing comments regarding the District's enrollment and discipline policies. The United States conducted its investigation with the full cooperation of the District.
At the conclusion of the investigation, the United States and the District engaged in extensive negotiations, resulting in a settlement agreement signed by the Parties on February 26, 2013. Under the settlement agreement, the district will enroll all area students regardless of background and will provide translation and interpretation services throughout the registration process. The district will also limit the use of disciplinary measures that remove students from the classroom and implement behavior management and discipline practices that support and protect students. Among other things, the agreement requires that ELL students and parents who are limited English proficient receive translation and interpretation services throughout the enrollment and discipline processes; expands the use of language-accessible positive behavior interventions and supports ("PBIS"); places limits on the use of discipline measures that remove students from the classroom; establishes clear guidelines for when law enforcement intervention is appropriate; requires school law enforcement officers to communicate with students in a language the student understands, including by securing an interpreter when appropriate; requires providing training to give teachers and administrators the tools necessary to manage their schools in a safe, effective and positive manner; and requires expanding data-driven monitoring and accountability systems. On July 25, 2016, the parties agreed to an eighteen month extension of the Agreement.
On March 5, 2024, the Section entered into a settlement agreement with the Pasco County School District in Pasco County, Florida to resolve the department’s investigation into alleged discrimination against students with disabilities in school discipline, threat assessment practices and referrals of students to law enforcement. The agreement followed an investigation under Title II of the Americans with Disabilities Act. The investigation found that the district routinely suspended students or called police for disability-related behavior that could have been addressed through proper support and de-escalation. The investigation also found problems with how the district conducted threat assessments (a process to identify, evaluate and respond to potential school security concerns). When these assessments involved students with disabilities, the district systematically failed to consider the relationship between a student’s disability and their behavior, and whether appropriate support for the student would address the behavior that prompted the assessment. Instead, the district often unnecessarily referred students to law enforcement to be arrested or to start the process for an involuntary admission into a mental health facility under Florida’s Baker Act.
Under the settlement agreement, the school district will take proactive steps to ensure that its practices do not discriminate against students with disabilities. The district will, among other steps: ensure that personnel accurately assess disability-related behaviors, identify appropriate interventions, and monitor their implementation; hire a consultant who will assist in updating policies and practices; update its student code of conduct, threat assessment process, and law enforcement referral process to ensure that the district is adequately considering disability-related behaviors; improve data collection and analysis and regularly evaluate data to ensure students with disabilities do not face discrimination as a result of the district’s discipline, threat assessment and law enforcement referral practices. The Section will monitor the district’s implementation of the agreement and will also continue to monitor and enforce an ongoing desegregation order that covers the district.
For more information, please see this letter, press release (español), and summary of the settlement agreement.
In this matter involving sex discrimination, several high school girls and their representatives filed a complaint alleging that the South Dakota High School Activities Association (SDHSAA) violated Title IX and the Equal Protection Clause of the Fourteenth Amendment. Specifically, the plaintiffs contended that the SDHSAA discriminated against female athletes by requiring girls to play certain sports (basketball and volleyball) in disadvantageous seasons. Playing in disadvantageous seasons can result in substantial harms that deny female high school athletes equal athletic opportunities, including, among others, the ability to participate in interstate competition and club competition, the opportunity to be recruited for collegiate-level sports programs, and the opportunity to have the same number of games and practices as similarly-situated boys' sports teams.
On October 17, 2000, the Department was granted leave to intervene in the lawsuit as a plaintiff-party in support of the high school girls. Subsequently, the SDHSAA moved for summary judgment on the issue of whether the association was subject to Title IX and whether it is a state actor for purposes of 42 U.S.C. § 1983. Before any further briefing was completed, however, the parties agreed to engage in mediation and ultimately reached a settlement. Pursuant to the parties' stipulation, the Court entered a Consent Order on December 5, 2000, requiring the SDHSAA to schedule girls' high school volleyball during the traditional fall season and girls' high school basketball during the traditional winter season beginning with the 2002-03 school year. The SDHSAA submitted a detailed plan which was subsequently agreed to by the plaintiff-parties and approved by the Court.
In June of 2002 and shortly before the season switch was to take place, a group of parents and students filed a separate lawsuit in state court that was removed to federal court, Hoffman v. South Dakota High Sch. Activities Ass'n, C.A. No. 02-4127 (D. S.D.), seeking to challenge the Consent Order entered in the Pedersen case, or in the alternative, to delay the season switch for four more years. The Hoffman plaintiffs also filed a motion for preliminary injunction seeking to enjoin the season switch immediately. The Department moved to intervene in the lawsuit as a defendant to uphold the prior Consent Order entered in the Pedersen case and the district court granted the Department's motion to intervene. The Department also filed a motion to dismiss the Hoffman lawsuit on procedural grounds that the district court held in abeyance until after the hearing on the motion for a preliminary injunction. The district court conducted a three-day evidentiary hearing on the merits of the Hoffman case at which the Department presented evidence. Shortly thereafter, the district court issued an opinion denying the Hoffman plaintiffs' motion for a preliminary injunction. On January 22, 2003, the district court granted the Department's motion to dismiss and dismissed the Hoffman lawsuit with prejudice.
In this matter involving the Plainfield, New Jersey School District, the Section reviewed whether the district was providing appropriate instruction and services to English Language Learners (ELLs), as required by the Equal Educational Opportunities Act of 1974 (EEOA). Based on its review of the district, the Section raised concerns about, among other things: the school district's procedures for screening new students to determine whether they are ELLs; the opportunities that ELLs have to integrate with native speakers of English in a school setting; the extent to which the district's school libraries and media centers are accessible to ELLs; and the academic support provided by the district to ELLs who enroll in general education classes. The school district and the Section engaged in good-faith negotiations about these and other issues, and on June 30, 2003, entered into a settlement agreement outlining the measures that the school district will take to ensure that it complies with the EEOA. The district compiled in good faith with the settlement agreement that ended on June 30, 2006.
In April 2009, Plaintiff filed a complaint in the United States District Court for the Northern District of New York alleging, inter alia, that the Indian River Central School District, its Board of Education, and eight of its employees violated his rights under the Equal Protection Clause of the Fourteenth Amendment to the U.S. Constitution and Title IX of the Education Amendments Act of 1972, 20 U.S.C. § 1681 et seq. On June 11, 2010, the Defendants filed a motion to dismiss the Equal Protection Clause and Title IX claims. On August 13, 2010, the United States filed a motion seeking leave to participate as amicus curiae in order to provide the court with the proper legal standards governing harassment on the basis of sex under the Equal Protection Clause and Title IX. The United States argues in its amicus brief that harassment based on sex stereotyping is a legally cognizable claim under Title IX and the Equal Protection Clause; that sexual orientation harassment does not preclude a harassment claim based on non-conformity to sex stereotypes; and that a hostile environment claim in primary and secondary schools can span classes, grades, and schools.
In this matter involving the Prince William County School District, the Section conducted a compliance review to determine whether the district was providing appropriate instruction and other services to English Language Learner ("ELL") students as required by the Equal Educational Opportunities Act of 1974 (EEOA). On September 5, 2013, the Section and the district entered into an out-of-court settlement agreement outlining the steps the district will take to resolve the issues identified by the United States and ensure compliance with the EEOA. Among other things, the agreement requires the district to: provide all ELL students with adequate English Language Development and sheltered content instruction by qualified ELL teachers; ensure that ELL teachers and administrators receive appropriate training; monitor and evaluate the effectiveness of its ELL programs; modify its enrollment and registration practices to ensure that students have access to educational programs regardless of race, national origin, or immigration status; provide ELL students and Limited English Proficient parents meaningful access to district and school-level information, such as discipline and special education forms and meetings; and take measures to ensure discipline is administered in a nondiscriminatory way, such as instituting cultural responsiveness training for teachers. The district-wide review and agreement grew out of an investigation of a complaint regarding the Fred Lynn Middle School. That investigation resulted in a 2010 agreement requiring remedial measures at that school, which was later amended by a 2011 agreement. This school and all others in the district are now subject to the 2013 agreement, which requires the district to report to the Section on the agreement's implementation through 2016.
In this matter involving the Providence Public Schools (“the District”) and the Rhode Island Department of Education (“RIDE”), the Section and the U.S. Attorney’s Office for the District of Rhode Island examined whether the District was identifying and serving its approximately 8,000 English Learner (“EL”) students as required by Section 1703(f) of the Equal Educational Opportunities Act of 1974 (“EEOA”). On August 9, 2018, the District and the United States entered into an out-of-court settlement agreement to address the noncompliant conditions identified by the United States and to ensure the District’s compliance with Section 1703(f) of the EEOA. Among other things, the agreement requires the District to: identify and place EL students appropriately when they enroll in school; provide adequate language services to all EL students, including those with disabilities, so that they can become proficient in English; ensure that the English as a Second Language (“ESL”) components of its EL program are taught by ESL-certified teachers; adequately train the administrators and teachers who implement the District’s EL programs; ensure meaningful communication with Limited English Proficient parents about District and school programs and activities; provide equal opportunities for EL students to participate in specialized programs; and evaluate the effectiveness of the EL program over time. On November 1, 2019, RIDE took control over the District, and on December 19, 2019, the parties agreed that the 2018 EL agreement would be binding upon both the District and RIDE. On September 29, 2021, the parties executed a letter agreement, which modifies and extends the 2018 EL settlement agreement through at least the 2022-2023 school year.
|
|||||||
1487
|
dbpedia
|
1
| 27
|
https://www.britannica.com/topic/Simon-and-Garfunkel
|
en
|
Simon and Garfunkel | Songs, Albums, Breakup, & Reunions
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/76/249776-004-6904F8A0/Simon-and-Garfunkel-rehearse-London-1977.jpg",
"https://cdn.britannica.com/77/249777-004-A5747DE2/Simon-and-Garfunkel-as-Tom-and-Jerry-1957.jpg",
"https://cdn.britannica.com/62/23162-004-4CD6C2F2/Carole-King-Gerry-Goffin-Paul-Simon-studio-1959.jpg",
"https://cdn.britannica.com/25/244925-004-F6681775/Simon-and-Garfunkel-perform-BBC-studios-London-England-1967.jpg",
"https://cdn.britannica.com/58/178358-131-31BB9D53/Beatles-Publicity-Richard-Lester-Help-film-rock.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/86/191086-131-85619B55/Woman-oil-Men-canvas-Theorbo-Gerard-Terborch-1668.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/23/190023-131-8EC31C15/Jimi-Hendrix-concert-performance-Open-Air-Love-September-6-1970.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/38/117738-131-B3EC18C1/portrait-Mao-Zedong-Chinese-Forbidden-City-palace.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/39/71439-131-F9B51B49/banner-Nazis-Tod-dem-Marxismus.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/04/187404-131-2839AF60/bison-American-buffalo-plains-prairie.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/24/199024-131-FFEE0BC4/Map-view-globe-Europe.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/02/196602-131-7D54F98C/map-Globe-South-America.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/55/164555-131-D8A6E6C8/rat-glass-table.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/55/142355-131-EFF621AF/books-Stack-literature-pile-reading-entertainment-society-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/51/212551-131-CCA62CB1/Shadow-man-spooky-building-knife.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/76/249776-050-C7F7EE1C/Simon-and-Garfunkel-rehearse-London-1977.jpg?w=400&h=300&c=crop",
"https://cdn.britannica.com/17/244917-050-AE731ADE/Art-Garfunkel-1975-London.jpg",
"https://cdn.britannica.com/77/249777-050-75CFE97C/Simon-and-Garfunkel-as-Tom-and-Jerry-1957.jpg?w=300",
"https://cdn.britannica.com/62/23162-050-B828F455/Carole-King-Gerry-Goffin-Paul-Simon-studio-1959.jpg?w=300",
"https://cdn.britannica.com/marketing/BlueThistle.webp",
"https://cdn.britannica.com/25/244925-050-EC71609D/Simon-and-Garfunkel-perform-BBC-studios-London-England-1967.jpg?w=300"
] |
[
"https://www.youtube-nocookie.com/embed/kAxgclWHcGI?rel=0",
"https://www.youtube-nocookie.com/embed/l0q7MLPo-u8?rel=0",
"https://www.youtube-nocookie.com/embed/4fWyzwo1xg0?rel=0",
"https://www.youtube-nocookie.com/embed/J2nN-Yrt1EU?rel=0",
"https://www.youtube-nocookie.com/embed/9C1BCAgu2I8?rel=0",
"https://www.youtube-nocookie.com/embed/4G-YQA_bsOU?rel=0",
"https://www.youtube-nocookie.com/embed/__Ro3eGuznI?rel=0"
] |
[] |
[
"Simon and Garfunkel",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"Sid Griffin"
] |
2023-10-03T00:00:00+00:00
|
Simon and Garfunkel, American musical duo, consisting of Paul Simon and Art Garfunkel, who achieved iconic status in the 1960s by wedding Everly Brothers-styled harmonies to themes of urban alienation and self-examination, which both matched and mirrored contemporary society’s changes. With album
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Simon-and-Garfunkel
|
Simon and Garfunkel
American musical duo
Simon and Garfunkel, American musical duo, consisting of Paul Simon and Art Garfunkel, who achieved iconic status in the 1960s by wedding Everly Brothers-styled harmonies to themes of urban alienation and self-examination, which both matched and mirrored contemporary society’s changes. With album sales in excess of 100 million and as the winners of a clutch of Grammy Awards, the duo defined their times while illustrating the pressures of huge success and the limitations of cooperation under media scrutiny.
Early success as Tom and Jerry, college interlude, and signing with Columbia Records
Paul Frederic Simon (b. October 13, 1941, Newark, New Jersey, U.S.) and Arthur Ira Garfunkel (b. November 5, 1941, Queens, New York, U.S.) met in elementary school in 1953 in Queens, New York, and bonded over a love of doo-wop harmonies and rhythm and blues. Four years later both Simon and Garfunkel fell deeply under the spell of the Everly Brothers, whose “Bye Bye Love” was a huge hit in late spring. A match was lit that created a love for close harmony singing and a desire for music industry success.
More From Britannica
Art Garfunkel: Success in Simon and Garfunkel
Success came surprisingly fast albeit fleetingly as the duo, calling themselves Tom and Jerry, was overheard by impresario Sid Prosen, owner of Big Records, while making a self-financed recording of an original written by the pair called “Hey Schoolgirl” and was signed to a contract by him.
Alan Freed, the disc jockey who had popularized the phrase rock and roll, played “Hey Schoolgirl” on his influential WINS radio show, and the song hit number 49 on Billboard’s Hot 100, selling more than 100,000 copies and earning the duo a spot on American Bandstand. Two further singles did not sell, and Simon and Garfunkel both decided to go to college.
In 1958 Simon recorded and released a single on the Big label under the moniker True Taylor without Garfunkel’s participation. Garfunkel considered this action a betrayal, and the seeds of mutual mistrust were sown. That mistrust would later haunt their careers.
In late 1963 Simon was working as a song plugger for the E.B. Marks music publishing catalog (song pluggers pitch compositions to music industry representatives in an attempt to have them recorded by contracted performers) while also pushing his own songs forward. Columbia Records producer Tom Wilson became interested in Simon’s song “He Was My Brother”, and a Columbia act, the Pilgrims, recorded it. Simon persuaded Wilson to give himself and Garfunkel a studio audition (engineered by future Simon and Garfunkel collaborator Roy Halee), and an impressed Wilson signed Simon and Garfunkel, finally under their real names, to Columbia.
Wednesday Morning, 3 A.M. and Simon’s sojourn in England
Their debut album, Wednesday Morning, 3 A.M., was recorded in March 1964 and released in October. Only five of its 12 tracks were written solely by Simon. Although sales of the album in the United States were poor, it established the template for Simon and Garfunkel: Simon’s poetic, uber-melancholic lyrics brought to life by Garfunkel’s poignant, soaring angelic tenor and Simon’s own emotive voice, which ranged from a lower harmonic tenor to a strong baritone, while Simon’s deft acoustic guitar fingerpicking held the arrangements together.
The album helped signal that the folk revival of the early 1960s was over. Because the entire musical ensemble employed on Wednesday Morning, 3 A.M. was never more than Simon’s guitar and the duo’s voices, augmented by an acoustic bass (played by Bill Lee, filmmaker Spike Lee’s father) and a second guitar, the album’s release at the onset of the swingin’ 4/4 beat-driven British Invasion was terribly ill-timed. Nevertheless, it would make the charts in early 1966 as a beneficiary of Simon and Garfunkel’s later success.
The initial failure of their debut album caused Garfunkel to return to his studies at Columbia University, whereas Simon made two trips to England, immersing himself in its still-vibrant folk music scene. While sharing lodgings with fellow future stars Al Stewart and Sandy Denny, Simon also grew friendly with folk guitar stars Martin Carthy, Bert Jansch, and Davy Graham. England proved inspirational for Simon, and in June and July 1965 he quickly recorded a bare-bones solo album called The Paul Simon Songbook, which contains a dozen vocal-and-guitar renditions of songs soon to be made famous by him and Garfunkel.
Tom Wilson’s folk-rock version of “The Sound of Silence” and Simon and Garfunkel’s rise to fame
While Simon was abroad, the folk rock sound of the Byrds’ version of Bob Dylan’s “Mr. Tambourine Man” shook the music world. Wilson, sensing that the acoustic Wednesday Morning, 3 A.M. version of “The Sound of Silence” had potential after it received airplay in Boston and Florida, overdubbed bass, drums, and electric 12-string guitar on the track and released it as a single in September 1965. Simon was in Denmark performing at folk clubs when he bought a copy of both Billboard and Cashbox and was stunned to see this new version in the singles charts…and slowly rising.
The new year began with the overdubbed single of “The Sound of Silence” at number one on the Billboard Hot 100. Simon and Garfunkel reunited to rapidly record their second album and perform a college tour. Using two songs from an April 1965 session and eight songs hurriedly recorded in December 1965, along with the electrified version of “Sound of Silence,” an 11-song album wisely titled Sounds of Silence was released in January 1966. Most of its songs reflect the approach of the then current folk rock movement in their accompaniment by an electric band (“Leaves That Are Green,” “Blessed,” “Somewhere They Can’t Find Me,” “Richard Cory,” “A Most Peculiar Man,” “We’ve Got a Groovy Thing Goin’,” and “I Am a Rock”); however, some songs are sparsely acoustic as per the duo’s first album (“Kathy’s Song,” the instrumental “Anji,” and “April Come She Will”). The producer’s credit went to Bob Johnston, this being the second time Wilson had been ungratefully pushed aside by Columbia Records (the first being Bob Dylan’s Highway 61 Revisited after Wilson had produced the hit “Like a Rolling Stone”).
The album climbed to number 21 on the Billboard 200 chart. Suddenly Simon and Garfunkel found themselves in Teen Beat, Hullaballoo, and other teen magazines. Achieving success after struggling so long gave them confidence, and the duo insisted on total control in recording their next album.
Parsley, Sage, Rosemary and Thyme and The Graduate
Producer Johnston was given almost five months recording time for the new album, titled Parsley, Sage, Rosemary and Thyme, as Simon and Garfunkel worked with an eight-track recording system for the first time, thrilled that they could now overdub their harmonies to pristine perfection and without “leakage” from Simon’s guitar. Four songs that had first appeared on The Paul Simon Songbook album were recorded: “Patterns,” “Flowers Never Bend with the Rainfall,” “A Simple Desultory Philippic (Or How I Was Robert McNamara’d into Submission),” and the anti-war “The Side of a Hill,” the last having been refashioned—along with the second half of “Scarborough Fair,” an English folk song Simon was introduced to by Carthy—as “Scarborough Fair/Canticle.” Curiously, the songwriting credit for “Scarborough Fair/Canticle” went to Simon and Garfunkel despite the components from the traditional song being hundreds of years old. “Cloudy” was cowritten by Bruce Woodley of the Seekers (with whom Simon wrote “Red Rubber Ball,” a million-copy seller for the Cyrkle), but Woodley was not credited on Parsley, Sage, Rosemary and Thyme, though he received royalties. Equally puzzling was Simon’s “A Simple Desultory Philippic,” a blatantly unflattering pastiche of Columbia labelmate Dylan.
Released in October 1966, Parsley, Sage, Rosemary and Thyme reached number 4 on the Billboard 200, staying on the chart for 145 weeks and eventually selling more than 3 million copies. The album, which resided at number 202 in the 2003 version of Rolling Stone’s “500 Greatest Albums of All Time,” eventually birthed four hit singles. In 1966 “Homeward Bound” made number 5 on the Billboard Hot 100 and “The Dangling Conversation” peaked at number 25. A year later a cover version of “The 59th Street Bridge Song (Feelin’ Groovy)” by Harpers Bizarre reached number 13, and “Scarborough Fair/Canticle,” released as a single in 1968 as a result of its exposure in hit movie The Graduate, climbed to number 11. It seemed things could not get better for the duo. Yet they did.
Film director Mike Nichols had hired Simon and Garfunkel to provide part of the soundtrack for his screen adaptation of Charles Webb’s novel The Graduate (1963). Having initially rejected Simon’s first two offerings, “Overs” and “Punky’s Dilemma,” Nichols felt that older material, such as “Scarborough Fair/Canticle,” “April Come She Will,” “The Big Bright Green Pleasure Machine,” and “The Sound of Silence”, would fit. When Garfunkel mentioned that Simon had a new song called either “Mrs. Roosevelt” or “Mrs. Robinson,” Nichols exclaimed, “Don’t be ridiculous…we’re making a movie here! It’s Mrs. Robinson!” Thus, two early sketches of the uncompleted song appear in the film, the “deet-da-dee-dee” refrain illustrating the song’s then state of incompletion. Simon shared a Grammy with Dave Grusin (who composed the instrumental score) for best original score written for a motion picture or a television special. Clearly, the Simon and Garfunkel performances were what pushed the soundtrack album, released in February 1968, to Billboard’s number one slot by April 6 and also what kept it there for seven consecutive weeks until the duo’s next album, Bookends, displaced it. These two Simon and Garfunkel albums exchanged places at the top spot for 16 consecutive weeks.
Bookends
The stark black-and-white cover of Bookends (1968) reflected Simon’s ever-developing themes of alienation and loneliness. It was the first album for which Simon and Garfunkel were credited as producers (alongside longtime engineer Roy Halee), and it seemed surprisingly cohesive in light of the first side being a concept-based consideration of aging and the second side comprising recordings that had been started earlier with previous producers Johnston in 1966 and John Simon in 1967. Yet, if the first side confirmed Simon and Garfunkel’s artistic powers, with heartbreaking songs about old age (“Bookends Theme” and “Old Friends”) and loneliness (“Save the Life of My Child” and “Overs”), the second side confirmed their commercial clout, as “A Hazy Shade of Winter” reached number 13 as a single and “At the Zoo” number 16.
Although the album features solo vocals with fewer duets, Bookends does include the completed single version of “Mrs. Robinson” (credited as “from the motion picture ‘The Graduate,’” though it doesn’t appear on the film’s soundtrack), which won the Grammy for best contemporary pop performance—vocal duo or group. “Mrs. Robinson” also won the Grammy for record of the year, marking the first time that a song had won those two awards. Moreover, it became a gold record in the United States, Italy, Germany, and Denmark, as well as a platinum record in the United Kingdom.
Bridge Over Troubled Water and breakup
Simon and Garfunkel entered 1969 as one of the hottest acts in show business. Garfunkel accepted an acting role in Nichols’s film Catch-22, as did Simon, but Simon’s part was eliminated by screenwriter Buck Henry. The film took eight months to make, and the duo’s relationship was strained to the breaking point. A CBS TV special shown on November 30, 1969, called Songs of America, featured documentary footage of Simon and Garfunkel onstage and in the studio but was heavy with political content and drew poor ratings. The duo worked in tense conditions on what would prove to be their final album, Bridge Over Troubled Water. Released in January 1970, it went on to become one of the best-selling albums of the 1970s, ultimately selling some 25 million copies and winning six Grammy Awards, including album of the year. The title track proved an evergreen classic, while the singles “Cecilia” and “El Condor Pasa (If I Could)” rose to number 4 and number 18, respectively, on the Billboard Hot 100. “The Boxer,” though recorded some nine months before the album’s sessions, reached number 7 and was included on the album.But a personal toll had been taken, and the pair parted in July 1970.
Reunions and legacy
Simon and Garfunkel have reunited several times, most notably in 1975 when a one-off reunion single, “My Little Town,” was a hit and on September 19, 1981, when they drew an estimated half a million people to New York’s Central Park for a free concert. They remained estranged despite periodically undertaking world tours, on which they seldom spoke to each other offstage. In 2003 they received a Grammy for lifetime achievement, and in 2012 the National Recording Registry added the Sounds of Silence album, earmarking “The Sound of Silence” as being “culturally, historically, or aesthetically significant.” Yet for all their successes, Simon and Garfunkel remain best known for poetic pleas of romance and justice delivered in beautiful, tender harmony completely at odds with their professional working disposition.
|
||||
1487
|
dbpedia
|
1
| 70
|
https://www.bobdylan.com/albums/
|
en
|
The Official Bob Dylan Site
|
[
"https://www.facebook.com/tr?id=977700965768537&ev=PageView&noscript=1",
"https://ad.doubleclick.net/ddm/activity/src=8705154;type=bobdy0;cat=bobdy0;dc_lat=;dc_rdid=;tag_for_child_directed_treatment=;tfua=;npa=;ord=1",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2023/09/BD-Budokan-4CD-cover-1024x1024.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2023/04/Dylan_ShadowKIngdom_800-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2022/11/BD-BS17-cover-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2021/09/BOOT-16-CVR@12x12-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2020/06/RoughAndRowdyWays.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2019/09/BOOT-15_FNL_CVR_LG-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2019/04/RTR-600-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2018/09/MBMT_CD_CVR-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2018/09/MBMT_LP_cvr-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2016/03/bobdylanlive_rareperformances-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2017/09/170920_dylan_tnm_cover-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2017/01/TRIP-COVER-650-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2016/04/FA_FNL-COVER-sm-250x250.jpeg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2016/01/CUTTING-EDGE-DLX-MASTER-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2016/01/CUTTING-EDGE-LP-2CD-MASTER_SM-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2015/02/bob-dylan-shadows-in-the-night1-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2014/11/bt_complete_cover_5x5.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2014/11/bt_raw_cover_5x5.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2014/01/dylan_30_bluray_revised_2_r6-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2013/08/dylan_asp_boot10_cov_1_1.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2012/12/tempest-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2012/01/5846651_0.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/5701829_179.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/bob-dylan-mono-box1ef19a.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5697812_552.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2017/01/bob_dylan_christmas_in_the_heart_20-250x250.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992269_167.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992273_399.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992181_0.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992202_167.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/bestofbobdylan.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992222_418.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992180_292.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992209_334.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/4745105.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992214_476.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992256_248.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992270_169.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/mtvunplugged_1.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992176_229.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992247_171.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/30thanniversary.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992274_187.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992231_879.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992162_187.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992197_165.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992233_183.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5442981_111.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992179_155.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992272_763.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992235_178.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992216_187.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992196_131.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992208_187.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992207_180.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992198_176.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992191_424.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992189_198.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992271_152.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992195_198.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/4777152_326.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992174_218.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992275_300.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992190_238.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/11/dylan.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992264_220.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/4469449_278.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992255_260.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992257_488.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992193_224.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701838_159.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992225_218.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701853_181.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701850_126.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701847_147.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701844_147.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/3992253_159.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701835_170.jpg",
"https://cdn-p.smehost.net/sites/f6f0621f88184e56b557836255a6628a/wp-content/uploads/2011/10/5701832_167.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
© 2018 Sony Music Entertainment. All Rights Reserved.
COLUMBIA and "Walking Eye" Design are registered trademarks of Sony Music Entertainment.
Visit www.OnGuardOnline.gov for social networking safety tips for parents and youth.
|
|||||||
1487
|
dbpedia
|
1
| 66
|
https://www.rollingstone.com/music/music-lists/best-songs-of-all-time-1224767/prince-and-the-revolution-purple-rain-6-1225320/
|
en
|
The 500 Greatest Songs of All Time
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/050-Daddy-Yankee-Gasolina.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/049-Lauryn-Hill-That-Thing-Doo-Wop.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/048-Radiohead-Idioteque.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/47-elton-john-tiny-dancer.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/46-MIA-paper-planes.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/045-Kendrick-Lamar-alright.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/44-michael-jackson-billie-jean.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/43-temptations-my-girl.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/42-bob-marley-redemption-song.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/41-joy-division-love-will-tear-us-apart.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/40-jimi-hendrix-all-along-the-watchtower.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/039-OutKast-B.O.B.-Bombs-Over-Baghdad.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/38-otis-redding-sittin-on-the-dock-of-the-bay.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/37-prince-when-doves-cry.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/36-white-stripes-seven-nation-army.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/35-little-richard-tutti-frutti.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/34-james-brown-papas-got-a-brand-new-bag.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/33-chuck-berry-johnny-b-goode.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/32-notorious-big-juicy.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/31-rolling-stones-satisfaction.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/030-lorde-royals.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/29-dr-dre-snoop-dogg-nuthin-but-a-g-thang.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/028-talking-heads-once-in-a-lifetime.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/27-bruce-springsteen-born-to-run.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/026-Joni-Mitchell-A-Case-of-You.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/025-Kanye-West-Runaway.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/24-beatles-a-day-in-the-life.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/23-david-bowie-heroes.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/22-the-ronettes-be-my-baby.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/021-billie-holiday-Strange-Fruit.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/020-robyn-Dancing-On-My-Own.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/19-john-lennon-imagine.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/18-prince-purple-rain.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/17-queen-bohemian-rhapsody.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/16-beyonce-jay-z-crazy-in-love.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/15-the-beatles-i-want-to-hold-your-hand.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/14-the-kinks-waterloo-sunset.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/13-rolling-stones-gimme-shelter.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/12-stevie-wonder-superstition.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/11-beach-boys-god-only-knows.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/10-outkast-hey-ya.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/009-fleetwood-mac-dreams.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/8-missy-elliott-get-ur-freak-on.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/7-beatles-strawberry-fields.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/6-marvin-gaye-whats-going-on.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/5-nirvana-smells-like-teen-spirit.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/4-bob-dylan-like-a-rolling-stone.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/3-sam-cooke-a-change-is-gonna-come.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/2-public-enemy-fight-the-power.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2021/09/1-aretha-franklin-respect.jpeg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif"
] |
[] |
[] |
[
""
] | null |
[
"Rolling Stone"
] |
2024-02-16T16:37:40+00:00
|
500 Best Songs of All Time: the Beatles, Beyonce, Bowie, and more
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/best-songs-of-all-time-1224767/
|
About as radical as fun can get, “Hey Ya!” is funk, pop, rap, and rock spun into something otherworldly yet immediately lovable via Outkast’s one of a kind Stankonian vision. André 3000 began writing the song on acoustic guitar, bashing out some chords that he wanted to sound like the Smiths and the Buzzcocks. “He had the bulk of it already conceptualized in his head,” said recording engineer John Frye. “It all happened quite fast. We recorded the skeleton part, with the intro and the first verse and hook, all in one night.”
The song would end up going through numerous permutations; one key assist came from former Cameo member Kevin Kendricks, who laid down the synth part and bass. At one point it was called “Thank God for Mom and Dad,” a title that makes plain its complicated lyrics about the challenges of keeping a romantic relationship afloat.
On Twitter, in 2021, Outkast even called it “the saddest song ever written.” In 2003, however, most of that was lost on a world that simply wanted to dance, party, and shake it like a Polaroid picture. “Hey Ya!” was the most universal pop smash of the early 2000s, the first song to be downloaded 1 million times on iTunes.
In the face of a lover telling her to go her own way, Stevie Nicks penned the ethereal “Dreams.” During the Rumours sessions in Sausalito, California, Nicks spent an off day in another room of the Record Plant that was supposedly used by Sly and the Family Stone. “It was a black-and-red room, with a sunken pit in the middle where there was a piano, and a big black-velvet bed with Victorian drapes,” she told Blender.
There she reflected on the thunder and rain of her relationship with Lindsey Buckingham, whose guitar parts slice through the song’s mystical beat. “I sat down on the bed with my keyboard in front of me, found a drum pattern, switched my little cassette player on, and wrote ‘Dreams’ in about 10 minutes,” she continued. “Right away I liked the fact that I was doing something with a dance beat, because that made it a little unusual for me.”
The second single on Fleetwood Mac’s blockbuster album Rumours, “Dreams” would become the band’s only U.S. chart topper, and it would continue to enchant new generations — and even return to the charts — for decades to come.
“Oh yeah, man, we was on some futuristic stuff for sure,” Missy Elliott told Rolling Stone in 2020, on her musical chemistry with Timbaland. “It was something hypnotic about those records.” Missy and Tim took over the radio in the late Nineties, just two kids out of Portsmouth, Virginia, blowing minds with their own unique space-funk sound.
She didn’t obey any of the rules for female stars at the time. And her music didn’t obey rules either — nobody could duplicate the Missy-Tim mojo. “Get Ur Freak On” is the peak of their long-running collaboration — a massively weird avant-garde experiment that also blew up into a global pop hit. Even by their standards, “Get Ur Freak On” was a crazed challenge to the audience, with Missy yelling “Hollaaaa!” over a warped bhangra loop. As she once recalled, “I was like, ‘Tim, you sure this isn’t too far left that people won’t get it? It sounds like some Japanese stuff mixed with a hip-hop beat.’”
But everybody who heard it was hooked — the whole world wanted to holla along with Miss E. “Get Ur Freak On” remains an anthem for freaks everywhere. And even after 20 years, it still sounds like the future.
John Lennon was one of the world’s most visible people in 1966 — but he wrote his most exquisitely lonely song with “Strawberry Fields Forever.” It opened up a whole new psychedelic era for the Beatles, changing the way pop music was heard and made.
But it began with Lennon alone on a Spanish beach, with an acoustic guitar, writing a song about his painful childhood memories. Strawberry Field was the name of a Liverpool orphanage where he used to play — and hide from the world — as a boy. “I have visions of Strawberry Fields,” he told Rolling Stone in 1968. “Because Strawberry Fields is anywhere you want to go.” Lennon bared himself so vulnerably in this song that he was nervous about playing it for the other Beatles. There was a moment of silence — until Paul McCartney said, “That is absolutely brilliant.” They turned it into a groundbreaking sonic collage, thanks to George Martin’s studio wizardry.
It was the first song cut at the Sgt. Pepper sessions, though it got left off the album so it could come out as a February 1967 single, with McCartney’s “Penny Lane” on the flip side. “Strawberry Fields” is a song full of raw pain — yet the Beatles made it feel like an irresistible invitation.
“What’s Going On” is an exquisite plea for peace on Earth, sung by a man at the height of crisis. In 1970, Marvin Gaye was Motown’s top male vocal star, yet he was frustrated by the assembly-line role he played on his own hits. Devastated by the loss of duet partner Tammi Terrell, who died that March after a three-year battle with a brain tumor, Gaye was also trapped in a turbulent marriage to Anna Gordy, Motown boss Berry Gordy’s sister. Gaye was tormented, too, by his relationship with his puritanical father, Marvin Sr.
“If I was arguing for peace,” Gaye told biographer David Ritz, “I knew I’d have to find peace in my heart.” Not long after Terrell’s passing, Renaldo Benson of the Four Tops presented Gaye with a song he had written with Motown staffer Al Cleveland. But Gaye made the song his own, overseeing the arrangement and investing the topical references to war and racial strife with private anguish. Motown session crew the Funk Brothers cut the stunning, jazz-inflected rhythm track (Gaye joined in with cardboard-box percussion). Then Gaye invoked his own family in moving prayer: singing to his younger brother Frankie, a Vietnam veteran (“Brother, brother, brother/There’s far too many of you dying”), and appealing for calm closer to home (“Father, father, father/We don’t need to escalate”).
Initially rejected as uncommercial, “What’s Going On” (with background vocals by two players from the Detroit Lions) was Gaye’s finest studio achievement, a timeless gift of healing.
Producer Butch Vig first heard “Smells Like Teen Spirit” in early 1991, on a boombox cassette recorded by bassist Krist Novoselic, drummer Dave Grohl, and singer-guitarist-songwriter Kurt Cobain in a barn in Tacoma, Washington. The fidelity was abysmal. Vig — about to work with Nirvana on their major-label debut, Nevermind — could not tell that the song would soon make underground Seattle rock the new mainstream and catapult Cobain, a troubled young man with strict indie-culture ethics, into mega-celebrity.
“I could sort of hear the ‘Hello, hello’ part and the chords,” Vig said years later. “But it was so indecipherable that I had no idea what to expect.” “Teen Spirit” was Cobain’s attempt to “write the ultimate pop song,” he said, using the soft-loud dynamic of his favorite band, the Pixies. The insidious hooks also showed his admiration for John Lennon. Cobain “had that dichotomy of punk rage and alienation,” Vig said, “but also this vulnerable pop sensibility. In ‘Teen Spirit,’ a lot of that vulnerability is in the tone of his voice.”
Sadly, by the time of Nirvana’s last U.S. tour, in late 1993, Cobain was tortured by the obligation to play “Teen Spirit” every night. “There are many other songs that I have written that are as good, if not better,” he claimed. But few songs by any artist have reshaped rock and roll so immediately, and permanently.
“I wrote it. I didn’t fail. It was straight,” Bob Dylan said of his greatest song shortly after he recorded it in June 1965. There is no better description of “Like a Rolling Stone” — of its revolutionary design and execution — or of the young man, just turned 24, who created it.
Dylan began writing an extended piece of verse — 20 pages long by one account, six in another — that was, he said, “just a rhythm thing on paper all about my steady hatred, directed at some point that was honest.” Back home in Woodstock, New York, over three days in early June, Dylan sharpened the sprawl down to that confrontational chorus and four taut verses bursting with piercing metaphor and concise truth.
Before going into Columbia Records’ New York studios to cut it, Dylan summoned Mike Bloomfield, the guitarist in the Paul Butterfield Blues Band, to Woodstock to learn the song. “He said, ‘I don’t want you to play any of that B.B. King shit, none of that fucking blues,’” recalled Bloomfield (who died in 1981). “‘I want you to play something else.’”
Just as Dylan bent folk music’s roots and forms to his own will, he transformed popular song with the content and ambition of “Like a Rolling Stone.” And in his electrifying vocal performance, his best on record, Dylan proved that everything he did was, first and always, rock & roll. “‘Rolling Stone’ is the best song I wrote,” he said flatly at the end of 1965. It still is.
In 1963, Sam Cooke — America’s first great soul singer and one of the most successful pop acts in the nation, with 18 Top 30 hits since 1957 — heard a song that profoundly inspired and disturbed him: Bob Dylan’s “Blowin’ in the Wind.” What struck Cooke was the challenge implicit in Dylan’s anthem. “Jeez,” Cooke mused, “a white boy writing a song like that?”
Cooke’s response, “A Change Is Gonna Come,” recorded on January 30th, 1964, with a sumptuous orchestral arrangement by Rene Hall, was more personal — in its first-person language and the experiences that preceded its creation. On October 8th, 1963, while on tour, Cooke and members of his entourage were arrested in Shreveport, Louisiana, for disturbing the peace after they tried to register at a white motel — an incident reflected in the song’s third verse. And Cooke’s mourning for his 18-month-old son, Vincent, who drowned that June, resonates in the last verse: “There have been times that I thought/I couldn’t last for long.”
On December 11th, 1964, almost a year after he recorded it, Cooke was fatally shot at an L.A. motel. Two weeks later, “A Change Is Gonna Come” was released, becoming Cooke’s farewell address and an anthem of the civil rights movement.
Chuck D once likened “Fight the Power” to Pete Seeger singing “We Shall Overcome.” “‘Fight the Power,'” he said, “points to the legacy of the strengths of standing up in music.” Filmmaker Spike Lee had originally asked Public Enemy to write an anthem for Do the Right Thing — a movie about confronting white supremacy — so Chuck and the group’s producers, the Bomb Squad, took inspiration from the Isley Brothers’ funky “Fight the Power” and used the title as a blueprint for a whole new war cry.
In just under five minutes of scuzzy breakbeats and clarion-call horn samples, Chuck D and his foil, Flavor Flav, present a manifesto for racial revolution and Black pride with koans like “Our freedom of speech is freedom of death,” and rallying cries to rethink the basics of American life itself in lines like “Most of my heroes don’t appear on no stamps.” The song was exactly what Lee’s movie needed, so it was played over and over again, anytime the character Radio Raheem showed up with his boombox, making it an instant classic.
“I think it was Public Enemy’s and Spike Lee’s defining moment because it had awoken the Black community to a revolution that was akin to the Sixties revolution, where you had Martin Luther King or Malcolm X,” the Bomb Squad’s Hank Shocklee once said. “It made the entire hip-hop community recognize its power. Then the real revolution began.”
When Aretha Franklin left Columbia Records for Atlantic in 1966, the label’s vice president, Jerry Wexler, came to the singer with some suggestions for songs she might cover, like Sam Cooke’s “A Change Is Gonna Come” and Ray Charles’ “Drown in My Own Tears.” She liked those ideas, but she had one of her own: “Respect,” a song she’d been performing live. “Long as she changes it up,” Wexler told Franklin’s manager Ted White in an exchange recounted by Franklin’s biographer David Ritz. “You don’t gotta worry about that,” White responded. “She changes it up all right.”
Otis Redding wrote “Respect” and recorded it for the Stax/Volt label in 1965. But Franklin took possession of the song for all time with her definitive cover, cut at Atlantic’s New York studio on Valentine’s Day 1967. “Respect” was her first Number One hit and the single that established her as the Queen of Soul.
In Redding’s reading, a brawny march, he called for equal favor with volcanic force. Franklin wasn’t asking for anything. She sang from higher ground: a woman calling for an end to the exhaustion and sacrifice of a raw deal with scorching sexual authority. In short: If you want some, you will earn it. “For Otis, ‘respect’ had the traditional connotation, the more abstract meaning of esteem,” Wexler said in his autobiography, Rhythm and the Blues: A Life in American Music. “The fervor in Aretha’s magnificent voice demanded that respect and more: Respect also involved sexual attention of the highest order. What else could ‘Sock it to me’ mean?”
He was referring to the knockout sound of Franklin’s backup singers — her sisters, Carolyn and Erma — chanting “Sock it to me” at high speed, which Aretha and Carolyn cooked up for the session. The late Tom Dowd, who engineered the date, credited Carolyn with the saucy breakdown in which Aretha spelled out the title: “I fell off my chair when I heard that!” And since Redding’s version had no bridge, Wexler had the band — the legendary studio crew from Muscle Shoals, Alabama — play the chord changes from Sam and Dave’s “When Something Is Wrong With My Baby” under King Curtis’ tenor-sax solo.
There is no mistaking the passion inside the discipline of Franklin’s delivery; she was surely drawing on her own tumultuous marriage at the time for inspiration. “If she didn’t live it,” Wexler said, “she couldn’t give it.” But, he added, “Aretha would never play the part of the scorned woman.… Her middle name was Respect.”
Leading off her Atlantic debut, I Never Loved a Man the Way I Love You, “Respect” catalyzed rock & roll, gospel, and blues to create the model for soul music that artists still look to today (Mariah Carey called Franklin “my mentor”). Just as important, the song’s unapologetic demands resonated powerfully with the civil rights movement and emergent feminist revolution, fitting for an artist who donated to the Black Panther Party and sang at the funeral of Martin Luther King Jr. In her 1999 memoir, Franklin wrote that the song reflected “the need of the average man and woman in the street, the businessman, the mother, the fireman, the teacher — everyone wanted respect.” We still do.
|
|||||
1487
|
dbpedia
|
1
| 89
|
https://www.cheatsheet.com/entertainment/why-the-beatles-refused-to-release-yesterday-as-a-single.html/
|
en
|
Why The Beatles Were ‘Embarrassed’ to Release ‘Yesterday’ as a Single
|
[
"https://www.facebook.com/tr?id=1931209583834020&ev=PageView&noscript=1",
"https://www.cheatsheet.com/wp-content/uploads/2019/04/beatles-group-portrait.jpg?strip=all&quality=89",
"https://www.cheatsheet.com/wp-content/uploads/2019/06/beatles-john-paul-1965-2.jpg?strip=all&quality=89",
"https://www.cheatsheet.com/wp-content/uploads/2024/08/princess-charlotte-princess-diana.webp",
"https://www.cheatsheet.com/wp-content/uploads/2024/07/The-Golden-Bachelorette-Joan-Vassos.webp",
"https://www.cheatsheet.com/wp-content/uploads/2024/08/sister-wives-season-19-key-art-meri-brown.webp",
"https://pixel.quantserve.com/pixel/p-73816c7sp-TNg.gif",
"https://sb.scorecardresearch.com/p?c1=2&c2=27134408&cv=2.0&cj=1",
"https://www.facebook.com/tr?id=1931209583834020&ev=ViewContent&noscript=1&cd%5Bpage_title%5D=Why+The+Beatles+Were+%27Embarrassed%27+to+Release+%27Yesterday%27+as+a+Single&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=1149032&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.cheatsheet.com%2Fentertainment%2Fwhy-the-beatles-refused-to-release-yesterday-as-a-single.html%2F",
"https://www.facebook.com/tr?id=1931209583834020&ev=PageView&noscript=1&cd%5Bpost_category%5D=Entertainment%2C+Music&cd%5Bpage_title%5D=Why+The+Beatles+Were+%27Embarrassed%27+to+Release+%27Yesterday%27+as+a+Single&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=1149032&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.cheatsheet.com%2Fentertainment%2Fwhy-the-beatles-refused-to-release-yesterday-as-a-single.html%2F"
] |
[
"https://www.youtube.com/embed/fCV9oqtwyVA?feature=oembed"
] |
[] |
[
""
] | null |
[
"Eric Schaal"
] |
2019-06-13T03:25:23+00:00
|
'Yesterday' stands as one of the most popular songs The Beatles ever recorded. Here's why the Fab Four never released as a single in the UK.
|
en
|
Showbiz Cheat Sheet
|
https://www.cheatsheet.com/entertainment/why-the-beatles-refused-to-release-yesterday-as-a-single.html/
|
Few songs are as well known as “Yesterday,” the Paul McCartney classic that went out on The Beatles’ Help! album in 1965. In fact, when BMI rounded up the most-played songs of the 20th century, it landed at No. 3 with more than 7 million radio airplays. (That count came 19 years ago.)
For a band that had rocked to No. 1 in America with tracks like “I Want to Hold Your Hand” and “She Loves You,” fans definitely got a different look with “Yesterday.” For starters, none of Paul’s bandmates appeared on the record.
There was no harmonizing from John Lennon, no guitar work by George Harrison, and not even a lick by Ringo. In their place, you hear a string quartet accompanying Paul on acoustic guitar.
For that reason, the band that grew up on Elvis Presley and Chuck Berry never got excited about releasing the tune as a UK single. Though it became a smash hit in the U.S., The Beatles made sure that didn’t happen in England.
Paul said The Beatles were ‘a little embarrassed’ about ‘Yesterday.’
While Paul McCartney’s solo work definitely showcased his softest side years later, that wasn’t the case in ’65. The Beatles still considered themselves the band that shouted out “Twist and Shout” and clanged through rockers like “Ticket to Ride.”
According to Paul, the idea of the group being represented by him alone with a string quartet didn’t quite fit their image. “We didn’t release ‘Yesterday’ as a single in England at all,” Paul said in Anthology. “We were a little embarrassed about it — we were a rock ‘n’ roll band.”
However, most Beatles fans didn’t make this distinction at the time. The Fab Four wasn’t shy about releasing and marketing it as a single in America, and that decision paid off handsomely: “Yesterday” hit No. 1 in October and didn’t let go for four weeks.
In the following years, you couldn’t turn on the radio in the U.S. without hearing it, and that tradition has pretty much kept for the following half-century. It happens to be the most-covered song of all time.
Even Paul’s toughest critic acknowledged the genius of ‘Yesterday.’
If you wonder why Paul and the band would have been embarrassed about a tune like “Yesterday,” it’s probably wise to look to one of his biggest critics — his bandmate and longtime songwriting partner John.
Lennon was always the biggest rock and roller in the band (not to mention one to get Paul’s goat). Yet John gave Paul credit where it was due. Looking back on their work shortly before his murder, John described ‘Yesterday” as “well done” and “beautiful” while adding he never wished he’d written it.
That was about as high a compliment as John ever gave Paul in public (or in private). In fact, when John released his takedown track of Paul (“How Do You Sleep?”) on Imagine, he sang, “The only thing you done was ‘Yesterday.'” Even John had to pause to pay his respects.
When your longtime partner has to acknowledge the genius of a song in the midst of trashing you, you’ve done one hell of a job. To this day, it remains a highlight of Paul McCartney concerts.
|
|||||
1487
|
dbpedia
|
0
| 92
|
https://www.watercoolertrivia.com/trivia-questions/pop-music-trivia-questions
|
en
|
144 Pop Music Trivia Questions (Ranked From Easiest to Hardest)
|
[
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033ba99754c24_Logo_Marine_1%403x%20(2).png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033819d754a11_Menu%20white.svg",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033ba99754c24_Logo_Marine_1%403x%20(2).png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033819d754a11_Menu%20white.svg",
"https://cdn.prod.website-files.com/621efa0a4ba0337cca7549d6/63a32ca45f306e7e4d9dd4ea_635a993816387512f7111694_Swift%252C_Taylor_(2007)%2520(1).jpeg",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033f0b3754ba8_image%2092.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba0333634754ba9_image%2094.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/6615723edfa9b216e3ae0bdf_360_F_540916117_1GCgjToslnZoMDc1UEUUuKjGV6bYUsWW.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba033b70c754bae_image%20101.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/6303d02b5c898824df6da944_Marriott_hotels_logo14.svg.png",
"https://cdn.prod.website-files.com/621efa0a4ba0337cca7549d6/6399e6fae916b027f9c18d56_635abd7dd1ec6981e8b3b589_Eli%2520Author.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba0336110754a5f_Logo_Color_1%401x.png",
"https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba0333606754c1e_Group%205%20(4).png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Are you searching high and low for the best pop music trivia questions? Just think â with all of this pop music trivia at your disposal, you could be the life of the party and win some serious bragging rights.
|
https://cdn.prod.website-files.com/621efa0a4ba033ccbc7549d2/621efa0a4ba0336276754a6c_favicon.ico
| null |
Are you searching high and low for the best pop music trivia questions?
Just think â with all of this pop music trivia at your disposal, you could be the life of the party and win some serious bragging rights.
Whether youâre a fan of current hits or classic throwbacks, these questions will put your group's knowledge to the test.
Let's face it, we all love a good pop song.
They're catchy, make us feel good, and are just plain fun to listen to.
But how much do you really know about the singers and songs that make up your favorite genre?
Before we take a dive into our handpicked pop culture trivia questions and answers, we want to tell you a bit about Water Cooler Trivia.
Every week, Water Cooler Trivia will deliver fresh pop culture trivia quizzes straight to your inbox.
With plenty of trivia categories to choose from, there's something for everyone.
Oh, and the best bit?
We offer a four-week free trial - so you can take Water Cooler Trivia for a test drive without making any commitments.
144 Pop Music Trivia Questions Ranked From Easiest to Hardest (Updated For 2024)
In 2014, Megan Trainor was all about what low-end frequency in a musical range? (No treble!)
Answer: Bass
âMy Worldâ was the 2009 debut EP of which Canadian teen pop idol who was certainly not âSorryâ that his mega-hit âBabyâ got permanently lodged in your brain?
Answer: Justin Bieber
What 2013 Miley Cyrus song claims she came in like the titular construction item, and swings on the same item in the music video?
Answer: Wrecking Ball
Harry Truman is the first of several U.S. Presidents named in what "flaming" 1989 number-one hit song by Billy Joel?
Answer: We Didn't Start The Fire
âAt first I was afraid, I was petrified,â is the opening lyric of what 1978 groovy Gloria Gaynor hit?
Answer: âI Will Surviveâ
She went on to have a successful solo career which saw her win a Grammy Award in 2002 for "Let Me Blow Ya Mind" - who was the lead singer of the band No Doubt?
Answer: Gwen Stefani
Formed in 2005, Nick, Joe, and Kevin form what family pop rock band that rose to popularity on the Disney Channel? Their songs include âXâ, âLeave Before You Love Meâ, and âSucker.â
Answer: Jonas Brothers
Canadian pop star Justin Bieber partnered with what coffee-and-donuts chain in 2021 to rebrand their donut holes as "Timbiebs?"
Answer: Tim Hortons
What 1982 Toto song, whose title is a continent, experienced a resurgence in popularity in 2018 when Weezer covered the song?
Answer: Africa
In her 2005 hit âHung Upâ Madonna sampled âGimme! Gimme! Gimme! (A Man After Midnight)â by which Swedish supergroup?
Answer: ABBA
Also the solo singer of "Oh Sherrie" and "Foolish Heart," Steve Perry is probably best known as the sometime frontman of what "Don't Stop Believin'" band?
Answer: Journey
Because she was disparagingly called a âcheerleaderâ by the former lead vocalist of the alternative rock band Hole, Gwen Stefani released âHollaback Girlâ as a diss track to what singer formerly married to Kirk Cobain?
Answer: Courtney Love
In 2008, which former NSYNC member, Madonna, and Timbaland only had â4 Minutesâ to save the world when they recorded the chart-topping single from Madonnaâs 11th studio album âHard Candy?â
Answer: Justin Timberlake
Who was the most streamed artist during the first ten years of the music service Spotify (2008 - 2018)? This Canadian rapper, singer, and songwriter performs under his real middle name.
Answer: Drake
Though the awards are split between her solo work and work as part of a group, which American singer has been awarded the highest number of VMAs, the highest number of Grammys awarded to a woman, and in 2022 performed her nomination for Best Song, "Be Alive", at the Academy Awards ceremony?
Answer: Beyoncé
Which pop star left her teenage dreams behind when she dropped her third album, âPrism,â in 2013 with edgier hits like âRoarâ and âDark Horse?â
Answer: Katy Perry
Despite being all of 30 years old, which former Disney star released a chart-topping song called âUsed to Be Youngâ in 2023?
Answer: Miley Cyrus
What is the stage name of the Canadian musician born Abel Makkonen Tesfay? This stage name might be seen on a calendar with poor spelling. This artist holds several chart records including being the first to simultaneously hold the top three positions on the Billboard Hot R&B Songs chart with "Can't Feel My Face", "Earned It," and "The Hills."
Answer: The Weeknd
What one-named pop star and former frontman of The Police got his name from a habit of wearing yellow-and-black-striped sweaters in his youth?
Answer: Sting
Named after a 1950 blues song by Muddy Waters and a 1965 Bob Dylan hit, what magazine's list of âThe 100 Greatest Artists of All Timeâ includes these top three selections: Elvis Presley, The Rolling Stones and The Beatles?
Answer: Rolling Stone
They're out of this world - the winners of an MTV Video Music Award (VMA) receive a 12-inch statuette depicting someone of what occupation?
Answer: Astronaut
Despite only recording three albums as a group, you could still call them "well-seasoned." With over 100 million record sales, what musical act is the best-selling girl group of all time?
Answer: The Spice Girls
In the year 2000, Kentwood, Louisiana opened a museum dedicated to which 18-year-old songstress who, along with her siblings Bryan and Jamie Lynn, calls the town home?
Answer: Britney Spears
What 1993 dance craze was brought into the world by Spanish group Los del Rio?
Answer: The Macarena
What pop singer was, somewhat predictably, asked by TIME in an interview whether she always ordered a grande size at Starbucks? She responded with: "No, sometimes I get that venti, you know? Some days thatâs what you need in your life... I love soy lattes. Obviously I donât have dairy because Iâm a vegan, but they taste out of this world to me."
Answer: Ariana Grande
Famed for her five-octave vocal range, which American pop singer is known as "Songbird Supreme", "Queen of Melisma", and "Queen of Christmas?"
Answer: Mariah Carey
Hey now! In 1999, âAll Starâ was the first single off which American rock bandâs sophomore album, âAstro Lounge," which also featured hits like a cover of Barry White's âCan't Get Enough of You, Babyâ and âThen the Morning Comesâ?
Answer: Smash Mouth
Model and actress Tawny Kitaen famously appeared in several 1980s music videos such as "Here I Go Again" and "Is This Love" for what reptilian rock band?
Answer: Whitesnake
In 2001, the American pop-rock band Train released a hit single about a girl with drops of which planet in her hair?
Answer: Jupiter
Winning her first for "Fearless" and her most recent for "folklore", which American pop singer is the only solo female artist to have won three Grammy Awards for Album of the Year?
Answer: Taylor Swift
Led by co-founders Chris Martin and Jonny Buckland, name the British rock band who took home the Record of The Year honors for their 2003 single "Clocks" at the 46th Annual Grammy Awards in 2004.
Answer: Coldplay
Her fellow cast members on the Mickey Mouse Club were Ryan Gosling, Keri Russell, and Justin Timberlake. Her first self-titled debut album in 1999 spawned three U.S. number-one singles: "Genie in a Bottle," "What a Girl Wants," and "Come on Over Baby (All I Want Is You)." Who is she?
Answer: Christina Aguilera
"Burn," "U Got It Bad," and "Yeah!" are number-one hits by what one-named singer whose stage name is also a role that might be played by friends or family at a wedding?
Answer: Usher
What pop group co-founded by Nick and Drew Lachey could technically also be known as â36.67 Celsius?â
Answer: 98 Degrees
In the summer of 2023, country singer Luke Combs had a hit with "Fast Car," originally a hit for what singer-songwriter in 1988?
Answer: Tracy Chapman
In 2000, which preteen pop star (the little brother of a Backstreet Boy) had a hit with his cover of The Strangeloveâs â60s bop, âI Want Candy?â
Answer: Aaron Carter
'NSYNC members Chris Kirkpatrick and Joey Fatone are seen running atop a moving train but never die in the iconic video for what repetitively titled 2000 hit song?
Answer: Bye Bye Bye
Whitney Houston recorded her own Billboard chart-topping cover version of Dolly Partonâs "I Will Always Love You" for what romantic 1992 film starring Kevin Costner as Houstonâs hired protector in the movie?
Answer: âThe Bodyguardâ
What 2008 song by British rock band Coldplay is roughly derived from a Spanish phrase meaning âLong Live Life?â
Answer: âViva la Vidaâ
Katy Perry has revealed that actress Scarlett Johansson was an inspiration for which 2008 hit?
Answer: I Kissed a Girl
ABBA (1974, Sweden), Celine Dion (1988, Switzerland), Conchita Wurst (2014, Austria), and Loreen (2012, Sweden) were all winners of what popular and long-running music competition?
Answer: Eurovision
Also a song by Elton John, a tour by Justin Bieber, a fragrance by Britney Spears, what "B" word is the title of both Cher's biggest-selling single and album?
Answer: Believe
Hitting number one on the Billboard Hot 100 in August 2022, "Super Freaky Girl" is the latest smash song from what "Anaconda" rapper?
Answer: Nicki Minaj
What Cuban pop sensation, who first rose to prominence as part of the girl group Fifth Harmony from âThe X Factorâ TV show, has produced such recent hits as âDonât Go Yetâ, âSenoritaâ, and âHavana?â
Answer: Camila Cabello
In 2012, Taylor Swift released her fourth studio album with hits like âWe Are Never Ever Getting Back Together,â â22,â and âI Knew You Were Trouble.â What was the colorful name of the album?
Answer: Red
Kimbra already had a top five album in New Zealand when she teamed up with Gotye for what 2012 multi-national chart-topping single?
Answer: Somebody That I Used to Know
Name this mystery fruit. It's known as the "king of fruits" in some regions. It's known for its strong odor and thorn-covered rind. If you removed one letter from this fruit's name and repeated yourself, you'd have the name of a mega-successful 80s band.
Answer: Durian
Hey, this isn't about optometry at all! "I just want you to know who I am" gets whined repeatedly at the end of "Iris," a '90s hit by what childish alt rock band?
Answer: Goo Goo Dolls
All featuring in the new Broadway jukebox musical "& Juliet", the songs "Stronger", "Overprotected", and "...Baby One More Time", were all originally performed by which pop star and icon of the 1990s?
Answer: Britney Spears
A female Swedish singer born in 1979 had two U.S. Top 10 singles on her debut album: "Do You Know (What It Takes)" and "Show Me Love." Her first name is also a homophone for red-breasted songbirds of the family Petroicidae. Who is this singer?
Answer: Robyn
With their song âNow and Thenâ, in 2023 what pop quartet achieved their 18th UK number one single, 54 years after their 17th?
Answer: The Beatles
Mika released a hit song in 2007 named after which â50s Hollywood starlet who later became the Princess of Monaco?
Answer: Grace Kelly
What was the one-word title of Jennifer Paigeâs 1998 international hit single? In a different context, this word can mean to compress or squeeze.
Answer: Crush
Before settling on their final name, this band was called âMother McCreeâs Uptown Jug Championsâ and âThe Warlocks.â Under what name did their career really take off?
Answer: Grateful Dead
Puerto Rican-born rapper Benito Antonio MartÃnez Ocasio, whose hits include "MIA" and "Dakiti," is better known by what evil, leporine stage name?
Answer: Bad Bunny
"Moesha" was a popular 1990s sitcom starring what one-named pop singer, whose hits include "Sittin' Up in My Room" and "The Boy Is Mine," in the title role?
Answer: Brandy
At the age of 13, which teen went viral for her pop music video on YouTube in 2011 that instructed us all to get down on Friday?
Answer: Rebecca Black
The late Pittsburgh rapper Mac Miller got namedropped by Ariana Grande in what break-up anthem that also gives gratitude to exes Pete Davidson and Big Sean?
Answer: thank u, next
What 1996 dance song was voted as VH1âs greatest one-hit wonder of all time? The song associated with this song is still known today.
Answer: Macarena
In 2014, viewers of Lifetimeâs âDance Momsâ were no longer the only people to know Maddie Zieglerâs name. At just 11 years old, she literally took the leap to stardom after being featured in the music video for âChandelierâ by which Australian singer-songwriter?
Answer: Sia
Michael Jacksonâs highest selling album is Thriller which sold 66 million copies. However, what is his second highest selling album, at 45 million copies?
Answer: Bad
Daniel Powter is a Canadian singer-songwriter that rose to fame as his song spent five weeks atop the Billboard charts in 2005. The song featured prominently in video montages of American Idol contestants who were eliminated from the show. What was Powter's two-word smash hit?
Answer: Bad Day
Kesha (the artist formally known as Ke$ha) broke out with her debut album âAnimalâ in 2010 with hits like âTiK ToKâ and âYour Love is My Drug.â But she was actually first heard on the radio the year before on the song âRight Roundâ by which rapper?
Answer: Flo Rida
I Need To Know if you know this singer (and ex-hubsand of Jennifer Lopez) who received a Guinness World Record for his best-selling tropical/salsa albums.
Answer: Marc Anthony
As of December 2022, "Old Town Road" is the fastest song ever to be certified Diamond. The song is a duet between Little Nas X and what singer? This singer is known for, among other things, his role on the television show "Hannah Montana."
Answer: Billy Ray Cyrus
The Beatles have the record for the most songs to reach number 1 on the Billboard Hot 100, but which artist, who had 19 songs hit number 1 between 1990 and 2019, has the record for an individual?
Answer: Mariah Carey
Adele has released four studio albums to date, each titled with a two-digit number. If you added up these four numbers, what would the result be? (Hint: It's still a two-digit number)
Answer: 95
Mitsuki Miyawaki is the real name of what Japanese-American singer-songwriter behind albums like Be the Cowboy, Laurel Hell, and 2023's The Land is Inhospitable and So Are We?
Answer: Mitski
"Olivia Rodrigo: driving home 2 u" is a movie about Olivia's trip from Salt Lake City to L.A. while writing her debut album titled what?
Answer: SOUR
Before she topped the pop charts singing about her âDrivers License,â what singer-actress starred in Disneyâs âHigh School Musical: The Musical: The Series?â
Answer: Olivia Rodrigo
John Mellencamp released his 1982 hit single âJack & Dianeâ using what unique ferociously mammalian surname as part of his performance name?
Answer: Cougar
âWho Will Save Your Soulâ was the first song ever released from this American singer and songwriterâs 1995 debut studio album âPieces of You.â Name this monomynous pop star.
Answer: Jewel
According to the Spice Girlsâ 1996 hit âWannabe,â âIf you wanna be my lover, You gotta get with myâ what?
Answer: Friends
In what Swiss resort was the first Eurovision contest held in 1956, with the host country winning?
Answer: Lugano
Featured on her debut EP âThe Time of Our Lives,â Miley Cyrus released a single on August 4, 2009, about a âParty inâ what initialed geographical location?
Answer: The USA
The singer of the monster 1980 hit âJessieâs Girl," Rick Springfield was born in what country that's home to the town of Alice Springs and the sports venue Endeavour Field?
Answer: Australia
Although you might have never seen the film, the '80s film "Risky Business" is best known for the scene where a young Tom Cruise slides into a room wearing socks and underwear lip-syncing the lyrics to what singer's 1979 hit âOld Time Rock and Rollâ?
Answer: Bob Seger
During Katy Perry's performance of "Swish Swish" on a 2017 episode of "Saturday Night Live," Russell "The Backpack Kid" Horning helped popularize what arm-swinging dance craze that also sounds like something you should use and do to practice good oral hygiene?
Answer: The Floss
What name is shared by both the cartoon band led by the eponymous shark Jabberjaw in a 1960s TV show, and the influential production duo of Chad Hugo and Pharrell Williams?
Answer: The Neptunes
Each of crooner Tony Bennett's final three albums before his death were duets: Love is Here to Stay with Diana Krall, and Cheek to Cheek and Love for Sale, both recorded with what pop superstar?
Answer: Lady Gaga
What song, which shares its rhyming title with a 2003 movie, came in at #1 on Billboard's Best Songs of 2023 list?
Answer: Kill Bill
"Chicha" is a Peruvian subgenre of what musical genre found in South and Central America, having originated in coastal Colombia?
Answer: Cumbia
What's the better-known name of English pop star Charlotte Emma Aitchison, whose stage name is taken from the MSN Messenger display name she used as a young teen?
Answer: Charli XCX
Madonna, Kid Rock, and the White Stripes are just a few of the popular music stars associated what U.S. state, which is perhaps best known for the genre which includes The Temptations, Berry Gordy, and Stevie Wonder?
Answer: Michigan
Which singer did Rolling Stone magazine claim "broke the internet" in 2023 by teaming up with Bizzarap to create a diss track aimed at her ex-partner Gerard Piqué?
Answer: Shakira
ABBA is the highest-selling musical act from Sweden, but what pop-rock duo, consisting of Marie Fredriksson and Per Gessle, comes second, beating out Ace of Base, Avicii and The Cardigans?
Answer: Roxette
Due to having parents from the Balkan Peninsula, pop stars Dua Lipa, Bebe Rexha, Ava Max, and Rita Ora all speak what A-word Eastern European language?
Answer: Albanian
Wizkid is a singer, songwriter, and one of the most successful African artists ever. What country does he come from?
Answer: Nigeria
With over 100 million records sold, which group is regarded as the biggest selling boy band of all time? This group was formed in 1993.
Answer: Backstreet Boys
Bizzy Bone, Wish Bone, Layzie Bone, Krayzie Bone, and Flesh-n-Bone are the sweetly singing members of what Cleveland hip hop group?
Answer: Bone Thugs-N-Harmony
Any construction fans out there? What song, which topped VH1's list of the top "awesomely bad" songs of all time, was released in 1985 by the band Starship?
Answer: We Built This City
His life's been quite a trip! Before becoming a judge on American Idol, Randy Jackson was probably best known for playing bass guitar for which Steve Perry-fronted band on their album Raised on Radio?
Answer: Journey
"Who killing them in the UK? Everybody gonna say 'You, K!'" raps Kanye West in a featured appearance of what 2008 song by London-born rapper Estelle?
Answer: American Boy
Eddie Murphy and Magic Johnson appeared in the music video âRemember the Timeâ in 1992, which one of the longest of all time. Who sung the song?
Answer: Michael Jackson
Which one-hit wonder pop band consisting of a trio of brothers is best known for a single released from their album âMiddle of Nowhereâ in 1997?
Answer: Hanson
Getting ready for the upcoming flick from Greta Gerwig, Nick Minaj and Ice Spice dropped what summer 2023 bop that samples the classic âlife in plastic, itâs fantasticâ hit by Aqua?
Answer: Barbie World
Although she's since been surpassed by Drake and Taylor Swift, what artist's 2005 single "Hung Up" gave her a 36th top ten US hit, then the most of all time?
Answer: Madonna
Described by Entertainment Weekly as a âtherapeutic banger,â what is the name of the 2020 dance-pop hit by Lady Gaga and Ariana Grande?
Answer: Rain on me
Which singer-songwriter from England topped the pop charts with her debut album âLightsâ in 2010, and was nominated for her first Grammy for âLove Me Like You Doâ (which she recorded for the âFifty Shades of Greyâ soundtrack) in 2015?
Answer: Ellie Goulding
I guess the flag is a big plus: Although she was born and raised in Quebec, Canada, Celine Dion represented what country in the 1988 Eurovision contest?
Answer: Switzerland
In October 2022, "Heat Waves" tied the record for longest consecutive time spent on the Billboard Hot 100. With its 90th week on the list, the song tied "Blinding Lights" by The Weeknd for the record. What band sings "Heat Waves?"
Answer: Glass Animals
What female rapper, whose legal name is Isis Naija Gaston, released a popular Billboard chart-topping remix of âPrincess Dianaâ with Nicki Minaj on April 14, 2023?
Answer: Ice Spice
Ella Marija Lani Yelich-O'Connor, who goes by a one-word stage name, has said that she added an "e" at the end of the name to make it feel more feminine. Who is this "Melodrama"tic signer?
Answer: Lorde
What's the name of Taylor Swift's 10th studio album, which includes tracks like âLavendar Haze,â âAnti-Hero,â and âMaroon?"
Answer: Midnights
What 2019 single galloped to the top of the Billboard Hot 100, staying at #1 for a record-breaking nineteen weeks?
Answer: Old Town Road
Pop singer Camila Cabello was born in CojÃmar, a district of which capital city?
Answer: Havana
âElla Baila Solaâ by Eslabon Armado and rapper Peso Pluma topped the global Billboard Charts in the first half of 2023. What country is Pluma from?
Answer: Mexico
Cincinnati is the hometown of what âbrotherlyâ R&B act, that had a series of hits from the 1950s to the 1970s, such as âThat Ladyâ and the original version of âTwist And Shout?â
Answer: Isley Brothers
Sia Isobelle Furler, better known by the stage name "Sia", is famed for her split white and black hair, large bows, and songs such as "Chandelier" and "Cheap Thrills". What country is she from?
Answer: Australia
Known for singles (and videos) such as "Take On Me," 1980s pop group a-ha came from what Scandinavian country?
Answer: Norway
What girl group consisting of Jade Thirlwall, Perrie Edwards, and Leigh-Anne Pinnock, rose to prominence after winning the first British âX Factorâ in 2011? Their two-word name implies they are a small combination, and indeed only have 3 members (previously 4).
Answer: Little Mix
âBreakawayâ was a hit for Kelly Clarkson, the first track on her sophomore album of the same name. But the jam was actually written by which punk rock chic of the early 2000s?
Answer: Avril Lavigne
Which American singer-songwriterâs albums, âThe Spirit Roomâ and âHotel Paper,â were in heavy rotation in the early 2000s with hits like âEverywhere,â âAre You Happy Now?,â and âBreathe?â
Answer: Michelle Branch
In 1991, who was âso gladâ she had a hit with âBaby, Baby,â the first single off her eighth album, âHeart in Motion?â
Answer: Amy Grant
Although she's never won a Grammy, she has won multiple Grammisâthe Swedish equivalent of The Grammysâincluding three song of the year awards for âBe Mineâ (2006), âDancing on my Ownâ (2011), and âMissing Uâ (2019). Who is she?
Answer: Robyn
The Weeknd, Nicki Minaj, and Doja Cat are all multi-time collaborators with which female pop star and former coach on âThe Voice?â
Answer: Ariana Grande
What rapper and singer first rose to prominence after auditioning for the Glee Project in 2011, and later released the albums âCarnivalâ and âMiss You A Little?â His last name sounds like a climbing woody-stemmed grape plant.
Answer: Bryce Vine
What singer-songwriter goes by a one-word stage name that adds the letter "C" to his first name by birth? He won a surprise Grammy Album of the Year award in 2015 for his album "Morning Phase."
Answer: Beck
What Taylor Swift pop album was covered by Ryan Adams in its entirety, even down to the name of the album? It included songs such as "Blank Space" and "Shake It Off."
Answer: 1989
In 2006, which American alt-rock band released âCall Me When Youâre Soberâ (which had actually leaked online before it was officially released as a single from their album âThe Open Doorâ).
Answer: Evanescence
Famous for their hit âAll the things she saidâ in the early 2000s, pop duo tATu hail from which country found in Europe?
Answer: Russia
Michael Jackson got the nickname âKing of Popâ at the 1989 Soul Train awards, when he was described as the âtrue king of pop, rock and soulâ by which Hollywood legend?
Answer: Elizabeth Taylor
Lonnie Rashid Lynn, Jr was born in Chicago's Hyde Park neighborhood to a former professional basketball player and educator. After almost a dozen years in the music industry, he earned his first (of many) acting credits in 2003, appearing on the the sitcom "Girlfriends." What one-word moniker is he better known by?
Answer: Common
Itâs a fact that weâre gonna get down to it, so tell me: In 2003, âWhy Canât I?â was a chart-topping, certified gold single off which American singer-songwriterâs self-titled album?
Answer: Liz Phair
Everyone remembers Kanye West interrupting Taylor Swift at the 2009 Video Music Awards when she was accepting an award for Best Female Video. However, for which song/video was Swift accepting the award for?
Answer: You Belong With Me
Peter Gene Hernandez is the real name of what famous pop star who was born in Honolulu, Hawaii on October 8, 1985?
Answer: Bruno Mars
Before her original song âOne Dayâ went viral on TikTok and her singles âYou Broke Me Firstâ and âgreedyâ became international hits, which Gen Z pop star was known for being the first Canadian to be a finalist on the reality show So You Think You Can Dance?
Answer: Tate McRae
"Hallucinate", "Levitating", and "Don't Start Now" are among the pop and disco inspired singles taken from which somewhat contradictorily named Dua Lipa album released in 2020?
Answer: Future Nostalgia
Fireboy DML and Ed Sheeran collaborated on a 2021 song that became a hit in 2022. What is the name of this song, also a country in South America?
Answer: Peru
What was the name of the founder of the groups *NSYNC and Backstreet Boys, who was later jailed for 25 years for defrauding investors in his company?
Answer: Lou Pearlman
What is the yoink-able two-word name shared by a 1971 Rolling Stones album and an Aussie indie rock band formed in Sydney in 2008?
Answer: Sticky Fingers
English singer Robin Scott had his greatest success performing as what letter of the alphabet, as which he released the song âPop Muzikâ in 1979?
Answer: M
2001's "Hit 'Em Up Style (Oops!)" was the debut single for what colorfully named R&B singer-songwriter?
Answer: Blu Cantrell
Born with the name Onika Tanya Maraj in 1982, rapper Nicky Minaj was born in which Caribbean country?
Answer: Trinidad and Tobago
Bounce, a genre of hip-hop that includes call-and-response motifs and which is represented by stars like Big Freedia, is associated most closely with what Southern U.S. city?
Answer: New Orleans
Also known as SNSD, what South Korean female group formed in 2007, currently with eight members, has had international success with songs such âGee?â They have a message of positivity and female empowerment.
Answer: Girls' Generation
In September 2010, millions of viewers were in shock and awe after seeing Lady Gaga sport her infamous meat dress to what awards show?
Answer: MTV Video Music Awards
Dembow is a genre of music, an offshoot of reggaeton, which became popular in what Caribbean nation before spreading to the rest of Latin America?
Answer: Dominican Republic
Their name sounds like itâs just one dude, but itâs actually a group of Danish dudes with a hit song that reminded you that once, you were 7 years old. (Hint: It became a chart-topping hit after they performed it on Conan in 2015)
Answer: Lukas Graham
In 2009, which American electropop band that gave us âSnakes on a Plane (Bring It)â released a jam with Leighton Meester called âGood Girls Go Bad?â
Answer: Cobra Starship
By what name is the K-Pop boy band BTS also known? They debuted in 2013 in Korea with the album "2 Cool 4 Skool."
Answer: Bangtan Boys
In 2008, Leona Lewis topped the global pops charts with âBleeding Love,â but the song was originally written and recorded by which former member of the boy band Dream Street who also played JR Chandler for a few years on âAll My Children?â
Answer: Jesse McCartney
Michael Jackson (and his brother Jermaine) provided background vocals for the 1984 hit song "Somebody's Watching Me" by what musician?
Answer: Rockwell
Better Oblivion Community Center and boygenius are "supergroups" that include what singer-songwriter behind the 2020 album Punisher?
Answer: Phoebe Bridgers
What makes pop music trivia so engaging?
For one, it's the perfect way to test your knowledge of songs, singers, and musical history.
Plus, with so many songs out there, the possibilities for pop music trivia questions are endless.
To help you get started, we've put together a list of 175 pop music trivia questions and answers on your favorite hits.
From chart toppers to one-hit wonders, these questions cover a range of artists and genres.
How can you create the perfect pop music trivia quiz?
With Water Cooler Trivia in your corner, of course!
As the leading provider of trivia quizzes, we can help you create a quiz that's tailored to your interests.
In just a few clicks, you'll have a professional-grade quiz that's ready to share with friends, family, and co-workers.
Every week, you'll receive a new trivia quiz with fresh content.
Better yet, you can enjoy quizzes without spending a dime initially.
|
||||||
1487
|
dbpedia
|
1
| 31
|
https://www.udiscovermusic.com/stories/the-rolling-stones-out-of-our-heads-album/
|
en
|
‘Out Of Our Heads’: The Rolling Stones On The Brink Of Insanity
|
[
"https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png",
"https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/uDiscover-Music-logo-450x54.webp 450w, https://media.udiscovermusic.com/img/uDiscover-Music-logo-900x108.webp 900w",
"https://media.udiscovermusic.com/img/uDiscover-top-site-230-site-logo.png 230w, https://media.udiscovermusic.com/img/uDiscover-top-site-460-site-logo.png 460w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2019/08/The-Rolling-Stones-Out-Of-Our-Heads-US-album-cover-820-820x820.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FnrIPxlFzDi0%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Unapologetic.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Unapologetic.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Rated-R.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Rated-R.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Good-Girl-Gone-Bad.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Good-Girl-Gone-Bad.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/tom-petty-long-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby.jpg 1000w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/rod-stewart-merry-christmas-baby-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/zappa-apostrophe-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944.jpg 1000w",
"https://www.udiscovermusic.com/wp-content/uploads/2021/08/Charlie-Watts-GettyImages-968028944-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2021/01/sting-desert-rose-single-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-1536x1536.jpg 1536w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-2048x2048.jpg 2048w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta.jpg 825w",
"https://www.udiscovermusic.com/wp-content/uploads/2020/09/The-Police-Zenyatta-Mondatta-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2021/02/Shania-Twain-Any-Mine-Of-Mine-Press-Shot-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2021/02/Shania-Twain-Any-Mine-Of-Mine-Press-Shot-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2021/02/Shania-Twain-Any-Mine-Of-Mine-Press-Shot.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2021/02/Shania-Twain-Any-Mine-Of-Mine-Press-Shot-400x240.jpg 400w",
"https://www.udiscovermusic.com/wp-content/uploads/2021/02/Shania-Twain-Any-Mine-Of-Mine-Press-Shot-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374.jpg 1000w",
"https://www.udiscovermusic.com/wp-content/uploads/2020/08/Gospel-Music-GettyImages-85001374-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-400x240.jpg 400w",
"https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-590x354.jpg",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Loud.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Loud.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Talk-That-Talk.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Talk-That-Talk.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-A-Girl-Like-Me.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-A-Girl-Like-Me.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif"
] |
[] |
[] |
[
""
] | null |
[
"Richard Havers"
] |
2024-07-30T04:09:41+00:00
|
With the ‘Out Of Our Heads’ album, The Rolling Stones penned their first truly classic song and found themselves thrust into global stardom.
|
en
|
uDiscover Music
|
https://www.udiscovermusic.com/stories/the-rolling-stones-out-of-our-heads-album/
|
With their 1965 album Out Of Our Heads, The Rolling Stones exuded confidence and discovered a personality and panache in their songwriting that would help them become one of the greatest bands in history. In America, London Records released the first version of Out Of Our Heads on July 30, 1965, and the album became the Stones’ first No.1 on the Billboard charts. The UK version, issued by Decca Records, came out two months later, on September 24, and featured some significant differences in the tracklisting.
The background
The Rolling Stones started out as a blues band in 1962, playing small venues such as The Ealing Club in London, and by the summer of 1965 they were one of the most popular bands in the UK. On July 29 that year, the Stones visited Decca’s offices in London to sign a new recording contract. They had been with the label for two years and had already justified the faith placed in them by A&R man Dick Rowe. In Decca’s boardroom that day was their chairman, Sir Edward Lewis – then 65 and a man who never really understood the group – along with various other executives.
Each member of the band received a check for £2,500, as a guarantee against their first year’s earnings; the deal went on to provide them with ten annual payments of $7,000 from Decca Records. The day after the band’s meeting with the label, The Rolling Stones’ fourth US album was released. Out Of Our Heads had been recorded between November 1964 and May 1965 at sessions in Chess Studios in Chicago, Regent Sound Studios in London, and RCA Studios in Hollywood.
ADVERTISEMENT
Listen to the US version of Out Of Our Heads.
The US version of Out Of Our Heads
The US version of the album opens with a raw take on Don Covay’s “Mercy Mercy,” one of six songs that would also appear on the UK pressing. Four other crossover songs were covers of hits by soul singers – Marvin Gaye’s “Hitch Hike,” Solomon Burke’s “That’s How Strong My Love Is” and Sam Cooke’s “Good Times” and “Cry To Me” – along with a song the band had written together called “The Under Assistant West Coast Promotion Man.”
That song was credited to Nanker Phelge, a pseudonym the band used for group compositions. In his book Rolling With The Stones, Bill Wyman, who played bass and sang backing vocals on the album, said that the made-up name was a blend of Nanker (a name the band gave to the gurning expressions guitarist Brian Jones sometimes pulled) and the surname of a former flatmate (Jimmy Phelge). The song “Play With Fire,” which featured Phil Spector playing downtuned electric guitar, and harpsichord by Jack Nitzsche, was also given the pseudonymous credit.
The breakthrough element of Out Of Our Heads, however, came with three songs the Stones wrote themselves and which bore the (misspelled) “Jagger; Richard” stamp: “The Last Time,” “The Spider And The Fly” and “(I Can’t Get No) Satisfaction.” “The Last Time,” which became the Stones’ second Top 10 hit in America, was a swaggering joy, and “The Spider And The Fly” was a sensuous treat. It was, however, “Satisfaction” that marked a true turning point for the Stones.
On “Satisfaction,” Jagger found the theme – petulant dissatisfaction – that best suited the persona he had been developing, and Richards created the first of many guitar lines that would soon see him hailed as “The Human Riff.” The British music weekly Melody Maker reported Jagger saying at the time, “We cut ‘Satisfaction’ in Los Angeles… We liked it, but didn’t think of it as a single. We weren’t too happy about the single, as we hadn’t thought of it that way, but now, of course, we are happy.”
The song seemed to capture the spirit of the times. After being released as a single in America, it knocked Four Tops’ “I Can’t Help Myself (Sugar Pie Honey Bunch)” off the top spot and remained at No.1 for a month.
As well as a live version of Bo Diddley’s “I’m Alright,” which had featured on their Got LIVE If You Want It! EP, the US version of Out Of Our Heads included the two-minute bluesy Jagger-Richards’ pop song “One More Try,” which showcased the dynamic drumming of Charlie Watts.
The whole album encapsulated the sound of a band having fun – a contrast to the moody black-and-white photo, taken by leading British photographer David Bailey, that appeared on the album cover.
The UK version of Out Of Our Heads
When Decca released Out Of Our Heads in the UK that September, The Stones had become a global sensation – their concert at Dublin’s Adelphi Theatre earlier that month had been abandoned after 12 minutes because so many fanatical young fans stormed the stage. With Out Of Our Heads already out in the US, the album’s UK release was eagerly anticipated and it quickly reached No.2 in the charts.
For the UK version, Decca retained six songs from the US edition (“Mercy, Mercy,” “Hitch Hike,” “That’s How Strong My Love Is,” “Good Times,” “Cry To Me,” and “The Under Assistant West Coast Promotion Man”) and included six new Stones songs that would appear in the US on later albums.
Among the UK-only songs that featured on Out Of Our Heads was “She Said Yeah,” which had originally been released by Larry Williams in the late 50s. It was a popular choice of cover for British bands in the 60s, with The Animals recording a version and The Beatles also being big fans of the song.
“Talkin’ About You” was a cover of a Chuck Berry hit for Chess Records, while “Oh Baby (We Got A Good Thing Going)” was written by American blues musician Barbara Lynn, and had already appeared in the US on the group’s third stateside album, The Rolling Stones, Now! The three other new songs to feature on the UK Out Of Our Heads were all Jagger-Richards originals: “Gotta Get Away,” “Heart Of Stone,” and “I’m Free.”
The UK album cover
The cover for the UK album was a photograph by 19-year-old Gered Mankowitz, who was chosen by the Stones’ producer/manager, Andrew Loog Oldham, because David Bailey had been unavailable to do a bespoke UK shot. Mankowitz’s close-up photograph of the Stones helped cement their image in the mid-60s.
“My work with the Stones was based on honesty, a desire to communicate something about the Stones as people and not try and mask their personalities with any sort of technical or theatrical embellishments,” Mankowitz said in 2015. “I think that that’s why Andrew Loog Oldham liked the pictures and why the band were happy to work with me for such a long period of time, because I photographed them as they were.”
Out Of Our Heads was a stunning success on both sides of the Atlantic and paved the way for 1966’s Aftermath, an album that was full of original compositions by Jagger and Richards – who by now had become assured songwriters in their own right.
|
|||||
1487
|
dbpedia
|
0
| 47
|
https://clickit2bidit.hibid.com/lot/206069810
|
en
|
Hibid
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1487
|
dbpedia
|
3
| 12
|
https://www.imdb.com/list/ls076954447/
|
en
|
The 100 Greatest Pop/Rock Bands
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:142-7657038-2182064:SD7EG2KJ8CC8QBYRA043$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DSD7EG2KJ8CC8QBYRA043:0",
"https://m.media-amazon.com/images/M/MV5BMjA2ODY1MDA5MV5BMl5BanBnXkFtZTcwNjU1MzIyOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg3MTY3NDQxOF5BMl5BanBnXkFtZTcwNjAwMDU4Mg@@._V1_QL75_UY60_CR5,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzA1NzM5NjE2OV5BMl5BanBnXkFtZTcwMDI2NjA4OA@@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BODU1OWY4ZWYtMWZjZC00MGVmLWFiOWYtNmIyMmI4NDdkOTJlXkEyXkFqcGc@._V1_CR0,150,1079,1619_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BZmMwNThmODAtY2UwMy00MTk0LTkwNGQtNGU2NjM5YTRkYWJjXkEyXkFqcGdeQXVyNDUzOTQ5MjY@._V1_QL75_UY60_CR3,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BNzQyNzYyMjMwNV5BMl5BanBnXkFtZTcwNTUwODgwMw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY4OTA5MDYzOF5BMl5BanBnXkFtZTcwMDU4MDAxMw@@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYjJlNDZhMDUtNzAwNy00OTE5LTljZDItNWMzYTA3MmZjNjU2XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR11,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTk2NzA3NjM1OF5BMl5BanBnXkFtZTYwNTUzNTUz._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYjNiMThkMTAtMTMzZS00ZmZkLWI1YmYtMGZkYTgyNmE3NDEwXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR8,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDM1NmYyMDEtNTIzMS00ZWI3LThkYzAtM2YxZDk5YjY0MTUyXkEyXkFqcGdeQXVyODk4OTc3MTY@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzdlMmNjN2MtZWM1NC00MDc5LTk5ZWItOTNiMjFmYjIxYTQzXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMmMwZWQ5MGItYmY5My00NzU3LWIzZjMtNWU2ZDZkZjY3ZGJhXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR20,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYWQxYmRkMjktMjg0MC00YTNhLWI5MTUtOTZhMjlhODE0YmYwXkEyXkFqcGdeQXVyNjUxMjc1OTM@._V1_QL75_UY60_CR17,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BNWE4YmU0NzYtNTk5Ni00ODJjLWFiZGYtYjAxYTg3YzU5ODEwXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjU0ZjU1OTUtODY0Zi00MGIzLTg0YmQtYTkzNDQ4OTBhNWIyXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR24,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BZjFmODYwNWQtNjUyOS00NmNiLTgxNzAtZDc1YjQ2YzhlZjgzL2ltYWdlXkEyXkFqcGdeQXVyNTAyNDQ2NjI@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYTliOTYwYTMtZTYxZS00MjZkLWFjZGQtOGNlYTRjZjAyOTdmXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTYyNWVmN2MtNzhmZi00NDUyLWI3NjAtYzQ0NWQ2NWU1ZWYxXkEyXkFqcGdeQXVyMjE5MzM3MjA@._V1_QL75_UY60_CR24,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzgyZmEyYjktZjA3OC00MTA3LWI5NmYtMDE4MjRmODYwYmU4XkEyXkFqcGdeQXVyNDUzOTQ5MjY@._V1_QL75_UY60_CR24,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BYzMzNjRmM2MtNDZhOC00NjY3LTk3N2MtZTA1ODE3ZjIwMzEwXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR2,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTM5NDcwODYxMV5BMl5BanBnXkFtZTcwNDk5MTAwOQ@@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BM2IxYzkxZmYtMzdiNy00M2U2LTliMTEtZGRiNDBjYzhkNDU0XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMDg5M2ZjOGEtMjBhMC00NDQ0LWJiNzYtM2RjZGQ4OTk0MzllXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR10,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BNDI0Y2FkYzUtNjViZS00YTY0LWFhMjItZDYxY2MyMzVkOTdjXkEyXkFqcGdeQXVyNDUzOTQ5MjY@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:142-7657038-2182064:SD7EG2KJ8CC8QBYRA043$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DSD7EG2KJ8CC8QBYRA043:0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
IMDb
|
https://www.imdb.com/list/ls076954447/
|
The Beatles were an English rock band that became arguably the most successful act of the 20th century. They contributed to music, film, literature, art, and fashion, made a continuous impact on popular culture and the lifestyle of several generations. Their songs and images carrying powerful ideas of love, peace, help, and imagination evoked creativity and liberation that outperformed the rusty Soviet propaganda and contributed to breaking walls in the minds of millions, thus making impact on human history.
In July of 1957, in Liverpool, Paul McCartney met John Lennon. Both were teenagers. Paul impressed John with his mastery of acoustic guitar, and was invited to join Lennon's group, The Quarrymen. George Harrison joined them in February of 1958. In 1959 they played regular gigs at a club called The Casbah. They were joined by vocalist Stuart Sutcliffe, and by drummer Peter Best, whose mother owned The Casbah club. Early incarnations of the band included The Quarrymen, Johnny & the Moon Dogs, and The Silver Beetles. John Lennon dreamed up the band's final name, The Beatles, a mix of beat with beetle. In 1960 The Beatles toured in Hamburg, Germany. There they were joined by Ringo Starr, who previously played with Rory Storm and the Hurricanes. In Hamburg, The Beatles made their first studio work as a backing band for singer Tony Sheridan's recordings for the German Polydor label, however, in the credits the band's name was changed to The Beat Brothers. From February 1961 to August 1963, The Beatles played a regular gig at the Cavern. They were paid five pounds for their first show, rising to three hundred pounds per show in 1963. In two and a half years The Beatles gave 262 shows at the Cavern in Liverpool.
Brian Epstein was invited to be the manager of the Beatles in November 1961. His diplomatic way of dealing with the Beatles and with their previous manager resulted in a December 10, 1961, meeting, where it was decided that Epstein would manage the band. A 5-year management contract was signed by four members at then-drummer Pete Best's home on January 24, 1962. Epstein did not put his signature on it, giving the musicians the freedom of choice. At that time McCartney and Harrison were under 21, so the paper wasn't technically legal. None of them realized this and it did not matter to them. What mattered was their genuine trust in Epstein. He changed their early image for the good. Brian Epstein made them wear suits and ties, classic shoes, and newer haircuts. They were advised to update their manners on stage and quit eating and drinking in public. Brian Epstein worked hard on both the Beatles' image and public relations. He improved their image enough to make them accepted by the conservative media. Most if not all of their communication off-stage was managed by Brian Epstein.
On January 1, 1962, The Beatles came to London and recorded fifteen songs at the Decca Records. They were not hired, but the material helped them later. During the year 1962, they made several trips to London and auditioned for various labels. In May of 1962 Epstein canceled the group's contract with Tony Sheridan and the German label. Brian Epstein was persistent in trying to sign a record deal for the Beatles, even after being rejected by every major record label in UK, like Columbia, Philips, Oriole, Decca, and Pye. Epstein transferred a demo tape to disc with HMV technician Jim Foy, who liked their song and referred it to Parlophone's George Martin. On June 6, 1962, at the Abbey Road studios, they passed Martin's audition with the exception of Pete Best. George Martin liked them, but recommended the change of a drummer. Being asked by John Lennon, Paul McCartney, and George Harrison; Epstein fired Pete Best. After a mutual decision the band was completed with Ringo Starr, who duly became the fourth Beatle. In September of 1962 The Beatles recorded their first hit Love Me Do, which charted in UK, and reached the top of the US singles chart.
London became their new home since 1963. On February 11, 1963, The Beatles recorded the entire album 'Please, Please me' in one day, working non-stop during ten-hour studio session. In May and June, 1963, the band made a tour with Roy Orbison. In August of 1963, their single She Loves You became a super hit. Their October 1963 performance at the London Palladium made them famous in Great Britain and initiated the Beatlemania in the UK. The show at the London Palladium was broadcast live and seen by twelve million viewers. Then, in November 1962, The Beatles gave a charity concert at the Prince of Wales Theatre in London. There, performing for the rich and famous, John Lennon made his famous announcement: Would the people in the cheaper seats clap your hands? And the rest of you, if you'll just rattle your jewelry.
In early performances the Beatles included popular songs from the 40s and 50s. They played rock-n-roll and R&B-based pop songs while they gradually worked on developing a style of their own. Their mixture of rock-n-roll, skiffle, blues, country, soul, and a simplified version of 1930s jazz resulted in several multi-genre and cross-style sounding songs. They admitted their interest in the music of Buddy Holly, Elvis Presley, Little Richard and other entertainers of the 40s, 50s and early 60s. Beatles' distinctive vocals were sometimes reminiscent of the Everly Brothers' tight harmonies. By 1965 their style absorbed ethnic music influences from India and other Oriental cultures, and later expanded into psychedelic experiments and classical-sounding compositions. Their creative search covered a range of styles from jazz and rock to a cosmopolitan cross-cultural and cross-genre compositions.
Initially the Beatles were a guitars and drums band. In the course of their career every member became a multi-instrumentalist. George Harrison played the lead guitar and also introduced such exotic instruments as ukulele, Indian sitars, flutes, tabla, darbouka, and tampur drums. John Lennon played a variety of guitars, keyboards, harmonicas and horns. Paul McCartney played bass guitar, acoustic and electric guitars, piano and keyboards, as well as over 40 other musical instruments. The Beatles were the first popular band that used a classical touch of strings and keyboard instruments; their producer George Martin scored Baroque orchestrations in several songs, such as Yesterday, Eleanor Rigby, In My Life, and a full orchestra in Sgt. Pepper. John Lennon and Paul McCartney played piano in many of their songs. Their jamming on a piano together led to creation of their best-selling hit I Want to Hold Your Hand in 1963.
At first the Beatles were rejected by Dick Clark after testing a recording of their song on his show. Then Brian Epstein approached Ed Sullivan, who discussed them with Walter Cronkite after seeing them on his CBS Evening News in 1963. Brian Epstein also managed to get their music played by influential radio stations in Washington and New York. The US consumer reaction was peaking, a single 'I Want to Hold Your Hand' was released in December 1963 by the Capitol Records. Their sensational tour in the USA began with three TV shows at the Ed Sullivan Theater in New York, in February of 1964. After that The Beatles endured several years of extremely intensive recording, filming, and touring. They stopped public performances after 1966, but continued their recording contracts. By 1985 The Beatles had sold over one billion records. Music became their ticket to ride around the world. Beatlemania never really ended since its initiation. It still lives as a movable feast in many hearts and minds, as a sweet memory of youth, when all you need is love and a little help from a friend to be happy.
The Beatles' first two feature films, A Hard Day's Night (1964) and Help (1965), were made in collaboration with an American director, Richard Lester. Their humorous, ironic, and farcical film performances are reminiscent of the Marx Brothers' comedies. Later The Beatles moved into the area of psychedelic innovations with the animated film Yellow Submarine (1966). Their surrealistic TV movie The Magical Mystery Tour (1967) became the cause for the first major criticism of their work in the British press. Their film music was also released as studio albums. Original music by The Beatles as well as re-makes of their songs has been also used, often uncredited, in music scores of feature films and documentaries. Some of The Beatles concert and studio performances were filmed on several occasions and were later edited and released after the band's dissolution. In 1999 the remastered and remixed film The Beatles Yellow Submarine Adventure (2000) delighted a younger audience with incredible animation and songs.
All four members were charismatic and individually talented artists, they sparked each other from the beginning. Eventually they made a much better group effort under the thorough management by Brian Epstein. His coaching helped consolidate their talents and mutual stimulation into beautiful teamwork. Paul McCartney had the privilege of a better musical education, having studied classical piano and guitar in his childhood. He progressed as a lead vocalist and multi-instrumentalist, as well as a singer-songwriter. McCartney wrote more songs for the Beatles than other members of the band. His songs Yesterday, Eleanor Rigby, Blackbird, When I'm 64, Let It Be are among the Beatles' best hits. Yesterday is considered the most-covered song in history with over three thousand versions of it recorded by various artists. McCartney accepted the agreement that was offered by John Lennon in 1957, about the 50/50 authorship of every song written by either one of them. Most of The Beatles' songs are formally credited to both names, regardless of the fact that many of the songs were written individually.
On June 25, 1967, The Beatles made history becoming the first band globally transmitted on TV to an estimated 400 million people worldwide. The Beatles were a segment in the first-ever worldwide satellite hook-up and their new song "All You Need Is Love" was broadcast live during the show. Two months later The Beatles lost their creative manager Brian Epstein, whose talent for problem-solving was unmatched. "That was it, the beginning of the end", said Lennon. Evolution of each member's creativity and musicianship also led to individual career ambitions.
John Lennon was experimenting with psychedelic poetry and art. His creativity was very unique and innovative. Lennon wrote Come Together, Girl, Revolution, Strawberry Fields and many other Beatles' hits. An out-of-context reprinting of Lennon's remarks on the Beatlemania phenomenon caused problems in the media. His comparison of Beatles' popularity to that of Jesus Christ was used to attack them publicly, causing cancellations of their performances and even burning of their records. Lennon had to apologize several times in press and on TV, including at a Chicago press conference. In 1967 John Lennon met Japanese artist Yoko Ono, whom he later married. George Harrison was the lead guitar player and also took sitar lessons from Ravi Shankar. Harrison had his own inner light of creativity and spirituality, he wrote Something, Taxman, I me mine, and other hits. Ringo Starr sang 'Yellow Submarine' and a few other songs. He has made a film career and also toured with his All Stars Band and released several solo albums. His 1973 release "Ringo" was the last album to feature all four living Beatles, although not on the same song.
The Beatles created over 240 songs, they recorded many singles and albums, made films and TV shows. Thousands of memorable pictures popularized their image. In their evolution from beginners to the leaders of entertainment, they learned from many world cultures, absorbed from various styles, and created their own. Their cross-style compositions covered a range of influences from English folk ballads to Indian raga; absorbing from Johann Sebastian Bach, Ludwig van Beethoven, Pyotr Ilyich Tchaikovsky, Karlheinz Stockhausen, Elvis Presley, Everly Brothers, Little Richard, and others. The songwriting and performing talents of Paul McCartney, John Lennon, George Harrison, and Ringo Starr, fused in the Beatles' music. Lennon and McCartney initiated changes in music publishing industry by breaking the Tin Pan Alley monopoly of songwriting. Their legacy became possible due to highly professional work by Brian Epstein and George Martin. In 1994 three surviving members reunited and produced Lennon's previously unknown song 'Free as a Bird'. It was preserved by Yoko Ono on a tape recording made by Lennon in 1977. The song was re-arranged and re-mixed with the voices of three surviving members. The Beatles Anthology TV documentary was watched by 420 million people in 1995.
The Beatles represent the collective consciousness of several generations. Millions of viewers and listeners across the universe became conditioned to the sounds and images of The Beatles. Their influence on the modern world never stopped. Numbers may only show the tip of the iceberg (record sales, shows admissions, top hits, etc.). As image-makers and role models they pushed boundaries in lifestyle and business, affecting customers behavior and consumption beyond the entertainment industry by turning all life into entertainment. A brilliant blend of music and lyrics in their songs made influence on many minds by carrying messages like: give peace a chance and people working it out. A message more powerful than political control, it broke through second and third world censorship and regulations and set many millions free.
Steve Jobs, being a big fan of Paul McCartney and The Beatles, referred to them on many occasions and also was interviewed on a showing of a Paul McCartney concert. When asked about his business model, Steve Jobs replied: My model for business is The Beatles: They were four guys that kept each other's negative tendencies in check; they balanced each other. And the total was greater than the sum of the parts. Great things in business are never done by one person, they are done by a team of people.
The Beatles made impact on human history, because their influence has been liberating for generations of nowhere men living in misery beyond the Iron Curtain. Something in their songs and images appealed to everybody who wanted to become free as a bird. Their songs carrying powerful ideas of real love, peace, help, and imagination evoked creativity that outperformed the rusty Soviet propaganda and contributed to breaking chains and walls in the minds of millions. The Beatles expressed themselves in beautiful and liberating words of love, happiness, freedom, and revolution, and carried those messages to people across the universe. Their songs and images helped many freedom-loving people to come together for revolutions in Prague and Warsaw, Beijing and Bucharest, Berlin and Moscow. The Beatles has been an inspiration for those who take the long and winding road to freedom.
Even after The Beatles had gone, the individual members continued to spread their message; from the concert for Bangladesh by George Harrison and Ringo Starr in 1971, to 2003 "Back in USSR" concert by Paul McCartney on the Red Square in Moscow, and his 2004 show near the Tsar's Winter Palace in St. Petersburg where the Communist Revolution took place, just imagine.
In 2005 the Entertainment magazine poll named The Beatles the most iconic entertainers of the 20th Century. In July of 2006, the guitar on which Paul McCartney played his first chords and impressed John Lennon, was sold at an auction for over $600,000.
In July 2012, Paul McCartney rocked the opening ceremony of the 2012 Summer Olympics in London. He delivered a live performance of The Beatles's timeless hit "Hey Jude" and engaged the crowd of people from all over the world to join his band in a sing along finale. The show was seen by a live audience of 80000 people at the Olympic Park Stadium in addition to an estimated TV audience of two billion people worldwide.
The Rolling Stones are the legendary British rock band known for many popular hits, such as Paint it Black, Lady Jane, Ruby Tuesday, and (I Can't Get No) Satisfaction. Almost everyone who attended their shows is quick to comment on their ability to start you up and shake your hips. Their song "Satisfaction" (1965) was composed by Keith Richards in his sleep, and with the addition of provocative lyrics by Mick Jagger it became the greatest hit and their calling card on each and every show.
In 1966, after The Beatles stopped giving live performances, The Rolling Stones took over as the unofficial "biggest touring band in the world" for the next few years. During 1966-1969 they toured the world, and constantly updated their song-list with many great hits like "Lets Spend the night together" (1967), "Sympathy for the Devil" (1968) and "Honky tonk woman" (1969). The incredible international success of the Stones came with a sad side, caused by Brian's drug and alcohol abuse that impaired his speech and appearance, so the band-mates had to replace him. In July 1969, Brian Jones died of drowning in his swimming pool while having signs of drug overdose. Upon Richards's and Jagger's approval, guitarist Mick Taylor took Brian's place. Brian's death at age 27 made him one of the first members of the infamous "27 Club" of rock stars who died at that age. Although Brian's estrangement from his band-mates, and his numerous arrests were caused by his personal problems with drugs, both Richards and Jagger were blamed at the time for Brian's death. The loss of one of their founding members was a painful moment for the Stones. However, at the end of the 1960s their creativity reached the new highs. Their albums "Beggars Banquet" (1968) and "Sticky Fingers" (1971) were among the most popular albums they ever made, having such hits as "Wild Horses" and "Brown Sugar."
During the 1970s The Rolling Stones remained the biggest band in the world, albeit they were rivaled by the Led Zeppelin. The Stones made thousands of live performances and multi-million record sales with hits like "Angie" (1973), "It's Only Rock and Roll" (1974), "Hot Stuff" (1976) and "Respectable" (1978). At that time both Keith Richards and Mick Jagger had individual ambitions, and applied their untamed creativity in various projects outside the Stones. Keith released his own single. In 1974 Ron Wood had replaced Mick Taylor on guitar and Keith and Ron both played lead guitars. During the decade Keith Richards had a family crisis on his hands, and suffered through emotional pain and drug abuse, albeit it didn't stop him from being himself. In 1980 the group released "Emotional Rescue" which Keith Richards didn't care for, and the group didn't even tour to promote the album. In 1981 with the release of 'Tattoo You', the group went on a major world tour filling stadiums in the US and in Europe. In 1983 the Stones recorded the album "Undercover" at the Compass Point in Nassau and during this time Mick and Keith were having arguments over rights of the group. After having created tens of albums and over a hundred popular songs together, their legendary song-writing partnership was undergoing the most painful test: the bitter rivalry between two enormously talented and equally ambitious superstars.
Mick Jagger is the heart of "The Stones" and Keith Richards - the soul. The two had carried on their early image of unkempt youth, had survived ups and downs in their careers and personal lives, and remained the core of the band since they shared a flat with the late Brian Jones in London in 1962. Two other remaining members are drummer Charlie Watts and guitarist Ron Wood. "The Stones" were part of the "British Invasion" in international culture during the 1960s, and has been extremely popular and famous for their 60s craze, hot stuff and sex drive. Since the 1970s they remained one of the biggest entertainment acts touring the world with a retinue of jet-set hangers-on. Their inimitable shows, no matter the best, or the worst, has been played with fire and emotion, giving their audiences the kind of music they do best - it's only rock'n roll.
Mick Jagger dropped out of college and his every move on-stage and off-stage seemed to signal a challenge to "respectable" standards. He never received a formal musical education, and even could not read music. However, he worked hard and emerged as the lead singer and songwriter in partnership with Richards, following the example of John Lennon and Paul McCartney's songwriting for The Beatles. Outside of the Rolling Stones, Jagger released solo albums with his original songs, as well as his versions of such hits as 'Use Me' by songwriter Bill Withers. Jagger also starred in several films, such as Freejack - Geisel der Zukunft (1992), Bent (1997), and Ein Mann für geheime Stunden (2001). Mick Jagger fathered seven children from four women, donated to numerous school and charities, and was knighted by Queen Elizabeth II at the Buckingham Palace in 2003.
Keith Richards, was a schoolmate of Mick Jagger since the primary school. In 1960 they contemplated starting up a band together. Since the formation of the Rolling Stones in 1962, Richards has been the principal songwriting partner with Jagger, and most of the songs on all Rolling Stones albums are credited to Jagger/Richards. Outside of the Rolling Stones, Richards toured with The New Barbarians, and also was the front-man of the X-pensive Winos in the 1980s. Besides his music career, Richards made a cameo appearance as the father of Jack Sparrow in Pirates of the Caribbean - Am Ende der Welt (2007) filmed by his friend, director Gore Verbinski.
Other members of The Rolling Stones has been also enjoying their individual careers outside of the band. Multi-instrumentalist Ronnie Wood collaborated with such performers as Prince, Bob Dylan, David Bowie, Eric Clapton, and Aretha Franklin, among others. His collaboration with Rod Stewart resulted in a hit album. Wood is also an accomplished artist who sold about $10 million worth of his artworks. Drummer Charlie Watts, who has been ever faithful to his one and only wife, Shirley, is known for his consistency in refusing sexual favors from groupies. He is also a jazz band-leader, and commercial artist, who had solo shows and successfully auctioned his artworks.
The Rolling Stones have released 55 albums of original work and compilations, and sold over 200 million records word-wide during their career spanning over 45 years. "The Stones" played in all kinds of spaces from small clubs to big stadium arenas. In 2007 they even rocked the Tsar's Winter Palace with fifty thousand fans in St. Petersburg, Russia, where the communist revolution took place. They gave more large-scale shows internationally than any other existing band in the world, culminating in their 2005-2007 "A Bigger Band" tour with 147 concerts, the highest grossing tour of all time with $559 million earned.
Come on, Stones, give us more of your respectable shows, get us rocking, we can make it if we try.
Led Zeppelin are a popular British band best known for their iconic "Stairway to Heaven" as well as for co-creating the music genre of heavy metal. Since their nine albums were recorded between 1968 and 1979, Led Zeppelin has been one of the most popular bands of all time, having sold more than 300 million records and millions of concert tickets worldwide.
The quartet was conceived at the end of the Hippie love era, in a group marriage of blues, rock and roll, soul, rockabilly, folk ballad, jazz, classical and Eastern music, and something else scattered over some woozy sounds of their songs. It was their mutual artistic stimulation, their group interplay and imagination that incorporated mythology and mysticism, and concocted their inimitable style, and established the concept of album-oriented rock career.
Jimmy Page was already an experienced lead guitarist who worked with multi-instrumentalist John Paul Jones in 1967, and they agreed to work on the next project. In August 1968 Page invited Robert Plant and John Bonham to join his band, the New Yardbirds, for a September tour in Scandinavia. In October 1968 they took the name Led Zeppelin, which stemmed from a humorous conversation among several musicians about their chances of going down like a lead balloon. However, British bands were highly anticipated in the USA, and the Atlantic Records founder Ahmet Ertegun signed the new band without even seeing them.
Their debut album, 'Led Zeppelin', recorded and mixed in just about 36 hours in October 1968, at Olympic Studios in London, kicked open the door for all extremes and experiments. The phallic image of the blown up Hindenburg airship on the cover, designed by George Hardie, announced the hardening of rock and coming of the new super-group. While ascending to musical success as a powerhouse band, Led Zeppelin explored a variety of styles, from English folk ballads to blues and rock, and created their own inimitable style.
Prior to the release of their first album, Led Zeppelin made live appearances at the University of Surrey and in London in October 1968, then went on their first American tour in December 1968. In their first year, Led Zeppelin made four concert tours in the USA, and another four tours in the UK. Their second album was recorded entirely on the road at several American recording studios, and was an even greater success than the first one. "Whole Lotta Love", "Heartbreaker", "Living, Loving Maid", and "Ramble On" became big international hits.
Each member of the quartet contributed to their compositions, thus setting a fine example of group creativity. Their songs and albums rambled on with the highly versatile voice-guitar interplay. Plant's incredible vocal range and Page's enchanting guitar solos were as responsible for the band's singularity as its musical wanderlust. Plant's and Page's musicianship was supported by the tight playing by John Paul Jones on bass, and John Bonham on drums. The intense interaction of all four players on stage gave their live performances a visual counterpoint to well intertwined harmonic and rhythmic structures of their compositions.
Their third album, Led Zeppelin III, influenced by folk and Celtic music, offered more inventiveness with acoustic/electric sound-work, and revealed more of the band's versatility with such compositions as the "Immigrant Song" and "Since I've Been Loving You". With the release of their fourth, and most popular album, Led Zeppelin achieved a reputation of the biggest band in the world. 'Stairway to Heaven' became the most played radio hit, several other songs became rock classics, and nobody knows how many more times their lines would help other musicians (like the opening riff from "How Many More Times" was later used by Pink Floyd in their hit "Money").
Capitalizing on the success of their first four albums, the band toured extensively in the 1970s. At that time they chartered a private jet, nicknamed the Starship, that carried the band's name and later added the famous 'Swan Song' winged Apollo image on the tail. Going to California turned into a ritual of wildness and excess, most notably at the Hyatt House hotel on the Sunset strip in Los Angeles, known colloquially as the "Riot House" for a series of some most exciting off-stage events, such as riding a motorcycle inside the hotel and throwing TV set out of the window. One of their concerts under a heavy thunderstorm in Florida ended with police using tear gas, and led to a temporary pause in their concert tours.
During the 70s their career was interrupted several times by accidents, deaths and other unfortunate events. In September 198O on the eve of an American tour, John Bonham accidentally died from pulmonary edema after a day of drinking. In December 1980, Led Zeppelin disbanded, albeit the public could still feel their presence. In 1982 a collection of out-takes from various sessions from the 70s was released as their last album, Coda. During the 80s the remaining three members experienced a serious communication breakdown, until they briefly united for a short set in 1985, and once again, in 1988, with Bonham's son, Jason, for the Atlantic Records 40th Anniversary show.
In 1994 Page and Plant showed their softer side when they performed live together on 'MTV Unplugged', which was released the same year as album titled 'No quarter'. Then they made an international tour with an orchestra. In 1995 Page and Plant were joined by Jones when the band was inducted into the Rock and Roll Hall of Fame, albeit the three former band-mates did not perform together. By that time Jimmy Page as well as Robert Plant had pursued individual careers touring and recording with their own bands.
Another ten years gone. Page's and Plant's call-and-response interplay took them through good times and bad times. Their sonic originality had sparked imagination and creativity in millions of open minds. Singers, songwriters, armies of music fans and a rainbow of dedicated 'led heads', as well as guitarists and guitar collectors worldwide remained united through the acquired experience and conditioning to the Led Zep sounds.
Hats off to Led Zeppelin, who opened the new extremes of musical expression, and are now back in the light confirming their presence. Their long anticipated reunion in December 2007 was a true celebration day. Their live performance was as tight as a rock band can be, and their living, loving song remains the same since we've been loving them. That's the way!
Thank you, Friends.
|
||||||
1487
|
dbpedia
|
0
| 10
|
https://elpee.jp/hot100/week/1965-07-03
|
en
|
Hot100 / 1965
|
[] |
[] |
[] |
[
"Billboard Chart",
"Database",
"Billboard Chart History",
"ビルボードデータベース",
"ビルボードチャート",
"Top40",
"Hot100"
] | null |
[] |
1965-07-03T00:00:00
|
Billboard Chart Database / ビルボードチャートデータベース
|
en
|
/img/favicon.ico
|
https://elpee.jp/hot100/week/1965-07-03
| ||||||
1487
|
dbpedia
|
2
| 3
|
https://ig.ft.com/life-of-a-song/turn-turn-turn.html
|
en
|
Subscribe to the Financial Times
|
https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&width=32&height=32&format=png
|
https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&width=32&height=32&format=png
|
[
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/15/5a/155a3ba0-3ebe-4374-adcd-fdcec223defb/hero_banner_overlay_element_840x184px_2x_february_2024_sale.png__470x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/15/5a/155a3ba0-3ebe-4374-adcd-fdcec223defb/hero_banner_overlay_element_840x184px_2x_february_2024_sale.png__470x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/15/5a/155a3ba0-3ebe-4374-adcd-fdcec223defb/hero_banner_overlay_element_840x184px_2x_february_2024_sale.png__470x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/15/5a/155a3ba0-3ebe-4374-adcd-fdcec223defb/hero_banner_overlay_element_840x184px_2x_february_2024_sale.png__470x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/15/5a/155a3ba0-3ebe-4374-adcd-fdcec223defb/hero_banner_overlay_element_840x184px_2x_february_2024_sale.png__470x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/12/140308-bfd9-parent_primary_product_icon_36x44px_standard_digit?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/144409-75f0-primary-product-icon-global-news-analysis.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145018-316a-primary-product-icon-expert-opinion.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145052-6efe-primary-product-icon-ft-app.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145228-0f6d-primary-product-icon-ft-edit.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145845-399d-primary-product-icon-firstft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/153615-43dd-primary-product-icon-standard-newsletters.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/154216-3117-primary-product-icon-my-ft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155109-f1fa-primary-product-icon-video-podcasts.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155218-d57e-primary-product-icon-gift-articles-10.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/12/140441-2506-premium_digital.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/142819-89df-primary-product-icon-gift-articles-20.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/131853-103d-primary-product-icon-lex.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/140423-2508-primary-product-icon-premium-newsletters.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/142018-e1d6-primary-product-icon-ft-digital-edition.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/144409-75f0-primary-product-icon-global-news-analysis.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145018-316a-primary-product-icon-expert-opinion.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145052-6efe-primary-product-icon-ft-app.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145228-0f6d-primary-product-icon-ft-edit.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145845-399d-primary-product-icon-firstft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/153615-43dd-primary-product-icon-standard-newsletters.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/154216-3117-primary-product-icon-my-ft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155109-f1fa-primary-product-icon-video-podcasts.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155218-d57e-primary-product-icon-gift-articles-10.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/parent_primary_product_icon_36x44px_standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/144409-75f0-primary-product-icon-global-news-analysis.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145018-316a-primary-product-icon-expert-opinion.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145052-6efe-primary-product-icon-ft-app.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145228-0f6d-primary-product-icon-ft-edit.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145845-399d-primary-product-icon-firstft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/153615-43dd-primary-product-icon-standard-newsletters.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/154216-3117-primary-product-icon-my-ft.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155109-f1fa-primary-product-icon-video-podcasts.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/155218-d57e-primary-product-icon-gift-articles-10.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/142819-89df-primary-product-icon-gift-articles-20.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/131853-103d-primary-product-icon-lex.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/140423-2508-primary-product-icon-premium-newsletters.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/142018-e1d6-primary-product-icon-ft-digital-edition.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/primary_product_feature_icon_28x40px_newspaper.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/primary_product_feature_icon_28x40px_armchair.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/142018-e1d6-primary-product-icon-ft-digital-edition.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/144409-75f0-primary-product-icon-global-news-analysis.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/145018-316a-primary-product-icon-expert-opinion.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/pm_uploads/2024/06/07/131853-103d-primary-product-icon-lex.svg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x190px_2x_video_podcasts_v2.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x191px_2x_apps_for_android_ios.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x190px_2x_ft_edit.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x191px_2x_gift_articles.jpg.338x190_q90_crop_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x190px_2x_weekday_print_edition.jpg.338x190_q90_crop_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x190px_2x_ft_weekend.jpg.338x190_q90_crop_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x191px_2x_premium_content.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x190px_2x_premium_newsletters.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_feature_images/comparison_widget_338x191px_2x_epaper.png.338x190_q90_crop_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/trial_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/standard_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/premium_digital.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/custom_packshots_source_v2/print.svg?v=168",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f4/41/f441ed44-a195-4bf4-845c-1178836dbd6d/untitled_1500__800px.png__250x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f4/41/f441ed44-a195-4bf4-845c-1178836dbd6d/untitled_1500__800px.png__275x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f4/41/f441ed44-a195-4bf4-845c-1178836dbd6d/untitled_1500__800px.png__300x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f4/41/f441ed44-a195-4bf4-845c-1178836dbd6d/untitled_1500__800px.png__250x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f4/41/f441ed44-a195-4bf4-845c-1178836dbd6d/untitled_1500__800px.png__250x2880_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/e0/6c/e06cb1bd-99eb-4759-a9ec-e4c42b3300f4/insidepolitics_revised-fa66233d-8649-4716-8dd6-aa48c0e49bc3.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f6/a1/f6a18372-7022-46d2-9224-3d6a558d9c2f/543ea618-d84c-4fd5-8edb-249d72c3292f-4e64feb7-3fcc-41dd-979b-66f05edd8710.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/1a/72/1a7203f7-ea9e-473b-b7a0-13f38cf22cc2/us_election_countdown.jpg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/36/26/3626777d-db00-4c91-9473-dc0e91a7de96/europeexpress_revised-853706de-850d-4894-84e2-ff3799a855cf.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/8f/36/8f3621f8-44e5-41f3-a377-3250d29e61f7/54d6653b-22e9-4f2d-ad8e-809f40d93f49-27da81ee-7710-47da-8b92-056453a24488.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/ff/5b/ff5b8415-6809-46fb-a7c6-1b94537405a2/moralmoney-1905e5ba-dae5-4c00-8fdb-6bc1fa8b4f63.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/6b/45/6b45d6a1-197e-49f8-b9d9-7be3a48040e4/workingit-0d34dc6c-5204-4377-ad09-2707e5848aa5.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/58/f4/58f4fca3-afd1-48c3-b88d-3b143020aa62/swampnotes_revised-e3035d8e-3736-480a-930b-25d21ca4b583.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/1c/16/1c16b182-fa83-468a-bced-1311f0ece397/martin-sandbus-free-lunch_revised-7f39f8e3-c8a8-4a94-a041-4255dc36ca75.jpeg__439x247_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/0c/a4/0ca414da-f34c-4837-a1e8-00326a796a2b/crispin-odey-the-fall-of-a-hedge-fund-maverick.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/0c/a4/0ca414da-f34c-4837-a1e8-00326a796a2b/crispin-odey-the-fall-of-a-hedge-fund-maverick.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/78/a9/78a95b23-3310-4561-b68b-fb51d534abd3/capture-whos-looking-after-the-children.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/78/a9/78a95b23-3310-4561-b68b-fb51d534abd3/capture-whos-looking-after-the-children.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/34/55/3455b9fd-c8ce-4c0a-992a-83efbb901519/ftx-the-legend-of-sam-bankman-fried.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/34/55/3455b9fd-c8ce-4c0a-992a-83efbb901519/ftx-the-legend-of-sam-bankman-fried.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/0e/e4/0ee44b0d-fa63-48d8-ac64-8c4e10cf670d/the-brexit-effect-how-leaving-the-eu-hit-the-uk.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/0e/e4/0ee44b0d-fa63-48d8-ac64-8c4e10cf670d/the-brexit-effect-how-leaving-the-eu-hit-the-uk.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/54/42/5442955e-2184-4a5c-b8f6-19b212c86436/credit-suisse-what-next-for-the-crisis-hit-bank.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/54/42/5442955e-2184-4a5c-b8f6-19b212c86436/credit-suisse-what-next-for-the-crisis-hit-bank.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/98/ac/98ac195e-4952-48ca-9518-e04e995000d1/north-korea-and-the-triads-gangsters-ghost-ships-and-spies.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/98/ac/98ac195e-4952-48ca-9518-e04e995000d1/north-korea-and-the-triads-gangsters-ghost-ships-and-spies.jpeg__490x276_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/3f/61/3f61fffe-fca5-4190-959e-da8dfe6d4933/image_17.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/2e/1d/2e1df8d1-20cd-4b55-b951-2ef96e0e4d0a/why_we_need_a_wealth_tax.jpg__178x100_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/93/f6/93f62aed-c8cb-4c3d-bd18-03e861153427/climate_change_-_how_to_build_a_co2_processing_artificial_tree.jpg__178x100_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/a8/7e/a87ea347-28cb-4627-8418-dab3479b352f/image_21.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/01/e6/01e66611-b9f6-4a52-a1a2-f5f49f0c7f4c/can_the_vatican_reform_its_finances.jpg__178x100_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/5f/6f/5f6ff0d7-c73c-42e0-87e5-0ed17157161f/image_10.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/76/14/761481dd-29c0-42c7-b3ad-451d5741b3dd/behind_the_money.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/f8/0f/f80f91fb-1ed8-4273-b147-5ef8c3a0c7f9/political_fix.jpeg__178x100_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/76/c9/76c9828e-400a-44e5-983e-05e870538e5b/unhedged.jpeg__178x100_q90_crop_subsampling-2_upscale.jpg",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/c7/7e/c77ee8cc-7b68-4d51-a24b-e67fcd1e16a3/money_clinic.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/0d/1d/0d1d948b-23c3-4262-8587-bb7b7e82752b/ft_weekend.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/5f/fe/5ffe98e9-8267-42b4-b1a6-c6cf95cd491d/news_briefing.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/b3/b1/b3b1808a-d405-4ce9-a2da-eaba94298475/the_rachman_review.png__178x100_crop_subsampling-2_upscale.png",
"https://ft187projectxpsp-live-1ed1baf860154d98a-5c97dc1.aldryn-media.io/filer_public_thumbnails/filer_public/2b/49/2b497400-a2d2-43a9-b05f-46b450795f83/working_it.png__178x100_crop_subsampling-2_upscale.png",
"https://ad.doubleclick.net/ddm/activity/src=9073629;type=ftprod0;cat=ft-pr0;dc_lat=;dc_rdid=;tag_for_child_directed_treatment=;tfua=;npa=;ord=1"
] |
[] |
[] |
[
""
] | null |
[] |
2024-07-31T16:15:59.597000+00:00
|
A subscription to the Financial Times provides you with the insights and perspective you need to succeed, now.
|
en
|
https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&width=32&height=32&format=png
|
https://subs.ft.com/products
|
Roula Khalaf is Editor of the Financial Times. She was previously deputy editor from 2016 to 2020, overseeing a range of newsroom initiatives and award winning editorial projects and leading a global network of over 100 foreign correspondents.
John Burn-Murdoch is the Financial Times’ Chief Data Reporter. He led the FT’s data-driven coverage of the pandemic, exploring its impacts on health, the economy and wider society. When pandemics are not happening, he uses data and graphics to tell stories on topics including politics, economics, climate change and sport, and is a visiting lecturer at the London School of Economics.
Stephen Bush is an associate editor and columnist at the Financial Times. He writes a daily newsletter, Inside Politics, charting the course of politics and policy in the United Kingdom, and a wide-ranging weekly column.
Elaine Moore is deputy editor of the FT’s Lex column and writes commentary on the technology industry from the San Francisco bureau. Prior to this she covered global government debt from London, with a particular focus on the debt crisis in Greece, Ukraine and Venezuela.
Pilita Clark is an associate editor and business columnist at the FT where she writes on corporate life and climate change. Formerly the FT’s environment correspondent, her writing has won awards in the US and Asia and in 2019 she was named Environment Journalist of the Year for the third year in a row at the British Press Awards.
Jan Dalley is the FT’s arts editor. She is responsible for the FT’s coverage of all the art forms, from opera to hiphop, sculpture to pop, film, theatre and more in the weekday pages as well as in Life & Arts in FT Weekend. She also writes features, interviews and occasional columns.
Edward Luce is the US national editor and columnist at the Financial Times. Before that he was the FT's Washington Bureau chief. Other roles have included South Asia bureau chief, Capital Markets editor, and Philippines Correspondent.
Enuma Okoro is a weekly columnist for FT Weekend's Life & Arts. She writes on the intersection of arts, culture and life. Based in New York, she is a writer, speaker and cultural curator.
Anjana Ahuja is a contributing writer on science, offering weekly opinion on significant developments in global science, health and technology. She was previously a feature writer and columnist at The Times in London.
Gillian Tett is chair of the editorial board and editor-at-large, US of the Financial Times. She writes weekly columns, covering a range of economic, financial, political and social issues and co-founded Moral Money, the FT sustainability newsletter.
Rana Foroohar is Global Business Columnist and an Associate Editor at the Financial Times, based in New York. She is also CNN’s global economic analyst.
Janan Ganesh is a biweekly columnist and associate editor for the FT. He writes on international politics for the FT and culture for FT Weekend. He was previously political correspondent for The Economist for five years.
Robert Shrimsley is UK chief political commentator and UK editor at large of the Financial Times. He writes a weekly column on British politics and for the FT weekend magazine. Before this, he served as the FT’s chief political correspondent, news editor, managing editor of FT.com and editorial director.
Martin Wolf is chief economics commentator at the Financial Times, London. He was awarded the CBE (Commander of the British Empire) in 2000 “for services to financial journalism”.
|
|||
1487
|
dbpedia
|
3
| 13
|
https://www.studysmarter.co.uk/explanations/english/language-and-social-groups/formal-register/
|
en
|
Formal Register: Definition, Examples & Use
|
[
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/logos/studysmarter.svg",
"https://website-cdn.studysmarter.de/uk/subject-other.svg",
"https://website-cdn.studysmarter.de/uk/flashcard-check.svg",
"https://website-cdn.studysmarter.de/uk/ai.svg",
"https://website-cdn.studysmarter.de/uk/note.svg",
"https://website-cdn.studysmarter.de/uk/calendar.svg",
"https://website-cdn.studysmarter.de/uk/folder-plus.svg",
"https://website-cdn.studysmarter.de/uk/file-question-02.svg",
"https://website-cdn.studysmarter.de/uk/Flashcards-Image.jpg",
"https://website-cdn.studysmarter.de/uk/Study-Set-Image.jpg",
"https://website-cdn.studysmarter.de/uk/Notes-Image.jpg",
"https://website-cdn.studysmarter.de/uk/Study-Plan-Image.jpg",
"https://website-cdn.studysmarter.de/uk/book-open-01.svg",
"https://website-cdn.studysmarter.de/uk/briefcase-01.svg",
"https://website-cdn.studysmarter.de/uk/phone-01.svg",
"https://website-cdn.studysmarter.de/uk/Magazine-Image.jpg",
"https://website-cdn.studysmarter.de/uk/Job-Board-Image.jpg",
"https://website-cdn.studysmarter.de/uk/Our-App-Image.jpg",
"https://website-cdn.studysmarter.de/uk/subject-other.svg",
"https://website-cdn.studysmarter.de/uk/flashcard-check.svg",
"https://website-cdn.studysmarter.de/uk/ai.svg",
"https://website-cdn.studysmarter.de/uk/note.svg",
"https://website-cdn.studysmarter.de/uk/calendar.svg",
"https://website-cdn.studysmarter.de/uk/folder-plus.svg",
"https://website-cdn.studysmarter.de/uk/file-question-02.svg",
"https://website-cdn.studysmarter.de/uk/book-open-01.svg",
"https://website-cdn.studysmarter.de/uk/briefcase-01.svg",
"https://website-cdn.studysmarter.de/uk/phone-01.svg",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-laptop.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-mobile.png",
"https://s3.eu-central-1.amazonaws.com/studysmarter-mediafiles/media/2133000/summary_images/receptionists-gc65a85b96_640.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA4OLDUDE42UZHAIET%2F20240811%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Date=20240811T023906Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=4f967556c493a1396db3734fdf9c4044e414e44d4a72296e70c113b0c50a213b",
"https://s3.eu-central-1.amazonaws.com/studysmarter-mediafiles/media/2133000/summary_images/2133000/summary_images/business-g7ebcf767a_1280.webp?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA4OLDUDE42UZHAIET%2F20240811%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Date=20240811T023906Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=e8b38989f6bded555b6621a8ede83976a2f584277ab52362e913cf21500f0d83",
"https://s3.eu-central-1.amazonaws.com/studysmarter-mediafiles/media/2133000/summary_images/hand-g4fd484134_640.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIA4OLDUDE42UZHAIET%2F20240811%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Date=20240811T023906Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=9e2e10e4cb0bb87446a494321b7a9a75a8cb80601b3e359dc3b47b2cc552f8a3",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-listx2.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/flashcards-list-mobile.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/src/assets/images/va-signup-laptop.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/about.webp",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/about-logo.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/explanations/sidebar-logo.webp",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/tbs/cta-desktop@1x.png",
"https://www.studysmarter.co.uk/app/themes/studypress-core-theme/dist/assets/images/footer-logo.svg",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/en-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/us-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/de-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/fr-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/es-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/it-flag.png",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2022/08/m2Xa3iDi-app-store.svg",
"https://website-cdn.studysmarter.de//sites/2/sites/2/2021/11/1oY5p3kj-google-play.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Formal Register: ✓ Definition ✓ Conversation Example ✓ Use ✓ Writing ✓ Communication ✓ StudySmarter Original
|
en
|
StudySmarter UK
|
https://www.studysmarter.co.uk/explanations/english/language-and-social-groups/formal-register/
|
The formal register is just one of the registers we use daily. So, what are the other kinds of registers?
There are six main types of language register:
Casual register
Intimate register
Frozen register
Consultative register
Neutral register
Formal register
To begin, let's look at the meaning of 'formal register'.
Formal Register Definition
As the 'Do-Re-Mi' song from The Sound of Music1 states, 'the beginning is a very good place to start', so let's start with a definition!
First of all, what exactly is a register?
Register, in linguistics, refers to a variety or type of language used for a particular purpose in a particular type of communicative interaction.
What, then, is the formal register?
Formal is an adjective that refers to anything that is important or official, or carried out in a manner that follows convention.
This means that the formal register refers to the variety of language used in important, official, or ceremonial situations where proceedings are dictated by particular etiquette or rules.
Formal Register in Communication
Now that we have the definition of 'formal register' under our belts, let's take a closer look at the characteristics of the formal register that we can identify in communication.
Formal register characteristics
generally somewhat impersonal and unemotional
uses complete sentences, complex or longer sentence structures, and standard grammar
most commonly uses Standard English (e.g., standard British English or standard varieties of other languages, depending on the country, e.g. Standard French)
makes use of extended or complex vocabulary
limited use of personal pronouns
avoids using pet names and terms of endearment
avoids contractions and abbreviations
avoids idioms and metaphorical language
generally avoids imperative sentences
avoids colloquialisms, slang words, swearing, and vulgarities
used in formal, official, or ceremonial situations, or situations that follow conventions of some kind
Colloquialisms - informal and non-standard parts of speech usually used in spoken, not written, language.
How do you know when to use the formal register?
Audience
If you're struggling to know when to use the formal register, your audience is one of your most helpful hints! For example, if you're having a chat, or even a more serious discussion, with a friend or close family member, it is unlikely that you'll need to use the formal register.
When we talk to people we know well, are close to, and feel comfortable around, we seldom need to use the formal register. Even when having important discussions or debates, it's more likely that we will use some informal language and language features rather than carefully constructing complex sentences and making sure our language is impersonal and standard.
On the other hand, when we speak to authority figures, employers, teachers, and other professionals, the formal register might feel more natural than more casual speech. Using the formal register in conversation with authority figures and professionals shows respect and will likely match the manner in which they are speaking to you.
Place
Oftentimes, the place in which a situation occurs will have a significant impact on the situation itself. There are some places where the formal register is not only appropriate, but expected. For example, in court, both lawyers and witnesses are expected to use formal and factual language. It is not appropriate for people to swear or use unnecessary colloquialisms.
There are many places and situations where the formal register is used as standard. Some other examples could include:
offices and corporate spaces
business meetings and presentations
academic lectures and presentations
hospitals
Purpose
The reason behind the communicative interaction is a very important factor in determining what register to use.
If the purpose of the conversation or communication is simply to share information or catch up with a loved one or friend, then the formal register is not needed. Asking small favours of people, whether you know them well or not, does not generally require the formal register. For example, when asking a stranger on a train if they have the time, it is not necessary for you to use complicated sentences or even standard English; you could quite easily do this in the casual register.
If the purpose of the communication is to discuss a serious or official matter, ask for guidance or clarification on something, or to complain about something formally. In that case, the formal register might be more appropriate. Business-related communications, legal and accounting procedures, and academic situations also commonly call for the formal register.
Formal Register Use
Now that we've covered the main features of the formal register, and the factors that determine when it should be used, let's look at some examples of these situations:
When teachers, lecturers, and other kinds of academic speakers deliver lessons and educational material, it's likely they will use the formal register (at least to a degree). This is because the formal register is clear and complete, using full sentences and grammar, as well as extended vocabulary. These characteristics make the formal register a good medium for teaching.
Additionally, when speaking to a teacher, lecturer, or academic professional, the student might also use the formal register. Because these academic professionals are authority figures in their particular fields, using the formal register to communicate with them shows respect.
In most kinds of job, the formal register is appropriate when an employee addresses their boss. If you had an issue you wanted to discuss, or required clarification on a work-related matter, you might send an email to your employer (or manager/supervisor etc) and it would make sense to use the formal register.
When politicians and other authority figures in society make public addresses or speeches, they will most likely use the formal register. They will use full sentences, avoid slang and colloquialisms, and often follow certain conventions depending on the type of ceremony, speech, or broadcast.
The Queen's annual Christmas Address is an example of a public figure/ authority figure using the formal register to communicate to an audience. Here is an excerpt from her 2021 Christmas Speech:2
And February, just six weeks from now, will see the start of my Platinum Jubilee year, which, I hope, will be an opportunity for people everywhere to enjoy a sense of togetherness; a chance to give thanks for the enormous changes of the last seventy years – social, scientific and cultural – and also to look ahead with confidence.
Queen Elizabeth, 2021
In this passage, we see complex and full sentence structures, and the sentences are carefully constructed. There are no contractions, colloquialisms, or vulgarities, and although the content of the speech is festive and inspiring, the language used is not overly emotional. These are all characteristics of the formal register.
Some other examples of when the formal register might be used include:
when writing letters of complaint
when writing letters of recommendation/ references
when sending emails or memos in a corporate or professional environment
during court proceedings and other legal procedures
during wedding ceremonies and vow renewal ceremonies
Can you think of any situations where you might have used the formal register? See how many examples you can think of. If you can't personally think of any examples, try thinking up some other potential scenarios where the formal register might be necessary or appropriate.
Formal Register Conversation Example
No matter what the English Language topic, examples can help to consolidate our understanding. On that note, here are some examples of the formal register in verbal communication:
Officiant: 'Welcome everyone. We are gathered here today to witness the joining of John Smith and Sally Jones in holy matrimony. If anyone knows any reason why these two people should not be legally wed, please speak now.'
...
Officiant: 'Very well. We will now continue with the vows. John, repeat after me "I, John Smith, take you, Sally Jones, to be my wife."
John Smith: 'I, John Smith, take you, Sally Jones, to be my wife.'
(and so it goes on!)
Wedding ceremonies are a prime example of the formal register being used in verbal communication for several reasons. Firstly, the language used by both the officiant and the couple getting married is generally formal in nature, avoiding colloquialisms, contractions, and abbreviations. Secondly, wedding ceremonies are exactly that: ceremonies. They therefore follow specific conventions, which is another common characteristic of the formal register. Standard English (or a standard version of another language) and complete sentences are also used, rather than more casual language varieties and short sentences.
Another example:
Customer: 'Good afternoon, would it be possible to speak to the hotel manager, please?'
Receptionist: 'Good afternoon, Sir. Of course. I am going to put you on hold for just one moment, is that alright with you?'
Customer: 'Yes, that's fine.'
Receptionist: 'Ok great. The next voice you hear will be the manager. Thank you for your patience, and have a good day.'
In this example, the formal register is shown in how both participants use formal greetings such as 'Good afternoon', and 'have a good day', as well as the receptionist using the formal title 'Sir' to refer to the customer. Both participants are polite without being overly personal, and standard grammar and language choices are used throughout the exchange. Neither participant uses slang, colloquialisms, idioms, or contractions during the conversation either.
Formal Register in Writing
Now let's look at some examples of the formal register in writing:
Emails to one's boss or teacher are often written in the formal register:
'Dear Mr. James,
I have attached a draft of the contract for the Burley Manor account for your consideration. I have yet to send a copy to the client, pending your final approval. If all appears to be in order, please send me a confirmation email and I will forward the document to the client for review.
I would also like to arrange a time to meet with you in person to discuss another account. If you could let me know your availability at your earliest convenience, that would be greatly appreciated.
Kind Regards,
Susan Hart
Legal Department
In this email example, we see that Susan has used the formal greetings of 'Dear Mr. James' and 'Kind Regards', and has kept the tone of the email professional and direct throughout. There is no overly descriptive language, no metaphorical references, and no slang. The sentences have been carefully constructed, and she has used Standard English and grammar too. There is no mention of personal matters, and Susan does not use any language that suggests she has a familiar or casual relationship with Mr. James. Business-related correspondence is often carried out using the formal register.
Academic essays are also typically written using the formal register:
Mental Illness in Modern Literature, and the Limitations of Medical Discourse
Mental health is an issue that is widely addressed in literature, and particularly in modern literature. Writers have handled mental health in a variety of forms including the short story (The Yellow Wallpaper), the novel (The Bell Jar), poetry (The Wasteland), plays (Edward Albee, Samuel Beckett), and auto/biography (Prozac Nation). This essay will explore these forms, the methods that writers use to portray mental illness effectively, and the ways in which medical discourse often fails to account for 'the self' when making diagnoses.
...
In this opening paragraph to an academic essay, we see that informal language is avoided, as are idiomatic language, contractions, and abbreviations. The sentences use standard grammar and have a range of lengths and compositions, showing that they have been purposefully constructed. The writing style is impersonal, and the vocabulary choices stick closely to the topic being discussed. Casual language, non-standard grammar, and overly descriptive passages would not be appropriate in most forms of academic essays.
Formal Register - Key Takeaways
The formal register is one of six types of language register: formal, casual, frozen, intimate, consultative, and neutral.
The formal register is used in formal, professional, or ceremonial situations and can be used in written and verbal communication.
The formal register is often associated with business, academic, and professional communications.
Things that should be avoided when using the formal register include colloquialisms, slang, swearing, idioms, contractions, and personal pronouns.
The formal register often includes full and complex sentences, Standard English, and standard grammar.
References
R. Wise, The Sound of Music (film), 1965
Queen Elizabeth, Royal Christmas Broadcast, 2021
|
|||||
1487
|
dbpedia
|
1
| 9
|
https://www.thisdayinmusic.com/
|
en
|
This Day In Music
|
[
"https://www.facebook.com/tr?id=724093281802193&ev=PageView&noscript=1",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-230.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-230.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-1.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-1.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-230-1.png 230w, https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-460.png 460w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-230-1.png 230w, https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-460.png 460w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background-590x354.jpg 590w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background-400x240.jpg 400w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/birthdayno1-background.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-590x354.png 590w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-400x240.jpg 400w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-400x240.jpg 400w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-590x354.jpg 590w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image.jpg 1000w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/on-this-day-feature-image-400x240.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-590x354.jpg 590w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-400x240.jpg 400w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-400x240.jpg 400w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-590x354.jpg 590w, https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image.jpg 1000w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/10/born-on-this-day-feature-image-400x240.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-561x337.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/on-this-day.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-561x337.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/birthday-no-1.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-561x337.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/born-on-this-day.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-factoids-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-factoids-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-quotes-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-quotes-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-i-fought-the-law-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-i-fought-the-law-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-record-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-record-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-gig-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-gig-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-job-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/07/1-my-first-job-title-master.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2.jpg 800w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-300x231.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-768x590.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-561x431.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-265x204.jpg 265w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-531x408.jpg 531w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-364x280.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-728x560.jpg 728w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-608x467.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-758x583.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-62x48.jpg 62w, https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2-125x96.jpg 125w",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/01/heaven-gate-hope-text-v2.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-561x337.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/top-of-the-pops.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood.jpg 760w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-150x150.jpg 150w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-300x300.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-192x192.jpg 192w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-384x384.jpg 384w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-110x110.jpg 110w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-220x220.jpg 220w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-561x561.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-364x364.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-758x758.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-608x608.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-48x48.jpg 48w, https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood-96x96.jpg 96w",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/09/ronnie_wood.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-561x337.jpg 561w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2019/04/Motown60.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431-590x354.webp 590w, https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431-300x180.webp 300w, https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431-768x461.webp 768w, https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431-400x240.webp 400w, https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431.webp 1000w",
"https://www.thisdayinmusic.com/wp-content/uploads/2024/07/The-Jam-GettyImages-81185431-590x354.webp",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone.jpg 1000w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-300x180.jpg 300w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-768x461.jpg 768w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-364x218.jpg 364w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-758x455.jpg 758w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-608x365.jpg 608w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-80x48.jpg 80w, https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone-160x96.jpg 160w",
"https://www.thisdayinmusic.com/wp-content/uploads/2018/08/going-going-gone.jpg",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/this-day-in-music-master-circlelogo-527-reversed.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/udiscover-music-logo-footer.png",
"https://www.thisdayinmusic.com/wp-content/uploads/2022/09/udiscover-music-logo-footer.png",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif"
] |
[] |
[] |
[
""
] | null |
[] |
2022-09-30T09:14:34+00:00
|
What happened today (and every day) in music history and also listen to the number 1 record on the day you were born!
|
en
|
This Day In Music
|
https://www.thisdayinmusic.com/
|
What Was The Number 1 Record On The Day You Were Born?
See and listen to what was No.1 when you were born!
|
|||||
1487
|
dbpedia
|
1
| 30
|
https://www.thebeatles.com/yesterday
|
en
|
The Beatles
|
https://www.thebeatles.com/themes/custom/thebeatles_bs4/favicon.ico
|
https://www.thebeatles.com/themes/custom/thebeatles_bs4/favicon.ico
|
[
"https://www.thebeatles.com/themes/custom/thebeatles_bs4/logo.svg",
"https://www.thebeatles.com/themes/custom/thebeatles_bs4/img/apple_corps_retina.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
<!-- wp:bootstrap/row --> <div class="row"><!-- wp:bootstrap/column {"sizeMd":3,"className":"left-content"} --> <div class="col-md-3 left-content"></div> <!-- /wp:bootstrap/column -->
|
en
|
/themes/custom/thebeatles_bs4/favicon.ico
|
https://www.thebeatles.com/yesterday
|
"Yesterday" is a song originally recorded by the Beatles for their 1965 album Help!. Although credited to "Lennon-McCartney", the song was written solely by Paul McCartney. It remains popular today with more than 2,200 cover versions, and is one of the most covered songs in the history of recorded music. At the time of its first appearance the song was released by the Beatles' record company as a single in the United States but not in the United Kingdom (for further details see below). Consequently, whilst it topped the American chart in 1965 the song first hit the British top 10 three months after the release of Help! in a cover version by Matt Monro. "Yesterday" was voted the best song of the 20th century in a 1999 BBC Radio 2 poll of music experts and listeners and was also voted the No. 1 Pop song of all time by MTV and Rolling Stone magazine the following year. In 1997, the song was inducted into the Grammy Hall of Fame. Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone.
"Yesterday" is a melancholy acoustic guitar ballad about the break-up of a relationship. McCartney is the only Beatle to appear on the recording, and it was the first official recording by the Beatles that relied upon a performance by a single member of the band. He was accompanied by a string quartet. The final recording was so different from other works by the Beatles that the band members vetoed the release of the song as a single in the United Kingdom. (However, it was issued as a single there in 1976.) In 2000 McCartney asked Yoko Ono if she would agree to change the credit on the song to read "McCartney-Lennon" in the The Beatles Anthology, but she refused.
|
|||
1487
|
dbpedia
|
0
| 93
|
https://tamcopaint.com/products/gm-nightwatch-blue-pearl-e-26-3302-1965-1967-oem-high-impact-single-stage
|
en
|
GM Nightwatch Blue Pearl | E / 26 / 3302 | 1965-1967 | OEM High Impact Single Stage
|
http://tamcopaint.com/cdn/shop/products/GMNightwatchBluePearlE263302-hi.jpg?v=1655299516
|
http://tamcopaint.com/cdn/shop/products/GMNightwatchBluePearlE263302-hi.jpg?v=1655299516
|
[
"https://tamcopaint.com/cdn/shop/files/Tamco_Logo_2048_x_2048_PNG_1_145x@2x.png?v=1643386229",
"https://tamcopaint.com/cdn/shop/products/GMNightwatchBluePearlE263302-hi_{width}x.jpg?v=1655299516",
"https://tamcopaint.com/cdn/shop/products/GMNightwatchBluePearlE263302-hi_800x.jpg?v=1655299516",
"https://tamcopaint.com/cdn/shop/files/320390657_5941274039227805_2944164408009957964_n_e98b9ca0-429f-4015-9ce2-3d97dbe4606d_{width}x.jpg?v=1695160186",
"https://tamcopaint.com/cdn/shop/files/320390657_5941274039227805_2944164408009957964_n_e98b9ca0-429f-4015-9ce2-3d97dbe4606d_800x.jpg?v=1695160186",
"https://tamcopaint.com/cdn/shop/files/320523400_989921749064075_1767081596473179089_n_34771109-2a7d-44da-964a-40a4a9faa8b2_{width}x.jpg?v=1695160185",
"https://tamcopaint.com/cdn/shop/files/320523400_989921749064075_1767081596473179089_n_34771109-2a7d-44da-964a-40a4a9faa8b2_800x.jpg?v=1695160185",
"https://tamcopaint.com/cdn/shop/files/320212207_728843884931302_9199395805643091619_n_820d72b2-d353-462d-993c-610b1e6e3cec_{width}x.jpg?v=1695160185",
"https://tamcopaint.com/cdn/shop/files/320212207_728843884931302_9199395805643091619_n_820d72b2-d353-462d-993c-610b1e6e3cec_800x.jpg?v=1695160185",
"https://tamcopaint.com/cdn/shop/products/GMNightwatchBluePearlE263302-hi_130x.jpg?v=1655299516",
"https://tamcopaint.com/cdn/shop/files/320390657_5941274039227805_2944164408009957964_n_e98b9ca0-429f-4015-9ce2-3d97dbe4606d_130x.jpg?v=1695160186",
"https://tamcopaint.com/cdn/shop/files/320523400_989921749064075_1767081596473179089_n_34771109-2a7d-44da-964a-40a4a9faa8b2_130x.jpg?v=1695160185",
"https://tamcopaint.com/cdn/shop/files/320212207_728843884931302_9199395805643091619_n_820d72b2-d353-462d-993c-610b1e6e3cec_130x.jpg?v=1695160185"
] |
[] |
[] |
[
""
] | null |
[] | null |
NIGHTWATCH BLUE PEARL | TAMCO PAINT High Impact Single Stage Kit Our OEM Matched Tamco Paint's High Impact Single Stage is a 4:1 Mix ratio with our INCLUDED 76XX Series Hardener. OEM Make: GM OEM COLOR CODE: E / 26 / 3302 (PPG#13002) FOUND ON: 1965 Chevrolet Impala, 1965 Chevrolet Nova, 1965 Pontiac GTO, 1965 Pontiac T
|
en
|
//tamcopaint.com/cdn/shop/files/RWB_Shopify_96x96.jpg?v=1629478220
|
Tamco Paint Manufacturing
|
https://tamcopaint.com/products/gm-nightwatch-blue-pearl-e-26-3302-1965-1967-oem-high-impact-single-stage
|
Tamco Paint will accept, upon receiving and inspection, all unopened items that are not damaged and in resalable condition that is not mixed paint for a full refund minus any shipping fees.
Customer must request to return items with 30 days of purchase.
Any mixed paint cannot be returned for credit. If you believe there is an issue with your product, contact us. (757) 627-9551
20% Restocking fees will be added on all accepted items returned.
Any Shipping charges will not be issued a credit for Late, delayed, damaged, lost, or stolen orders.
Shipping Insurance will not be refunded at any time.
You will be responsible for return shipping fees and all Hazardous materials fees
Hazardous Materials being returned may be subject to a hazardous transportation fee.
Refunds are for the value of the product only.
Proof of purchase is required.
All returns must have an RMA (Return Merchandise Authorization) number.
Sending returns back without an RMA will delay and slow down the process. Unauthorized returns are not guaranteed to be refunded or replaced - all returns need to be authorized prior to being shipped back.
Packaging a Return
Returns should be packaged in original box with original packing materials. If the original box and packing materials are not available, Double boxing with sturdy boxes may be used with packing peanuts. It is important to make sure items are secure and well packed in the return box, so that the item does not sustain damage.
Be sure to enclose a copy of your original order with RMA (Return Merchandise Authorization) number.
When will I receive my refund/replacement?
Once an item is returned and inspected, refunds are usually issued/replacements shipped within 7-10 business days.
Limits and Exclusions
To help protect our customer and make sure every return or exchange is dealt with fairly this policy is subject to a few important conditions:
Items that, in our opinion, have been abused or misused will not be eligible for a refund or replacement.
All returns for exchange or refund must be complete, with all parts and accessories.
If the return is the fault of Tamco Paint(manufacturer defect) Tamco Paint will cover the cost of the return shipping. If the return is customer requested the customer will be responsible for the return shipping.
Shipments that are returned to us as "refused delivery" will be subject to a 20% restocking fee.
Proof of purchase is required
Any mixed paint is not returnable.
Shipping and handling charges are nonrefundable
Tamco Paint holds the right to offer a replacement over a full replacement.
Valid for all items purchased from Tamco Paint and authorized distributors of Tamco Paint. All purchases from an unapproved third party are subject to the policies of the third party.
Orders that ship via truck freight, LTL (not normal ground delivery services such as FedEx, UPS, or USPS) must be inspected before accepting delivery and are generally neither refundable nor returnable. Buyer bears the cost of return shipping and may incur as much as a 25% restocking fee. The buyer will also bear the cost of any storage charges assessed for merchandise that cannot be delivered due to lack of response from the buyer.
Tamco Paint's shipping fees are "real time rates" meaning, we charge you what it costs to ship depending on what you ordered and where it is shipping. That said, we offer free shipping to the lower 48 states in the USA if your order is $500+!
Please keep in mind, we DO NOT guarantee delivery transit times. The shipping companies include "Estimated Delivery Times" which are estimates and should be treated as such. Also Tamco Paint will NOT refund for late deliveries, delayed transit, or any other wait due to the shipping and handling involved.
If you forgot an item, we will not ship the rest for free. Send us a message on our on-site Chat by clicking the chat bubble in the bottom right to add onto your order. We usually can help make that happen if your order hasn't been packaged up yet.
Under normal circumstances, ship the next day (M-F , some holidays change this as well). If you order early AM or early afternoon, we will most likely be able to get your order out that day! CALL for order changes!! (please note we do not ship the next day for mixed paint.)
We use Fedex & UPS and USPS (for non-hazardous products). Orders that reach "Free shipping" will be chosen by Tamco Paint.
|
||
1487
|
dbpedia
|
1
| 88
|
https://singersroom.com/w58/best-pete-townshend-songs-of-all-time/
|
en
|
10 Best Pete Townshend Songs of All Time
|
[
"https://singersroom.com/wp-content/uploads/2023/01/cropped-images.png 2x",
"https://singersroom.com/wp-content/uploads/2023/01/cropped-images.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/uploads/2023/01/cropped-images.png",
"https://singersroom.com/wp-content/uploads/2023/01/cropped-images.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/themes/jnews/assets/img/jeg-empty.png",
"https://singersroom.com/wp-content/uploads/2018/03/SR-Logo-S3-solid-white.png",
"https://singersroom.com/wp-content/uploads/2018/03/SR-Logo-S3-solid-white.png"
] |
[
"https://www.youtube.com/embed/ds08E6rSxJo?feature=oembed",
"https://www.youtube.com/embed/Pb7gVaWJqBo?feature=oembed",
"https://www.youtube.com/embed/H1HkCMNRrMQ?feature=oembed",
"https://www.youtube.com/embed/v0J85ydsb_w?feature=oembed",
"https://www.youtube.com/embed/wNjczDq5D4E?feature=oembed",
"https://www.youtube.com/embed/KO0MdQDK_-I?feature=oembed",
"https://www.youtube.com/embed/OjRVIy2uF5c?feature=oembed",
"https://www.youtube.com/embed/UwofSRCZd3I?feature=oembed",
"https://www.youtube.com/embed/ZNaTD7LtbTI?feature=oembed",
"https://www.youtube.com/embed/hSNJVjpFZDs?feature=oembed"
] |
[] |
[
""
] | null |
[
"Edward Tomlin"
] |
2024-08-07T08:38:54-04:00
|
Pete Townshend is an English musician, songwriter, and guitarist best known as the primary songwriter and guitarist for the rock band The Who. Born on May 19, 1945, in Chiswick, London, Townshend is renowned for his innovative guitar work and influential contributions to rock music. Townshend's work with The Who, formed in 1964, includes some
|
en
|
Singersroom.com - R&B Music, R&B Videos, R&B News
|
https://singersroom.com/w58/best-pete-townshend-songs-of-all-time/
|
Pete Townshend is an English musician, songwriter, and guitarist best known as the primary songwriter and guitarist for the rock band The Who. Born on May 19, 1945, in Chiswick, London, Townshend is renowned for his innovative guitar work and influential contributions to rock music.
Townshend’s work with The Who, formed in 1964, includes some of rock’s most iconic albums, such as *Tommy* (1969) and *Who’s Next* (1971). He is known for his dynamic guitar style, which often includes powerful strumming, intricate riffs, and innovative use of feedback. Townshend is also recognized for his role in the development of the rock opera genre, with *Tommy* and later *Quadrophenia* (1973) being landmark examples.
Beyond his work with The Who, Townshend has had a successful solo career, releasing albums like *Empty Glass* (1980) and *All the Best Cowboys Have Chinese Eyes* (1982). His contributions to music, including his thought-provoking lyrics and pioneering guitar techniques, have solidified his status as one of rock’s most influential figures.
1. The Kids Are Alright
“The Kids Are Alright” is a song by The Who, released as a single in 1965 and also featured on their debut album of the same name. Written by Pete Townshend, the track is a quintessential example of the band’s early mod rock style and captures the youthful energy and defiance of the 1960s.
The song’s lyrics reflect a sense of pride and optimism about the younger generation, despite the struggles and criticisms they face. With its upbeat tempo, catchy melody, and energetic performance, “The Kids Are Alright” became one of The Who’s signature songs and remains a classic in rock history.
The track is notable for its powerful guitar riffs and Townshend’s dynamic vocal delivery. It also serves as a tribute to the resilience and spirit of youth, resonating with listeners across generations.
2. I Can See for Miles
“I Can See for Miles” is a song written by Pete Townshend and performed by The Who. Released in 1967, it was the lead single from their album *The Who Sell Out*. The track is known for its powerful instrumentation, dynamic shifts, and Townshend’s innovative use of guitar effects.
The lyrics describe a sense of disillusionment and the struggle to see beyond the superficial aspects of life. The song’s production features a dramatic build-up, with intense energy and intricate arrangements, reflecting Townshend’s desire to push the boundaries of rock music. “I Can See for Miles” is often praised for its ambitious and influential sound, making it one of The Who’s classic tracks and a significant example of Townshend’s songwriting and guitar work.
3. Eminence Front
“Eminence Front” by The Who is a track from their 1982 album *It’s Hard*. Written by Pete Townshend, the song features a distinctive, driving rhythm and a prominent synthesizer line, reflecting the band’s exploration of new sounds in the early 1980s. The lyrics address themes of facade and deception, highlighting how people use illusions and pretenses to mask their true selves and intentions.
The song’s energetic beat and catchy melody contrast with its introspective and somewhat critical lyrical content. “Eminence Front” is celebrated for its innovative production and its reflection of Townshend’s commentary on societal behaviors and personal facades. It remains a notable example of The Who’s ability to adapt and evolve their sound while maintaining their core musical identity.
4. Baba O’Riley
“Baba O’Riley” is a seminal track by The Who, released in 1971 on their album *Who’s Next*. Written by Pete Townshend, the song is often recognized for its distinctive combination of synthesizers, guitar, and powerful vocals.
The song opens with an iconic synthesizer sequence played by Townshend, creating a unique and memorable intro. The lyrics reflect themes of disillusionment and a search for meaning in the face of societal changes, drawing inspiration from Townshend’s interest in spirituality and Eastern philosophy. The refrain, “Don’t cry, don’t raise your eye, it’s only teenage wasteland,” captures a sense of both melancholy and resilience.
“Baba O’Riley” is often mistakenly called “Teenage Wasteland,” a phrase from the chorus that has become closely associated with the song. Its innovative use of synthesizers and its powerful, anthemic chorus have made it one of The Who’s most enduring and influential tracks.
5. Won’t Get Fooled Again
“Won’t Get Fooled Again” by The Who is a classic rock anthem released in 1971 on their album *Who’s Next*. Written by Pete Townshend, the song is known for its powerful lyrics, dynamic structure, and iconic synthesizer riff.
The lyrics express disillusionment with political and social movements, capturing a sense of betrayal and skepticism about the potential for real change. The track features a dramatic build-up, culminating in a famous, high-energy organ solo by Townshend and a powerful vocal performance by Roger Daltrey.
The song’s message of cautious skepticism and its memorable musical elements have made it a lasting favorite in rock music, symbolizing the band’s critical stance on idealism and change.
6. My Generation
“My Generation” is a landmark song by The Who, released in 1965 as their debut single and also featured on their first album of the same name. Written by Pete Townshend, the song is a defining anthem of the mod movement and the youthful rebellion of the 1960s.
The track is known for its aggressive guitar riffs, dynamic rhythm, and the iconic line “Hope I die before I get old,” which became a rallying cry for a generation seeking to break free from the constraints of the previous era. Roger Daltrey’s impassioned vocal delivery, combined with Townshend’s innovative guitar work, made the song a powerful expression of youthful defiance and individuality.
“My Generation” is notable for its raw energy and the famous moment where Daltrey stutters the word “generation” in the chorus, adding to the song’s rebellious and edgy feel. It remains one of The Who’s most influential and celebrated tracks, emblematic of the band’s impact on rock music and culture.
7. Behind Blue Eyes
“Behind Blue Eyes” by The Who is a notable track from their 1971 album *Who’s Next*. Written by Pete Townshend, the song features a dynamic blend of introspective lyrics and a compelling musical arrangement.
The song is known for its contrast between a gentle, acoustic intro and a powerful, electric crescendo. The lyrics express themes of inner conflict, loneliness, and the struggle to reconcile one’s public persona with private emotions. Roger Daltrey’s vocal performance captures a deep sense of vulnerability and frustration, while Townshend’s intricate guitar work adds depth to the track.
“Behind Blue Eyes” has been praised for its emotional intensity and its ability to convey a complex range of feelings, making it a standout example of The Who’s songwriting and musical prowess.
8. Who Are You
“Who Are You” is a song by The Who, released in 1978 as the title track of their album *Who Are You*. Written by Pete Townshend, the song is notable for its distinctive keyboard riff and introspective lyrics.
The song’s lyrics address themes of identity and self-reflection, with Townshend exploring questions about personal and social identity. The chorus, “Who are you? Who, who, who, who?” reflects a sense of existential questioning and introspection. The track is known for its powerful delivery and the band’s energetic performance.
“Who Are You” was one of the last songs recorded by The Who before the death of drummer Keith Moon later in 1978. It remains a significant part of The Who’s catalog, illustrating the band’s ability to blend introspective themes with dynamic rock instrumentation. The song’s memorable riff and poignant lyrics have made it one of the band’s enduring classics.
9. The Seeker
“The Seeker” by The Who is a classic rock song released in 1970. Written by Pete Townshend, it was included as a single and later featured on various compilations. The song reflects Townshend’s search for deeper meaning and understanding in life, touching on themes of existential questioning and spiritual quest.
Musically, “The Seeker” is known for its energetic rhythm, driving guitar riffs, and memorable chorus. The lyrics convey a sense of searching and yearning for answers, capturing Townshend’s introspective and philosophical approach to songwriting. The track is celebrated for its vibrant, rock-oriented sound and its exploration of personal and philosophical themes, making it a notable part of The Who’s discography.
10. Pinball Wizard
“Pinball Wizard” is one of The Who’s most iconic songs, released in 1969 on their rock opera album *Tommy*. Written by Pete Townshend, the song tells the story of a young man named Tommy who becomes a pinball champion despite being deaf, dumb, and blind.
The track is notable for its energetic tempo, dynamic guitar riffs, and distinctive piano arrangement, which captures the excitement and intensity of the pinball machine. Roger Daltrey’s commanding vocals and the song’s catchy chorus contribute to its memorable and anthemic quality.
“Pinball Wizard” is a standout piece in The Who’s rock opera, serving as a central moment in the narrative of *Tommy*. The song’s success helped establish The Who as a major force in rock music and solidified *Tommy* as a landmark concept album. It remains a classic example of the band’s innovative approach to rock music and storytelling.
|
|||||
1487
|
dbpedia
|
1
| 71
|
https://b105country.com/carly-pearce-rant-we-fest-minnesota/
|
en
|
WATCH: Carly Pearce Goes On Epic Rant At Minnesota Concert
|
[
"https://townsquare.media/site/150/files/2018/09/b105.png",
"https://townsquare.media/site/150/files/2024/08/attachment-SWEARING.jpg?w=980&q=75",
"https://townsquare.media/wp-content/uploads/2019/05/KKCBFM.png?w=100",
"https://townsquare.media/wp-content/uploads/2019/05/KKCBFM.png?w=100",
"https://townsquare.media/site/150/files/2024/08/attachment-gas-station-close-feature.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/08/attachment-feature-fema.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/08/attachment-TPI2.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/08/attachment-GettyImages-2156861760.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/07/attachment-SLAMA-USE.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/07/attachment-WE-FEST.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/06/attachment-HOME.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/06/attachment-WDIODOG.jpg?w=980&q=75",
"https://townsquare.media/site/150/files/2024/06/attachment-351.jpg?w=980&q=75"
] |
[] |
[] |
[
"country music news",
"featured",
"minnesota & wisconsin news",
"video"
] | null |
[
"David Drew"
] |
2024-08-05T20:55:29+00:00
|
The NSFW rant was directed towards a rude man in the crowd at WE Fest.
|
en
|
B105
|
https://b105country.com/carly-pearce-rant-we-fest-minnesota/
|
Last weekend, country fans descended upon the Soo Pass Ranch in Detroit Lakes, Minnesota for another year of WE Fest, one of the premiere country music festivals in the region.
The headliners for WE Fest this year were Jelly Roll, Park McCollum, and Eric Church, with each day providing a nice variety of country music stars.
I spoke to friends who attended the event and despite some storms early on, all said they enjoyed the weekend and there was debate over who was the best performer, with most choosing either Jelly Roll on Thursday night, or Eric Church on Saturday.
However, everyone was talking about what went down Friday during the Carly Pearce performance.
Carly Pearce Gets Feisty On August 2 In Minnesota
Carly was scheduled to appear at 8:15 p.m., just after Trace Adkins and ahead of Parker McCollum, giving her the chance to sing her hits and her new single "Truck On Fire", which I've mentioned on the air is a song that has her feeling feisty.
The song is about a scorned woman who gets revenge by setting her soon-to-be ex-boyfriend's truck on fire. In the song, she sings "Liar, liar, truck on fire, flames rolling off of your Goodyear tires. Burn, burn, you're gonna learn, never should've put your lips on her."
Carly's feisty spirit was with her in full force at WE Fest, which a man who heckled her found out. While she didn't set his truck on fire, she did get him kicked out.
While I wasn't there, from what I've heard from others was that Carly began to open up to the crowd to talk about her personal life, when the man yelled something along the lines of "We don't care!" That turned out to be a big mistake.
Carly took exception to the comment and yelled "If you're gonna be an a--hole, then you're gonna have to say it to me and get the f--k out of my show."
She then had the man removed while adding, "I do not have time for di--s. See ya later!" You can see the tense moment in the NSFW video below.
Based on social media comments, some observers thought that she should've just ignored the guy and that she overreacted, most seem to be in full support of Carly Pearce and how she handled herself in the moment. What do you think?
SEE NOW: Amazing $2.3 Million Lake Property Now Available In Duluth
Minnesotans will have another chance to see Carly next year as she brings her Hummingbird Tour to Treasure Island Resort & Casino in March.
|
|||||
1487
|
dbpedia
|
1
| 26
|
https://www.blackpast.org/african-american-history/groups-organizations-african-american-history/jackson-5-1965/
|
en
|
The Jackson 5 (1965
|
[
"https://www.blackpast.org/wp-content/uploads/black-past-logo.png",
"https://www.blackpast.org/wp-content/uploads/The_Jackson_5__1972.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Maritza Fernandez",
"contributed : Maritza Fernandez"
] |
2018-09-09T14:31:02+00:00
|
One of the first boy bands, the Jackson 5 consisted of brothers from Gary, Indiana: Jackie (born Sigmund), Tito (born Toriano), Jermaine, Marlon, and Michael Jackson. Though their youth and energetic sound made them seem like “bubblegum pop,” the boys played instruments, had vocal talent and practiced … Read MoreThe Jackson 5 (1965- )
|
en
|
https://www.blackpast.org/african-american-history/groups-organizations-african-american-history/jackson-5-1965/
|
One of the first boy bands, the Jackson 5 consisted of brothers from Gary, Indiana: Jackie (born Sigmund), Tito (born Toriano), Jermaine, Marlon, and Michael Jackson. Though their youth and energetic sound made them seem like “bubblegum pop,” the boys played instruments, had vocal talent and practiced choreography. Their father, Joe Jackson, a steel worker, saw talent in his sons when he caught them playing with his old guitar. Before settling on the name “Jackson 5,” they tried other names like “Ripples & Waves Plus Michael” and “The Jackson Brothers.”
In 1966, they won a local competition with a cover of the Temptations’ “My Girl.” A year later, they won the amateur night talent show at the Apollo Theater in Harlem, this time catching the attention of singer Gladys Knight. With help from Knight, Bobby Taylor, and Diana Ross, Motown signed the group in 1968. In August 1969, they opened for Diana Ross at the L.A. Forum. A month later, their first TV appearance was singing “It’s Your Thing” at the Miss Black America Pageant. They were also featured in the September 1969 issue of Soul Magazine. On October 7, 1969, their first single “I Want You Back” was released and immediately went to number one on Pop and R&B charts. On December 18, 1969, their first album, Diana Ross Presents the Jackson 5, was released as part of a calculated PR attempt to use her reputation to sell the young band.
The Jackson 5 were the first act to have their first four singles (“I Want You Back,” “ABC,” “The Love You Save,” and “I’ll Be There”) reach number one on the Billboard Hot 100. Overall, the group had seventeen Top 40 singles. In 1972, Michael began his solo career but remained with the band until his success with Thriller in 1982.
In 1976, after struggling to maintain their success, the brothers, except for Jermaine, left Motown for Epic Records and added younger brother Randy. Motown legally retained “Jackson 5,” so the brothers renamed themselves “The Jacksons.” They released six albums: The Jacksons (1976); Going Places (1977); Destiny (1978); Triumph (1980); Victory (1983); and 2300 Jackson St. (1989). The final album was the first to include all the Jackson siblings, except LaToya, though it failed to sell, and they were dropped from Epic. In 1983, on Motown 25: Yesterday, Today, Forever, the brothers performed together; Michael sang “Billie Jean” from his solo album Thriller and unveiled the “moonwalk.”
In 1980, the group received a star on the Hollywood Walk of Fame. They were inducted into the Rock & Roll Hall of Fame in 1997 and the Vocal Group Hall of Fame in 1999. “ABC” and “I Want You Back” were listed on Rock & Roll Hall of Fame’s 2004 “500 Songs that Shaped Rock & Roll,” and the latter was added to the Grammy Hall of Fame.
|
||||||
1487
|
dbpedia
|
1
| 51
|
https://www.theguardian.com/music/2022/jan/27/the-beach-boys-40-greatest-songs-ranked
|
en
|
The Beach Boys’ 40 greatest songs – ranked!
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Beach+Boys%2CPop+and+rock%2CMusic%2CCulture%2CBrian+Wilson",
"https://i.guim.co.uk/img/media/7ec058303ed6243718a1aadf6ab51567c74d81ee/0_0_3000_3045/master/3000.jpg?width=465&dpr=1&s=none",
"https://i.guim.co.uk/img/uploads/2018/01/31/Alexis_Petridis,_L.png?width=75&dpr=1&s=none",
"https://i.guim.co.uk/img/media/d1c2f3911ebf888eb53c05adb936ba41b0553bcc/201_423_3293_1977/master/3293.jpg?width=445&dpr=1&s=none",
"https://i.guim.co.uk/img/media/af64d49612e47bd9dfde1e842e8673fbeca1161e/0_0_4528_3495/master/4528.jpg?width=445&dpr=1&s=none",
"https://i.guim.co.uk/img/media/a3a37aab106015a565700f859f1f2e69fda72166/0_186_3006_1804/master/3006.jpg?width=445&dpr=1&s=none"
] |
[
"https://www.youtube-nocookie.com/embed/qStlMci-Xx0?wmode=opaque&feature=oembed",
"https://www.youtube-nocookie.com/embed/vtVCcmAh96M?wmode=opaque&feature=oembed",
"https://www.youtube-nocookie.com/embed/IiojLqoQGoA?wmode=opaque&feature=oembed",
"https://www.youtube-nocookie.com/embed/aVis0FbvJsU?wmode=opaque&feature=oembed",
"https://www.youtube-nocookie.com/embed/WA_kZR1kPug?wmode=opaque&feature=oembed",
"https://www.youtube-nocookie.com/embed/jkPyB-g3asI?wmode=opaque&feature=oembed",
"https://open.spotify.com/embed?uri=spotify%3Aplaylist%3A6588w14TuGgOqiFoS48sL3"
] |
[] |
[
""
] | null |
[
"Alexis Petridis",
"www.theguardian.com"
] |
2022-01-27T00:00:00
|
As a new documentary about Brian Wilson arrives, we take on the near-impossible task of sorting his band’s best, from lustful-teen pop to meditative balladry
|
en
|
the Guardian
|
https://www.theguardian.com/music/2022/jan/27/the-beach-boys-40-greatest-songs-ranked
|
40. Baby Blue (1979)
You have to tread carefully when it comes to the Beach Boys’ late-70s albums: patchy is putting it mildly. But Baby Blue – a refugee from Dennis Wilson’s unfinished second solo album, Bamboo, parachuted on to the largely awful LA (Light Album) – is fantastic: fragile, ethereal, alternately romantic and pained.
39. The Lonely Sea (1963)
An overlooked anomaly amid the Surfin’ USA album’s twangy instrumentals and paeans to catching a wave, The Lonely Sea is slow, shimmering and eerie. It makes the sea sound faintly sinister – a reminder of life’s transience – rather than a source of fun, its dreamy ache a sign of where Brian Wilson was headed.
38. Disney Girls (1957) (1971)
Bruce Johnston’s songwriting could tend to schmaltz: see the ghastly Deirdre, from Sunflower. But the gentle, descending melody on his contribution to Surf’s Up – an evocation of 50s America that couldn’t have been less fashionable in 1971, decorated with wah-wah guitar or not – is disarmingly charming.
37. Wind Chimes (1967)
LSD didn’t make Brian Wilson relax and float downstream: it scared the shit out of him. You can hear the fear in Smile’s supine, compelling but distinctly creepy Wind Chimes. It’s creepier and more compelling still in the ragged re-recording on Smiley Smile, and nothing like anything else the Beach Boys recorded.
36. Little Honda (1964)
Brian and brother Carl had a row in the studio over Brian’s insistence that Little Honda needed a distorted guitar. Brian won, and the result was as close as the Beach Boys came to garage-rock toughness: nothing to scare the Shadows of Knight, but its vague hint of pounding aggression is really thrilling.
35. It’s About Time (1970)
The Beach Boys seldom rocked out convincingly – it just wasn’t their forte – which makes It’s About Time, a collaborative effort involving Dennis and Carl Wilson and Al Jardine, a truly rare pleasure: Dennis’s vocal is raw and powerful, the guitar solo stings, the Santana-inspired Latin percussion rattles along.
34. Be True To Your School (1963)
He’s an understandably controversial figure among Beach Boys fans, but Mike Love nevertheless makes Be True to Your School as exciting as it is: his lyrics are weirdly belligerent, and he sings them with a punkish snarl at odds with its perky cheerleader chants and ra-ra backing vocals, as if intent on provoking a punch-up rather than lauding his alma mater.
33. Wendy (1964)
Wendy was intended as a homage to the Beach Boys’ east coast competitors the Four Seasons: you can definitely hear the influence of their then-current hit single Ronnie, particularly in its intro. But the Four Seasons’ overcast Newark toughness is replaced by dreamy melancholy that feels sunlit even as it ponders a future that looks “awful dim”.
32. Cuddle Up (1972)
The overlooked Carl and the Passions – So Tough feels distantly related to 1965’s Beach Boys Today! Both albums feature a second side consumed by ballads, but here they’re darker, wearier, the sound of a band horribly bruised by the excesses of the late 60s. The highpoint is the wonderful Cuddle Up: Dennis in gorgeous battered romantic mode.
31. Help Me, Rhonda (1965)
For a man supposedly hopelessly square – his LA hipster friends tended to snigger behind his back at his terrible taste – Brian was a serious risk-taker: Help Me, Rhonda’s original version spends its final minute inexplicably fading in and out. Even without that coda, the single version is great: the lyrical misery at odds with the melody.
30. Summer’s Gone (2012)
That’s Why God Made the Radio is deeply uneven, but the final track on what’s likely to be the final Beach Boys album is a perfect way of bidding farewell. Based around a keyboard figure that recalls the intro to California Girls, it repurposes Brian’s trademark melancholy.
29. Little Deuce Coupe (1963)
The tune is one of Brian’s more simplistic, and the lyrics are effectively someone wanging on about their car like a bore in the pub on a Sunday lunchtime – you get everything from the clutch to its registration documents. The end result is 1:44 of life-affirming joy, such were the Beach Boys’ mysterious alchemical powers in 1963.
28. Time to Get Alone (1969)
20:20, released in 1969, variously featured old outtakes, covers, a recording of Dennis having sex and – uh-oh – the songwriting talents of Charles Manson. Among the former category lurked Time to Get Alone: a Brian song longing for escape, “safe from the people”, airily delightful, blessed with a heavenly sigh of a chorus.
27. 4th of July (1971)
Dennis emerged as a major songwriting force with Sunflower’s Forever, but 4th of July is even better: an epic, deeply troubled meditation on Vietnam utterly at odds with the Beach Boys’ old image as America’s Band. “Band politics” got it elbowed from Surf’s Up – it remained unreleased until 1993.
26. Dance, Dance, Dance (1964)
It says something about the company it kept that Dance, Dance, Dance feels undervalued among the Beach Boys’ run of classic singles. Carl’s riff is great, its 12-string guitar and frantic solo bear the influence of the Beatles’ A Hard Day’s Night, but the sudden key change midway through the third verse is pure Brian.
25. The Warmth of the Sun (1964)
Its writing apparently fuelled by the assassination of President John F Kennedy, The Warmth of the Sun is extraordinarily luscious and incredibly sad. It’s also a perfect example of the subtly increasing richness of Brian’s writing: no one else in pop in 1964 was writing chord sequences and melodies like this.
24. Darlin’ (1967)
The Beach Boys were in trouble by the time of Wild Honey’s December 1967 release: Brian’s mental health had collapsed, tastemakers were deriding them as unhip. You wouldn’t know from Darlin’, a heart-swelling triumph with a great Carl vocal: in its own way, its pared-back R&B-infused sound fitted the rootsy post-psychedelic mood.
23. Feel Flows (1971)
The most angelically voiced Beach Boy of all, Carl was a late developing, sporadic and patchy songwriter, but Feel Flows was a total delight, a hazily psychedelic take on laid-back 70s west coast rock with a fantastic, surprisingly stinging guitar solo. Its use in Almost Famous deservedly brought it to a wider audience.
22. This Whole World (1970)
Legend has it that Brian wrote This Whole World while “stoned and confused”, which seems remarkable given the song’s plethora of changes and its mood of spiralling elation. Its a cappella coda – Carl’s falsetto soaring over a wall of backing vocals – is as spine-tingling as anything in the Beach Boys’ catalogue.
21. I’m Waiting For the Day (1966)
Pet Sounds is so consistently fantastic that picking its highlights swiftly becomes about personal preference. Is I’m Waiting For the Day “better” than I Guess I Just Wasn’t Made For These Times or Here Today? Not really, but the point at 0:52 when the drums kick in might be the album’s most exciting, exuberant moment.
20. Let Him Run Wild (1965)
A wonderful song and another signpost to Pet Sounds that stirs the influence of Burt Bacharach into a saga of heartbreak and optimism. The writing and arrangements are ever-more ornate, but the real genius of Brian might not be all the musical twists and turns but how effortless the finished product feels.
19. Sail On Sailor (1973)
The demo of Sail On Sailor features Brian pleading with co-writer Van Dyke Parks to “convince me that I’m not insane”. That such an optimistic, joy-bringing song came out of such turmoil seems almost beyond belief: the lyrics might feel like Parks’s message to his troubled partner, but Brian’s strident, punchy music matches it.
18. Fun, Fun, Fun (1964)
Fun, Fun, Fun must have sounded like a description of another planet in early 60s Britain: a world of drive-in restaurants and unimaginable plenty, where a teenager could take possession of a Ford Thunderbird. No wonder it sounded so exuberant, from its Chuck Berry guitar intro to its final, life-affirming explosion of harmonies.
17. All I Wanna Do (1970)
Invariably overshadowed by its successor Surf’s Up, Sunflower is the real jewel in the Beach Boys’ 70s catalogue: more of a band effort than Pet Sounds, packed with amazing songs, not least All I Wanna Do, a blissful, reverb-drenched dream that some have claimed as a precursor to chillwave. A little bafflingly, Brian later called it “boring”.
16. Surfin’ USA (1963)
One of the fastest learners in pop, Brian described 1962’s Surfin’ Safari as merely “a rehearsal”. The qualitative leap on the Chuck Berry-indebted Surfin’ USA – released a mere five months later – feels mind-blowing. It’s tighter, smoother, shinier, more exciting: a song entirely of its moment, but so infectiously gleeful as to defy time.
15. Heroes and Villains (1967)
The projected follow-up to Good Vibrations pushed Brian’s fragmentary writing technique to its limit. Disjointed in a way its predecessor simply wasn’t, it’s still an incredible achievement, unlike anything else in pop then or now. What audiences in 1967 would have made of the five-minute version, belatedly released in 2011, is anyone’s guess.
14. Do It Again (1968)
Hymning the early 60s before the 60s were over, Do It Again helped usher in a retrospective mood in US pop culture, harking back to a mythic prelapsarian era just as American Graffiti and Don McLean’s American Pie would subsequently do. It’s also a fantastic song: the lead vocal-free middle section is particularly thrilling.
13. In My Room (1963)
The greatest and most moving of the Beach Boys’ initial ventures into introspection. With its worries, fears and crying in the dark, In My Room seems astonishingly vulnerable for a male pop band in 1963: an early sign that all was not as it seemed behind the sunny California facade.
12. Cabinessence (1969)
Spare a thought for Love, the naysaying villain in the saga of Smile going unfinished: who wouldn’t be a little shocked by Cabinessence? But if you’re not a 60s pop star looking for a hit, it sounds glorious and ambitious: drawing on folk music, cowboy songs and Aaron Copland, alternately funny, touching and disturbing.
11. Don’t Talk (Put Your Head on My Shoulder) (1966)
A strong candidate for the title of the most beautiful song the Beach Boys ever recorded, Don’t Talk (Put Your Head on My Shoulder)’s sumptuous, string-laden yearning stands out even on Pet Sounds. Analyse its harmonic complexities, diminished chords and passing tones if you want: however Brian did it, it’s impossible not to succumb to.
10. Please Let Me Wonder (1965)
Side two of Beach Boys Today! offered a succession of dazzling, plush ballads that bore testament to Brian’s increasing fondness for marijuana and acted as a dry run for Pet Sounds. Every one of them is amazing, but the subtly arranged, swooning beauty of Please Let Me Wonder is something else.
9. I Get Around (1964)
Perhaps the finest expression of swaggering youthful arrogance in pop history – “we’ve never missed yet with the girls we meet” – I Get Around manages to be impossibly pleased with itself and totally irresistible: the astonishing harmonies, Brian’s vaulting falsetto, the key change midway through, the fabulous pizzicato guitar on the verses.
8. God Only Knows (1966)
In recent years, God Only Knows seems to have become the definitive Beach Boys song: you’re far more likely to hear it on the radio than I Get Around. Its resulting over-familiarity notwithstanding, its plaintive loveliness – amplified by Carl’s vocal – can still take your breath away in an unguarded moment.
7. California Girls (1965)
The contrasting personalities at the Beach Boys’ centre in one stunning pop package. Love’s lyrics pay swaggering tribute to the sun-kissed ladies of the band’s home state, equal parts lechery and we’re-the-best cheerleading. Brian’s astonishing instrumental introduction, however, seems beamed from a very different world: reflective, autumnal, suffused with sadness.
6. Wouldn’t It Be Nice (1966)
Pet Sounds’ clarion call features Brian throwing everything at the wall – tempo shifts, risky key changes (the first arrives six seconds in), instruments rendered unrecognisable by his studio techniques, harmonies so beautiful and tricky they reduced Carl to tears in the studio – and finding it all sticks: an incredible song.
5. Don’t Worry Baby (1966)
One of the greatest B-sides ever released, Don’t Worry Baby has it all: an exquisite melody made more exquisite still by Brian’s tender vocal, a lush backdrop of harmonies, a moving lyric about teen romance and an ill-considered drag race that seems to reflect Brian’s own troubles and insecurities.
4. ’Til I Die (1971)
A stunning piece of songwriting – check out the extended alternative mix on 1998’s Endless Harmony – ’Til I Die is the most emotionally desolate song in the Beach Boys’ catalogue: a howl of resigned despair from a man in terrible distress. Its hopelessness is chilling, its sonic richness cosseting: an incredibly potent, unsettling combination.
3. Caroline, No (1966)
Almost anything from Pet Sounds could hold this position in the chart, but for sheer emotional power, it’s hard to beat Caroline, No’s meditation on innocence lost, which could just as easily be about a child as an old flame. The music is sumptuously sad; the final, agonised note of Brian’s vocal heartbreaking.
2. Surf’s Up (1971)
The first time the public heard Surf’s Up, four years before it appeared on the eponymous album, it was being lavished with praise: “Too complex to get all of first time around … poetic, beautiful,” gushed the 1967 documentary Inside Pop, superlatives that horrified Brian. But it deserves them: elliptical, deeply haunting and elegiac, it seems to anticipate the waning of the 60s even at their height.
1. Good Vibrations (1966)
In the new documentary Long Promised Road, Don Was attempts to explain Brian’s production techniques by playing his old multi-tracks. It doesn’t work: “I don’t know how he did that,” shrugs Was, baffled. Good Vibrations is testament to those inexplicable powers. An act of unprecedented audacity, it was spliced together from fragments recorded in four different studios. But it doesn’t sound like an avant-garde experiment: it sounds like a breathtaking pop single, its endless shifts and changes coalescing into a perfectly formed, unbelievably thrilling whole. The greatest single ever? Maybe. The pinnacle of 60s pop’s invention and daring? Probably. The Beach Boys’ crowning achievement? Absolutely.
|
|||||
1487
|
dbpedia
|
1
| 5
|
https://www.beatlesbible.com/1965/07/19/us-single-help/
|
en
|
US single release: Help!
|
[
"https://www.beatlesbible.com/wp/media/logo_long_03.png",
"https://www.beatlesbible.com/wp/media/logo_long_03.png",
"https://www.beatlesbible.com/wp/media/usa_help_single-580x569.jpg",
"https://www.beatlesbible.com/wp/media/usa_help_single-580x569.jpg",
"https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-66x66.jpg 66w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-580x580.jpg 580w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-960x960.jpg 960w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-200x200.jpg 200w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-768x768.jpg 768w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-1536x1536.jpg 1536w, https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-2048x2048.jpg 2048w",
"https://www.beatlesbible.com/wp/media/john-lennon-mind-games-meditation-mixes_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/daytime-revolution_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/daytime-revolution_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/adidas-hey-jude-bellingham_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/adidas-hey-jude-bellingham_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/media/ringo-starr-all-starr-band-2024_01-66x66.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1667805872BB-FF-pic.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1667805872BB-FF-pic.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1712065191The-Rolling-Stones-Hackney-Diamonds.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1712065191The-Rolling-Stones-Hackney-Diamonds.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/15625227131489440704appleavatarsafety.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1547106964shamrock100.jpg",
"https://www.beatlesbible.com/wp/wp-content/sp-resources/forum-avatars/1547106964shamrock100.jpg",
"https://www.beatlesbible.com/wp/media/rsh-sidebar-336x250_01.jpg",
"https://www.beatlesbible.com/wp/media/rsh-sidebar-336x250_01.jpg",
"https://www.beatlesbible.com/media/riding-so-high_94x150.jpg",
"https://www.beatlesbible.com/media/riding-so-high_94x150.jpg",
"https://www.bowiebible.com/wp-content/media/favicon_01-32x32-200x200.png",
"https://www.bowiebible.com/wp-content/media/favicon_01-32x32-200x200.png",
"https://www.beatlesbible.com/paypal_pixel.gif",
"https://www.beatlesbible.com/paypal_pixel.gif"
] |
[] |
[] |
[
""
] | null |
[
"Joe"
] |
1965-07-19T00:00:00
|
Article on the release of The Beatles' 10th Capitol Records single, Help!, on the Beatles Bible website.
|
en
|
https://www.beatlesbible.com/wp/media/favicon.ico
|
The Beatles Bible
|
https://www.beatlesbible.com/1965/07/19/us-single-help/
|
US single release: Help!
|
||||
1487
|
dbpedia
|
2
| 12
|
https://americansongwriter.com/meaning-like-a-rolling-stone-bob-dylan/
|
en
|
The Meaning of “Like a Rolling Stone” by Bob Dylan
|
[
"https://www.facebook.com/tr?id=1891611881076889&ev=PageView&noscript=1",
"https://americansongwriter.com/wp-content/themes/asw/build/images/site-logo.svg",
"https://americansongwriter.com/wp-content/uploads/2024/08/greenday-shutterstock_editorial_14601356j.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/nigro-GettyImages-1923742821.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/08/bon-jovi.jpg",
"https://americansongwriter.com/wp-content/uploads/2023/11/Untitled-design-47.png",
"https://americansongwriter.com/wp-content/uploads/2024/04/sgt-pepper-GettyImages-74253269.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/08/pete-townshend.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/dylan-GettyImages-74269261.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/dylan2-shutterstock_editorial_13969166b.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/dylan-shutterstock_editorial_14265a.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/03/Getty_TownesVanZandt2000_030724.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/05/Getty_MickJagger2000_atRacket_052324.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/guns-shutterstock_editorial_135836f.jpg",
"https://americansongwriter.com/wp-content/uploads/2024/07/al-kooper.jpg?resize=180,72",
"https://americansongwriter.com/wp-content/uploads/2024/04/dylan-GettyImages-74269272.jpg?resize=180,72",
"https://americansongwriter.com/wp-content/uploads/2024/07/dylan-shutterstock_editorial_10741062a.jpg?resize=180,72",
"https://americansongwriter.com/wp-content/uploads/2022/03/Bob-Dylan-GettyImages-511818249.jpg?resize=180,72",
"https://americansongwriter.com/wp-content/uploads/2021/07/Bob-Dylan-e1626798540119.jpg?resize=180,72",
"https://americansongwriter.com/wp-content/themes/asw/build/images/footer-image-1.png"
] |
[] |
[] |
[
""
] | null |
[
"Jacob Uitti"
] |
2022-03-18T14:28:59+00:00
|
The most recognizable song by the legendary American songwriter and performer Bob Dylan, "Like a Rolling Stone" crystalized the artist going electric.
|
en
|
American Songwriter
|
https://americansongwriter.com/meaning-like-a-rolling-stone-bob-dylan/
|
Perhaps the most recognizable and popular song by the legendary American songwriter and performer Bob Dylan, “Like a Rolling Stone” certainly crystalized the artist going electric. With it, the folk lifestyle and image he’d cultivated went in the rear-view mirror.
The Origins
Videos by American Songwriter
Dylan first released “Like a Rolling Stone” on July 20, 1965 (with “Gates of Eden” as the B-side). It began, as many of Dylan’s songs did in the ’60s, with a typewriter and a bit of a vendetta. Dylan wrote many verses (many more than appeared on the six-minute song) for the track earlier that same year after he returned, worn out, from a long tour in the U.K.
After that tour, Dylan, upset with how people were receiving him post-acoustic identity, considered retiring from the music scene. Nevertheless, he persevered. He told Playboy in 1966, “Last spring, I guess I was going to quit singing. I was very drained, and the way things were going, it was a very draggy situation … But ‘Like a Rolling Stone’ changed it all. I mean it was something that I myself could dig. It’s very tiring having other people tell you how much they dig you if you yourself don’t dig you.”
Dylan told journalist Jules Siegel of the song’s origins, “It was ten pages long. It wasn’t called anything, just a rhythm thing on paper all about my steady hatred directed at some point that was honest. In the end, it wasn’t hatred, it was telling someone something they didn’t know, telling them they were lucky.
“Revenge, that’s a better word. I had never thought of it as a song until one day I was at the piano, and on the paper, it was singing, ‘How does it feel?’ in a slow-motion pace, in the utmost of slow motion.”
To shorten the song for radio play, which even then balked at a six-minute tune, Dylan shortened the lyrics to four verses and a chorus. The track was then recorded as part of the sessions for Dylan’s then-forthcoming LP, Highway 61 Revisited.
At first, upon trying to record the track, Dylan reportedly had trouble finding the true center of the song. Then he gave it a rock feel and boom. The track took off in the studio thanks in large part to rookie session player Al Kooper, who improvised the Hammond B2 organ riff that ever since has become a signature flair on the song (more on this below, see: Second Breakthrough).
Columbia Records Was Not Happy
At first, Dylan’s record company was unhappy with the recording, both for its length and the electric feel. Dylan, until this point, was beloved for his folk, acoustic tracks, which often were heard as overt protest songs. Now, he was full-on rock ‘n’ roll, which then was not as viable for artists in the mainstream as was folk music.
But the song was, a few weeks later, leaked to a popular music club—Arthur—and the DJs there took to it, ushering in its life as a bona fide single. Soon after, “Like a Rolling Stone” hit No. 2 on the U.S. Billboard charts and later became the global hit we know it as now.
“Breakthrough”
In an interview with CBC radio in Montreal, Dylan called the manifestation of “Like a Rolling Stone” a “breakthrough.” He even said that writing it changed his understanding of where and how his career was going, could go.
Dylan told the radio station that he’d written “this long piece of vomit, 20 pages long, and out of it I took ‘Like a Rolling Stone’ and made it as a single. And I’d never written anything like that before and it suddenly came to me that was what I should do … After writing that I wasn’t interested in writing a novel, or a play. I just had too much, I want to write songs.”
Originally, Dylan wrote the song on an upright piano in the key of D flat, which he later changed to C major on the guitar in the recording studio.
Critical Reception
While at first—like most revolutionary things—the song wasn’t praised by Columbia, the song has since gone on to be recognized as, perhaps, the most praised song of all time. From Dylan’s direct lyric, How does it feel?, to the many covers, “Like a Rolling Stone” has gone on to become a beloved piece of American art.
At an auction, the lyrics for the song, which has since been covered by Jimi Hendrix, Green Day, and The Wailers, garnered some $2 million, a world record.
Today, the song remains Dylan’s most successfully commercial release, remaining in the US charts for 12 weeks.
In 1966, Dylan said, “Rolling Stone’s the best song I wrote.”
Mike Bloomfield and Co.
After “Like a Rolling Stone” had been written, Dylan invited musician Mike Bloomfield to his Woodstock home in Upstate New York for the weekend to play the new material. In an interview, Bloomfield later said, “The first thing I heard was ‘Like a Rolling Stone’. I figured he wanted blues, string bending because that’s what I do. He said, ‘Hey, man, I don’t want any of that B.B. King stuff.’ So, OK, I really fell apart. What the heck does he want? We messed around with the song. I played the way that he dug, and he said it was groovy.”
Dylan and company recorded the song on June 15 and 16 in 1965 at Studio A of Columbia Records in New York City. It was produced by Tom Wilson (and was the last song Wilson would produce for Dylan). Along with Bloomfield, Wilson recruited musicians Paul Griffin for piano, Joe Macho Jr. on bass, Bobby Gregg on drums, Bruce Langhorne on tambourine.
In the first recording session, five takes were done, each different from what would later be released, including a version as a waltz. Fans can hear some of those original takes today on the 1991 compilation, The Bootleg Series Volume 1-3 (Rare & Unreleased 1961-1991).
Second Breakthrough
On the second day of recording, Kooper joined the session. Then, just 21 years old, Kooper was known as a guitar player. He wasn’t even supposed to play on the session, but when he had a chance, Kooper sat down to take part in the proceedings. As the day continued to transpire, Kooper, who had now ingratiated himself in the session, later told the powers that be that he had a good organ part for the song.
At first, Kooper was scoffed at and was told “no.” But when Dylan heard a playback, which included Kooper’s organ part, he insisted that the organ be turned up, even though Kooper was not a formal organ player. The rest is history. In total, the band did 20 takes and ended up using take No. 4 as the final.
Subject Matter
Unlike many of the contemporary hits of the day, “Like a Rolling Stone” featured ideas of resentment and challenge in the lyrics, rather than love or joy. It’s about “Miss Lonely” at first opting for the easy way in life. But later, as she gets older and sees more of what the world is, her path gets harder and harder. Does she have the meaningful life experience to combat this change in perspective? Maybe not.
Dylan sings:
Now you don’t talk so loud
Now you don’t seem so proud
About having to be scrounging your next meal
Yet, even in this hopelessness, there is hope. Having nothing can be freeing.
When you ain’t got nothing, you got nothing to lose
You’re invisible now, you got no secrets to conceal
Magazine magnate Jann Wenner noted, “Everything has been stripped away. You’re on your own, you’re free now … You’re so helpless and now you’ve got nothing left. And you’re invisible—you’ve got no secrets—that’s so liberating. You’ve nothing to fear anymore.”
When asked if Dylan is hard on people in his songs because he wants to “torment them” or “change their lives,” Dylan responded, “I want to needle them.”
Who is Miss Lonely?
Many have speculated as to the identity of the song’s main character, Miss Lonely. While the figure may be made up or an amalgamation of several people, many big names have been suggested as to the identity of the central figure, from model Edie Sedgwick to folk heroin Joan Baez.
In his book, POPism: The Warhol ’60s, artist Andy Warhol said that people in his circle believed he was referenced in the song. He remembers being told, “Listen to ‘Like a Rolling Stone’—I think you’re the diplomat on the chrome horse, man.”
If true, the allusion is in reference to Warhol’s treatment of Sedgwick, who many believe was abused, perhaps mentally and physically, by the pop artist. Sedgwick and Dylan also were alleged to have a short-lived relationship around 1965—she may have even been in love with him and was shocked when it was discovered that Dylan secretly married Sara Lownds in November of 1965.
Whether the figures in the song are based on real people or not remains a contentious fact. Yet, Dylan said, after his famed motorcycle accident in 1966: “when I used words like ‘he’ and ‘it’ and ‘they,’ and talking about other people, I was really talking about nobody but me.”
Live Performance
Dylan performed the song for the first time live within days of its release in Newport, Rhode Island at the Newport Folk Festival. Famously, many in the audience protested Dylan going electric.
After Dylan released his album, Highway 61 Revisited (which included “Like a Rolling Stone”), in August 1965, he went on tour with the future members of The Band. Later, on May 17, 1966, when Dylan and his backing group played the tune in the Free Trade Hall in Manchester, England, an audience member yelled, “Judas!” Dylan turned to the audience and said, “I don’t believe you… You’re a liar!”
Then he turned to the band and said, “Play it fucking loud!” Since then, the song became a staple at Dylan’s live shows.
Impact
The song made such an impact on the American (and global) audience that it in many ways changed the face of popular music.
Said famed rocker Bruce Springsteen, who first heard the song when he was 15-years-old: “The first time I heard Bob Dylan, I was in the car with my mother listening to WMCA, and on came that snare shot that sounded like somebody’d kicked open the door to your mind … The way that Elvis freed your body, Dylan freed your mind, and showed us that because the music was physical did not mean it was anti-intellect.
“He had the vision and talent to make a pop song so that it contained the whole world. He invented a new way a pop singer could sound, broke through the limitations of what a recording could achieve, and he changed the face of rock’n’roll for ever and ever.”
Paul McCartney remembers listening to the song at John Lennon’s house. Said McCartney of the experience: “It seemed to go on and on forever. It was just beautiful … He showed all of us that it was possible to go a little further.”
Remembered Fank Zappa: “”When I heard ‘Like a Rolling Stone’, I wanted to quit the music business, because I felt: ‘If this wins and it does what it’s supposed to do, I don’t need to do anything else …’ But it didn’t do anything. It sold but nobody responded to it in the way that they should have.”
Said Elvis Costello: “What a shocking thing to live in a world where there was Manfred Mann and the Supremes and Englebert Humperdinck and here comes ‘Like a Rolling Stone’”.
CBS and the Six-Minute Pop Hit
Originally, CBS tried to make the record more radio friendly by cutting the song in half and spreading it over both sides of the vinyl. But Dylan fans weren’t having it! They demanded that the full song was place on one side and that radio stations play the song fully in one go. This changed the way popular music was thought of. Now six-minute songs could be pop hits.
Said Rolling Stone magazine, which, in part, took its name from the song: “No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time.”
Hendrix Cover
The legendary guitar player Jimi Hendrix obviously had a fondness for Dylan’s writing. The artist is famous for his cover of Dylan’s “Watchtower.” And he also recorded a live version of “Like a Rolling Stone” with his band the Jimi Hendrix Experience, which you can check out below.
Said Hendrix of the song: “It made me feel that I wasn’t the only one who’d ever felt so low.”
High praise!
Photo by FRED TANNEAU/AFP/GettyImages
|
|||||
1487
|
dbpedia
|
1
| 47
|
https://singleschronology.wordpress.com/
|
en
|
Hot 100 Singles Chronology
|
https://secure.gravatar.com/blavatar/151bc681e970c8011ebd355a63cf1d2280a09e41a7393b056aeef59d48b2c4cd?s=200&ts=1723195224
|
https://secure.gravatar.com/blavatar/151bc681e970c8011ebd355a63cf1d2280a09e41a7393b056aeef59d48b2c4cd?s=200&ts=1723195224
|
[
"https://singleschronology.wordpress.com/wp-content/uploads/2014/01/cropped-dsc_0124.jpg",
"https://www.internetdefenseleague.org/images/badges/final/side_bar_badge.png",
"https://secure.gravatar.com/blavatar/151bc681e970c8011ebd355a63cf1d2280a09e41a7393b056aeef59d48b2c4cd?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] | null |
Each Entry Contains: Release Date ● Peak Chart Position ● Artist ● Song Title ● Time ● Original Label and Cat. Number. The "Release Date" is not necessarily the date of the songs official release, but it's Billboard chart appearance release date. Sometimes the difference between official release date and chart release date can differ, usually by no more than…
|
en
|
https://secure.gravatar.com/blavatar/151bc681e970c8011ebd355a63cf1d2280a09e41a7393b056aeef59d48b2c4cd?s=32
|
Hot 100 Singles Chronology
|
https://singleschronology.wordpress.com/
|
Each Entry Contains:
Release Date ● Peak Chart Position ● Artist ● Song Title ● Time ● Original Label and Cat. Number.
The “Release Date” is not necessarily the date of the songs official release, but it’s Billboard chart appearance release date. Sometimes the difference between official release date and chart release date can differ, usually by no more than a week or two, but can go as long as years, depending on who released the single, and why it took so long to be released.
The “Peak Chart Position” is the highest position that song made it on the Billboard Hot 100 Singles charts. In the case of a “re-chart” single, say like Chubby Checker’s “The Twist” in 1960 and then later in 1962, the highest position of that single will count as its official peak position each time it was released. Re-charted singles will reappear on its official re-chart release date with its current peak position. Example includes Charlene’s “I’ve Never Been To Me” appears twice, once in September of 1977 and again in March of 1982, with two different peak positions for each chart entry (the first being #97 in 1977 and the other being #1 in 1982).
The “Artist” is just that, that artist for that single. The name listed is as accurate to its official label showing. In some cases, a song will be released by one artist over another (like Michael Jackson and Paul McCartney on “The Girl Is Mine”) but will vary depending on who is officially releasing that single (say like Paul McCartney & Michael Jackson on “Say, Say, Say” a year later). In the case of “The Girl Is Mine”, that is strictly a Michael Jackson single, and McCartney was a guest on it. And “Say, Say, Say” was strictly a McCartney record and Jackson guested on it.
The “Song Title” is accurately listed here according to how it is presented on the record label. All abbreviations, or usage of contractions, etc., are due to how the song was originally released. In the majority of cases, how I listed the song is the official title in accordance to the record label’s printing of the label.
The “Time of Song” is the original common total time of the song as officially listed on its original record label. Those times may vary, depending on whether or not the record company mastered the song slower/faster. or added the silence before or after the track. In most cases, however, the total time of the song is pretty much accurate.
The “Original Record Label and Catalog Number” is official according to the original single release. These numbers and labels do not display re-releases, re-issues or “gold standard” singles released retroactively. Should the song be re-issued as an official single, and appeared on the Billboard charts, it will be listed in its respective list with proper credit in accordance to that release. NOTE: On occasion the label and catalog number was not made available to me at the time of posting the information. Here. Little by little, and in due time, I will have that information corrected.
The Monthly Entries
Each month of each year is titled appropriately (with month and year) and is broken up into each week. When you scroll down the list you will see that the first entry of each week of each month begins with the highest charted single of that month and then alphabetical by artists.
Weekly Top 40 Charts
A link is provided to our Weekly Billboard Top 40 charts. The work put into that site was too much to not interweave these two sites. Click the link to visit the site (HERE) and check out each and every Top 40 chart according to Billboard Magazine.
The Rock Era
The debut of the “Rock Era” is commonly known to be June 1955, when Bill Haley’s “(We’re Gonna) Rock Around The Clock” hit #1 on the Billboard pop/Top 40 charts. Through the years the Pop/Top 40 charts has remained relatively the same. Through radio airplay, sales/downloads, video plays, etc., these songs rank on these charts in order to keep an on-going record of what is popular, by whom, and when. In essence, the ranking of the pop charts is nothing more than just a document to history’s music and the artists that recorded and released them.
|
||
1487
|
dbpedia
|
0
| 70
|
https://www.uspto.gov/web/offices/pac/mpep/s2145.html
|
en
|
Consideration of Applicant’s Rebuttal Arguments and Evidence
|
[
"https://www.uspto.gov/includes/i/logo.png",
"https://www.uspto.gov/includes/i/footer_uspto.png"
] |
[] |
[] |
[
"United States Patent and Trademark Office",
"USPTO",
"Manual of Patent Examining Procedure",
"MPEP"
] | null |
[
"MPEP Resources"
] | null |
en
|
/favicon.ico
| null |
2145 Consideration of Applicant’s Rebuttal Arguments and Evidence [R-07.2022]
[Editor Note: This MPEP section is applicable to all applications. For applications subject to the first inventor to file (FITF) provisions of the AIA, the relevant time is "before the effective filing date of the claimed invention". For applications subject to pre-AIA 35 U.S.C. 102, the relevant time is "at the time of the invention". Phillips v. AWH Corp., 415 F.3d 1303, 1313, 75 USPQ2d 1321, 1326 (Fed. Cir. 2005). See also MPEP § 2150 et seq. Many of the court decisions discussed in this section involved applications or patents subject to pre-AIA 35 U.S.C. 102. These court decisions may be applicable to applications and patents subject to AIA 35 U.S.C. 102 but the relevant time is before the effective filing date of the claimed invention and not at the time of the invention.]
If a prima facie case of obviousness is established, the burden shifts to the applicant to come forward with arguments and/or evidence to rebut the prima facie case. See, e.g., In re Dillon, 919 F.2d 688, 692, 16 USPQ2d 1897, 1901 (Fed. Cir. 1990) (en banc). Rebuttal evidence and arguments can be presented in the specification, In re Soni, 54 F.3d 746, 750, 34 USPQ2d 1684, 1687 (Fed. Cir. 1995), by counsel, In re Chu, 66 F.3d 292, 299, 36 USPQ2d 1089, 1094-95 (Fed. Cir. 1995), or by way of an affidavit or declaration under 37 CFR 1.132, e.g., Soni, 54 F.3d at 750, 34 USPQ2d at 1687; In re Piasecki, 745 F.2d 1468, 1474, 223 USPQ 785, 789-90 (Fed. Cir. 1984). However, arguments of counsel cannot take the place of factually supported objective evidence. See, e.g., In re Huang, 100 F.3d 135, 139-40, 40 USPQ2d 1685, 1689 (Fed. Cir. 1996); In re De Blauwe, 736 F.2d 699, 705, 222 USPQ 191, 196 (Fed. Cir. 1984).
Office personnel should consider all rebuttal arguments and evidence presented by applicants. See, e.g., Soni, 54 F.3d at 750, 34 USPQ2d at 1687 (error not to consider evidence presented in the specification). C.f., In re Alton, 76 F.3d 1168, 37 USPQ2d 1578 (Fed. Cir. 1996) (error not to consider factual evidence submitted to counter a 35 U.S.C. 112 rejection); In re Beattie, 974 F.2d 1309, 1313, 24 USPQ2d 1040, 1042-43 (Fed. Cir. 1992) (Office personnel should consider declarations from those skilled in the art praising the claimed invention and opining that the art teaches away from the invention.); Piasecki, 745 F.2d at 1472, 223 USPQ at 788 (“[Rebuttal evidence] may relate to any of the Graham factors including the so-called secondary considerations.”).
Rebuttal evidence may include evidence of “secondary considerations,” such as “commercial success, long felt but unsolved needs, [and] failure of others.” Graham v. John Deere Co., 383 U.S. 1, 148 USPQ 4459, 467. See also, e.g., In re Piasecki, 745 F.2d 1468, 1473, 223 USPQ 785, 788 (Fed. Cir. 1984) (commercial success). Rebuttal evidence may also include evidence that the claimed invention yields unexpectedly improved properties or properties not present in the prior art. Rebuttal evidence may consist of a showing that the claimed compound possesses unexpected properties. Dillon, 919 F.2d at 692-93, 16 USPQ2d at 1901. A showing of unexpected results must be based on evidence, not argument or speculation. In re Mayne, 104 F.3d 1339, 1343-44, 41 USPQ2d 1451, 1455-56 (Fed. Cir. 1997) (conclusory statements regarding unusually low immune response or unexpected biological activity that were unsupported by comparative data held insufficient to overcome prima facie case of obviousness). Rebuttal evidence may include evidence that the claimed invention was copied by others. See, e.g., In re GPAC, 57 F.3d 1573, 1580, 35 USPQ2d 1116, 1121 (Fed. Cir. 1995); Hybritech Inc.v. Monoclonal Antibodies, 802 F.2d 1367, 1380, 231 USPQ 81, 90 (Fed. Cir. 1986). It may also include evidence of the state of the art, the level of skill in the art, and the beliefs of those skilled in the art. See, e.g., In re Oelrich, 579 F.2d 86, 91-92, 198 USPQ 210, 214 (CCPA 1978) (Expert opinions regarding the level of skill in the art were probative of the nonobviousness of the claimed invention.); Piasecki, 745 F.2d at 1471, 1473-74, 223 USPQ at 790 (Evidence of nontechnological nature is pertinent to the conclusion of obviousness. The declarations of those skilled in the art regarding the need for the invention and its reception by the art were improperly discounted by the Board.); Beattie, 974 F.2d at 1313, 24 USPQ2d at 1042-43 (Seven declarations provided by music teachers opining that the art teaches away from the claimed invention must be considered, but were not probative because they did not contain facts and did not deal with the specific prior art that was the subject of the rejection.). For example, rebuttal evidence may include a showing that the prior art fails to disclose or render obvious a method for making the compound, which would preclude a conclusion of obviousness of the compound. A conclusion of obviousness requires that the reference(s) relied upon, together with the knowledge of a person skilled in the art, be enabling in that it put the public in possession of the claimed invention. In re Hoeksema, 399 F.2d 269, 273, 158 USPQ 596, 600 (CCPA 1968) (citing In re Le Grice, 301 F.2d 929, 936, 133 USPQ 365, 372 (1962)). The Hoeksema, court stated:
Thus, upon careful reconsideration it is our view that if the prior art of record fails to disclose or render obvious a method for making a claimed compound, at the time the invention was made, it may not be legally concluded that the compound itself is in the possession of the public. [footnote omitted.] In this context, we say that the absence of a known or obvious process for making the claimed compounds overcomes a presumption that the compounds are obvious, based on close relationships between their structures and those of prior art compounds.
The Hoeksema court further noted that once a prima facie case of obviousness is made by the USPTO through citation of references, the burden is on the applicant to produce contrary evidence establishing that the reference being relied on would not enable a skilled artisan to produce the different compounds claimed. Id. at 274-75, 158 USPQ at 601. See also Ashland Oil, Inc. v. Delta Resins & Refractories, Inc., 776 F.2d 281, 295, 297, 227 USPQ 657, 666, 667 (Fed. Cir. 1985) (citing Hoeksema for the proposition above); In re Grose, 592 F.2d 1161, 1168, 201 USPQ 57, 63-64 (CCPA 1979) ("One of the assumptions underlying a prima facie obviousness rejection based upon a structural relationship between compounds, such as adjacent homologs, is that a method disclosed for producing one would provide those skilled in the art with a method for producing the other... Failure of the prior art to disclose or render obvious a method for making any composition of matter, whether a compound or a mixture of compounds like a zeolite, precludes a conclusion that the composition would have been obvious.").
Consideration of rebuttal evidence and arguments requires Office personnel to weigh the proffered evidence and arguments. Id.; see also In re Alton, 76 F.3d 1168, 1174-75, 37 USPQ2d 1578, 1582-83 (Fed. Cir. 1996). Office personnel should avoid giving no weight to evidence submitted by applicant, except in rare circumstances. However, to be entitled to substantial weight, the applicant should establish a nexus between the rebuttal evidence and the claimed invention, i.e., objective evidence of nonobviousness must be attributable to the claimed invention. The Federal Circuit has acknowledged that applicant bears the burden of establishing nexus, stating:
In the ex parte process of examining a patent application, however, the PTO lacks the means or resources to gather evidence which supports or refutes the applicant’s assertion that the sales constitute commercial success. C.f. Ex parte Remark, 15 USPQ2d 1498, 1503 ([BPAI] 1990) (evidentiary routine of shifting burdens in civil proceedings inappropriate in ex parte prosecution proceedings because examiner has no available means for adducing evidence). Consequently, the PTO must rely upon the applicant to provide hard evidence of commercial success.
In re Huang, 100 F.3d 135, 139-40, 40 USPQ2d 1685, 1689 (Fed. Cir. 1996). See also GPAC, 57 F.3d at 1580, 35 USPQ2d at 1121; In re Paulsen, 30 F.3d 1475, 1482, 31 USPQ2d 1671, 1676 (Fed. Cir. 1994) (Evidence of commercial success of articles not covered by the claims subject to the 35 U.S.C. 103 rejection was not probative of nonobviousness.). Additionally, the evidence must be reasonably commensurate in scope with the claimed invention. See, e.g., In re Kulling, 897 F.2d 1147, 1149, 14 USPQ2d 1056, 1058 (Fed. Cir. 1990); In re Grasselli, 713 F.2d 731, 743, 218 USPQ 769, 777 (Fed. Cir. 1983). In re Soni, 54 F.3d 746, 34 USPQ2d 1684 (Fed. Cir. 1995) does not change this analysis. In Soni, the court declined to consider the Office’s argument that the evidence of nonobviousness was not commensurate in scope with the claim because it had not been raised by the examiner. Id. 54 F.3d at 751, 34 USPQ2d at 1688.
In other words, in order for evidence of secondary considerations to be accorded substantial weight, there must be a nexus, i.e., a legally and factually sufficient connection or correspondence between the submitted evidence and the claimed invention. Fox Factory, Inc. v. SRAM, LLC, 944 F.3d 1366, 1373, 2019 USPQ2d 483355 (Fed. Cir. 2019), cert. denied, 141 S.Ct. 373 (2020). See MPEP § 716.01(b).
When considering whether proffered evidence is commensurate in scope with the claimed invention, Office personnel should not require the applicant to show unexpected results over the entire range of properties possessed by a chemical compound or composition. See, e.g., In re Chupp, 816 F.2d 643, 646, 2 USPQ2d 1437, 1439 (Fed. Cir. 1987). Evidence that the compound or composition possesses superior and unexpected properties in one of a spectrum of common properties can be sufficient to rebut a prima facie case of obviousness. Id.
For example, a showing of unexpected results for a single member of a claimed subgenus, or a narrow portion of a claimed range would be sufficient to rebut a prima facie case of obviousness if a skilled artisan “could ascertain a trend in the exemplified data that would allow him to reasonably extend the probative value thereof.” In re Clemens, 622 F.2d 1029, 1036, 206 USPQ 289, 296 (CCPA 1980) (Evidence of the nonobviousness of a broad range can be proven by a narrower range when one skilled in the art could ascertain a trend that would allow him to reasonably extend the probative value thereof.). But see, Grasselli, 713 F.2d at 743, 218 USPQ at 778 (evidence of superior properties for sodium containing composition insufficient to establish the non-obviousness of broad claims for a catalyst with “an alkali metal” where it was well known in the catalyst art that different alkali metals were not interchangeable and applicant had shown unexpected results only for sodium containing materials); In re Greenfield, 571 F.2d 1185, 1189, 197 USPQ 227, 230 (CCPA 1978) (evidence of superior properties in one species insufficient to establish the nonobviousness of a subgenus containing hundreds of compounds); In re Lindner, 457 F.2d 506, 508, 173 USPQ 356, 358 (CCPA 1972) (one test not sufficient where there was no adequate basis for concluding the other claimed compounds would behave the same way). However, an exemplary showing may be sufficient to establish a reasonable correlation between the showing and the entire scope of the claim, when viewed by a skilled artisan. See, e.g., Chupp, 816 F.2d at 646, 2 USPQ2d at 1439; Clemens, 622 F.2d at 1036, 206 USPQ at 296. On the other hand, evidence of an unexpected property may not be sufficient regardless of the scope of the showing. Usually, a showing of unexpected results is sufficient to overcome a prima facie case of obviousness. See, e.g., In re Albrecht, 514 F.2d 1389, 1396, 185 USPQ 585, 590 (CCPA 1975). However, where the claims are not limited to a particular use, and where the prior art provides other motivation to select a particular species or subgenus, a showing of a new use alone may not be sufficient to confer patentability. See Dillon, 919 F.2d at 692, 16 USPQ2d at 1900-01. Accordingly, each case should be evaluated individually based on the totality of the circumstances.
Evidence pertaining to secondary considerations must be taken into account whenever present; however, it does not necessarily control the obviousness conclusion. See, e.g., Pfizer, Inc. v. Apotex, Inc., 480 F.3d 1348, 1372, 82 USPQ2d 1321, 1339 (Fed. Cir. 2007) (“the record establish[ed] such a strong case of obviousness” that allegedly unexpectedly superior results were ultimately insufficient to overcome obviousness conclusion); Leapfrog Enterprises Inc. v. Fisher-Price Inc., 485 F.3d 1157, 1162, 82 USPQ2d 1687, 1692 (Fed. Cir. 2007) (“given the strength of the prima facie obviousness showing, the evidence on secondary considerations was inadequate to overcome a final conclusion” of obviousness); and Newell Cos., Inc. v. Kenney Mfg. Co., 864 F.2d 757, 768, 9 USPQ2d 1417, 1426 (Fed. Cir. 1988). Office personnel should not evaluate rebuttal evidence for its “knockdown” value against the prima facie case, Piasecki, 745 F.2d at 1473, 223 USPQ at 788, or summarily dismiss it as not compelling or insufficient. Office personnel should weigh all relevant evidence of record in order to determine whether the claims would have been obvious based on a preponderance (more likely than not) standard, and then explain their conclusions. See MPEP § 716 - § 716.10 for additional information pertaining to the evaluation of rebuttal evidence submitted under 37 CFR 1.132.
The following cases exemplify the continued application of the principle that when evidence has been presented to rebut an obviousness rejection, it should not be evaluated simply for its “knockdown” value. Rather, all evidence must be reweighed to determine whether the claims are nonobvious.
Example 1:
The claims at issue in PharmaStem Therapeutics, Inc. v. Viacell, Inc., 491 F.3d 1342, 83 USPQ2d 1289 (Fed. Cir. 2007), were directed to compositions comprising hematopoietic stem cells from umbilical cord or placental blood, and to methods of using such compositions for treatment of blood and immune system disorders. The composition claims required that the stem cells be present in an amount sufficient to effect hematopoietic reconstitution when administered to a human adult. The trial court had found that PharmaStem’s patents were infringed and not invalid on obviousness or other grounds. On appeal, the Federal Circuit reversed the district court, determining that the claims were invalid for obviousness.
The Federal Circuit discussed the evidence presented at trial. It pointed out that the patentee, PharmaStem, had not invented an entirely new procedure or new composition. Rather, PharmaStem’s own specification acknowledged that it was already known in the prior art that umbilical cord and placental blood-based compositions contained hematopoietic stem cells, and that hematopoietic stem cells were useful for the purpose of hematopoietic reconstitution. PharmaStem’s contribution was to provide experimental proof that umbilical cord and placental blood could be used to effect hematopoietic reconstitution in mice. By extrapolation, one of ordinary skill in the art would have expected this reconstitution method to work in humans as well.
The court rejected PharmaStem’s expert testimony that hematopoietic stem cells had not been proved to exist in cord blood prior to the experiments described in PharmaStem’s patents. The court explained that the expert testimony was contrary to the inventors’ admissions in the specification, as well as prior art teachings that disclosed stem cells in cord blood. In this case, PharmaStem’s evidence of nonobviousness was outweighed by contradictory evidence.
Despite PharmaStem’s useful experimental validation of hematopoietic reconstitution using hematopoietic stem cells from umbilical cord and placental blood, the Federal Circuit found that the claims at issue would have been obvious. There had been ample suggestion in the prior art that the claimed method would have worked. Absolute predictability is not a necessary prerequisite to a case of obviousness. Rather, a degree of predictability that one of ordinary skill would have found to be reasonable is sufficient. The Federal Circuit concluded that “[g]ood science and useful contributions do not necessarily result in patentability.” Id. at 1364, 83 USPQ2d at 1304.
Example 2:
It was found to be an error in In re Sullivan, 498 F.3d 1345, 84 USPQ2d 1034 (Fed. Cir. 2007), for the Board to fail to consider evidence submitted to rebut a prima facie case of obviousness.
The claimed invention was directed to an antivenom composition comprising F(ab) fragments used to treat venomous rattlesnake bites. The composition was created from antibody molecules that include three fragments, F(ab)2, F(ab) and F(c), which have separate properties and utilities. There have been commercially available antivenom products that consisted of whole antibodies and F(ab)2 fragments, but researchers had not experimented with antivenoms containing only F(ab) fragments because it was believed that their unique properties would prevent them from decreasing the toxicity of snake venom. The inventor, Sullivan, discovered that F(ab) fragments are effective at neutralizing the lethality of rattlesnake venom, while reducing the occurrence of adverse immune reactions in humans. On appeal of the examiner’s rejection, the Board held that the claim was obvious because all the elements of the claimed composition were accounted for in the prior art, and that the composition taught by that prior art would have been expected by a person of ordinary skill in the art at the time the invention was made to neutralize the lethality of the venom of a rattlesnake.
Rebuttal evidence had not been considered by the Board because it considered the evidence to relate to the intended use of the claimed composition as an antivenom, rather than the composition itself. Appellant successfully argued that even if the Board had shown a prima facie case of obviousness, the extensive rebuttal evidence must be considered. The evidence included three expert declarations submitted to show that the prior art taught away from the claimed invention, an unexpected property or result from the use of F(ab) fragment antivenom, and why those having ordinary skill in the art expected antivenoms comprising F(ab) fragments to fail. The declarations related to more than the use of the claimed composition. While a statement of intended use may not render a known composition patentable, the claimed composition was not known, and whether it would have been obvious depends upon consideration of the rebuttal evidence. Appellant did not concede that the only distinguishing factor of its composition is the statement of intended use and extensively argued that its claimed composition exhibits the unexpected property of neutralizing the lethality of rattlesnake venom while reducing the occurrence of adverse immune reactions in humans. The Federal Circuit found that such a use and unexpected property cannot be ignored – the unexpected property is relevant and thus the declarations describing it should have been considered.
Nonobviousness can be shown when a person of ordinary skill in the art would not have reasonably predicted the claimed invention based on the prior art, and the resulting invention would not have been expected. All evidence must be considered when properly presented.
I. ARGUMENT DOES NOT REPLACE EVIDENCE WHERE EVIDENCE IS NECESSARY
Attorney argument is not evidence unless it is an admission, in which case, an examiner may use the admission in making a rejection. See MPEP § 2129 and § 2144.03 for a discussion of admissions as prior art.
The arguments of counsel cannot take the place of evidence in the record. In re Schulze, 346 F.2d 600, 602, 145 USPQ 716, 718 (CCPA 1965); In re Geisler, 116 F.3d 1465, 43 USPQ2d 1362 (Fed. Cir. 1997) (“An assertion of what seems to follow from common experience is just attorney argument and not the kind of factual evidence that is required to rebut a prima facie case of obviousness.”). See MPEP § 716.01(c) for examples of attorney statements which are not evidence and which must be supported by an appropriate affidavit or declaration.
II. ARGUING ADDITIONAL ADVANTAGES OR LATENT PROPERTIESPrima Facie Obviousness Is Not Rebutted by Merely Recognizing Additional Advantages or Latent Properties Present But Not Recognized in the Prior Art
Mere recognition of latent properties in the prior art does not render nonobvious an otherwise known invention. In re Wiseman, 596 F.2d 1019, 201 USPQ 658 (CCPA 1979) (Claims were directed to grooved carbon disc brakes wherein the grooves were provided to vent steam or vapor during a braking action. A prior art reference taught noncarbon disc brakes which were grooved for the purpose of cooling the faces of the braking members and eliminating dust. The court held the prior art references when combined would overcome the problems of dust and overheating solved by the prior art and would inherently overcome the steam or vapor cause of the problem relied upon for patentability by applicants. Granting a patent on the discovery of an unknown but inherent function (here venting steam or vapor) “would remove from the public that which is in the public domain by virtue of its inclusion in, or obviousness from, the prior art.” 596 F.2d at 1022, 201 USPQ at 661.); In re Baxter Travenol Labs., 952 F.2d 388, 21 USPQ2d 1281 (Fed. Cir. 1991) (Appellant argued that the presence of DEHP as the plasticizer in a blood collection bag unexpectedly suppressed hemolysis and therefore rebutted any prima facie showing of obviousness, however the closest prior art utilizing a DEHP plasticized blood collection bag inherently achieved same result, although this fact was unknown in the prior art.).
“The fact that appellant has recognized another advantage which would flow naturally from following the suggestion of the prior art cannot be the basis for patentability when the differences would otherwise be obvious.” Ex parte Obiaya, 227 USPQ 58, 60 (Bd. Pat. App. & Inter. 1985) (The prior art taught combustion fluid analyzers which used labyrinth heaters to maintain the samples at a uniform temperature. Although appellant showed an unexpectedly shorter response time was obtained when a labyrinth heater was employed, the Board held this advantage would flow naturally from following the suggestion of the prior art.). See also Lantech Inc.v. Kaufman Co. of Ohio Inc., 878 F.2d 1446, 12 USPQ2d 1076, 1077 (Fed. Cir. 1989), cert. denied, 493 U.S. 1058 (1990) (unpublished — not citable as precedent) (“The recitation of an additional advantage associated with doing what the prior art suggests does not lend patentability to an otherwise unpatentable invention.”).
In re Lintner, 458 F.2d 1013, 173 USPQ 560 (CCPA 1972) and In re Dillon, 919 F.2d 688, 16 USPQ2d 1897 (Fed. Cir. 1990) discussed in MPEP § 2144 are also pertinent to this issue.
See MPEP § 716.02 - § 716.02(g) for a discussion of declaratory evidence alleging unexpected results.
III. ARGUING THAT PRIOR ART DEVICES ARE NOT PHYSICALLY COMBINABLE
“The test for obviousness is not whether the features of a secondary reference may be bodily incorporated into the structure of the primary reference.... Rather, the test is what the combined teachings of those references would have suggested to those of ordinary skill in the art.” In reKeller, 642 F.2d 413, 425, 208 USPQ 871, 881 (CCPA 1981). See also In reSneed, 710 F.2d 1544, 1550, 218 USPQ 385, 389 (Fed. Cir. 1983) (“[I]t is not necessary that the inventions of the references be physically combinable to render obvious the invention under review.”); and In reNievelt, 482 F.2d 965, 179 USPQ 224, 226 (CCPA 1973) (“Combining the teachings of references does not involve an ability to combine their specific structures.”).
However, the claimed combination cannot change the principle of operation of the primary reference or render the reference inoperable for its intended purpose. See MPEP § 2143.01.
IV. ARGUING AGAINST REFERENCES INDIVIDUALLY
One cannot show nonobviousness by attacking references individually where the rejections are based on combinations of references. In reKeller, 642 F.2d 413, 208 USPQ 871 (CCPA 1981); In reMerck & Co., Inc., 800 F.2d 1091, 231 USPQ 375 (Fed. Cir. 1986). Where a rejection of a claim is based on two or more references, a reply that is limited to what a subset of the applied references teaches or fails to teach, or that fails to address the combined teaching of the applied references may be considered to be an argument that attacks the reference(s) individually. Where an applicant’s reply establishes that each of the applied references fails to teach a limitation and addresses the combined teachings and/or suggestions of the applied prior art, the reply as a whole does not attack the references individually as the phrase is used in Keller and reliance on Keller would not be appropriate. This is because “[T]he test for obviousness is what the combined teachings of the references would have suggested to [a PHOSITA].” In re Mouttet, 686 F.3d 1322, 1333, 103 USPQ2d 1219, 1226 (Fed. Cir. 2012).
V. ARGUING ABOUT THE NUMBER OF REFERENCES COMBINED
Reliance on a large number of references in a rejection does not, without more, weigh against the obviousness of the claimed invention. In reGorman, 933 F.2d 982, 18 USPQ2d 1885 (Fed. Cir. 1991) (Court affirmed a rejection of a detailed claim to a candy sucker shaped like a thumb on a stick based on thirteen prior art references.).
VI. ARGUING LIMITATIONS WHICH ARE NOT CLAIMED
Although the claims are interpreted in light of the specification, limitations from the specification are not read into the claims. In reVan Geuns, 988 F.2d 1181, 26 USPQ2d 1057 (Fed. Cir. 1993) (Claims to a superconducting magnet which generates a “uniform magnetic field” were not limited to the degree of magnetic field uniformity required for Nuclear Magnetic Resonance (NMR) imaging. Although the specification disclosed that the claimed magnet may be used in an NMR apparatus, the claims were not so limited.); Constantv. Advanced Micro-Devices, Inc., 848 F.2d 1560, 1571-72, 7 USPQ2d 1057, 1064-1065 (Fed. Cir.), cert. denied, 488 U.S. 892 (1988) (Various limitations on which appellant relied were not stated in the claims; the specification did not provide evidence indicating these limitations must be read into the claims to give meaning to the disputed terms.); Ex parteMcCullough, 7 USPQ2d 1889, 1891 (Bd. Pat. App. & Inter. 1987) (Claimed electrode was rejected as obvious despite assertions that electrode functions differently than would be expected when used in nonaqueous battery since “although the demonstrated results may be germane to the patentability of a battery containing appellant’s electrode, they are not germane to the patentability of the invention claimed on appeal.”).
See MPEP § 2111 - § 2116.01, for additional case law relevant to claim interpretation.
VII. ARGUING ECONOMIC INFEASIBILITY
The fact that a "combination would not be made by businessmen for economic reasons" does not mean that a person of ordinary skill in the art would not make the combination because of some technological incompatibility. In reFarrenkopf, 713 F.2d 714, 718, 219 USPQ 1, 4 (Fed. Cir. 1983) (Prior art reference taught that addition of inhibitors to radioimmunoassay is the most convenient, but costliest solution to stability problem. The court held that the additional expense associated with the addition of inhibitors would not discourage one of ordinary skill in the art from seeking the convenience expected therefrom.).
VIII. ARGUING ABOUT THE AGE OF REFERENCES
“The mere age of the references is not persuasive of the unobviousness of the combination of their teachings, absent evidence that, notwithstanding knowledge of the references, the art tried and failed to solve the problem.” In reWright, 569 F.2d 1124, 1127, 193 USPQ 332, 335 (CCPA 1977) (100 year old patent was properly relied upon in a rejection based on a combination of references.). See also Ex parteMeyer, 6 USPQ2d 1966 (Bd. Pat. App. & Inter. 1988) (length of time between the issuance of prior art patents relied upon (1920 and 1976) was not persuasive of nonobviousness).
IX. ARGUING THAT PRIOR ART IS NONANALOGOUS
See MPEP § 2141.01(a) for case law pertaining to analogous art.
X. ARGUING IMPROPER RATIONALES FOR COMBINING REFERENCESA.Impermissible Hindsight
Applicants may argue that the examiner’s conclusion of obviousness is based on improper hindsight reasoning. However, “[a]ny judgment on obviousness is in a sense necessarily a reconstruction based on hindsight reasoning, but so long as it takes into account only knowledge which was within the level of ordinary skill in the art at the time the claimed invention was made and does not include knowledge gleaned only from applicant’s disclosure, such a reconstruction is proper.” In reMcLaughlin, 443 F.2d 1392, 1395, 170 USPQ 209, 212 (CCPA 1971). Applicants may also argue that the combination of two or more references is “hindsight” because “express” motivation to combine the references is lacking. However, there is no requirement that an “express, written motivation to combine must appear in prior art references before a finding of obviousness.” See Ruiz v. A.B. Chance Co., 357 F.3d 1270, 1276, 69 USPQ2d 1686, 1690 (Fed. Cir. 2004). See also Uber Techs., Inc. v. X One, Inc., 957 F.3d 1334, 1339-40, 2020 USPQ2d 10476 (Fed. Cir. 2020) (“[W]e hold that the Board erred when it determined that a person of ordinary skill in the art would not have been motivated to combine the teachings of Okubo with Konishi's server-side plotting to render obvious the limitation ‘software ... to transmit the map with plotted locations to the first individual.’ This combination does not represent ‘impermissible hindsight’…. Rather, because Okubo's terminal-side plotting and Konishi's server-side plotting were both well known in the art, and were the only two identified, predictable solutions for transmitting a map and plotting locations, it would have been obvious to substitute server-side plotting for terminal-side plotting in a combination of Okubo and Konishi.”).
See MPEP § 2141 and § 2143 for guidance regarding establishment of a prima facie case of obviousness.
B.Obvious To Try Rationale
An applicant may argue the examiner is applying an improper “obvious to try” rationale in support of an obviousness rejection.
An “obvious to try” rationale may support a conclusion that a claim would have been obvious where one skilled in the art is choosing from a finite number of identified, predictable solutions, with a reasonable expectation of success. “ [A] person of ordinary skill has good reason to pursue the known options within his or her technical grasp. If this leads to the anticipated success, it is likely that product [was] not of innovation but of ordinary skill and common sense. In that instance the fact that a combination was obvious to try might show that it was obvious under § 103.” KSR Int'l Co. v. Teleflex Inc., 550 U.S. 398, 421, 82 USPQ2d 1385, 1397 (2007).
“The admonition that ‘obvious to try’ is not the standard under § 103 has been directed mainly at two kinds of error. In some cases, what would have been ‘obvious to try’ would have been to vary all parameters or try each of numerous possible choices until one possibly arrived at a successful result, where the prior art gave either no indication of which parameters were critical or no direction as to which of many possible choices is likely to be successful.... In others, what was ‘obvious to try’ was to explore a new technology or general approach that seemed to be a promising field of experimentation, where the prior art gave only general guidance as to the particular form of the claimed invention or how to achieve it.” In reO’Farrell, 853 F.2d 894, 903, 7 USPQ2d 1673, 1681 (Fed. Cir. 1988) (citations omitted) (The court held the claimed method would have been obvious over the prior art relied upon because one reference contained a detailed enabling methodology, a suggestion to modify the prior art to produce the claimed invention, and evidence suggesting the modification would be successful.).
C.Lack of Suggestion To Combine References
A suggestion or motivation to combine references is an appropriate method for determining obviousness; however it is just one of a number of valid rationales for doing so. The Court in KSR identified several exemplary rationales to support a conclusion of obviousness which are consistent with the proper “functional approach” to the determination of obviousness as laid down in Graham.KSR, 550 U.S. at 415-21, 82 USPQ2d at 1395-97. See MPEP § 2141 and § 2143.
D.References Teach Away from the Invention or Render Prior Art Unsatisfactory for Intended Purpose
In addition to the material below, see MPEP § 2141.02 (prior art must be considered in its entirety, including disclosures that teach away from the claims) and MPEP § 2143.01 (proposed modification cannot render the prior art unsatisfactory for its intended purpose or change the principle of operation of a reference).
1. The Nature of the Teaching Is Highly Relevant
A prior art reference that “teaches away” from the claimed invention is a significant factor to be considered in determining obviousness; however, “the nature of the teaching is highly relevant and must be weighed in substance. A known or obvious composition does not become patentable simply because it has been described as somewhat inferior to some other product for the same use.” In reGurley, 27 F.3d 551, 553, 31 USPQ2d 1130, 1132 (Fed. Cir. 1994) (Claims were directed to an epoxy resin based printed circuit material. A prior art reference disclosed a polyester-imide resin based printed circuit material, and taught that although epoxy resin based materials have acceptable stability and some degree of flexibility, they are inferior to polyester-imide resin based materials. The court held the claims would have been obvious over the prior art because the reference taught epoxy resin based material was useful for the inventor’s purpose, applicant did not distinguish the claimed epoxy from the prior art epoxy, and applicant asserted no discovery beyond what was known to the art.).
Furthermore, “the prior art’s mere disclosure of more than one alternative does not constitute a teaching away from any of these alternatives because such disclosure does not criticize, discredit, or otherwise discourage the solution claimed….” In re Fulton, 391 F.3d 1195, 1201, 73 USPQ2d 1141, 1146 (Fed. Cir. 2004).
2. References Cannot Be Combined Where Reference Teaches Away from Their Combination
It is improper to combine references where the references teach away from their combination. In re Grasselli, 713 F.2d 731, 743, 218 USPQ 769, 779 (Fed. Cir. 1983) (The claimed catalyst which contained both iron and an alkali metal was not suggested by the combination of a reference which taught the interchangeability of antimony and alkali metal with the same beneficial result, combined with a reference expressly excluding antimony from, and adding iron to, a catalyst.).
3. Proceeding Contrary to Accepted Wisdom Is Evidence of Nonobviousness
The totality of the prior art must be considered, and proceeding contrary to accepted wisdom in the art is evidence of nonobviousness. In re Hedges, 783 F.2d 1038, 228 USPQ 685 (Fed. Cir. 1986) (Applicant’s claimed process for sulfonating diphenyl sulfone at a temperature above 127ºC was contrary to accepted wisdom because the prior art as a whole suggested using lower temperatures for optimum results as evidenced by charring, decomposition, or reduced yields at higher temperatures.).
Furthermore, “[k]nown disadvantages in old devices which would naturally discourage search for new inventions may be taken into account in determining obviousness.” United States v. Adams, 383 U.S. 39, 52, 148 USPQ 479, 484 (1966).
E.Applicability of KSR to All Technologies
At the time the KSR decision was handed down, some observers questioned whether the principles discussed were intended by the Supreme Court to apply to all fields of inventive endeavor. Arguments were made that because the technology at issue in KSR involved the relatively well-developed and predictable field of vehicle pedal assemblies, the decision was relevant only to such fields. The Federal Circuit has soundly repudiated such a notion, stating that KSR applies across technologies:
This court also declines to cabin KSR to the “predictable arts” (as opposed to the “unpredictable art” of biotechnology). In fact, this record shows that one of skill in this advanced art would find these claimed “results” profoundly “predictable.”
In re Kubin, 561 F.3d 1351, 1360, 90 USPQ2d 1417, 1424 (Fed. Cir. 2009). Thus, Office personnel should not withdraw any rejection solely on the basis that the invention lies in a technological area ordinarily considered to be unpredictable.
XI. FORM PARAGRAPHS
See MPEP § 707.07(f) for form paragraphs 7.37 through 7.38 which may be used where applicant’s arguments are not persuasive or are moot.
|
||||||
1487
|
dbpedia
|
0
| 27
|
https://www.bookforum.com/print/3004/the-life-of-warhol-superstar-candy-darling-25348
|
en
|
Sugar Rush
|
[
"https://images.bookforum.com/uploads/upload.000/id25331/cover00_large.jpg",
"https://images.bookforum.com/uploads/publication.000/id32187/cover00_large.jpg",
"https://images.bookforum.com/uploads/upload.000/id25348/article00_1064x.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
The life of Warhol Superstar Candy Darling – Melissa Anderson
|
en
|
/favicon.ico
|
Bookforum
|
https://www.bookforum.com/print/3004/the-life-of-warhol-superstar-candy-darling-25348
|
TO TRAVEL FROM Massapequa Park, a small town on Long Island, to Penn Station on the LIRR takes about an hour. It was a commute that Candy Darling made countless times between 1962, the year she turned eighteen, and 1974, the year she died, at age twenty-nine. The return trip from Manhattan—where she would first meet Jackie Curtis, Andy Warhol, Paul Morrissey, Jane Fonda, Werner Schroeter, and so many other important collaborators and friends—often required Candy to travel under the cover of dark and to take a cab from the station directly to the Cape Cod house where her mom, Terry Slattery, lived, the same home that parent and child moved to in 1957 following Terry’s divorce from Candy’s violent, alcoholic father. A loving mother, though never entirely without shame about her trans daughter, Terry did not want her glamorous child to be visible to gossiping neighbors. Candy, who never had a permanent home as an adult, whose underground cachet never translated to a living wage, had no choice but to endure the ignominious treatment whenever she had nowhere else to go. On those sixty-minute LIRR sojourns, she had time to think. She would often write in her journal. Some of her entries are exceptionally profound, like this one, seemingly anticipating Judith Butler’s ideas by decades: “I am not a genuine woman, but I am not interested in genuineness. I’m interested in the product of being a woman and how qualified I am. The product of the system is what is important. If the product fails, then the system is not good. What can I do to help me live in this life?”
How she answered that question during her too-abbreviated time on earth—she died of lymphoma, likely caused by the potentially carcinogenic female hormones she’d been taking on and off since 1965—is the subject of Cynthia Carr’s compassionate and richly detailed Candy Darling: Dreamer, Icon, Superstar, the first full-fledged biography of a performer and personality who had a particular genius for interpreting and refracting the blonde goddesses of golden-age Hollywood. Carr’s is also the first major remembrance that discusses Candy using an evolved discourse about trans lives. Nearly all the prior notable Candy commemorations, in various media, contain language or choices that today would be considered archaic at best.
The two Lou Reed–written songs that name-check her, for example, are putative homages laced with derision. “Candy Says” from 1969 begins: “Candy says, ‘I’ve come to hate my body / And all that it requires in this world.’” Reed’s most successful single, 1972’s “Walk on the Wild Side,” says this about Candy: “In the back room she was everybody’s darlin’ / But she never lost her head / Even when she was giving head.” The selection of Stephen Dorff to play Candy in Mary Harron’s Valerie Solanas biopic, I Shot Andy Warhol (1996), would be an unthinkable transgression in this decade, though the fact of the actor’s cis manhood may be less vexing than his terrible portrayal. The year after Harron’s movie saw the publication of My Face for the World to See: The Diaries, Letters, and Drawings of Candy Darling, Andy Warhol Superstar, a pale-pink volume styled as a clasped diary abounding with indelible first-person reminiscences, a few of which reappear in Carr’s book. Some of the terms and phrases used in the otherwise loving prefatory material for My Face—inconsistent personal pronouns, “drag queen,” “she was born a he”—now scan as injurious. Even a tribute from as late as 2010—the melancholic documentary Beautiful Darling, produced by and prominently featuring Jeremiah Newton, one of Candy’s closest friends and the executor of her estate, and a key resource for Carr—includes comments from talking heads that rattle with their impolitic declarations about the subject’s gender. (Casting here is also a problem: though never seen, Chloë Sevigny provides the “voice” of Candy when excerpts from her journals are read. Would a cis woman’s ventriloquism for a legendary trans woman’s innermost thoughts ever be tolerated in 2024?)
Deftly, without a trace of sanctimony, Carr, who dedicates her book “to the trans community,” recounts Candy’s life in a way that most honors and respects who she was, without erasing the terminology of a more benighted era. On reconciling the name Candy was given in 1944—James Lawrence Slattery—with the name she chose for herself, Carr writes in her introduction: “The terms ‘dead-naming’ and ‘misgendering’ did not exist during Candy’s lifetime. . . . She began her life as a tortured effeminate boy because she wasn’t really a boy. She was always she, and I will be using she/her pronouns for her throughout.” Carr always refers to her subject as Candy. But she lets stand the references to Candy as “Jimmy,” “son,” and “he” from her family and childhood friends. As Carr astutely explains, to do so otherwise would risk an ahistorical, less complex analysis: “To change their words is to deny the context that surrounded her—the disorienting childhood she had to negotiate while living in a homophobic, transphobic world with a boy’s name and a boy’s body. I have not sanitized that context.”
Born in Queens, Candy spent most of her miserable childhood in Long Island. She noted in a 1970 journal entry that she “was a recluse at seven,” shutting herself away after being tormented so often by other kids. She hated going to school—avoiding it “became the focus of her life”—and dropped out at sixteen. Her greatest salve and a foundational influence was the Million Dollar Movie, a kind of precursor to TCM, in which starry productions from the ’30s, ’40s, and ’50s were broadcast on television. Rapt in front of the TV set, Candy was especially besotted with one studio-era blonde in particular: Kim Novak, whose oeuvre, especially Picnic (1955), Jeanne Eagels (1957), and Bell Book and Candle (1958), would greatly inform her sardonic salute to highly stylized Tinseltown acting.
At sixteen, seventeen, her world began to expand, as did her ideas about herself and who she could be. (Carr notes that the first reference to “Candy” appears in ’62, though monikers like “Hope” were also used; she settled on “Candy Darling” in ’65.) A job at a beauty parlor in nearby Baldwin, Long Island, gave her a stage, a showcase for her blonde-bombshell imitations, and a very sympathetic female boss and confidante. At Baldwin, Candy also went to her first gay bar, the Hayloft. She began to wear makeup and women’s clothes, changes she tried to keep hidden from her mother. When a meddling neighbor tipped Terry off, she confronted her child. Candy simply asked her mom to wait at the kitchen table; she returned “in a dress, looking gorgeous.” As Terry explained to Newton years later, she had an immediate realization: “I couldn’t hold my son back.”
Manhattan beckoned. She gravitated to Washington Square Park, then a major queer hangout. The Bleecker Street apartment of an unsavory character named Seymour Levy—Newton calls him “a chicken queen”—served as Candy’s crash pad for several years. She did occasional sex work. She “had entered the demimonde . . . and that was a comfortable spot for someone who was reinventing herself,” Carr writes. “She’d become an outlaw the moment she put on a dress,” Carr continues, owing to ancient city laws still on the books that criminalized cross-dressing. It was in this milieu that Candy would meet two other trans titanesses: Holly Woodlawn and Jackie Curtis. The latter, as movie-mad as Candy, wrote a tart spoof of Hollywood titled Glamour, Glory, and Gold, in which Candy made her Off-Off-Broadway debut, in ’67.
Friends, rivals, costars, these three would all become the last Warhol Superstars. Andy, who met Candy in ’67, always had a soft spot for her; as Carr bluntly states, “he admired the way [she] could pass.” Her entrée into the Factory led to two Paul Morrissey–directed films: 1968’s Flesh, her screen debut, and 1971’s Women in Revolt (more on these movies in a moment). Candy was often Warhol’s plus-one at parties and openings; Carr notes that “she was beautiful, polite, witty, poised—the perfect date.” She now sat with Warhol’s crowd at Max’s Kansas City, where she likely met Roger Vadim (who would become one of Candy’s many short-term lovers) and his then-wife Jane Fonda (with whom she would share a scene in the 1971 neo-noir Klute). It may have been at the Factory that she met Werner Schroeter, the German auteur who cast Candy in a supporting role in The Death of Maria Malibran (1972), a feverish tribute to the nineteenth-century opera singer of the title. Candy’s work onstage continued apace: Jackie gave her the lead in the smash downtown production Vain Victory: The Vicissitudes of the Damned in ’71; the next year, Candy graduated from Off-Off to Off-Broadway, with the role of Violet, a waifish seductress, in Tennessee Williams’s Small Craft Warnings.
Many of these career milestones, though, were accompanied by indignities and humiliations. She was paid $25 a day for her work in Women in Revolt. When Candy walked into the women’s dressing room for Small Craft Warnings, the lead actress screamed, “Get it out of here!” Candy was assigned the broom closet, onto which she affixed a star. Her most crushing disappointment was not being cast in the role she considered herself the most eminently qualified to play: the lead in the 1970 film adaptation of Gore Vidal’s Myra Breckinridge, his best-selling ribald satire about a trans woman with an encyclopedic knowledge of ’40s movies (Raquel Welch was given the part; Candy never even got an audition).
Carr seamlessly incorporates these professional triumphs and setbacks within the larger context of Candy’s “inchoate” and “paradoxical” life. The adjectives are apt, reflecting the era in which she lived. It was a time when the term “transgender” would not be widely used until at least two decades after her death (“transsexual” would be the politest word, though Candy rejected it, identifying simply as a woman with a “flaw”: her penis); when the concept of “gender fluidity” was all but nonexistent; when an immutable binary reigned supreme. “Candy would never be a sixties person,” Carr writes, explaining one of her subject’s many contradictions. “As the culture went through its sea change, into something rich and strange and occasionally violent, Candy wasn’t really in sync. Issues that preoccupied so many of her generation . . . didn’t interest her. Nor did she ever assess her own situation as political. . . . Yet her very existence was radical.” Her own vision of femininity was conservative—“If I am going to be a woman, I want the whole thing: a home in the suburbs, a husband, and strange as it may sound, children,” she wrote in her notebook. At the same time, she keenly sensed how constructed that ideal was, as the journal entry cited above indicates, a presaging précis of gender studies. Likewise, her attention to the superficial had its own kind of depth. “Candy knew that she was beautiful—but was it the right kind of beautiful? Her obsession with appearance was not rooted in narcissism,” Carr observes. “It was how she affirmed her female identity in a world where there was very little support for even the idea of gender fluidity. Beauty was also useful to her as armor. She preferred that people focus on the surface.”
Beyond Carr’s discerning overview of Candy’s life and epoch, she vivifies her biography with piquant details, the result of her thorough reporting. Lily Tomlin, then at the height of her Laugh-In fame, was so impressed by Candy that she arranged for her to have an audition at the renowned midtown cabaret Upstairs at the Downstairs. (The tryout went nowhere, but a year before her death, Candy landed the most lucrative gig of her career: the opening act at the hot new nightclub Le Jardin, a forerunner of Studio 54.) Tomlin’s partner in love and work, Jane Wagner, paid for Candy’s badly needed dental care. Lauren Hutton, nearing her zenith as a top model, was immediately enchanted with the Superstar on their first meeting, a chance encounter at Halston’s atelier. The most bizarre detail of their friendship: Hutton showed Candy how to tame a tarantula. The most touching: Hutton accompanied a terrified Candy to Cabrini Medical Center, the hospital where she would later die, insisting that she have a private room and giving her sick friend some of her own negligees.
So many of Candy’s performances, the truest index of her genius, were never documented or are difficult to access. There isn’t even a reliable description of her Le Jardin show; Carr notes “there were no reviews, and the few remaining accounts do not quite correspond.” Fortunately, Flesh and Women in Revolt, featuring two of her greatest star turns in her slim filmography, are available on the Internet Archive. They demonstrate her sublime gift for conjuring a specific kind of acting magic, in which her loving, studied replications of silver-screen luminaries are spiked with wry shrewdness. The mimicker is transformed into an original.
Candy Darling is the second of Carr’s comprehensive studies devoted to a New York City legend who died much too young, following her superb 2012 biography of artist David Wojnarowicz, Fire in the Belly. That book never privileged the life over the work; paying assiduous, passionate attention to Wojnarowicz’s polymathic output, Carr demonstrated her subject’s brilliance and originality over and over again. Oddly, when it comes to writing about Candy’s acting—her work—Carr often seems indifferent or obtuse. When writing about Flesh, in which Candy and Jackie are seated on a couch and read aloud from old movie magazines while Joe Dallesandro gets a blow job from Geri Miller, Carr merely recapitulates what happens in this segment and transcribes the dialogue. There is no analysis: no mention of how funny the incongruity is between Candy and Jackie’s actions and Joe and Geri’s or of the ways that Candy’s supercilious, prudish delivery delights as a meticulously rendered takeoff on the affected, remote sex symbol that someone like Kim Novak epitomized in the 1950s. (Why Carr included this synopsis without offering any commentary is all the more puzzling in light of the fact that, during her 1984–2003 tenure at the Village Voice, she ranked among the preeminent critics of avant-garde performance.)
Carr’s discussion of Women in Revolt—a riotous spoof of feminism, in which Candy stars with Jackie and Holly as members of PIG (Politically Involved Girls)—proves even more dispiriting. She complains of “scenes that go on way too long” and the film’s “implausible notions” and incoherence: all hallmarks of the entire Warhol/Morrissey corpus, movies that were made to showcase personalities and cared nothing about plot or realism. Carr dismisses Candy—portraying a Park Avenue debutante who briefly has her consciousness raised only to abandon women’s liberation to make it big in Hollywood—as “seem[ing] wooden in some of her scenes, playing the rich-girl as high-toned and snooty. It’s a poor person’s idea of a rich person.” But Candy isn’t after class verisimilitude; her acting is informed by her movie fandom, her idols cannily saluted and razzed at the same time.
Carr holds in higher regard a performance by Candy in a still, not moving, image: Peter Hujar’s Candy Darling on Her Deathbed, taken in September ’73, shortly after she was admitted at Cabrini Medical Center and the day before exploratory surgery revealed an enormous tumor that her doctor described as being “like a tree root growing.” In full maquillage, lying on her side, cocooned in her hospital-bed duvet, a long-stemmed rose next to her, Candy masks her fear by assuming a pose she must have seen countless times before—when, as a lonely, bullied child, she studied the Million Dollar Movie with exacting scrutiny, dreaming of the woman she would become.
|
||||
1487
|
dbpedia
|
1
| 84
|
https://vocal.media/beat/30th-august-1965-highway-61-revisited-by-bob-dylan-was-released
|
en
|
30th August, 1965: Highway 61 Revisited' by Bob Dylan Was Released
|
[
"https://res.cloudinary.com/jerrick/image/upload/v1502164416/mqottx3jvykbmmlclsm8.svg",
"https://res.cloudinary.com/jerrick/image/upload/c_thumb,h_108,pg_1,q_60,w_108/663a863d385a67001dd6fa50.jpg",
"https://res.cloudinary.com/jerrick/image/upload/d_642250b563292b35f27461a7.png,f_jpg,fl_progressive,q_auto,w_1024/gcthn3p7cmym7nyahpet.jpg",
"https://res.cloudinary.com/jerrick/image/upload/c_thumb,h_108,pg_1,q_60,w_108/663a863d385a67001dd6fa50.jpg",
"https://res.cloudinary.com/jerrick/image/upload/c_fill,d_642250b563292b35f27461a7.png,f_jpg,fl_progressive,h_375,q_auto,w_625/diflrkdgkagig1svih5t.jpg",
"https://images.unsplash.com/photo-1580537659053-7d38f300118c?fit=max&fm=jpg&ixid=M3wzNTY3MHwwfDF8YWxsfHx8fHx8fHx8MTcyMjg0NzI1Nnw&ixlib=rb-4.0.3&q=75&w=720&utm_medium=referral&utm_source=vocal.media",
"https://images.unsplash.com/photo-1515923256482-1c04580b477c?fit=max&fm=jpg&ixid=M3wzNTY3MHwwfDF8YWxsfHx8fHx8fHx8MTcyNDE1NDQ1MXw&ixlib=rb-4.0.3&q=75&w=720&utm_medium=referral&utm_source=vocal.media",
"https://res.cloudinary.com/jerrick/image/upload/c_fill,d_642250b563292b35f27461a7.png,f_jpg,fl_progressive,h_375,q_auto,w_625/66beacf92d4235001cac76e9.jpg"
] |
[] |
[] |
[
"30th",
"august",
"1965",
"highway",
"61",
"revisited",
"by",
"bob",
"dylan",
"was",
"released"
] | null |
[] | null |
Happy 54th birthday to the invention of folk-rock!
|
en
|
Beat
|
https://vocal.media/beat/30th-august-1965-highway-61-revisited-by-bob-dylan-was-released
|
The seminal folk-rock album and often cited as one of the greatest albums ever recorded, it is this album that holds the most well-known song by Bob Dylan—"Like a Rolling Stone." Since then, he has been shot into the starlight, at the forefront of music everywhere and, has since become known as "The King of Folk Rock" or "The God of Folk", or more simply "The Bard"—taking the honorary title from William Shakespeare.
The sixth album and the second instalment to what Bob Dylan fans (Bobcats) call "the holy trinity" ( Bringing it All Back Home, "Highway 61 Revisited and finally, Blonde on Blonde)—this album has made history for more than one reason. Rolling Stone Magazine actually ranks the song "Like a Rolling Stone" at number 1 on their list of "500 Greatest Songs of All Time" (I wonder why...) and the album has since been praised for its production quality and most important—the writing.
Recorded between the June and August of 1965, it was really Bob Dylan's first full-force venture into the world of electronic folk rock, rather than the experimental blues rock and slightly electronic stuff he dabbled in on the album Bringing it All Back Home. Critics praised the album and musicians adore it—the Bob Dylan biographer and all-round brilliant writer, Michael Gray stated that this was the album that started the 1960s.
All of the songs were written by Bob Dylan and he has since performed the song "Like a Rolling Stone" over 2,000 times in concert due to his Never Ending Tour, which began in the 80s and continues today.
As we know, Dylan also had a brilliant backing band for the album, travelling around with the Hawks (now: The Band) slightly afterwards on the live tours which were in 1966. But, the musicians who had input on this seminal album were very important as well.
We have the legendary blues guitarist Mike Bloomfield on the album, Al Kooper plays the piano, we have the drummer who did the beat for "Like a Rolling Stone" and later became one of the main drummers for Simon and Garfunkel—Bobby Gregg. Finally, what would "Like a Rolling Stone" be if it weren't produced by Tom Wilson?
Bob Dylan's seminal album was to become one of the most well-respected albums in all of music history. Not only giving him the name of "The Bard," but also giving him international fame when the album peaked respectively at the top five on both the American and British Charts.
AllMusic rated Bob Dylan's album with five stars as did the Chicago Tribune and The Encyclopedia of Music, Music Story and The Rolling Stone Album Guide. The Great Rock Discography gave it ten out of ten whereas, MusicHound and Sputnik both gave it five out of five and finally, with Entertainment Weekly giving it a A+ I can honestly say he created a perfect album.
But did he?
Those are all reviews from after as in way after the album became a culturally significant figure of musical history. What did people during his own day have to say about it?
The British Musical Express called it "monotonous and tuneless," stating that the album was baffling.
Melody Maker called it "incomprehensible"—but nevertheless "a knock-out!"
The poet Philip Larkin praised the album for its ability to remain poetic in a commercial world.
So, it's safe to say that even though the British snobbery class may not have liked it, it sailed safely into musical history by the standards of everyone who mattered.
The Track List:
Side One:
"Like a Rolling Stone"
"Tombstone Blues"
"It Takes a Lot to Laugh, It Takes a Train to Cry"
"From a Buick 6"
"Ballad of a Thin Man"
Side Two:
"Queen Jane Approximately"
"Highway 61 Revisited"
"Just Like Tom Thumb's Blues"
"Desolation Row"
What a beautiful way to close the album. The song "Desolation Row" is an acoustic performed only by Bob Dylan. It is a wonderful and enduring piece that is quite possibly one of the greatest recordings of acoustic song in the history of music.
Happy birthday to one of the greatest albums ever made and may your legacy live on...
|
|||||
1487
|
dbpedia
|
3
| 7
|
https://www.ncbi.nlm.nih.gov/books/NBK304374/
|
en
|
ASBESTOS (CHRYSOTILE, AMOSITE, CROCIDOLITE, TREMOLITE, ACTINOLITE AND ANTHOPHYLLITE)
|
[
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png",
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg",
"https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg",
"https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg",
"https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/bookshelf/thumbs/th-iarcmono100c-lrg.png",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T001.001/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T001.002/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T001.003/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/bin/978-9283201359-C011-F002.001.gif",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/bin/978-9283201359-C011-F002.002.gif",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T003.001/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T003.002/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T003.003/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T003.004/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T003.005/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T004.001/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T004.002/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/bin/978-9283201359-C011-F004.001.gif",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/bin/978-9283201359-C011-F004.002.gif",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T004.003/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T004.004/?report=thumb",
"https://www.ncbi.nlm.nih.gov/books/NBK304374/table/a011.T004.005/?report=thumb",
"https://www.ncbi.nlm.nih.gov/stat?jsdisabled=true&ncbi_db=books&ncbi_pdid=book-part&ncbi_acc=NBK304374&ncbi_domain=iarcmono100c&ncbi_report=record&ncbi_type=fulltext&ncbi_objectid=&ncbi_pcid=/NBK304374/&ncbi_pagename=ASBESTOS (CHRYSOTILE, AMOSITE, CROCIDOLITE, TREMOLITE, ACTINOLITE AND ANTHOPHYLLITE) - Arsenic, Metals, Fibres and Dusts - NCBI Bookshelf&ncbi_bookparttype=chapter&ncbi_app=bookshelf"
] |
[] |
[] |
[
""
] | null |
[] |
2012-08-11T00:00:00
|
Asbestos was considered by previous IARC Working Groups in 1972, 1976, and 1987 (IARC, 1973, 1977, 1987a). Since that time, new data have become available, these have been incorporated in the Monograph, and have been taken into consideration in the present evaluation.
|
en
|
//www.ncbi.nlm.nih.gov/favicon.ico
|
NCBI Bookshelf
|
https://www.ncbi.nlm.nih.gov/books/NBK304374/
|
2.2. Cancer of the lung
2.2.1. Occupational exposure
Signs that cancer of the lung could be induced by exposure to asbestos was first raised by reports of lung cancer cases that occurred among workers with asbestosis (Gloyne, 1935; Lynch & Smith, 1935). The first cohort study that demonstrated an excess of lung cancer among asbestos exposed workers was a study of textile workers (Doll, 1955). In this study, 11 cases of lung cancer versus 0.8 expected (P < 0.00001) were reported based on national mortality rates. Since 1955, an association between lung cancer and occupational exposure to asbestos has been demonstrated in numerous cohort and case–control studies that are summarized in Table 2.1 available at http://monographs.iarc.fr/ENG/Monographs/vol100C/100C-06-Table2.1.pdf, Table 2.2 available at http://monographs.iarc.fr/ENG/Monographs/vol100C/100C-06-Table2.2.pdf, and Table 2.3 available at http://monographs.iarc.fr/ENG/Monographs/vol100C/100C-06-Table2.3.pdf.
Although a causal association between asbestos exposure and lung cancer is generally well recognized, there are still substantial controversies on how the risk might vary by exposure to different fibre types and sizes, and whether there is a risk at low levels of exposure (i.e. environmental exposures). Particularly controversial is the question of whether chrysotile asbestos is less potent for the induction of lung cancer than the amphibole forms of asbestos (e.g. crocidolite, amosite and tremolite), which has sometimes been referred to as the “amphibole hypothesis” (Cullen, 1996; Stayner et al., 1996; McDonald, 1998). This argument is based on the observation from experimental studies that chrysotile asbestos is less biopersistent (i.e. has a shorter half life) in the lung than the amphiboles. Pathological studies of tissue using electron microscopy and energy dispersive analysis of X-rays (EDAX) have been used to measure the amounts of different asbestos fibre types in the lung. Case studies of Canadian chrysotile asbestos workers using these methods have shown an unexpectedly high proportion of amphibole (primarily tremolite) fibres, considering the relatively low percentage of amphibole fibres in commercial chrysotile asbestos (Pooley, 1976; Rowlands et al., 1982; Addison & Davies, 1990). [The Working Group noted that the lower biopersistence of chrysotile in the lung does not necessarily imply that it would be less potent than amphiboles for lung cancer.]
Several meta-analyses have been conducted in which the relative potency of different fibre types and other fibre characteristics have been considered in relation to lung cancer. Lash et al. (1997) conducted a meta-analysis based on the findings from 15 cohort studies with quantitative information on the relationship between asbestos exposure and lung cancer risk. The slopes of the lung cancer exposure–response relationship from these studies were analysed using fixed and random effects models. Substantial heterogeneity in the slopes for lung cancer from these studies was found in their analysis. The heterogeneity was largely explained by industry category, dose measurements, tobacco habits, and standardization procedures. There was no evidence in this meta-analysis that differences in fibre type explained the heterogeneity of the slope.
Hodgson & Darnton (2000) performed a meta-analysis based on 17 cohort studies with information on the average level of asbestos exposure for the cohort as a whole or for subgroups in the study. The percentage excess lung cancer risk from each study or subgroup was divided by its average exposure level to derive a slope (RL) for the analysis. Substantial heterogeneity in the findings for lung cancer was also found in this analysis particularly for the chrysotile cohorts. The heterogeneity in the findings for the chrysotile cohorts was largely attributable to differences in the findings from the studies of chrysotile miners and millers in Quebec (McDonald et al., 1983), and asbestos textile workers in South Carolina (Dement & Brown, 1994; Hein et al., 2007), which differed by nearly 100-fold. No explanation has been found for these extreme differences although several possible explanations have been investigated. Co-exposure to mineral oils in the South Carolina textile plant was proposed as a possible explanation. A nested case–control conducted with the South Carolina cohort failed to provide evidence to support the hypothesis that mineral exposure was associated with an increased risk of lung cancer in this study population (Dement & Brown, 1994). Differences in fibre size distributions have also been considered to be a potential explanation. The asbestos textile industry workers may have used a higher grade of asbestos resulting in exposures to a greater percentage of long fibres than what was experienced by miners and millers in Quebec. A larger percentage of long fibres was found in a recent reanalysis of samples from the South Carolina cohort using transmission electron microscopy (TEM) (Dement et al., 2008) than what was previously reported in TEM analyses of samples from the Quebec mines and mills (Gibbs & Hwang, 1975, 1980). Based on their analysis, Hodgson & Darnton (2000) concluded that the ratio between lung cancer risk for chrysotile and the amphiboles was somewhere between 1:10 and 1:50. However, in their analyses (where they excluded the study of Quebec miners rather than the South Carolina cohort), there was only a 2-fold difference in findings for lung cancer risk between the chrysotile (RL = 2.3) and amphibole cohorts (RL = 4.2). [The Working Group noted that there is no justification for exclusion of the South Carolina cohort because it is one of the highest quality studies in terms of the exposure information used in this study.]
Berman & Crump (2008a) published a meta-analysis that included data from 15 asbestos cohort studies. Lung cancer risk potency factors (Kis = [RR-1]/cumulative exposure) were derived in their analyses that were specific for both fibre type (chrysotile versus amphiboles) and fibre size (length and width). Fibre size information was only available for one of the cohort studies, and for the other studies it was obtained from studies that were conducted in similar industrial settings. As with the previous analyses, substantial variation was found in the findings from these studies with results for lung cancer varying by two orders of magnitude, although no formal statistical tests of heterogeneity were performed. The hypothesis that chrysotile is equipotent as the amphiboles for lung cancer was not rejected for fibres of all widths (P = 0.07) or for thick (width > 0.2 µm) fibres (P = 0.16). For thin fibres (width < 0.2 µm), there was significant (P = 0.002) evidence that chrysotile fibres were less potent than amphiboles. Sensitivity analyses were also conducted in which the South Carolina or Quebec miners and millers cohorts were dropped from the analysis using fibres of all widths. Dropping the South Carolina cohort resulted in a highly significant (P = 0.005) result that potency was greater for amphiboles than for chrysotile. Dropping the Quebec cohort resulted in there being no significant (P = 0.55) evidence of a difference in potency between the fibre types. [The Working Group noted that both the Hodgson & Darnton and Berman & Crump analyses reveal a large degree of heterogeneity in the study findings for lung cancer, and that findings are highly sensitive to the inclusion or exclusion of the studies from South Carolina or Quebec. The reasons for the heterogeneity are unknown, and until they are explained it is not possible to draw any firm conclusions concerning the relative potency of chrysotile and amphibole asbestos fibres from these analyses.]
Based on findings from experimental studies, it is suspected that long and thin fibres are likely to be more potent than short and thick fibres in the induction of lung cancer in humans. Unfortunately until recently, all of the epidemiological studies that have been conducted used methods for exposure assessment that did not include a determination of fibre size, and thus this issue could not be directly addressed with these studies. As described above, the meta-analysis conducted by Berman & Crump (2008a) considered the effect of fibre size on lung cancer risk by using data from other studies conducted in similar circumstances as the cohort studies. Their analysis did not reveal strong evidence that lung cancer potency was dependent on fibre size. There was weak evidence that long fibres (length > 10 μm) were more potent than short fibres (5 μm < length < 10 μm) in models using all widths (P = 0.07). The lack of size-specific data from the studies was a major limitation of this study with regard to estimating size-specific risk estimates. Stayner et al. (2008) published findings from an analysis of the South Carolina asbestos textile cohort in which fibre size specific estimates of lung cancer mortality was evaluated using information from a reanalysis of archived air samples using TEM (Dement et al., 2008). Long fibres (> 10 μm) and thin fibres (< 0.25 μm) were found to be the strongest predictors of lung cancer mortality in this study.
Another study not part of the prior meta-analyses provides relevant information regarding the question of the relative lung cancer potency of the fibre types. Loomis et al. (2009) carried out a retrospective cohort mortality study of textile workers from four plants in North Carolina that had never been studied before. Workers in this cohort were primarily exposed to chrysotile asbestos that was imported from Quebec. A small amount of amosite was used in an operation in one of the plants. Overall, an excess of lung cancer was observed in this study (SMR, 1.96; 95%CI: 1.73–2.20), which was very similar in magnitude to that reported in the South Carolina cohort study of textile workers (Hein et al., 2007). However, the slope for the exposure–response between asbestos exposure and lung cancer was considerably lower than that reported in the South Carolina cohort study. The reasons for these differences in the exposure–response relationships are unknown, but one possible reason may be that quality of the exposure information was superior in the South Carolina study, and that the difference could be explained by an attenuation of the slope due to exposure misclassification in Loomis et al. (2009).
2.2.2. Environmental exposures
Evidence of an association in women between lung cancer and environmental exposures in New Caledonia to field dust containing tremolite and the use of a whitewash (“po”) containing tremolite has been reported (Luce et al., 2000). A positive association with heavy residential exposure to asbestos was observed in a lung cancer case–control study the Northern Province of South Africa, which is a crocidolite and amosite mining area (Mzileni et al., 1999). The association was strongest among women who resided in heavily exposed areas (odds ratio [OR], 5.4; 95%CI: 1.3–22.5; Ptrend = 0.02). A study of lung cancer mortality among women in two chrysotile mining regions of Quebec did not result in an increase in lung cancer (SMR, 0.99; 95%CI: 0.78–1.25) relative to women from 60 other areas of Canada (Camus et al., 1998).
2.2.3. Non-commercial asbestiform amphibole fibres
There is emerging epidemiological evidence that non-commercial amphibole fibres that are asbestiform have carcinogenic potential. These fibres are not technically “asbestos,” and they were never commercially marketed. However, the Working Group felt it was important to discuss the recent evidence concerning these fibres because of their similarity to asbestos, and because of public concerns regarding this issue.
Several studies have described adverse health associations with the amphibole fibres that contaminated vermiculite mined in Libby, Montana, USA. These fibres were originally characterized as from the tremolite-actinolite series (IARC, 1987a), however, they have been more recently described by the US Geological Society as approximately 84% winchite, 11% richterite, and 6% tremolite (Meeker et al., 2003). Sullivan (2007) reported standardized mortality ratios (SMRs), using cause of death data and expected mortality for the underlying cause of death based on national age-, race-, and sex-specific rates. Using a 15-year exposure lag, there were increased SMRs for all cancer (SMR, 1.4; 95%CI: 1.2–1.6; n = 202), and lung cancer (SMR, 1.7; 95%CI: 1.4–2.1; n = 89). Increasing risks were observed across categories of cumulative exposure; the SMR estimates were 1.5, 1.6, 1.8, and 1.9 in the 1–4.49, 4.5–22.9, 23.0–99.0, and ≥ 100 f/mL–years exposure categories, respectively. Results from other studies (Amandus et al., 1987; McDonald et al., 2004) of analyses using a continuous measure of exposure also resulted in statistically significant relationships with lung cancer mortality risk. For example, in the updated analysis by McDonald et al. (2004), the estimated linear increase in relative risk of respiratory cancer risk per 100 f/mL–years cumulative exposure was 0.36 (95%CI: 0.03–1.2; P = 0.02).
2.3. Mesothelioma
Pleural and peritoneal mesotheliomas are very rare malignancies that occur in the mesothelial cells that line these cavities. The first report of a possible association between asbestos exposure and mesothelioma was by Wagner et al. (1960) who described an outbreak of mesothelioma in a crocidolite mining region of South Africa. The majority of the cases reported had worked in the mines (23/33) but some of the cases had also occurred among individuals with no history of occupational exposures (10/33). Since then, an excess of mesothelioma has been observed in a large number of cohort and case–control studies (summarized in online Tables 2.2, 2.3 and Table 2.4 available at http://monographs.iarc.fr/ENG/Monographs/vol100C/100C-06-Table2.4.pdf) in a variety of different industries using and producing asbestos. Although the causal association between mesothelioma and asbestos has been well established, several important issues remain to be resolved that are discussed below.
2.3.1. Fibre type
Although all forms of asbestos can cause mesothelioma, there is considerable evidence that the potency for the induction of mesothelioma varies by fibre type, and in particular that chrysotile asbestos is less potent than amphibole forms of asbestos. An excess of mesothelioma has been reported in cohort studies of chrysotile exposed miners and millers in Quebec (Liddell et al., 1997), and in South Carolina asbestos textile workers who were predominantly exposed to chrysotile asbestos imported from Quebec (Hein et al., 2007). However, the fact that the chrysotile asbestos mined in Quebec is contaminated with a small percentage (< 1.0%) of amphibole (tremolite) asbestos has complicated the interpretation of these findings. McDonald et al. (1997) found in a nested case–control study for mesothelioma in the Thetford mines of Quebec that an association with asbestos exposure was evident in mines from a region with higher concentrations of tremolite, and not in another region with lower concentrations of tremolite. Bégin et al. (1992) noted that although tremolite levels may be 7.5 times higher in Thetford than in Asbestos, the incidence of mesothelioma in these two Quebec mining towns was proportional to the size of their workforce. This suggests that the tremolitic content of the ores may not be a determinant of mesothelioma risk in Quebec. Separate analyses for workers at the Thetford and Asbestos mines and mills did not demonstrate a different exposure–response relationship for asbestos and mesothelioma in the two mining areas (McDonald & McDonald, 1995).
In a mesothelioma case–control study in South Africa, an association was reported with exposures to crocidolite and amosite asbestos, but no cases were found to have been exclusively exposed to chrysotile asbestos (Rees et al., 1999). One possible explanation for these negative findings for chrysotile is that South African chrysotile asbestos may contain relatively little tremolite (Rees et al., 1992). Another possible explanation is that chrysotile mining began later, and production levels were lower than in the crocidolite and amosite mines of South Africa. Cases of mesothelioma have been reported among asbestos miners in Zimbabwe, which has been reported to be uncontaminated with tremolite asbestos (Cullen & Baloyi, 1991). Excess mesothelioma mortality (standardized incidence ratio [SIR], 4.0, 95%CI: 1.5–8.7) was reported in miners and millers from a chrysotile mine in Balangero, Italy (Mirabelli et al., 2008), reportedly free of amphibole contamination (Piolatto et al., 1990).
An evaluation of the relative potency of the different fibre types of asbestos has been considered in the meta-analyses that were previously described (see prior section on lung cancer) by Hodgson & Darnton (2000) and Berman & Crump (2008a, b). Hodgson & Darnton (2000) used the percentage of mesothelioma deaths of all deaths expected (at an age of first exposure of 30) per unit of cumulative exposure (Rm) as the measure for their analysis. They computed separate estimates of Rm for crocidolite, amosite and chrysotile asbestos. Based on their analyses, they estimated that the ratio of the potency for mesothelioma (pleural and peritoneal combined) was 1:100:500 for chrysotile, amosite, and crocidolite respectively.
The meta-analysis conducted by Berman & Crump (2008a) was based on the analysis of the slopes (Km) that were estimated using an approach that assumes that the mortality rate from mesothelioma increases linearly with the intensity of exposure, and for a given intensity, increases indefinitely after exposure ceases, approximately as the square of time since first exposure (lagged 10 years). This model was tested with the raw data from several studies, and found to provide a good fit to the data (Berman & Crump, 2008b). Regression models were fitted to the study Km values that included information from surrogate studies to estimate fibre type (chrysotile versus amphiboles) and fibre length (short versus long) specific potency slopes (Berman & Crump, 2008a). Alternative models were fitted with exposure metrics based on different fibre widths. The hypothesis that chrysotile and amphibole forms of asbestos are equipotent was strongly rejected, and the hypothesis that potency for chrysotile asbestos was 0 could not be rejected based on their models (P < 0.001 and P = 0.29, respectively, for all-widths model). The best estimates for the relative potency of chrysotile ranged from zero to about 1/200th that of amphibole asbestos (depending on the width of the exposure metric used in the model). [The Working Group noted that there is a high degree of uncertainty concerning the accuracy of the relative potency estimates derived from the Hodgson & Darnton and Berman & Crump analyses because of the severe potential for exposure misclassification in these studies.]
Two newer studies, not part of the prior meta-analyses, provide important information regarding the question of the relative potency of the fibre types. The first is a study of a cohort of textile workers in North Carolina not previously examined (Loomis et al., 2009). Workers in this cohort were primarily exposed to chrysotile asbestos imported from Quebec. A relatively large excess of both mesothelioma [SMR, 10.92; 95%CI: 2.98–27.96] and pleural cancer [SMR, 12.43; 95%CI: 3.39–31.83]. The pleural and mesothelioma deaths combined comprised 0.3% of all deaths. This percentage was nearly identical to the estimate developed for the chrysotile cohorts in a review article by Stayner et al. (1996). Based on the approach that Hodgson & Darnton used in their meta-analysis, the authors estimated that the percentage of deaths per unit of fibre exposure was 0.0058% per f–y/mL (0.0098% per f–y/mL for workers followed ≥ 20 years). This estimate was considerably higher than the estimate developed by Hodgson & Darnton of 0.0010% per f–yr/mL for cohorts exposed to chrysotile.
The other study investigated mesothelioma among chrysotile miners and millers, and resident communities in Balangero, Italy. The chrysotile mined at Balangero was reported to be free of tremolite and other amphiboles. The ore contains trace amounts of another fibre called blangeroite, which is not an amphibole (Turci et al., 2009). A previous cohort of the miners and millers in Balangero with follow up to 1987 identified only two deaths from mesothelioma (Piolatto et al., 1990). Cases of mesothelioma were identified from a local mesothelioma registry comprises people who had been mine employees; employees of subcontractors or other firms transporting or refining Balangero asbestos, asbestos ore; residents of the area who were exposed from air pollution, living with a mine employee or from mine tailings from Balangero. Six cases of mesothelioma were identified among blue-collar miners, and an estimated 1.5 deaths (SIR, 4.00; 95%CI: 1.47–8.71) would be expected based on a previous cohort study (Piolatto et al., 1990), and conservative assumptions about the cohort. Additional cases of mesothelioma were identified among white-collar miners (three cases), workers in the mine hired by subcontractors (five cases), and from non-occupational exposures or exposure to re-used tailings (ten cases). Expected numbers of mesothelioma cases could not be derived for these groups because they were not part of the original cohort definition. The findings from this investigation indicate that the previous risk of mesothelioma for the Balangero cohort were seriously underestimated.
2.3.2. Fibre size
Based on a review of toxicological and human studies, Lippmann (1990) suggested that fibres shorter than 0.1 µm and longer than 5 µm are related to mesothelioma in humans. The Berman & Crump meta-analyses provided weak evidence that fibre length is a determinant of the potency of asbestos. The test of the hypothesis that long fibres (length ≥ 10 µm) and short fibres (5 < length < 10 µm) are equipotent was nearly rejected in some models (e.g. P = 0.09 for all widths). Thus, their findings provide weak support that long fibres may be more potent than short fibres for mesothelioma. There was little evidence in their analyses that thin fibres (width < 0.4 or < 0.2 µm) were stronger predictors of mesothelioma potency than all fibre widths combined. A major limitation of their analysis was that it relied on surrogate data to estimate the fibre-size distributions for the studies used in the meta-analysis.
2.3.3. Pleural versus peritoneal tumours
The ratio of pleural to peritoneal mesotheliomas has varied considerably in different epidemiological studies of asbestos-exposed cohorts. In the cohort studies included in the meta-analysis conducted by Hodgson & Darnton (2000), the percentage of mesotheliomas that were peritoneal varied from 0 to over 50%. Hodgson & Darnton reported that peritoneal mesotheliomas increased with the square of cumulative exposure to asbestos (i.e. a supralinear relationship); whereas pleural mesotheliomas increased less than linearly with cumulative exposure to asbestos. This implies that the number of peritoneal mesotheliomas would dramatically increase relative to the number of pleural mesotheliomas at high asbestos exposure levels. Welch et al. (2005) found a strong association (OR, 5.0; 95%CI: 1.2–21.5) between asbestos exposure and peritoneal cancer in a population-based case–control study. This study included a large percentage of men with what were judged to be low exposures to asbestos.
2.3.4. Environmental exposures
An excess of mesothelioma has been observed in several studies of communities with environmental exposure to asbestos. A large excess of mesothelioma was reported in a study of people living in villages in Turkey exposed to erionite used to whitewash their homes (Baris et al., 1987). An excess in mesothelioma was reported among people living near crocidolite mining regions in South Africa and Western Australia (Wagner & Pooley, 1986), among people residing in areas of tremolite contamination in Cyprus (McConnochie et al., 1987) and New Caledonia (Luce et al., 2000), and with non-occupational exposures in Europe (Magnani et al., 2000), Italy (Magnani et al., 2001), and California (Pan et al., 2005).
Mesothelioma has also been reported to occur among household members of families of asbestos workers (Anderson et al., 1976; Ferrante et al., 2007).
2.3.5. Non-commercial asbestiform fibres
Several studies have described adverse health associations with the amphibole fibres that contaminated vermiculite mined in Libby, Montana, USA. These fibres were originally characterized as from the tremolite-actinolite series (IARC, 1987a); however, they were subsequently described by the US Geological Society as being composed of approximately 84% winchite, 11% richterite, and 6% tremolite (Meeker et al., 2003). Sullivan (2007) reported SMRs, using cause of death data and expected mortality for the underlying cause of death based on national age-, race-, and sex-specific rates. Using a 15-year exposure lag, there were increased SMRs, mesothelioma defined by ICD-10 for deaths after 1999 (SMR, 14.1; 95%CI: 1.8–54.4; n = 2) and pleural cancer (SMR, 23.3; 95%CI: 6.3–59.5; n = 4). The only exposure–response modelling of mesothelioma was presented in the paper by McDonald et al., based on 12 mesothelioma cases (McDonald et al., 2004). Using Poisson regression, the mesothelioma mortality rate across increasing categories of exposure was compared with the rate in the lowest exposure category. For the cumulative exposure metric, the relative risk estimates were 1.0 (referent), 3.72, 3.42, and 3.68, based on 1, 4, 3, and 4, cases, respectively. The mean exposure level in these four quartiles was 8.6, 16.7, 53.2, and 393.8 f/mL–yr, respectively. It should be noted that the referent group was also at excess risk of dying from mesothelioma, i.e. there were 1–3 cases of mesothelioma observed in the referent group, which may have attenuated the observed effects.
A high incidence of mesothelioma was reported among residents of Biancavilla, Italy, a city in eastern Sicily (SMR, 7.21; 95%CI: 3.59–13.00). Reviewing of the work histories of the cases did not indicate an occupational explanation for these exposures, and thus environmental explanations for the mesothelioma excess were sought. Environmental studies have indicated that these mesotheliomas are most likely due to exposures to fluoro-edenite which is a newly recognized fibre that is very similar in morphology and composition to the tremolite-actinolite series (Comba et al., 2003; Bruno et al., 2006; Putzu et al., 2006).
2.5. Synthesis
The Working Group noted that a causal association between exposure to asbestos and cancer of the larynx was clearly established, based on the fairly consistent findings of both the occupational cohort studies as well as the case-controlcase–control studies, plus the evidence for positive exposure–response relationships between cumulative asbestos exposure and laryngeal cancercancer of the larynx reported in several of the well-conducted cohort studies. This conclusion was further supported by the meta-analyses of 29 cohort studies encompassing 35 populations and of 15 case-controlcase–control studies of asbestos exposure and laryngeal cancercancer of the larynx undertaken by the IOM (2006). However, there is insufficient information in the published literature to discern whether any differences exist among asbestos fibre types in their ability to cause laryngeal cancercancer of the larynx.
The Working Group noted that a causal association between exposure to asbestos and cancer of the ovary was clearly established, based on five strongly positive cohort mortality studies of women with heavy occupational exposure to asbestos (Acheson et al., 1982; Wignall & Fox, 1982; Germani et al., 1999; Berry et al., 2000; Magnani et al., 2008). The conclusion received additional support from studies showing that women and girls with environmental, but not occupational exposure to asbestos (Ferrante et al., 2007; Reid et al., 2008, 2009) had positive, though non-significant, increases in both ovarian cancer incidence and mortality.
The Working Group carefully considered the possibility that cases of peritoneal mesothelioma may have been misdiagnosed as ovarian cancer, and that these contributed to observed excesses. Contravening that possibility is the finding that three of the studies cited here specifically examined the possibility that there were misdiagnosed cases of peritoneal mesothelioma, and all failed to find sufficient numbers of misclassified cases. The Working Group noted that the possibility of diagnostic misclassification had probably diminished in recent years because of the development of new immunohistochemical diagnostic techniques.
The conclusion of the Working Group received modest support from the findings of non-significant associations between asbestos exposure and ovarian cancer in two case–control studies (Vasama-Neuvonen et al., 1999; Langseth & Kjærheim, 2004).
And lastly, the finding is consistent with laboratory studies documenting that asbestos can accumulate in the ovaries of women with household exposure to asbestos (Heller et al., 1996) or with occupational exposure to asbestos (Langseth et al., 2007).
The study by Heller et al. (1996) was a histopathological study of ovaries from 13 women who had household contact with men who had documented exposure to asbestos, and of 17 women who gave no history of potential for asbestos exposure. The study found “significant asbestos fibre burdens” in the ovaries of nine (60.2%) of the exposed women and in only six (35%) of the unexposed women. Three of the exposed women had asbestos fibre counts in ovarian tissue of over 1 million fibres per gram (wet weight). By contrast, only one of the 17 women without household exposure had counts in that range.
The study by Langseth et al. (2007) found approximately 3–4 × 105 asbestos fibres per gram (net weight) in normal ovarian tissue taken from 2/46 patients with ovarian adenocarcinoma. It is unclear how many of these fibres were verified as asbestos because it is stated in the publication that three chrysotile and one crocidolite asbestos fibres were identified in Case 1, and two anthophyllite and one chrysotile fibre were identified in Case 2. This small number of confirmed asbestos fibres in only two of the patients could be due to sample contamination. Technical caveats associated with quantification of asbestos fibre tissue burdens are discussed in Section 4 of this Monograph and in IOM (2006).
Further discussion of the biological plausibility of an association between asbestos exposure and ovarian cancer is to be found in Section 4 of this Monograph.
The Working Group noted a positive association between exposure to abestos and cancer of the pharynx, based on the fairly consistent positive findings in a series of well conducted cohort studies of populations occupationally exposed to asbestos (Selikoff & Seidman, 1991; Sluis-Cremer et al., 1992; Reid et al., 2004; Pira et al., 2005) as well as on the positive findings of three case–control studies (Zheng et al., 1992; Marchand et al., 2000; Berrino et al., 2003). This conclusion was further supported by the findings of the meta-analysis conducted by the IOM. While tobacco smoking and alcohol consumption are clearly the dominant risk factors for cancer of the pharynx in industrialized countries, these associations between cancer of the pharynx and asbestos remained evident in several studies when tobacco and alcohol exposures were considered. The Working Group observed that the strongest associations between asbestos exposure and cancer of the pharynx were seen in studies that specifically examined cancer of the hypopharynx, the portion of the pharynx that is located closest to the larynx. However, there is insufficient information in the published literature to discern whether there are any differences among asbestos fibre types in their ability to cause cancer of the pharynx.
The Working Group noted a positive association between exposure to abestos and cancer of the stomach, based on the positive associations between asbestos exposure and death from stomach cancer observed in several of the cohort studies with heaviest asbestos exposure (Selikoff et al., 1964; Enterline et al., 1987; Raffn et al., 1989; Liddell et al., 1997; Musk et al., 2008). The conclusion was further supported by the positive dose–response relationships observed between cumulative asbestos exposure and stomach cancer mortality in several cohort studies (Selikoff & Hammond., 1979; Zhang & Wang, 1984; Liddell et al., 1997; Pang et al., 1997). It was supported by the results of two large and well performed meta-analyses (Frumkin & Berlin, 1988; Gamble, 2008). It received borderline support from the IOM meta-analysis of cohort studies, and also from the IOM meta-analysis of case–control studies, which show an especially strong relationship when only extreme exposures are considered. It was supported by the comparison developed by the Working Group between standardized incidence ratios for lung cancer and stomach cancer.
Positive associations between asbestos exposure and stomach cancer and positive dose–response relationships are most likely to be seen in studies of populations with prolonged heavy exposure to asbestos that had long-term follow-up, and that incorporated high-quality assessments of exposure. The less detailed assessments of exposure found in many of the published studies would have tended to bias study results towards the null, and thus impede recognition of an association between asbestos exposure and stomach cancer, even if such an association were truly present.
[The Working Group noted that heavy occupational exposure to dust, as had likely occurred in the case of the Quebec asbestos cohort, could have been an effect modifier. Low socioeconomic status is also a potential confounder.]
However, there was insufficient information in the published literature to discern whether any differences exist among asbestos fibre types in their ability to cause stomach cancer. In the study by Liddell et al. (1997) exposure was to virtually pure chrysotile asbestos, in the study by Musk et al. (2008) the exposure was predominantly to crocidolite, and in most of the other published studies that observed positive associations, populations were exposed to mixtures of different asbestos fibres.
The Working Group noted a positive association between exposure to abestos and cancer of the colorectum, based on the fairly consistent findings of the occupational cohort studies, plus the evidence for positive exposure–response relationships between cumulative asbestos exposure and cancer of the colorectum consistently reported in the more detailed cohort studies (McDonald et al., 1980; Albin et al., 1990; Berry et al., 2000; Aliyu et al., 2005). The conclusion was further supported by the results of four large and well performed meta-analyses (Frumkin & Berlin 1988; Homa et al., 1994; IOM, 2006; Gamble, 2008).
Positive exposure–response relationships between asbestos exposure and cancer of the colorectum appear most likely to be seen in studies of populations with prolonged heavy exposure to asbestos that had long-term follow-up, and that incorporated high-quality assessments of exposure. The less detailed assessments of exposure found in many of the published studies would have tended to bias study results towards the null, and thus impede recognition of an association between asbestos exposure and cancer of the colorectum, even if such an association were truly present.
The apparently non-positive findings of several the case–control studies are not a deterrent to this conclusion. The majority of these case–control studies incorporated relatively little information on levels of asbestos exposure; indeed, most of them considered exposure as simply a dichotomous yes/no variable. Some of the case–control studies also may be compromised by inadequate duration of follow-up. Thus, the Garabrant study (Garabrant et al., 1992) may be subject to the criticism, offered by Gerhardsson de Verdier et al. (1992) that “the highest duration of exposure…was ‘at least 15 years,’ a period that may be too short to detect an elevated risk.”
There is some suggestion in the literature that the association between asbestos might be stronger for colon cancer than for rectal cancer. This view is supported by the meta-analysis of Gamble (2008) which found a positive dose–response relationship for cancer of the colorectum taken together, but not for rectal cancer. It is supported also by the study of Jakobsson et al. (1994), which found excess of cancer of the right colon in asbestos-exposed workers, but not of the left colon.
However, there was insufficient information in the published literature to discern whether any differences exist among asbestos fibre types in their ability to cause cancer of the colorectum. It is of note in the study by McDonald et al. (1980) that exposure was to virtually pure chrysotile asbestos, whereas in most of the other studies cited above, populations were exposed to mixtures of different asbestos fibres.
3.1. Introduction
Asbestos is a collective name for six different types of fibres: chrysotile, crocidolite, amosite, anthophyllite, tremolite, actinolite (see Section 1). Dusts from various deposits of the same type of asbestos can cause variations in the severity of the effects observed. Erionite is a fibrous zeolite found in Central Anatolia (Turkey), and Oregon (USA) (see Section 1 of the Monograph on Erionite). Talc is a hydrated magnesium silicate, and talc ore may contain several other minerals including anthophyllite, tremolite, calcite, dolomite, magnesite, antigorite, quartz, pyrophyllite micas, or chlorites (see Section 1).
The definition of pathogenic fibre properties as “sufficiently long, thin, and durable” is the subject of much debate, as are the differences between the exposure–response relationships or retained dose–response relationships of asbestos fibres in man and in rats, and the potential differences in the carcinogenicity of chrysotile compared to the various amphibole asbestos types. One of the reasons for a potential difference is a difference in the biopersistence between the two asbestos groups mentioned. The biopersistence is higher in the amphibole group (Hesterberg et al., 1996, 1998a, b). The rat is the main test model for fibre-induced diseases. As the removal of asbestos fibres due to biosolubility is slow compared to the lifetime of rats and hamsters, experiments with this model may not be appropriate in predicting results of risk in humans (Berry, 1999).
Critical fibre dimensions to be used in toxicology and occupational regulations were discussed by the Working Group. It is generally agreed that the carcinogenic potency of a fibre increases with fibre length. Apart from the ongoing scientific view, standards of regulated fibres, with few exceptions, are based on the WHO fibre definition: aspect ratio ≥ 3: 1, length ≥ 5 µm, diameter ≤ 3 µm.
The tested materials (asbestos and erionite) are not presented in separate tables as in many cases they were tested in parallel experiments. The reason to split the inhalation studies into two tables (Table 3.1; Table 3.2) is that in many studies, various asbestos fibres were used as positive control in studies in which man-made fibres were tested (Table 3.2). In these latter studies, normally only one asbestos concentration was used. As for intrapleural and intraperitoneal studies, Table 3.4 is separate from Table 3.5 because the studies of Stanton et al. (1981) (see Table 3.5) included many fibre types – which also included fibres not to be reviewed here – and was designed to investigate the effect of fibre length and fibre type on mesothelioma induction.
A general evaluation on the type of fibre application in animal studies and an evaluation of some of the asbestos studies listed in Tables 3.1–3.5 can be found in Pott (1993) and IARC (2002).
3.2. Inhalation exposure
and Table give an overview of the numerous inhalation experiments on asbestos, and a few experiments on erionite. Some of these are described more extensively below.
Table 3.1
Studies of cancer in experimental animals exposed to various asbestos species and erionite (inhalation exposure)a.
Table 3.2
Studies of cancer in experimental animals in which asbestos was used as positive control group (in inhalation studies of various man-made mineral fibres).
Bronchial carcinomas and pleural mesotheliomas have been observed in rats after exposure to chrysotile, crocidolite, amosite, anthophyllite, and tremolite fibres. In these studies, there was no consistent increase in tumour incidence at other sites. [The Working Group noted that in many studies, no complete histopathology was done.] All relatively short UICC asbestos preparations showed chronic effects in lung (based on fibre lenghts > 5 μm in the dust chamber) for fibres quantitatively roughly the same.
One of the first inhalation study with asbestos in rats that showed exposure–response relationships is the experiment of Wagner et al. (1974). Wistar rats were exposed to 10–15 mg/m3 of one of the five UICC standard asbestos samples for 7 hours per day, mostly 5 days per week. The duration of exposure lasted from one day to 24 months. According to the reported data, in the group exposed to crocidolite for one day, lung tumours and one mesothelioma were found in 7/43 rats (16%). The corresponding exposure to chrysotile A (from Canada) resulted in lung tumours in 5/45 rats; for amosite 4/45 rats developed lung tumours and one mesothelioma. Three months of exposure to the five UICC standard asbestos samples resulted in the following thoracic tumour (mainly of the lung) incidences: chrysotile A, 44%;chrysotile B (from Zimbabwe), 53%; crocidolite, 42%; amosite, 27%; anthophyllite, 16%. Further results are listed in . In the 126 control rats, seven animals were also found to have lung tumours ( ). This high spontaneous lung tumour rate is a unique finding in Wistar rats. A review of unexposed control groups of many other studies shows that spontaneous lung tumours are very rare in this rat strain (Pott et al., 1995; ); on average, the incidence is less than one percent. Therefore, the very high tumour incidences described in this first inhalation study of Wagner et al. (1974) might be a misinterpretation of histopathological lesions because of a lack of experience at that time.
Table 3.3
Negative controls (clean air for lifetime) in carcinogenicity studies after inhalation exposures from Table 3.1 and Table 3.2 .
In a study conducted by Davis et al. (1978), five groups of Wistar rats were exposed to chrysotile (2.0, 10 mg/m3), crocidolite (5.0, 10 mg/m3), or amosite (10 mg/m3). The highest tumour incidences (21–38%) were found in the chrysotile-exposed animals. This may be due to the relatively high fraction of fibres longer than 20 µm in the chrysotile dust used in this experiment. In addition to the lung tumours, extrapulmonary neoplasms included a relatively large number of peritoneal connective tissue tumours.
In a further study by Davis et al. (1986b), inhalation of short-fibred amosite did not produce tumours in Wistar rats (0/42). In contrast, there was a tumour incidence of 13/40 (33%) in a group exposed to long-fibred amosite. [The Working Group noted that extensive milling to produce short fibres may have altered the surface reactivity, see Section 4].
A group of 48 SPF Fischer rats was exposed to 10 mg/m3 UICC chrysotile B by inhalation for 7 hours per day, 5 days per week, for 12 months (Wagner et al., 1984b). This group served as positive controls in a study in which various man-made fibres were tested. After exposure, the animals were kept until natural death. Twelve thoracic tumours (one adenoma, 11 adenocarcinomas) were observed in 48 rats. In the untreated control group, no lung tumours were observed in 48 rats.
Smith et al. (1987) exposed groups of 58 female Osborne-Mendel rats to 7 mg/m3 UICC crocidolite asbestos for 6 hours per day, for 5 days per week, for 2 years. After this treatment, rats were observed for life. The tumour incidence in rats exposed to crocidolite was 3/57 (one mesothelioma and two carcinomas). In the control group, no tumours were observed in 184 rats.
Special attention should be drawn to the crocidolite study with male Fischer rats of McConnell et al. (1994) because this study is very well documented. The exposure to 10 mg dust/m3 (with 1610 WHO fibres/mL containing 236 fibres > 20 µm) for 6 h per day, 5 days per week had to be stopped after 10 months because of unexpected mortality, which was interpreted as a sign that the maximum tolerated dose had been exceeded. The number of WHO fibres per µg dry lung tissue was 1850 (73 fibres > 20 µm) at the end of exposure and 759 WHO fibres (41 fibres > 20 µm) 12 months later. Fourteen out of 106 rats (13.2%), which survived the second year or longer, died with lung tumour (five of these rats developed lung carcinomas), and one rat also developed a mesothelioma. In the control group, 2/126 rats developed lung adenomas.
In two lifetime studies, male and female Fischer rats were exposed to either 10 mg/m3 erionite (Wagner et al., 1985) or an unknown concentration of erionite (Wagner, 1990) for 6 hours per day, 5 days per week, for 12 months. Twenty seven out of 28 rats, and 24/27 rats developed pleural mesotheliomas, respectively. No lung tumours were observed. [The Working Group noted the lack of control group in the study by Wagner (1990).]
McConnell et al. (1999) exposed three groups of 125 male Syrian golden hamsters to 0.8, 3.7 and 7.1 mg/m3 amosite for 6 hours per day, 5 days per week, for 78 weeks. They were then held unexposed for 6 weeks. Among animals that survived for at least 32 weeks, 3/83, 22/85 and 17/87 developed pleural mesotheliomas, respectively. No mesotheliomas were observed in 83 untreated controls and no lung tumours were observed in any groups.
Some experiments were reported with baboons. After amosite exposure and crocidolite exposure for 4 years, 2/11 baboons and 3/21 baboons developed pleural mesothelioma, respectively (Goldstein & Coetzee, 1990; Webster et al., 1993).
3.5. Oral administration
A study on the carcinogenicity of ingested asbestos fibres involved male F344 rats groups exposed to amosite or chrysotile in combination with subcutaneous administration of a known intestinal carcinogen, azoxymethane (10 weekly injections of 7.4 mg/kg body weight). Fibres were administered three times a week for 10 weeks by intragastric bolus dosing (10 mg in 1 mL saline). The first experiment in this study included a full set of appropriate control groups. The experiment was terminated at 34 weeks. Neither amosite nor UICC chrysotile B, in combination with azoxymethane, increased the incidence of any intestinal tumours (≈10%) above that produced by azoxymethane alone, but the combination with either fibre type produced 4–5-fold increases (not significant, P > 0.1) in metastatic intestinal tumours. A second experiment with larger groups, the same dosing regimen, and for lifetime, but with a more limited design, tested only amosite in combination with azoxymethane versus azoxymethane. Amosite did not enhance azoxymethane-induced intestinal tumours (incidence, 77% versus 67%) (Ward et al., 1980; IOM, 2006). [The Working Group noted that the lack of untreated vehicle controls in the second experiment made interpretation of the results difficult considering that, compared to historical controls, there was a non-significant increase in intestinal tumours in rats exposed only to amosite (≈33%). One cannot know whether the results observed were associated with the asbestos or with irritation from the procedure, although one would not anticipate that gavage itself would impact the lower portion of the gastrointestinal tract.]
The most definitive animal studies of oral exposure to asbestos were a series of lifetime studies conducted by the National Toxicology Program (NTP, 1983, 1985, 1988, 1990a, b), in which asbestos (chrysotile, crocidolite, and amosite) was administered in the feed of rats and hamsters. Nonfibrous tremolite was also tested in rats according to the same protocol (NTP, 1990c). Exposure of dams of the study animals (1% in the diet) was followed by exposure of the pups by gavage (0.47 mg/g water) while they were nursing, and then in the diet for the remainder of their lives: they were exposed to asbestos at the level of 1%, which was estimated by the investigators to be about 70000 times the greatest possible human exposure in drinking-water. Histopathological examination of the entire colorectum was performed. No increases in the incidence of gastrointestinal lesions (inflammatory, preneoplastic, or neoplastic) were found after exposure to intermediate-length chrysotile (from Quebec) in hamsters, to short chrysotile (from New Idria) in rats or hamsters, to amosite in rats or hamsters, to crocidolite in rats, or to non-fibrous tremolite in rats. The mesentery was examined in detail, as well as mesenteric lymph nodes and sections of the larynx, trachea, and lungs from every animal. No lesions were found in any of those tissues. The only finding of note in the gastrointestinal tract was a slight increase in the incidence of adenomatous polyps in the large intestine after exposure to the intermediate-length chrysotile (from Quebec) in male rats (9/250 versus 0/85, P = 0.08), but preneoplastic changes in the epithelium were not found (NTP, 1985; IOM, 2006).
|
||||
1487
|
dbpedia
|
0
| 31
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
en
|
The 50 Greatest Bob Marley Songs
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Get-Up-Stand-Up22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/NoWoman.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Redemption-Song”-—-‘Uprising’-1980.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Trench-Town-Rock-—-Non-Album-Single-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22I-Shot-the-Sheriff22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Concrete-Jungle22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Positive-Vibration22-—-Rastaman-Vibration-1976.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Buffalo-Soldier22-—-Confrontation-1983.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Natural-Mystic22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Soul-Rebel22-—-Soul-Rebels-1970.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Roots-Rock-Reggae22-—-Rastaman-Vibration-1976.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Stir-It-Up22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Lively-Up-Yourself22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22No-More-Trouble22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Them-Belly-Full22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Kaya22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Small-Axe22-—-African-Herbsman-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Burnin-and-Lootin-22-—-Burnin-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Sun-Is-Shining22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Slave-Driver22-—-Catch-a-Fire-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Selassie-Is-the-Chapel22-—-Non-Album-Single-1968.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Put-It-On22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22African-Herbsman22-—-Soul-Revolution-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Duppy-Conqueror”-—-‘African-Herbsman’-1973.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Marley.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/wailers.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/BobMarley.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/OneLove.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Natty-Dread22-—-Natty-Dread-1974.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Nice-Time22-—-Non-Album-Single-1967.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Waiting-in-Vain22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Exodus22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Bobbb.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/CouldYouBeLoved.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Three-Little-Birds.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Stand-Alone”-—-‘Soul-Revolution’-1971-—.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Jamming22-—-Exodus-1977.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/22Caution22-—-The-Best-of-the-Wailers-1971.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Guava-Jelly.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/So-Much-Things-to-Say.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Bend-Down-Low.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Zimbabwe.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/“Fussing-and-Fighting”-—-‘Soul-Revolution’.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/KinkyReggae.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/War.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Night-Shift.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Midnight-Ravers.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Punky-Reggae-Party.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/Lick-Samba.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/uploads/2020/01/NattyDread.jpg?w=300",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif"
] |
[
"https://open.spotify.com/embed/playlist/7GKEOAYsKCKKVyUfIIxYVg?utm_source=oembed"
] |
[] |
[
""
] | null |
[
"David Browne",
"Jon Dolan",
"Patrick Doyle",
"Kory Grow",
"Will Hermes",
"David Marchese",
"Christopher Weingarten",
"Douglas Wolk"
] |
2020-02-05T16:00:45+00:00
|
Bob Marley's 50 greatest songs, from "Trench Town Rock" to "Jamming" and beyond
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/bob-marley-greatest-songs-937701/
|
This list was originally published March 28th, 2014. It’s being republished in honor of what would have been Bob Marley’s 75th birthday, February 6th, 2020.
In the 1981 Rolling Stone obituary, Bob Marley biographer Timothy White wrote, “The pervasive image of Bob Marley is that of a gleeful Rasta with a croissant-sized spliff clenched in his teeth, stoned silly and without a care in the world. But, in fact, he was a man with deep religious and political sentiments who rose from destitution to become one of the most influential music figures in the last 20 years.”
Make that 50. Marley’s stature and influence as a singer, songwriter, and international pop-culture prophet have only grown since those words were written. He is a cornerstone of 21st-century music, covered by countless singers, sampled and quoted by just as many hip-hop acts whose artistic DNA is shaped profoundly by the Jamaican music Marley defined. His artistic fearlessness and social commitment remain an inspiration to activists, musical and otherwise. His songs of freedom have become universal hymns.
“Marley sang about tyranny and anger, about brutality and apocalypse, in enticing tones, not dissonant ones,” Mikal Gilmore wrote in 2005. “His melodies take up a resonance in our minds, in our lives, and that can provide admission to the songs’ meanings… He was the master of mellifluent insurgency.”
Those melodies sing on. Here are their stories.
|
|||||
1487
|
dbpedia
|
1
| 92
|
https://www.pewresearch.org/short-reads/2020/04/28/millennials-overtake-baby-boomers-as-americas-largest-generation/
|
en
|
Millennials overtake Baby Boomers as America’s largest generation
|
[
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/04/FT_20.04.27_GenerationSize_1.png?w=310",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/04/FT_20.04.27_GenerationSize_2.png?w=200",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2020/04/FT_20.04.27_GenerationSize_3.png",
"https://www.pewresearch.org/wp-content/uploads/sites/20/2012/12/Fry.jpg?w=320"
] |
[] |
[] |
[
""
] | null |
[
"Richard Fry"
] |
2020-04-28T00:00:00
|
As of July 1, 2019, Millennials have surpassed Baby Boomers as the United States' largest living adult generation.
|
en
|
Pew Research Center
|
https://www.pewresearch.org/short-reads/2020/04/28/millennials-overtake-baby-boomers-as-americas-largest-generation/
|
How we did this
Population figures for 2019 and earlier years are based on Census Bureau population estimates (2019 vintage and available by single year of age). Population sizes for 2020 to 2050 are based on Census Bureau population projections released in 2017 (and also available by single year of age). Live births by year are published by the National Vital Statistics System of the National Center for Health Statistics.
This post was originally published on Jan. 16, 2015, under the title “This year, Millennials will overtake Baby Boomers.” It was updated April 25, 2016, to reflect the changing population, under the headline “Millennials overtake Baby Boomers as America’s largest generation” This reflected the Center’s definition of Millennials at the time (born between 1981 and 1997).
A third revision published March 1, 2018, reflected the Center’s newly revised definition, under which Millennial births end in 1996. Under that new definition, the Millennial population was smaller than that of Boomers, resulting in the headline “Millennials projected to overtake Baby Boomers as America’s largest generation.”
This latest revision reflects the newly available July 1, 2019, population estimates released in April 2020, as well as new Census Bureau population projections released in 2017. Under these estimates, Millennials have overtaken Boomers under the Center’s revised definition.
|
|||||
1487
|
dbpedia
|
0
| 66
|
https://spikedcandy.com/blog/posts/60s-girls-in-international-xmas.html
|
en
|
60s girls in international xmas!
|
[
"https://spikedcandy.com/images/icons/youtube.png",
"https://images.spikedcandy.com/blog/loading.gif",
"https://images.spikedcandy.com/blog/sc-mini-logo.png",
"https://spikedcandy.com/media/images/mixes/60sgirlsxmas.jpg",
"https://spikedcandy.com/images/icons/flags/jp.png",
"https://spikedcandy.com/images/icons/flags/ca.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/hk.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/mx.png",
"https://spikedcandy.com/images/icons/flags/it.png",
"https://spikedcandy.com/images/icons/flags/ca.png",
"https://spikedcandy.com/images/icons/flags/es.png",
"https://spikedcandy.com/images/icons/flags/fr.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/ca.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/de.png",
"https://spikedcandy.com/images/icons/flags/il.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/jp.png",
"https://spikedcandy.com/images/icons/flags/it.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/sg.png",
"https://spikedcandy.com/images/icons/flags/jp.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/gb.png",
"https://spikedcandy.com/images/icons/flags/jp.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/fr.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/ca.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/cl.png",
"https://spikedcandy.com/images/icons/flags/es.png",
"https://spikedcandy.com/images/icons/flags/id.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/hu.png",
"https://spikedcandy.com/images/icons/flags/fr.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/us.png",
"https://spikedcandy.com/images/icons/flags/mx.png",
"https://spikedcandy.com/images/icons/flags/gr.png",
"https://spikedcandy.com/images/icons/flags/ca.png",
"https://spikedcandy.com/images/icons/flags/gb.png",
"https://spikedcandy.com/blog/index.php?/plugin/spiceicotwitter.png",
"https://spikedcandy.com/images/icons/mail.png",
"https://spikedcandy.com/images/icons/follow/mail.png",
"https://spikedcandy.com/images/icons/rss.png",
"https://spikedcandy.com/images/icons/follow/rss.png",
"https://spikedcandy.com/images/icons/twitter.png",
"https://spikedcandy.com/images/icons/follow/twitter.png",
"https://spikedcandy.com/images/icons/facebook.png",
"https://spikedcandy.com/images/icons/follow/facebook.png",
"https://spikedcandy.com/images/icons/instagram.png",
"https://spikedcandy.com/images/icons/follow/instagram.png",
"https://spikedcandy.com/images/icons/pinterest.png",
"https://spikedcandy.com/images/icons/follow/pinterest.png",
"https://spikedcandy.com/images/icons/hypemachine.png",
"https://spikedcandy.com/images/icons/follow/hypemachine.png",
"https://spikedcandy.com/images/icons/youtube-follow.png",
"https://spikedcandy.com/images/icons/follow/youtube.png",
"https://spikedcandy.com/images/icons/youtube.png",
"https://farm1.static.flickr.com/122/310194157_6229a129b9_o.jpg",
"https://spikedcandy.com/images/blog/blog-image-cr.png",
"https://spikedcandy.com/blog/plugin/checkautobackup",
"https://spikedcandy.com/analytics/piwik/piwik.php?idsite=1"
] |
[
"https://www.mixcloud.com/widget/iframe/?feed=%2Fspikedcandy%2F60s-girls-in-international-xmas%2F"
] |
[] |
[
""
] | null |
[] |
2017-12-24T14:01:00+00:00
|
I'm excited to share my second mix for Christmas this year, which features seasonal tunes from international female pop singers of the 1960s. This was harder to put together than I thought! Being ...
|
en
|
Spiked Candy
|
https://spikedcandy.com/blog/posts/60s-girls-in-international-xmas.html
|
I'm excited to share my second mix for Christmas this year, which features seasonal tunes from international female pop singers of the 1960s. This was harder to put together than I thought! Being a big fan of both sixties girl pop from around the world and Christmas music, I figured this would be a piece of cake.
I'm excited to share my second mix for Christmas this year, which features seasonal tunes from international female pop singers of the 1960s. This was harder to put together than I thought! Being a big fan of both sixties girl pop from around the world and Christmas music, I figured this would be a piece of cake. But I soon realised I only had songs that fit the bill from a limited number of countries. Branching out more broadly was quite a fun adventure, and I really adore some of the songs on this mix that are new to me, like the stunning tracks from Monna Bell and Maria Dolores Pradera. I know some Rita Pavone but her 'White Christmas' cover, 'Bianco natale', had escaped me, and it's just gorgeous. It was also interesting to get a sense of which places went for Christmas pop singles, and which didn't. Italy, for example, had a booming young beat music scene but I found very little in the way of yuletide pop tunes. Most of the Italian stuff I found was very traditional, even, surprisingly, from some rock bands. Perhaps in some more religious countries, too contemporary an approach to Christmas songs was deemed too irreverant. I lucked out with some countries altogether – some places did not produce enough girl pop for their singers to also dabble in Christmas singles, others I don't really know where to begin exploring. If you know of any sixties holiday songs from female pop singers from countries I'm missing here, I'd love to hear your recommendatons.
The gorgeous illustration of Sylvie Vartan accompanying the mix is by the very talented Olivier C. You can check out and support his amazing work here.
The name of this mix was inspired by the delightful titles of Japanese retro comps like Japanese Pop Cuties in Swingin' 60s or Japanese Pop Christmas In Dreamy '60s. I'm not intending to make fun of Japanglish at all; in fact, I found the syntax (or my attempt at it, which lacks the Japanglish flair) made more sense to me in trying to convey what this mix was about than conventional English structure would allow.
Tracklist (Hide annotations)
Miki Obata & The Van Dogs - Santa Claus is Comin' To Town (1967)
Sixties Japanese pop sometimes saw female solo singers paired with Group Sounds bands, with magical results like this take on the oft-covered Christmas staple. Here, Obata, a teen model born to an American father and a Japanese mother, is backed by GS band The Van-Dogs.
Michèle Richard - C'est Noël rock (1966)
The French-Canadian songstress, voted the most popular local singer of 1966, celebrates a "Noël yé-yé" with this cover of 'Jingle Bell Rock'.
Carla Thomas - Gee Whiz, It's Christmas (1963)
I think the way Thomas sings "and by the way, it's snowing" might be my favourite line delivery in any Christmas song. The title references her hit from three years prior, 'Gee Whiz' – though her festive song did not replicate its success.
Betty Chung - Bell A-Go-Go (1967)
This song from Hong Kong actress and singer Chung is via a great blog that is sadly no longer updated, Mod-ified Music.
Eydie Gormé and the Trio Los Panchos - Melchor, Gaspar y Baltazar (1966)
The American singer best known for her 1963 hit 'Blame It on the Bossa Nova' teamed up with Mexico's Trio Los Panchos for several Spanish-language albums, includng 1966's Navidad Means Christmas.
Rita Pavone - Bianco natale (1963)
This version of 'White Christmas' by Italian teen sensation Pavone was included on her 1963 album Non è facile avere 18 anni ("It's Not Easy Being 18 Years Old"). What a vocal performance! It's impossible to pick a favourite song from this mix, but this one is definitely up there.
Danièle et Michèle - La Neige sous mes pas (1965)
Québecoise sisters Danièle and Michèle Laprise released a Christmas album in 1965 called Noël à deux, which you can listen to in full on this old blog post.
Maria Dolores Pradera - Cholito toca y retoca (1966)
Starting out in film, the Spanish actress tried her hand at singing in the 1950s, and by the 1960s, switched her career entirely to music and never looked back.
Alice Dona - Le Noël des copains (1964)
This was on the French-language sixties mix I posted last year, but it's too good not to include here as well. You can read about the song, and watch a great video for it, here.
The Ronettes - Frosty The Snowman (1963)
With Phil Spector at the helm, The Ronettes turned a cute children's song into something else altogether – something soulful, joyous and completely their own. Originally from A Christmas Gift For You From Philles Records, this vinyl rip is taken from a seventies reissue single.
Renée Martel - As-tu vu le Père Noël ? (1968)
Another Québecoise singer, Martel released a Christmas single that featured this cover of The Beach Boys 'The Man With All The Toys' on the B-side, and 'Le Petit Train Bleu', a cover of Roger Miller's 'Old Toy Trains' on Side A.
Margo Guryan - I Don't Intend to Spend Christmas Without You (1967)
Producer Tommy LiPuma asked Guryan to write a Christmas song for Claudine Longet with "no snow, no mistletoe, no presents under the tree", and the result was the brilliant 'I Don't Intend To Spend Christmas Without You', released by Longet in December 1967. Guryan's original demo of the song surfaced on 25 Demos in 2001.
Elisa Gabbai - Winter in Canada (1966)
The Israeli singer had a successful pop career in Germany in the late sixties, including a big hit with this song. Sales were boosted again in 1967 after Israel's victory in the Six-Day War.
Connie Francis - Omoide no fuyuyasumi (1963)
Francis achieved huge success in many non-English-language markets, thanks to her father's inspired idea of having her record her songs in multiple languages. She cut versions of her 1962 seasonal song 'I'm Gonna Be Warm This Winter' in Italian, French and Japanese.
Gigliola Cinquetti - A casa per Natale (1968)
A sweet version of 'I'll Be Home For Christmas' by the young Italian star who was responsible for her country's first ever Eurovision win. Cinquetti was very popular in the sixties not only in Italy, but throughout Europe and in Japan.
Brenda Lee - Christmas Will Be Just Another Lonely Day (1964)
By 1964, the singer dubbed Little Miss Dynamite as a youngster struggled to make much impact on the charts. But she had a modest hit with this catchy, deceptively upbeat Christmas tune about months of post break-up heartache leading to a lonely Christmas.
Naomi and The Boys - Mary's Boy Child (1966)
Naomi Suriya, around 17 years old here, was the vocalist for this Singaporean group whose members included her brother Robert on lead guitar. Robert composed original songs, including 'It's All Over', a number one hit for the band according to this article. Their 1966 cover of 'Mary's Boy Child', originally by Harry Belafonte, is again via Mod-ified Music.
Emy Jackson - Blue Christmas (1965)
Jackson was "the first pop star in Japan that sang in English that sold a million records", as she told Garage Hangover. The bilingual, English-born singer sang original songs in English, in an approach that went against the grain of covering foreign hits in Japanese, according the fascinating liner notes by Sheila Burgel for the Nippon Girls compilatons. However, she covered two songs (in English) for her 1965 Christmas single, including a dynamic version of 'Blue Christmas', where she's backed by ereki band Blue Comets. The B-side is a cover of 'I Saw Mommy Kissing Santa Claus'.
The Supremes - Little Bright Star (1965)
The Supremes' Merry Christmas is one of the best Christmas albums ever, and the only one I know of by a sixties girl group. The Motown release combined updated versions of well-known yuletide songs, reimagined The Sound Of Music's 'My Favorite Things' as a Christmas tune, and included some fantastic originals like 'Little Bright Star'. Diana Ross' vocals are captivating as always.
Valerie Masters - Christmas Calling (1964)
British singer Valerie Masters released this Joe Meek-produced single in 1964.
The Peanuts - Santa Claus ga yattekuru (1960)
It took me a little while to realise I had two Japanese covers of 'Santa Claus Is Coming To Town' on this mix, because they are quite distinctive from one another. Japanese girl pop duo The Peanuts recorded two versions of the song, one in 1960 and another in 1962.
The Orchids - Christmas Is The Time To Be With Your Baby (1964)
I don't think there are too many Christmas songs by sixties girl groups aside from those by The Supremes or on the Phil Spector record, so this is a welcome treat. This was the B-side of the New York group's single 'It Doesn't Matter', released in November 1964.
Darlene Love - Marshmallow World (1963)
Love has some truly outstanding cuts on A Christmas Gift For You From Philles Records, including her exuberant take on 'Marshmallow World'.
Sylvie Vartan - Noël sans toi (1966)
Vartan indulges in some unapologetic French melancholy on this song about feeling lonely and devastated at Christmas after losing love. This appeared on her 'Par amour, par pitié' EP, released in December 1966.
Toni Wine - My Boyfriend's Coming Home For Christmas (1963)
Wine wrote some well-known hits including 'A Groovy Kind Of Love', and can be heard on vocals on The Archies' smash hit, 'Sugar, Sugar'. She had a minor hit her debut single at just sixteen years old, a self-penned tune about a boyfriend in the service returning home for Christmas.
Claire Lepage - Les Anges dans nos campagnes (1968)
A modern take on the traditional French carol, later adapted into English as 'Angels We Have Heard on High', from this Québecoise pop girl.
Tina Roberts - Snow (1966)
Hmm, a bit of a mystery, this lady. The most I could find is that she was also known as Tina Leverett and was part of an act called The Leverett Sisters. Leverett is credited as a songwriter of this excellent wintertime soul number. Thanks to Stephen Grasso for putting me onto this track!
Monna Bell - Jerusalén (1966)
Chilean singer Monna Bell's incredible voice helped her score many hits in Spain and Latin America in the fifties and sixties. (Song sourced from this forum).
Pattie Bersaudara - Gembala Dipadang (1968)
This Indonesian track comes from the album Christmas With Pattie Bersaudara & Bob Tutupoli, which you can hear in full at Irama Nusantara. It's an amazing site where you can listen to a large archive of digitised vintage Indonesian records.
The Crystals - Rudolph The Red Nosed Reindeer (1963)
Yet another marvel from A Christmas Gift For You From Philles Records. The combination of the magic touch of Phil Spector and the talents of The Crystals, one of the most popular girl groups of the 1960s, takes this simple song to another level.
Zsuzsa Koncz - I've Fallen In Love With A Snowman (1965)
The Hungarian singer, who went on to make some great, politically-charged psych-folk-rock records in the seventies, released some more conventional pop earlier in her career. This cover of Millie Small's song is from Koncz's EP of tracks sung in English, released in 1965.
France Gall - Il neige (1966)
This song sounds sweet and comforting, but the lyrics are quite gloomy! Not exactly a Christmas song, but it has 'snow' in it and a sort of twinkly sound, so it feels like it suits this time of year.
The Flirtations - Christmas Time Is Here Again (1968)
This girl group trio, originally from South Carolina, are best known for the Northern Soul staple 'Nothing But A Heartache'. It was originally released in December 1968 with 'Christmas Time Is Here Again' as the B-side, but got little attention. A reissue early the next year, with a different song on the flipside, fared a little better. Thanks Allison Brice from Lake Ruth for reminding me of this gem!
Angélica Maria - Paseo en trineo (1967)
Born in New Orleans, Angélica Maria moved to her mother's homeland of Mexico as a child, and went on to become a highly successful actress and singer there.
Nana Mouskouri - Christos Genate (1969)
A pretty, spirited folkish pop seasonal tune from the Greek superstar.
Dany Aubé - Dans le vent d'hiver (1968)
Another singer from Québec, Aubé released an album of Christmas songs in 1968, Noël avec Dany Aubé. There are some interesting moments where the song shifts to a minor key that give it a slightly haunting feel.
Dusty Springfield - O Holy Child (1964)
What better way to finish off a mix featuring 1960s women than with that voice. Released in late November 1964, this single was written by Dusty's brother Tom, with all proceeds donated to a charity for disabled children. The B-side is a cover of 'Jingle Bells' by their former act The Springfields, recorded before they broke up.
Merry Christmas, everyone! Thanks for continuing to visit my blog :).
|
|||||
1487
|
dbpedia
|
1
| 21
|
https://www.1065thearch.com/arch-music-news/on-this-day-aug-6-1965-the-beatles-release-their-fifth-album-help/
|
en
|
On This Day, Aug. 6, 1965: The Beatles release their fifth album, ‘Help!’ – 106.5 The Arch
|
[
"https://www.1065thearch.com/wp-content/uploads/2020/05/Arch-logo.png",
"https://www.1065thearch.com/wp-content/uploads/2020/05/Arch-logo.png",
"https://www.1065thearch.com/wp-content/uploads/2020/08/WARH-Nav-Logo.png",
"https://www.1065thearch.com/wp-content/uploads/2024/08/ABCAudio_ThisDayInHistory_v03_ag-1.jpg",
"https://www.1065thearch.com/wp-content/uploads/2024/08/ABCAudio_ThisDayInHistory_v03_ag_0-1.jpg",
"https://www.1065thearch.com/wp-content/uploads/2024/08/M_TomPettyLongAfterDarkDeluxe_083024.jpg",
"https://www.1065thearch.com/wp-content/uploads/2024/08/Getty_JohnLennonYokoOno_083034.jpg",
"https://www.1065thearch.com/wp-content/uploads/2024/08/Getty_Aerosmith_082924.jpg",
"https://www.1065thearch.com/wp-content/uploads/2024/08/M_PeteTownshendLive_060624-2.jpg",
"https://www.1065thearch.com/wp-content/themes/station-sites/assets/img/HUBBARDradio_logo-300x96.png"
] |
[] |
[] |
[
""
] | null |
[
"ABC News"
] |
2024-08-06T15:00:00+00:00
|
On This Day, Aug. 6, 1965…The Beatles released their fifth studio album Help!, which was the soundtrack to their film of the same name.The album produced three
|
en
|
106.5 The Arch
|
https://www.1065thearch.com/arch-music-news/on-this-day-aug-6-1965-the-beatles-release-their-fifth-album-help/
|
On This Day, Aug. 6, 1965…
The Beatles released their fifth studio album Help!, which was the soundtrack to their film of the same name.
The album produced three #1 singles, including the title track, “Yesterday,” and “Ticket to Ride.”
Help! was a critical success, and hit #1 on the Billboard Album chart, spending nine weeks in the top spot. It was also nominated for Album of the Year at the Grammys, marking The Beatles’ first Grammy nomination in that category.
Help! was the second film to star The Beatles. It had the band trying to protect drummer Ringo Starr, who’s the target of a sinister cult and mad scientists trying to obtain a sacrificial ring he received as a gift from a fan.
Copyright © 2024, ABC Audio. All rights reserved.
|
|||||
1487
|
dbpedia
|
1
| 76
|
https://www.nme.com/list/100-best-songs-of-the-1960s-1159
|
en
|
100 Best Songs of the 1960s
|
[
"https://www.nme.com/wp-content/uploads/2019/11/logo-nme.svg",
"https://www.nme.com/wp-content/uploads/2019/11/logo-nme.svg",
"https://www.nme.com/wp-content/uploads/2016/12/BeachBoysweekendsocial.jpg",
"https://www.nme.com/wp-content/uploads/2020/01/logo-nme-white.svg"
] |
[
"https://www.youtube.com/embed/It7107ELQvY?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/IeVnbAfcwv8?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/cTaqn8_gMR0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/UGJQPkfwlAc?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/8TLLcvWeiKw?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/7_HiQomh_Zo?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/3Q3j-i7GLr0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/3rLF-QAS67I?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/it68QbUWVPM?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/cZI6EdnvH-8?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/GDAuaStv2Kk?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/CdvITn5cAVc?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/jCPjnuwdKkw?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/It75wQ0JypA?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/J74ttSR8lEg?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/_bpS-cOBK6Q?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Lkb1R_yif9I?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/HU5zqidlxMQ?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/4qHX493bB3U?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Cz8BCLNHREI?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/wwx8Voq373A?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/97zgi3Ri2Go?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/k9Itt02QOO0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/wEBlaMOmKV4?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/h3h--K5928M?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/idcaRTg4-fM?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/BCwkZrj2VT4?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/9hUy9ePyo6Q?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/5A-4VGfx5lU?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/zrK5u5W8afc?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/cbxxkwBQk_o?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/4URogrXiKsI?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/-eCh3y5VROM?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/UYnySGM9dQA?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/ODR6rGcluRs?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/NdKEbnS1eBE?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/nJNMnBhf-Ds?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/yDk-PGRMMw4?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/to-RVV_3anw?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/oCpCrbCAOBo?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/9nGsUbZpCKM?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/wB9YIsKIEbA?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/QE5D2hJhacU?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/sLQiFlgSVYs?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/fQ7uXX9K7Sk?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/NUaUIwuU8so?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/WsdtUMdXXJg?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/WANNqr-vcx0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/1ULcIVbMxAE?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/hwZNL7QVJjE?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/cYh5oMDlWwQ?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/4qoymGCDYzU?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/3LAcP_v-j3I?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/UCmUhYSr-e4?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/WJDnJ0vXUgw?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/qN5zw04WxCc?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/T0YifXhm-Zc?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/DjydOI4MEIw?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/yvJGQ_piwI0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/dvyDWGF290M?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/rKE3FSPJu-4?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/SbyAZQ45uww?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/z0XAI-PFQcA?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/zjmLsSs0xDY?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/fPVUa29kHu8?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Mln0RciE2o0?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/dN3GbF9Bx6E?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Y7dGdrP3pms?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/LmY30_DjMYo?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/VLd8D5GHg00?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Dt0ipUCfdlU?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Q8UKf65NOzM?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/TLV4_xaYynY?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/Eab_beh07HU?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/7ADCIwotmDg?feature=oembed&enablejsapi=1",
"https://www.youtube.com/embed/usNsCeOV4GM?feature=oembed&enablejsapi=1"
] |
[] |
[
""
] | null |
[
"NME"
] |
2012-03-26T12:06:55+00:00
|
The swinging 60s might be more than half a century ago now, but their revolutionary impact still remains to this day. Whether you were Team Beatles or Team Stones, the two bands still stand as arguably the biggest this country has ever produced, but there were more to these years than just John and Jagger. […]
|
en
|
NME
|
https://www.nme.com/list/100-best-songs-of-the-1960s-1159
|
The swinging 60s might be more than half a century ago now, but their revolutionary impact still remains to this day. Whether you were Team Beatles or Team Stones, the two bands still stand as arguably the biggest this country has ever produced, but there were more to these years than just John and Jagger. From the hit machine and conveyor belt of in-house stars produced by Motown to the burgeoning, melon-twisting dawn of psychedelia, it was a decade of exploration and experimentation. Here are the tracks that defined it… Words by Matthew Horton, Tim Chester, Priya Elan. 100 best tracks of the ’60s – Spotify playlist
http://link.brightcove.com/services/player/bcpid1483850446001?bckey=AQ~~,AAAAABumiUU~,CmZu1qzq0NyICxn2Vp-nk3_Z6ll_Smhf&bctid=1585787073001
100 Send Me A Postcard
Dutch psych rockers Shocking Blue would score a US Billboard Hot 100 No.1 with 1970’s ‘Venus’ (covered so memorably by Bananarama 16 years later), but ‘Send Me A Postcard’ is a darker proposition altogether, singer Mariska Veres evoking Julie Driscoll or Jefferson Airplane’s Grace Slick as she hollers over fuzzed guitar and the obligatory swirling organ.
https://www.youtube.com/watch?v=Ymr092edNAA
99 Ring Of Fire
Advertisement
This paean to the grisly aftermath of an unforgiving curry – or tribute to love’s steamy embrace, whatever you fancy – was written by Johnny Cash’s future wife June Carter with Merle Kilgore, and originally recorded by June’s sister Anita. Cash boosted it with the mariachi horns that give it its overriding, buoyant character.
98 I Had Too Much To Dream (Last Night)
The opening track on Lenny Kaye’s ‘Nuggets’, his essential compilation of late-60s garage and psych rock, ‘I Had Too Much To Dream (Last Night)’ was written by professional songwriting team Annette Tucker and Nancie Mantz but musses up its classic structure with needling, distorted guitar from Ken Williams – recorded backwards – and a growling lead vocal from James Lowe.
Recommended
97 My Girl
They might have done the gritty thing with ‘Ball Of Confusion’ and ‘Papa Was A Rollin’ Stone’ or tried overwrought testifying on ‘Ain’t Too Proud To Beg’, but the Temptations song that gets reeled out most these days is this soppy, doo-wopping poem to a girl who makes everything all right. Written and produced by Smokey Robinson with Ronald White, it features David Ruffin’s first – silky smooth – lead vocal.
https://www.youtube.com/watch?v=ltRwmgYEUr8
96 Twist And Shout
Written by Phil Medley and Bert Berns – later to produce Van Morrison’s early solo recordings – ‘Twist And Shout’ would of course become best known for The Beatles’ moptop-shaking version. Here The Isley Brothers continue their own shouting theme (after 1959’s ‘Shout’), taking The Top Notes’ ‘Shake It Up, Baby’ and giving it some welly, eventually climbing into the US Top 20.
Advertisement
95 Stop In The Name Of Love
From the immortal songwriting/production team of Holland Dozier Holland, ‘Stop In The Name Of Love’ got its title from a rather melodramatic plea to a girlfriend by Lamont Dozier. Whether she stuck around is hazy, but – after Berry Gordy requested the tempo be raised – The Supremes bagged a fourth US No.1 with the song as Diana Ross gave it her beseeching all.
94 To Love Somebody
‘To Love Somebody’ was originally intended for Otis Redding , but he died before he could tackle Barry and Robin Gibb’s latest masterpiece so the Bee Gees recorded it themselves. Although its chart performance was modest, the song has deservedly been covered on countless occasions by everyone from Jimmy Somerville to Leonard Cohen. That’s some vocal range.
https://www.youtube.com/watch?v=ykU8iSKkJR0
93 White Room
Like many Cream songs, ‘White Room’ was written by bassist and vocalist Jack Bruce with the English poet Pete Brown. It was the lead single from the blues-rock supergroup’s third album Wheels Of Fire and sees them veering towards more expansive psychedelia, with Eric Clapton’s wah-wah guitar chattering away in the verses. It’s since been covered by The Vines and speed-metallers Helloween.
https://www.youtube.com/watch?v=pkae0-TgrRU
92 Runaway
A chart-topper on both sides of the Atlantic, the signature tune of Michigan-born rock’n’roller Del Shannon is instantly memorable for its “wah-wah-wah” vocal hook and the pizzicato rises and falls played by Shannon’s sidekick Max Crook on his Musitron or clavioline, a primitive synthesiser that also makes a distinctive appearance on The Tornados 1962 Joe Meek-produced No.1 ‘Telstar’.
91 The Witch
The debut single from Tacoma, Washington’s The Sonics is creepy as its title suggests, romping along on a honking riff intercut with frenzied surf guitar freakouts. Home state radio backing made ‘The Witch’ a major local success and allowed the band to chuck out a few more grimy garage rock sides before a split in 1968 and a place in grunge folklore.
90 Wooden Ships
Mellow as yellow custard, folk-rock supergroup Crosby, Stills and Nash’s ‘Wooden Ships’ hides its anti-war message in plain sight, drifting by on noodly guitars, caressed by Stephen Stills’ delicate organ-playing. Stills and David Crosby wrote the song with Jefferson Airplane’s Paul Kantner and both bands released the song in 1969 as the Vietnam War reached its hopeless peak.
89 Tin Soldier
Perhaps it doesn’t quite get the props it deserves, but ‘Tin Soldier’ is a blistering shot of rock-soul that sounds meaty now – let alone in 1967. Written to woo singer Steve Marriott’s future wife Jenny Rylance, it was offered to PP Arnold who declined but turned up to the Small Faces’ sessions to add fire and ballast to the chorus.
88 She’s Not There
With the groovy panache of a jazz track, ‘She’s Not There’ gave St Albans rockers The Zombies a No.12 UK (and Top 10 US) hit with their debut single. Songwriter Rod Argent drives the song on with his electric piano while Colin Blunstone strains for the vocal as the song gives early warning of The Zombies’ accomplished pop skills, later realised on legendary album ‘Odessey And Oracle’.
87 So Long, Marianne
Laughing Len once sang in a honey-smeared pop register before trilbies and dodgy accountants had taken their toll. Here on his debut album ‘Songs Of Leonard Cohen’ he bids farewell to Marianne, his love and muse throughout the 60s, with a pristine bit of poetry and a typically stately and swinging folk-pop arrangement.
86 Bonnie And Clyde
Fresh from persuading Serge Gainsbourg not to release their version of ‘Je T’Aime…Moi Non Plus’, Brigitte Bardot again teamed up with the oily old goat to release this wonderfully louche, hypnotic (and occasionally tuneless) tribute to the gun-toting outlaw couple. It’s been covered by sometime Go-Go Belinda Carlisle and sampled by Kylie Minogue.
85 Dancing In The Street
The story goes that Martha Reeves’ peerless call to party was actually an incitement to riot as black residents of Harlem fought pitched battles against white police officers in its month of release. But the dates don’t work and there’s too much joy in this kinetic blast of a record. It wasn’t even ruined by Mick Jagger and David Bowie in 1985. OK, it nearly was.
84 We Gotta Get Out Of This Place
A product of the Brill Building hothouse of pop songwriters, ‘We Gotta Get Out Of This Place’ was initially marked up for The Righteous Brothers, who would’ve got the brooding right but never had the grubby, throaty force Eric Burdon brings to the job, nor The Animals’ stealthy blues groove. In the end this just missed out on the UK top spot to The Beatles’ ‘Help!’
83 Bus Stop
This one came from the end of Graham Gouldman, later one quarter of 10cc, who was inspired by gazing at the – yes – bus stop on his way to work. It’s performed on a bleak scale by Manchester’s finest The Hollies but is an ever-turning song of hope about the nice young lady in the queue who, by August, “was mine“.
82 Cinnamon Girl
Neil Young’s first single with backing band Crazy Horse is a nice juxtaposition of the prim harmonies of Buffalo Springfield and Young’s later searing rock. While Young sings as politely as before, the guitars riff and buzz with menace, setting out a whole new stall. ‘Cinnamon Girl’ was later covered by Smashing Pumpkins and Motörhead.
https://www.youtube.com/watch?v=aAdtUDaBfRA
81 I’d Rather Go Blind
The late, great Etta James had hit the skids by the late-60s, frittering away a decent career with a devastating heroin addiction – but there was enough faith in her voice to give her another go on her recovery. Working at Muscle Shoals in Alabama, James delivered ‘At Last’ and this, a real body blow of a standard that loses none of its emotional heft no matter how often it’s covered.
https://www.youtube.com/watch?v=g9PYPvMz-Wc
80 Eight Miles High
Originally called ‘Six Miles High’ in reference to the altitude of a commercial flight, ‘Eight Miles High”s less specific title had people thinking about drugs, and the song was duly banned in the States. Still, it’s a remarkable record, reminiscent of free jazz in its loose approach as The Byrds’ West Coast harmonic rock falls apart all around them.
79 Green Onions
The Stax house band found themselves with an iconic record themselves here, a simple 12-bar blues that thrives on in-built cool. Against the walking bass, it’s Booker T. Jones’s Hammond organ that steals the show, providing a slink that habitually pops up in adverts and movies including Get Shorty and American Graffiti. Anything that requires a swagger, basically.
78 Dazed And Confused
Led Zep’s debut album belter has a murky history. The writing credit might be axeman Jimmy Page’s, but it’s widely accepted that it was “inspired” by folk singer Jake Holmes’s song of the same name, that The Yardbirds – featuring one, um, Jimmy Page – used to play. Provenance aside, this intense brooder sees Page bowing his guitar as Robert Plant simmers with Black Country lust.
77 Where Did Our Love Go?
More Holland Dozier Holland action with a song first earmarked for Motown labelmates The Marvelettes, who turned it down. Their loss was The Supremes’ gain as the foot-stomping ‘Where Did Our Love Go’ made No.1 in America, No.3 over here and in 1981 got tacked onto Soft Cell’s Tainted Love to make a camp 12″ megamix.
https://www.youtube.com/watch?v=izzKUoxL11E
76 For Your Love
Still a teenager, this was another 60s smash written by future 10cc-er Graham Gouldman in his downtime. More pop than the bluesy Yardbirds were used to, it was too much for purist Eric Clapton who left to join Bluesbreakers, but ‘For Your Love’ still has a frenetic power and an edge that suggests Clapton was hasty. He probably hasn’t looked back though.
75 Wild Thing
Chip Taylor – brother of US actor Jon Voight – wrote ‘Wild Thing’, which was originally recorded by The Wild Ones. But it was Hampshire rockers The Troggs who made a proper go of it, detuning the guitars, throwing in an ocarina solo and attacking it with Reg Presley’s growling bravura – all in the service of grabbing a US No.1 single.
74 Crimson And Clover
The bestselling single from the band that gave us UK No.1 (and later Billy Idol single) ‘Mony Mony’, ‘Crimson And Clover’ occupies a strong, silent place in rock history. It was billed as a change of direction for Tommy James and lives up to it, burning slowly but intensely with its tremolo guitar signature and James’s yearning vocal.
73 Build Me Up Buttercup
Co-written by then Manfred Mann singer – and also writer of ‘Handbags And Gladrags’ – Mike D’Abo, ‘Build Me Up Buttercup’ is still a ubiquitous wedding and movie soundtrack favourite 40-odd years on. This is down to a striking, cod-Motown bounce, a hair-raising vocal from Colin Young and, yeah, that There’s Something About Mary outro.
72 Nothing But A Heartache
The Flirtations started life as The Gypsies before switching coquettishly in the mid-60s and trading the US for the UK in search of hits. They were signed up by Wayne Bickerton – later the svengali behind The Rubettes – and, after some near misses, clocked up a minor hit with this dramatic slice of Northern Soul, a Top 40 entry back in their native States.
71 Eleanor Rigby
Quite the switch in style after ‘Paperback Writer’, ‘Eleanor Rigby’ was released the same day as its parent album ‘Revolver’ and had ‘Yellow Submarine’ on the flip to lighten the mood – but it was a seismic shift on The Beatles’ part, dealing primarily in gloom, the banal, and underpinned by a severe string quartet. Some fascinating kitchen sink realism from Paul McCartney.
70 Crazy
It’s hard to believe the (slightly craggy) Peter Pan of country Willie Nelson was around and writing this old standard at the start of the 60s, but there he was and here was Patsy Cline delivering the performance she’d end up remembered for, a raw, honest but understated turn that came just two years before her death in a plane crash.
https://www.youtube.com/watch?v=K-wJNpWgss8
69 Alone Again Or
This mysterious, mariachi horn-drenched kickstarter from fantastic 1967 album ‘Forever Changes’ was almost not on it at all. Bryan MacLean worked it up for Love’s 1966 debut album, but didn’t get around to completing it for another year or so – and this time he barely appeared on it, finding his vocal wiped in favour of Arthur Lee’s harmony lines.
https://www.youtube.com/watch?v=cNcXFy8QTC4
68 A Change Is Gonna Come
Sam Cooke said ‘A Change Is Gonna Come’ came to him in a dream, but it was a natural product of the times too – in particular Martin Luther King’s “I have a dream” speech, delivered just a few months before Cooke recorded the song. Whether it inspired Cooke or not, ‘A Change Is Gonna Come’ is infused with the belief and determination of the civil rights movement.
67 I Can’t Explain
The Who’s debut single – if we gloss over The High Numbers’ ‘Zoot Suit’ – is built on a clean, metallic riff that has cropped up time and again in rock (and dance) music. Influenced by The Kinks’ ‘All Day And All Of The Night’, Pete Townshend’s choppy guitar has inspired The Clash and The Hives, while the song has been covered by David Bowie.
66 River Man
Not released as a single until 2004, ‘River Man’ was, in the troubled Nick Drake’s eyes, the centrepiece of his debut album ‘Five Leaves Left. It’s presented in a jazzy 5/4 time and with string arrangements by bandleader and arranger Harry Robinson – a composer of horror film scores and Lord Rockingham’s XI’s No.1 single ‘Hoots Mon’ –is exquisite and haunting.
65 The Tracks Of My Tears
Smokey Robinson was the quite the Motown mogul, becoming a VP after encouraging Berry Gordy to set up the label in the first place, then piling on hit after hit as a writer/producer and lead singer of The Miracles. ‘The Tracks Of My Tears’ is one of their most enduring songs, a chest-bursting ballad that somehow failed to make the US Top 10.
64 The Sound Of Silence
Sometimes ‘The Sounds Of Silence’, sometimes ‘The Sound Of Silence’, depending on which year you’re standing in, Simon And Garfunkel’s first US No.1 started life on the flop debut album ‘Wednesday Morning, 3am’ before being retooled for success without the duo’s permission by producer Tom Wilson. They didn’t complain about the results, and the song found its true resonance in 1967’s The Graduate.
63 Fire
Steamy and frantic, this funky cut from 1967 debut album ‘Are You Experienced?’ is just about as pop as Jimi Hendrix ever got. He lays on the lasciviousness, works up some groovy licks and spouts the smut while drummer Mitch Mitchell earns his wage with a clatter of rolling fills and general rabid hastiness. Covered in 1988 by Red Hot Chili Peppers, who could hardly have resisted.
https://www.youtube.com/watch?v=3jbdw43yvTY
62 House Of The Rising Sun
‘The House Of The Rising Sun’ was only The Animals’ second single but it made their name, topping the charts at home and in the US. Producer Mickie Most had selected this traditional New Orleans folk song – an unusual choice for a consolidating hit, but one which was handled in style by the weathered howl of Eric Burdon and Alan Price’s ebbing and flowing Hammond organ.
61 Unchained Melody
Hard to wipe that image of Patrick Swayze, Demi Moore and the potter’s wheel in 1990’s Ghost, but ‘Unchained Melody’ was almost a cliché even as far back as 1965, having been subjected to numerous versions already. This is the lasting take though, pretty much a solo performance by Bobby Hatfield while the other Brother Bill Medley produced (although Phil Spector took the credit).
60 The Shirelles, Will You Love Me Tomorrow?
Imagine how racy this was in 1960, with a young girl considering whether to get it on with her boyfriend in an age of prurience yet to be wholly swept away from rock’n’roll. Its power and frankness – as well as it being a splendid song from the supreme pair of Carole King and Gerry Goffin – took it to the top in the US and kickstarted the girl group era.
59 Dance To The Music
‘Dance To The Music’ is a day-glo riot of pulsating horns, fuzzed-up guitars and zany organ, dressing up what’s essentially an “introducing the band” mid-concert jam. But the musicianship and full-force funk makes it transcend the throwaway, as Sly Stone, guitarist Freddie Stone, bassist Larry Graham and hornsmith Cynthia Robinson all get a go on lead vocals and sweep the world up in the fun.
58 River Deep Mountain High
Phil Spector put his all into this signature Ike and Tina effort – considering it his best work – only to see it flop in the States. The shock saw him bow out of the music industry for a couple of years, but ‘River Deep Mountain High’ still stands up as a formidable chunk of rock-soul, introducing Tina’s colossal pipes to a mainstream audience and doing tidy business in Europe even if it stalled at home.
https://www.youtube.com/watch?v=VN_Aq2W2Yi0
57 Summer In The City
New York proto-hippies The Lovin’ Spoonful achieved a US No.1 with this epic, whipping up some urban heat with close, minor-chord verses before bursting free with a tingling chorus. It was actually written by non-member Mark Sebastian (brother of TLS singer John) along with bassist Steve Boone and was treated to a vast cover from Isaac Hayes in 1995.
https://www.youtube.com/watch?v=m648v4s5sFc
56 What A Wonderful World
A UK No.1 single in 1968, ‘What A Wonderful World’ found a new, memorable lease of life in the 1987 Robin Williams movie vehicle Good Morning, Vietnam – but it so nearly never fell into Louis Armstrong’s hands. The veteran bandleader and jazz trumpeter was second choice to Tony Bennett, but he ‘made it his own’, delivering a song of hope to a backdrop of domestic upheaval.
https://www.youtube.com/watch?v=E2VCwBzGdPM
55 In My Life
Is it a harpsichord? Is it a half-speed electric piano? Is it… actually, yes, it’s a half-speed electric piano. One of George Martin’s few purely musical contributions to the Beatles canon adds a strange, but successful, touch to John Lennon’s understated piece of whimsy about his childhood – in Lennon’s view, the most mature piece he’d written by that point.
54 (I Can’t Get No) Satisfaction
That towering riff – for one thing, it came to Keith Richards in a moment of clarity after briefly coming round from an alcoholic stupor; for another, Richards always planned to replace it with a horn section. In the meantime he hepped up his riff with a fuzzbox to keep it warm until the real players came along. Well, thank goodness they never did.
https://www.youtube.com/watch?v=tdOxRcvZJaM
53 Bad Moon Rising
Creedence Clearwater Revival’s sprightly Cajun blues was apparently a bit of soothsaying inspired by recent political occurrences. Singer John Fogerty claims he wrote it the day Richard Nixon won the presidency, and that it was designed to reflect the unease in the air. Prescient indeed. Over here record buyers saw it as a jolly pop tune and sent it to No.1.
52 Psychotic Reaction
Teenage garage rock crew The Count Five used to stride out on stage dressed as Count Dracula (geddit?) before laying waste to their output including this seminal tune. Based around the dirtiest of fuzzy riffs and piercing harmonica, ‘Psychotic Reaction’ moves from glam stomp to psych wig-out and was highly regarded enough for rock critic extraordinaire Lester Bangs to name a book after it.
51 People Get Ready
Featuring Curtis Mayfield on glorious lead vocals and sparing, funky guitar, ‘People Get Ready’ is a calm and spiritual call to join the fight – be it for civil rights or simple religious salvation. Trading lines with Mayfield is tenor Fred Cash, and there are strings and brass arranged by Chicago soul producer Johnny Pate to create a gorgeous love train that’s leaving today.
50 Heroin
Shocking in both its lyrical frankness and its musical sparseness, ‘Heroin’ was Lou Reed at his most cliff-edge doomed and romantic. Spitting the lyrics with a bit too much realness, the music spins into a frenzied “high” aided by Moe Tucker’s jiggling percussion and John Cale’s freakish viola. Hauntingly brilliant.
49 Jumpin’ Jack Flash
According to legend this track was inspired by Keith Richard’s gardener (along with the effect of quaffing too much acid ), The Stones’ ‘…Jack’ was led by Richards’ propulsive, open tuned guitar riff which he likened to “levitation.” Meanwhile Jagger’s vocal was the perfect blend of bullish and petulant.
https://www.youtube.com/watch?v=eQSGw0hMd_I
48 Oscillations
Proto-Krautrock duo the Silver Apples flew miles ahead of the pack with this stunningly unique track. Aided by a rudimentary synthesizer and a non-traditional song structure, ‘Oscillations’ appropriately enough, spoke of the beauty of the new, in an effortlessly forward- looking way.
47 I’ll Feel A Whole Lot Better
Led by Jim McGuinn’s distinctive 12-string Rickenbacker, and Gene Clark’s pitch perfect lilt, this was originally the b-side to ‘All I Really Wanna Do’. With its gentle jangle and angelic harmonies this track set the template for all future alt-country jams.
46 Some Velvet Morning
Like an American version of Serge Gainsbourg and Brigitte Bardot, Nancy and Lee were a sultry pairing who radiated with danger and mysterious sexual allure. No less than on the mythology referencing ‘Some Velvet Morning’ which has gone on to become a much covered alternative duet (perhaps most famously by Primal Scream and Kate Moss).
45 Waterloo Sunset
A shimmering slice of 60s Britannica which honed in on a vision of the capital via the narrative grace of Ray Davies. Dave Davies’ lilting guitar chords corralled the tale of “Terry and Julie” (Terence Stamp and Julie Christie) and future histories yet to be written with a waltz-like grace and a timeless charm. Everyone from Blur to The Libertines owes a reasonable debt to this slice of wistful British storytelling.
https://www.youtube.com/watch?v=g-D9xcZgKX4
44 Venus In Furs
Based on the counter-culture novel by Leopold von Sacher-Masoch, the VU’s tale of S&M curdled with its own bedraggled charm, thrusting forth with John Cale’s droning viola and Lou Reed’s dully ceremonial vocal. Gothic before “goth” existed.
43 (Reach Out) I’ll Be There
Penned by Motown dream-team of Holland/Dozier/Holland, Levi Stubbs sang this track with an urgency which was said to mimic Bob Dylan. The result was a Motown classic that pulsated with the knowledge of the depths of desperation and loneliness which found its beating, soulful heart beneath in the broad swells of the music.
https://www.youtube.com/watch?v=KnDm3qr1Knk
42 I’m A Believer
Penned by Neil Diamond and played by session musicians, ‘I’m A Believer’ was a brilliant slice of 60s boyband pop, claiming its rightful place atop the US Billboard charts for seven glorious weeks. A cheery bolt of daydream escapism, amongst a background of social upheaval.
41 Papa’s Got A Brand New Bag
Following a legal battle with his label King Records, a reinvigorated James Brown re-emerged revitalized. Showcasing his new, JB Horns assisted new direction with a slick funk loop, the song would signal a new turn not just for Brown but for R’n’B music as a whole.
40 See Emily Play
With its use of backwards tape, reverbed piano and hop-scotching rhythms this track was a psychedelic masterpiece from the tie-dye pen Syd Barrett. A scrambling epic, the truth of “Emily”’s existence ( was she real or just a hallucination?) was never revealed, adding to the track’s infamy.
39 You Can’t Hurry Love
Based a gospel song (‘You Can’t Hurry God’), this provided The Supremes with their seventh number one and became a signature Motown track. Written and produced by the in house team of Holland-Dozier-Holland, the shimmering song was their attempt to re-construct the previous Supremes hit ‘Come See About Me’, but the joyous results were above and beyond those limitations.
38 Then He Kissed Me
A Phil Spector co-write and production, it featured his legendary ‘Wall Of Sound’ stylings. The innocent, fairy tale romance nature of lyrics that cradled at young love like a Disney movie (Spector was helped by Ellie Greenwich and Jeff Barry) so touched Brian Wilson that he covered the track with The Beach Boys two years later in 1965.
37 (Your Love Keeps Lifting Me) Higher And Higher
Originally done by vocal group The Dells, Jackie Wilson re-recorded the track in Chicago with members of the Motown in house band, The Funk Brothers. For many, it’s the epitome of a “feel good tune” with it’s sunny backing vocals, chugging guitars and Wilson’s ecstatic vocals, so happy that he’s found “The One.”
36 White Rabbit
A heady bolero that divvied up Alice In Wonderland references with not-so-subtle winks at drug assisted mind expansion. Grace Slick perfectly captured the mid-60s hope that narcotics could change perceptions and the world. A counter-culture classic.
35 Time Of The Season
The closing track on seminal 1968 LP ‘Odyssey And Oracle’, ‘Time Of The Season’ was perhaps The Zombies finest moment. Although the band broke up shortly after this song’s release, the arid R’n’B stylings of this track would live on decades after their demise. Inspired by Gershwin’s ‘Summertime’ and the very real Summer Of Love, it was anchored by Colin Blunstone’s coolly soulful vocals and Rod Argent’s galloping keyboard solo.
34 Stand By Me
A hymn-like universal anthem which King penned with songwriting legends Leiber and Stoller, that was not only later to be covered by Jimi Hendrix but also used for the classic coming of age film of the same name and would become a by-word for 50s nostalgia.
33 You’re Gonna Miss Me
A rip roaring slice of garage rock, this classic was made by Rory Erkison’s squawking vocal style and harmonica solo. The result was spine-tingling and urgent, it would later feature on the ‘Nuggets’ compilation and with its dizzying energy was way ahead of its time.
32 Suzanne
A lover letter to a real life dancer and traveler but also to the ethereal beauty of Montreal, this track began as a poem (‘Suzanne Takes You Down’) before being recorded by Judy Collins. Forthright and literate with a flowery orchestration from producer John Simon, Cohen’s definitive version appeared on the troubadour’s classic debut ‘Songs Of Leonard Cohen’.
https://www.youtube.com/watch?v=ZX0CfFdk-jw
31 Wichita Lineman
Penned by Jimmy Webb (who also wrote ‘Galveston’), this was another tale of blue-collar blues. Framed by producer Al DeLory’s wistful orchestration, Campbell’s honey-soaked croon perfectly captured the sadness of a long distance telephone lineman.
30 The Weight
Inspired by the films of Bunuel and quasi- Biblical in its lyrical bent, ‘The Weight’ became an anthem of American counterculture (see its use in Easy Rider and later Girl, Interrupted). Dylan’s backing band charmed generations of drifters with this future country-rock classic.
29 Louie Louie
By the time The Kingsmen came to record their version ‘Louie Louie’ was already a firm cult classic. Originally written by Richard Berry in 1955, The Kingsmen put the track through the inner garage band grinder and created this walloping jive. As the ultimate stamp of grungy approval it would later be squished into submission by Iggy Pop.
https://www.youtube.com/watch?v=7Vae_AkLb4Q
28 Sittin’ On The Dock Of The Bay
Recorded just 6 weeks before his death and released posthumously, this track was Redding looking back at a life that had seen him move to San Francisco from Georgia to seek stardom. Its reflective mood was retrospectively haunting and the whistling solo was a happy accident – Redding meant to finish the lyrics before his fateful plane crash.
27 Gimme Shelter
Released at the butt end of the 60s, Jagger and Richards captured the changing moods of the time, as race riots, Charles Manson and Vietnam had soured the hippie dream. A stabbing at their infamous Altamont gig added an extra dimension of bitter twang as the soulful crisis of the track signaled the end of an innocent era.
26 My Generation
Taking in a timeless sense of youthful disaffection via a countercultural, Mod lens, Pete Townshend’s age-defying ditty distilled what it feels like to be young, energised and in the prime of life into 3:18 minutes of bristling hedonism. According to legend, Who manager Kit Lambert suggested that Roger Daltrey stuttered in order to sound “like a kid on speed.” Either way, it’s still a clarion call for a youth in revolt.
24 She Loves You
From the frantic tumble of toms and urgent harmonies of the ten second intro onwards this track doesn’t mess about. Two and a half minutes of world class pop later and it’s gone, but in your head forever. While any number of The Beatles’ early tracks could sit pretty in this list, ‘She Loves You’ has a taut, economic charm that wallops you upside the head and scarpers before you know what’s hit you.
23 Son Of A Preacher Man
It’s hard to believe that this perfect soul pop nugget was turned down by no less than Aretha herself, but following Dusty’s sultry take on the track she was quick to correct the error of her ways. It was too late, however, as Ms Springfield’s slinky horn-packed effort had already written itself into the history books. Nice bell work on the cymbals too.
22 Kick Out The Jams
It’s easy to underestimate the raw power and sheer importance of the Motor City Five, who let’s not forget were writing punk tracks seven years before the Pistols. Less breaking boundaries than headbutting them into submission, the MC5 exploded into a clueless ’69 with their debut album of the same name, and this nitrous calling card would stamp firm their legacy forever.
21 You Really Got Me
Trying to trace the roots of heavy metal? Many musicologists trace them to the red raw chords of this track, the ludicrously heavy third single from The Kinks and the one that sent them stratospheric. Unleashed in 1964, at a time when even The Beatles were still trading in ‘Eight Days A Week’-style pop hits, this track was a sexually-charged bolt from the blue that still sounds as vital and untamed 50 years later.
20 Space Oddity
We were sure Rick Wakeman wouldn’t make it anywhere near this list, but here he is, sat behind the Mellotron for Bowie’s classic early single. “Ground control to Major Tom” it begins, introducing the world not only to the first of his many characters but in many cases to the man himself. An evocative, inventive and timeless masterpiece.
19 A Whiter Shade Of Pale
Hammond organs, Milton-inspired lyricism (“trip the light fandango”) and nods to Bach might not seem the perfect recipe for a hit, but 1967 was a more forgiving place than 2012, and Procul Harum’s debut single was a mega, mega hit. Since covered over 1,000 times, it’s the most played song in public places as well as the most played song on British broadcasting ever.
https://www.youtube.com/watch?v=Ma4dsoviNSQ
18 I Want You Back
Originally planned as a backing track for Gladys Knight and the Pips, this slice of songwriting perfection caught the ears of Motown producer Berry Gordy as the ideal vehicle to catapult his new group into the world. And from the opening piano slide onwards introductions don’t come much better.
https://www.youtube.com/watch?v=a0l112Qy4yA
17 These Boots Are Made For Walking
With the backing of The Wrecking Crew (including the twin electric and double bass lines of Carol Kaye and Chuck Berghofer that give the track its distinctive sliding runs), Sinatra and Lee Hazelwood created a classic. Since covered by everyone from Megadeth to Jessica Simpson.
16 Respect
While Otis Redding originally had a hit with this track in ’65, it would take two years, a phenomenal soul voice, some backing “sock it to me”s and a formidable “R-E-S-P-E-C-T” breakdown to really set the track on fire. Two Grammys and countless covers later and it’s entered our musical lexicon as shorthand for girl power, soul power and, well, respect.
15 I Wanna Be Your Dog
Has disenfranchisement ever sounded as guttural, raw, and downright cool as this? Heavily distorted guitars, incessant piano stabs and of course Iggy’s desperate drawl combine on one of the most visceral tracks laid to acetate. Throbbing, pounding, and dripping with latent energy it epitomises the lurid appeal of The Stooges at their very best.
14 Paint It Black
On which pounding drums, Jagger drawl and the first sitar to feature on a Number One record combine for an indie disco favourite for now and all time. One of the few tracks composed by Nanker – Phelge, which was the collective pseudonym the Stones used when all five of them – Jagger, Jones, Richards, Watts and Wyman – contributed to the writing (and more importantly shared the royalties).
13 Whole Lotta Love
Is there a track in the world as gloriously filthy as this? The writhing and riff heavy opener to Led Zeppelin’s best album (‘Led Zeppelin II’) never received a UK single release but shifted millions of copies in the US. Theremins, drum solos, saucy sex-obsessed gasps – on paper in shouldn’t work. But this is Led Zep, so of course it does.
12 God Only Knows
This song fires twin darts at your heart from the beginning. A maudlin French horn heralds the start before those timeless words “I may not always love you” pin you to the wall. You’re at Brian Wilson’s mercy from then on as he tips out tumbling drums and sweet harmonies relentlessly for the next three minutes. Simon from Biffy Clyro has the lyrics tattooed across his chest and it’s Paul McCartney’s favourite song, which say it all.
https://www.youtube.com/watch?v=EkPy18xW1j8
11 California Dreamin’
It’s a simple idea, really. I live in New York, which is cold and sucks, and I’d be warm in LA. As with all great pop, though, it’s the way you express it, and with the help of producer Lou Adler (and an additional flute break) The Mamas and Papas turned a wistful thought into one of the greatest pop tunes ever.
10 I Heard It Through The Grapevine
Smokey Robinson did it first. Gladys Knight followed him up, while Creedence Clearwater Revival turned it into a brilliant folk rock freakout. The Slits, meanwhile, post-punked the shit out of it. Marvin’s is The One, though. Released initially against the wishes of Motown man Berry Gordy, its lyrics are an embittered document of an infidelity, but its vocals are pure honeyed, Marvin sweetness. Misery never sounded so good.
9 Like A Rolling Stone
In 1965, Bob Dylan was about to pack it in. Having finished an exhaustive tour of England he’d lost interest in the music game, but the creation of this track – one of his finest moments made even better with Al Kooper’s signature organ line – reinvigorated his love for music. Of course the six minute monster went on to become a worldwide hit and one of the most influential pieces of music of all time.
8 Suspicious Minds
Yet another sterling pop track based on a dysfunctional relationship, Elvis’ final Number One was initially a flop for another songwriter, Mark James. It took a 4am – 7am session at Tennessee’s American Sound Studio with Chip Morman to birth The King’s final calling card. This sped up live version is one of the all-time great performances.
7 Sympathy For The Devil
‘Beggars Banquet’’s opener was Jagger and Richards at their finest; the former swiping bits of Baudelaire for a dance with the devil and the latter suggesting it be set to a samba rhythm. “Please allow me to introduce myself / I’m a man of wealth and taste”. As invitations to the dancefloor go, they don’t come more compelling.
6 I’m Waiting For The Man
Mid-1967, as the Summer Of Love approached, and The Small Faces’ got ready to meet their Nice, over the pond the Velvets were tripping up to Harlem to score $26 worth of smack. A prosaic and somewhat depressing trip turns irrepressibly chic in their hands, however, and this standout from their eponymous debut would eventually become a signature song.
https://www.youtube.com/watch?v=hugY9CwhfzE
5 Leader Of The Pack
The Shangri-Las were a cut above most early ‘60s girl groups, a bit more aloof, a bit cooler, a shade more chic, and it was hard for teenage boys to hear this tale of a cool, renegade motorbike gang member who gets Betty against her parents’ wishes without wanting to be him. Until he died in massive accident, that is. Tragic storytelling at its succinct best.
4 All Along The Watchtower
Such a great cover of the Dylan classic that Bob himself tweaked his own version upon hearing it, Jimi’s guitar epic had a slow and painful gestation period. Bassist Noel Redding got fed up during the sessions and walked out, and Hendrix redid his guitar parts umpteen times, moving from four track to eight track to 16 track as he went. His pain, our gain.
3 Good Vibrations
While the charms of this track are obvious upon exposure, its studio legacy is just as important. Thanks to Brian Wilson’s fervent experimentation, endless takes and overdubs, a pretty hefty cash injection from Capitol, and of course that electro-theremin, ‘Good Vibrations’ really showed producers in 1966 – and in every year since – what could be achieved within those soundproofed walls.
2 Be My Baby
Brian Wilson probably won’t mind sitting pretty one stop below this track – he thinks it’s the finest pop song ever written. The greatest exponent of producer Phil Spector’s Wall of Sound technique, this sugar-sweet, heart-busting hit by The Ronettes was a true collaboration between producer and muse (singer Ronnie Bennett and Spector would later marry). Wilson reportedly listened to this track 100 times a day, and thanks to its irresistible charm and deceptive simplicity, it wouldn’t be much of a hardship.
1 A Day In The Life
If there’s one year that sums up the sixties the best, it’s 1967. And if there’s one, prolonged moment that epitomises the spirit and feeling of the decade, it’s the summer of ’67. And if you had to distill the entire ten years’ worth of musical endeavour into one album, it would be The Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’.
|
|||||
1487
|
dbpedia
|
1
| 60
|
https://www.britannica.com/biography/Aretha-Franklin
|
en
|
Aretha Franklin | Biography, Songs, Albums, & Facts
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/81/681-004-83264761/Aretha-Franklin-1993.jpg",
"https://cdn.britannica.com/00/182900-138-BE9FFB6F/Aretha-Franklin-exhibit-career-offerings-Porsche-Janis-2011.jpg?w=400&h=225&c=crop",
"https://cdn.britannica.com/93/200393-004-72B1A504/Aretha-Franklin-1992.jpg",
"https://cdn.britannica.com/94/200394-004-E87E6A39/Aretha-Franklin-2010.jpg",
"https://cdn.britannica.com/mendel-resources/3-124/images/shared/default3.png?v=3.124.12",
"https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-statue-2009.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/58/178358-131-31BB9D53/Beatles-Publicity-Richard-Lester-Help-film-rock.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/19/129419-131-955577FE/Studio-air-sign-blog-Radio-Hompepage-media-2009.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/86/191086-131-85619B55/Woman-oil-Men-canvas-Theorbo-Gerard-Terborch-1668.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/23/190023-131-8EC31C15/Jimi-Hendrix-concert-performance-Open-Air-Love-September-6-1970.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/37/153237-131-A68EA014/nano-iPod-size-media-player-Multi-Touch-Apple-2001.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/51/189351-131-104BA669/Jesse-Owens-Olympic-Games-1936.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/23/176123-131-94DCF6F8/Aphrodite.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/13/134913-131-D9520745/Ice-Sledge-Hockey-Canada-Cup-USA-ice-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/53/189853-131-02462668/Footraces-distances-Summer-Olympics.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/84/203584-131-357FBE7D/speed-internet-technology-background.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/81/681-050-4BC40E49/Aretha-Franklin-1993.jpg?w=400&h=300&c=crop",
"https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-statue-2009.jpg",
"https://cdn.britannica.com/00/182900-138-BE9FFB6F/Aretha-Franklin-exhibit-career-offerings-Porsche-Janis-2011.jpg?w=800&h=450&c=crop",
"https://cdn.britannica.com/93/200393-050-15FA3763/Aretha-Franklin-1992.jpg?w=300",
"https://cdn.britannica.com/94/200394-050-19CDE209/Aretha-Franklin-2010.jpg?w=300"
] |
[] |
[] |
[
"Aretha Franklin",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"David Ritz"
] |
1999-10-20T00:00:00+00:00
|
Aretha Franklin, American singer who defined the golden age of soul music of the 1960s. Known as the ‘Queen of Soul,’ she made hit songs such as ‘I Never Loved a Man (the Way I Love You),’ ‘Respect,’ and ‘Think.’ Learn more about Franklin’s life and career in this article.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/biography/Aretha-Franklin
|
Aretha Franklin (born March 25, 1942, Memphis, Tennessee, U.S.—died August 16, 2018, Detroit, Michigan) was an American singer who defined the golden age of soul music of the 1960s.
Franklin’s mother, Barbara, was a gospel singer and pianist. Her father, C.L. Franklin, presided over the New Bethel Baptist Church of Detroit, Michigan, and was a minister of national influence. A singer himself, he was noted for his brilliant sermons, many of which were recorded by Chess Records. Her parents separated when she was six, and Franklin remained with her father in Detroit. Her mother died when Aretha was 10. As a young teen, Franklin performed with her father on his gospel programs in major cities throughout the country and was recognized as a vocal prodigy. Her central influence, Clara Ward of the renowned Ward Singers, was a family friend. Other gospel greats of the day—Albertina Walker and Jackie Verdell—helped shape young Franklin’s style. Her album The Gospel Sound of Aretha Franklin (1956) captures the electricity of her performances as a 14-year-old.
Britannica Quiz
Pop Culture Quiz
At age 18, with her father’s blessing, Franklin switched from sacred to secular music. She moved to New York City, where Columbia Records executive John Hammond, who had signed Count Basie and Billie Holiday, arranged her recording contract and supervised sessions highlighting her in a blues-jazz vein. From that first session, “Today I Sing the Blues” (1960) remains a classic. But, as her Detroit friends on the Motown label enjoyed hit after hit, Franklin struggled to achieve crossover success. Columbia placed her with a variety of producers who marketed her to both adults (“If Ever You Should Leave Me,” 1963) and teens (“Soulville,” 1964). Without targeting any particular genre, she sang everything from Broadway ballads to youth-oriented rhythm and blues. Critics recognized her talent, but the public remained lukewarm until 1966, when she switched to Atlantic Records, where producer Jerry Wexler allowed her to sculpt her own musical identity.
At Atlantic, Franklin returned to her gospel-blues roots, and the results were sensational. “I Never Loved a Man (the Way I Love You)” (1967), recorded at Fame Studios in Florence, Alabama, was her first million-seller. Surrounded by sympathetic musicians playing spontaneous arrangements and devising the background vocals herself, Franklin refined a style associated with Ray Charles—a rousing mixture of gospel and rhythm and blues—and raised it to new heights. As a civil-rights-minded nation lent greater support to black urban music, Franklin was crowned the “Queen of Soul.” “Respect,” her 1967 cover of Otis Redding’s spirited composition, became an anthem operating on personal, sexual, and racial levels. “Think” (1968), which Franklin wrote herself, also had more than one meaning. For the next half-dozen years, she became a hit maker of unprecedented proportions; she was “Lady Soul.”
In the early 1970s she triumphed at the Fillmore West in San Francisco before an audience of flower children and on whirlwind tours of Europe and Latin America. Amazing Grace (1972), a live recording of her performance with a choir at the New Temple Missionary Baptist Church in Los Angeles, is considered one of the great gospel albums of any era. By the late 1970s disco cramped Franklin’s style and eroded her popularity. But in 1982, with help from singer-songwriter-producer Luther Vandross, she was back on top with a new label, Arista, and a new dance hit, “Jump to It,” followed by “Freeway of Love” (1985). A reluctant interviewee, Franklin kept her private life private, claiming that the popular perception associating her with the unhappiness of singers Bessie Smith and Billie Holiday was misinformed.
|
||||
1487
|
dbpedia
|
0
| 7
|
https://elpee.jp/hot100/week/1965-07-31
|
en
|
Hot100 / 1965
|
[] |
[] |
[] |
[
"Billboard Chart",
"Database",
"Billboard Chart History",
"ビルボードデータベース",
"ビルボードチャート",
"Top40",
"Hot100"
] | null |
[] |
1965-07-31T00:00:00
|
Billboard Chart Database / ビルボードチャートデータベース
|
en
|
/img/favicon.ico
|
https://elpee.jp/hot100/week/1965-07-31
| ||||||
1487
|
dbpedia
|
0
| 57
|
https://www.acquavellagalleries.com/exhibitions/wayne-thiebaud5
|
en
|
Acquavella Galleries
|
[
"https://s3.amazonaws.com/files.collageplatform.com.prod/application/559650f9cfaf34ff158b4568/674ea714afdbd3b4095ef9a7a3d6f3b3.png",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/64ff7849d9045a997b1f51635f15d3b0.jpeg",
"https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/559650f9cfaf34ff158b4568/4cac0a4073374b4d0e95f77a4970f7d2.jpeg",
"https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/559650f9cfaf34ff158b4568/938027cf2f20a12fdeec37fdde5733f4.jpeg",
"https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/559650f9cfaf34ff158b4568/c06508c859a9138fd42f25ee0fb0ecf1.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/64ff7849d9045a997b1f51635f15d3b0.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/4cac0a4073374b4d0e95f77a4970f7d2.jpeg",
"https://img.artlogic.net/w_130,h_90,c_limit/exhibit-e/559650f9cfaf34ff158b4568/938027cf2f20a12fdeec37fdde5733f4.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/c06508c859a9138fd42f25ee0fb0ecf1.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/63fe4e9099a4190ffefff249dee9cfdd.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/0ec9747e7e3209de437cfcee9d5953df.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/887fd975d787e75c943f3e5c2f9f2f7d.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/ded858ae2f03afc1c743e34b48d056d6.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/4bad23c7740acedf3ea6d8e337221e94.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/e1a5202aacce7d88f9f562dc8792fc27.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/87976018eb3452223e888e364bd74abf.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/173c25fd37cd0f28566ccaead1c77d42.jpeg",
"https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/559650f9cfaf34ff158b4568/678af67ca8afdb6110b35bb994522f70.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/63fe4e9099a4190ffefff249dee9cfdd.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/0ec9747e7e3209de437cfcee9d5953df.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/887fd975d787e75c943f3e5c2f9f2f7d.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/ded858ae2f03afc1c743e34b48d056d6.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/4bad23c7740acedf3ea6d8e337221e94.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/e1a5202aacce7d88f9f562dc8792fc27.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/87976018eb3452223e888e364bd74abf.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/173c25fd37cd0f28566ccaead1c77d42.jpeg",
"https://img.artlogic.net/w_260,h_180,c_limit/exhibit-e/559650f9cfaf34ff158b4568/678af67ca8afdb6110b35bb994522f70.jpeg",
"https://img.artlogic.net/w_550,h_609,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/aac8d31e9414ad82313d4c67c4d4e55e.jpeg",
"https://img.artlogic.net/w_550,h_609,c_limit/exhibit-e/559650f9cfaf34ff158b4568/ca55c450c90166910480edf2fdceed04.jpeg",
"https://img.artlogic.net/w_550,h_609,c_limit/exhibit-e/559650f9cfaf34ff158b4568/bbc474f9fae2f0f83a6220a1ac8f69d8.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/364af5e51aaf7687476a8969ba7167b0.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/8a76e6e42beb3efa84fb8a8e1701b7e0.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/4d947a00b3a19073cd726cd3455baf8e.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/30115adb66f5658386f4bdbc7d520f40.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/3e3d8ee4acce741bce7d291ee93a691c.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/ca62dfd40137905a353da88b83830d55.jpeg",
"https://img.artlogic.net/w_220,h_180,c_lfill/exhibit-e/559650f9cfaf34ff158b4568/e648c602d1584e30f6a36a7a41c742de.jpeg",
"https://img.artlogic.net//exhibit-e/559650f9cfaf34ff158b4568/ca7a871de70af8f307d95eee716b2e94.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Specializing in Impressionist, Modern, and Contemporary Masters.
|
en
| null |
Acquavella Galleries is pleased to present Wayne Thiebaud: Summer Days, which will be on view from April 26th through June 14th in New York. The exhibition, organized in collaboration with the Wayne Thiebaud Foundation, presents works from multiple decades of the artist’s career and tracks his sustained interest in recurring subject matter, here offering a nostalgic look at American life passing through the heat of summer. In Summer Days the artist’s many paintings play with both present and past, tasking the viewer to relax amongst scenes of warmth, indulgence, and distant serenity. Rendered in candy-colored impasto, the exhibition includes examples of Thiebaud’s paintings of sweets, hot dogs, bathing suits, and whirling beach scenes, among other subjects.
Wayne Thiebaud rose to prominence in the 1960s at the same time as Pop artists Andy Warhol, Roy Lichtenstein, and James Rosenquist, though he did not feel aligned with the movement. Unlike these contemporaries, many of whom embraced commercial techniques, Thiebaud described himself as a traditional painter of illusionistic forms. He repeatedly tackled familiar, everyday subjects to challenge and explore the formal possibilities of painting. His meticulously crafted surfaces are steeped with art historical references and a subtle longing for a sweeter time.
In Strawberry Cone (1969) the simplicity of the composition highlights Thiebaud’s technical approach to his paintings. Richly painted in pastel shades of pink, the ice cream emerges almost sculpturally against a stark, blank background, its thick layers of paint bulging past the flat plane of the canvas. Dedicated to a tradition of figuration, Thiebaud’s Strawberry Cone demonstrates the artist’s strength in color and masterful use of impasto and brushwork, with the swaths of creamy paint suggesting the ice cream melting in front of the viewer. His painting Jolly Cones (2002) reflects his sustained interest in the role of sweets as a collective experience, imbuing the painting with the same strain of nostalgia that he employed nearly four decades earlier.
Though most famous for his persistent rendering of still lifes, portraiture and landscapes were also central to the artist’s practice over the many decades of his career. His portraits reflect a similar modality as his scenes of food– highly stylized, colorful subjects set against distilled backgrounds. Betty Jean (1965) presents the artist’s wife sporting a striped swimsuit in profile, extending her focus past the edge of the frame. Rendering the face with a playful veracity, Thiebaud subverts the image subtly by changing the perspective of the torso to a three-quarters position, flattening the swimsuit’s stripes against the contours of the body. The brightly patterned swimsuit creates a moment of technical interest and abstraction that hints at a body in motion, ready to dip into summer’s waters.
This same subversion of perspective also defines the artist’s landscapes, blending points of view to create dreamy realities of the beach bending against water and heat. Tidelines (2004–2014) pushes the artist’s strength in landscapes to its limits, casting his beachgoers into oscillating passages of color. In the foreground, the beachgoers buzz with detail and motion, inducing a feeling of summer ease and nostalgia. As the painting recedes, however, the rendering of the beach distorts and twirls. In lucid hues of yellow, purple, and blue, Thiebaud disrupts the atmospheric perspective with a quickening flatness, rejecting the vanishing point for an absorbing color field thick with movement and animated brushwork. Echoing lapping waves and the long hours of summer days, Tidelines welcomes the viewer into a hypnotizing scene reminiscent of calm, playful vacations in thick heat.
Wayne Thiebaud: Summer Days tracks the career of the artist over six decades, revealing his retained interest in lighthearted subjects while casting them in traditional modes of painting. This exhibition celebrates the artist’s regard for the delights of the quintessentially American summer experience, from its sweet ice creams and chilled soda pops to beach games and barbecues, melting a grey winter into a fading memory. In his paintings, an American nostalgia gently invites the viewer into the season’s space, readying them for warmer days ahead.
The exhibition will be accompanied by an illustrated catalogue with essays by curator and art historian Steven Nash and art historian Mary Okin.
About Acquavella Galleries
For over 100 years, Acquavella Galleries has dealt in paintings, sculptures, and works on paper of unparalleled quality. Renowned for its expertise in the fields of 19th, 20th, and 21st century art, the gallery has sold important paintings and sculpture to private collectors and museums world-wide and regularly presents museum-quality exhibitions of Impressionist, modern, postwar, and contemporary masters. Founded by Nicholas Acquavella in the early 1920s, the gallery is now a third-generation, family-owned business, run by Bill, Eleanor, Nicholas, and Alexander Acquavella: Bill joined his father Nicholas in 1960, Bill’s daughter Eleanor joined in 1997, and his sons Nicholas and Alexander joined in 2000 and 2003 respectively.
Today, the gallery exhibits and deals in works by artists such as Francis Bacon, Jean Michel-Basquiat, Pierre Bonnard, Alexander Calder, Paul Cézanne, Edgar Degas, Willem de Kooning, Lucian Freud, Alberto Giacometti, Jasper Johns, Henri Matisse, Joan Miró, Claude Monet, Pablo Picasso, Wayne Thiebaud, and Andy Warhol, among the other giants of the late 19th, 20th, and early 21st century. On the primary market, the gallery represents contemporary artists Miquel Barceló, Wang Yan Cheng, Jacob El Hanani, Damian Loeb, and Tom Sachs.
All works of art by Wayne Thiebaud are © 2024 Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY
|
||||||
1487
|
dbpedia
|
3
| 14
|
https://www.nytimes.com/2024/03/26/magazine/classic-rock-radio.html
|
en
|
The Retro Music Genre That Will Change Your Life
|
[
"https://static01.nyt.com/images/2024/03/31/magazine/31mag-LOR-01/31mag-LOR-01-articleLarge.jpg?quality=75&auto=webp&disable=upscale"
] |
[] |
[] |
[
""
] | null |
[
"Nate Rogers",
"www.nytimes.com",
"nate-rogers"
] |
2024-03-26T00:00:00
|
Classic rock rules. When the right song comes on the radio, I pretty much see God.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2024/03/26/magazine/classic-rock-radio.html
|
Distilled to its purest essence, rock music, my genre of choice, is somewhat embarrassing. I usually enjoy a Kiss song when I hear it, for instance — I wish you luck trying to resist the power-pop perfection of “Strutter” — but I would still prefer that no one walk in on me while it’s playing. (Doesn’t anyone knock anymore?) There are plenty of artful examples of rock music, definitely, but its power-stancing DNA will always be grown adults in silly outfits screaming about their broken hearts.
I don’t get the impression that Spotify, which I use often, values the questionable excesses of rock ’n’ roll quite the way I do. That’s not necessarily a terrible thing — nobody should just be sitting around listening to arena rock from the 1970s. But I have a theory about why the streaming giant favors certain softer styles of music: Perhaps the most ideal streaming customer is one who uses a service while working, racking up hours of passive plays. But you cannot have Kiss on while you work. You’ll quickly get irritated with the repetition or the obnoxious lyrics or the tinny production and want to switch to something more pacifying. And Spotify will be more than happy to offer an alternative, having become quite adept at recommending music that hits the spot, song after song, through its Autoplay algorithm. My experience with letting Spotify take the wheel is that it finds music that sits pleasantly in the background, and while listening with Autoplay on, my environs are like a coffee shop, no matter where I am. In other words, the platform doesn’t really get, nor effectively push, the core of the subgenre I crave most of all: classic rock.
You’re probably familiar with the peculiar distinctions of classic rock, even as they continue to morph in real time. Based on what classic rock D.J.s tend to play, we’re talking about music made from the mid-60s to the early ’00s at this point (sorry, I don’t like that any more than you do). But the songs are not determined by age so much as feel: Hoobastank’s schmaltzy hit “The Reason” is more than 20 years old now, though you would not classify it as classic rock. Red Hot Chili Peppers’ war-torn ballad “Scar Tissue,” however, released just a few years earlier, fits the bill. Classic rock is music you could see a suburban father listening to on a speaker while washing his car in the driveway. Painfully masculine, beautifully simple.
Take that car out of the driveway, and an alternative to streaming-induced banality awaits. I’ve found myself tuning in to 95.5 KLOS, my local classic-rock station, as I drive around the concrete sprawl of Los Angeles, which is an easy place to get sentimental about rock history. Turn a corner, and there’s Whisky a Go Go, there’s Laurel Canyon, there’s Sunset Sound. Leather-pants-wearing ghosts everywhere you look. L.A. was not built on subtlety, and it’s often best to commune with it at a high volume. A little bit of added radio crackle is fine; everything is grimy here.
|
|||||
1487
|
dbpedia
|
0
| 16
|
https://www.instagram.com/reel/C9kv6-xuINA/
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
1487
|
dbpedia
|
1
| 95
|
https://americanahighways.org/2024/08/06/musicians-obituaries-may-july-2024/
|
en
|
July 2024 • Americana Highways
|
[
"https://americanahighways.org/wp-content/uploads/2022/03/cropped-NewNewLogo1BE.png",
"https://americanahighways.org/wp-content/uploads/2024/07/Grant-Maloy-Smith-728-ad.jpg",
"https://americanahighways.org/wp-content/uploads/2024/07/Grant-Maloy-Smith-728-ad.jpg",
"https://americanahighways.org/wp-content/uploads/2024/05/CMF24-AH-728x100-Banner.jpg",
"https://americanahighways.org/wp-content/uploads/2024/05/CMF24-AH-728x100-Banner.jpg",
"https://americanahighways.org/wp-content/uploads/2021/03/Michael-J-Media-Ad.gif",
"https://americanahighways.org/wp-content/uploads/2021/03/Michael-J-Media-Ad.gif",
"https://americanahighways.org/wp-content/uploads/2024/08/2-Scarlet-Goodbye-Ad.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/2-Scarlet-Goodbye-Ad.jpg",
"https://americanahighways.org/wp-content/uploads/2023/10/MusicianObituariesLogo.jpg",
"https://americanahighways.org/wp-content/uploads/2023/10/MusicianObituariesLogo.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/JohnMayall4-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/JohnMayall4-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Francoise-Hardy-300x225.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Francoise-Hardy-300x225.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/David-Sanborn-300x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/David-Sanborn-300x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/Angela-Bofill-GettyImages-85217241-267x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Angela-Bofill-GettyImages-85217241-267x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Kinky-Friedman-199x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Kinky-Friedman-199x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Duke_Fakir_2019-257x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Duke_Fakir_2019-257x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/John-Barata-198x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/John-Barata-198x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/John_hawken_2008_cropped-268x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/John_hawken_2008_cropped-268x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/spider-john-koerner-portrait-08-215x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/spider-john-koerner-portrait-08-215x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/DougIngle-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/DougIngle-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Mark-James-Houston-Chronicle-2-731x1024-1-214x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Mark-James-Houston-Chronicle-2-731x1024-1-214x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/26Cason-01-lwvk-articleLarge-235x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/26Cason-01-lwvk-articleLarge-235x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/happy-traum-300x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/happy-traum-300x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Sandy-posey-tout-072324-0adfc22128a64fc4ad3171f462103ecd-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Sandy-posey-tout-072324-0adfc22128a64fc4ad3171f462103ecd-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/bernice-johnson-reagon_002-683x1024-1-200x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/bernice-johnson-reagon_002-683x1024-1-200x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Beverly-Paul-300x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/Beverly-Paul-300x300.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/Phil.Wiggins-196x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Phil.Wiggins-196x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Charlie-Colin-300x265.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Charlie-Colin-300x265.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/james-chance-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/james-chance-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/loggins-GettyImages-85517195-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/loggins-GettyImages-85517195-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/joe-egan-musician-68be8fb1-5307-43d1-bfb2-837d426850c-resize-750-300x261.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/joe-egan-musician-68be8fb1-5307-43d1-bfb2-837d426850c-resize-750-300x261.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/jerry_miller_feature-300x166.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/jerry_miller_feature-300x166.jpeg",
"https://americanahighways.org/wp-content/uploads/2024/08/Jerry-Fuller-Obit-Template-Headshot-Publicity-H-2024-300x169.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Jerry-Fuller-Obit-Template-Headshot-Publicity-H-2024-300x169.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Jeremy-Tepper-OCC8-BW-PHOTO-BY-@MIKEDUNNUSA-0001-2-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Jeremy-Tepper-OCC8-BW-PHOTO-BY-@MIKEDUNNUSA-0001-2-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/JohnnyCanales-300x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/JohnnyCanales-300x300.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/IvaPina-300x169.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/IvaPina-300x169.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/tom-Fowler55-300x269.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/tom-Fowler55-300x269.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Mary-Martin-cr-Kay-Williams-courtesy-of-the-Country-Music-Hall-of-Fame-and-Museum-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Mary-Martin-cr-Kay-Williams-courtesy-of-the-Country-Music-Hall-of-Fame-and-Museum-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/collins-300x126.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/collins-300x126.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/danny-300x126.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/danny-300x126.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Joe-Bonsall-oak-ridge-2024-pr-credit-Jon-Mir-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/Joe-Bonsall-oak-ridge-2024-pr-credit-Jon-Mir-billboard-1548-300x199.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/The-Nelons-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/The-Nelons-300x200.jpg",
"https://americanahighways.org/wp-content/uploads/2023/11/Jimi-Hendrix-Hollywood-Bowl-305x207.jpg?crop=1",
"https://americanahighways.org/wp-content/uploads/2023/11/Jimi-Hendrix-Hollywood-Bowl-305x207.jpg?crop=1",
"https://americanahighways.org/wp-content/uploads/2022/06/Rolling-Stones-El-Mocambo-305x207.jpg?crop=1",
"https://americanahighways.org/wp-content/uploads/2022/06/Rolling-Stones-El-Mocambo-305x207.jpg?crop=1",
"https://americanahighways.org/wp-content/uploads/2019/04/GuySteve-305x207.jpg",
"https://americanahighways.org/wp-content/uploads/2019/04/GuySteve-305x207.jpg",
"https://www.paypal.com/en_US/i/scr/pixel.gif",
"https://www.paypal.com/en_US/i/scr/pixel.gif",
"https://americanahighways.org/wp-content/uploads/2024/07/Everyday-Miracle-Brock-Davis-available-now.jpg",
"https://americanahighways.org/wp-content/uploads/2024/07/Everyday-Miracle-Brock-Davis-available-now.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/oie_oie_animation-2.gif",
"https://americanahighways.org/wp-content/uploads/2024/08/oie_oie_animation-2.gif",
"https://americanahighways.org/wp-content/uploads/2024/07/Jim-Patton-Sherry-Brokus-Harbortowne.gif",
"https://americanahighways.org/wp-content/uploads/2024/07/Jim-Patton-Sherry-Brokus-Harbortowne.gif",
"https://americanahighways.org/wp-content/uploads/2024/08/KateMAd-e1723921253848.jpg",
"https://americanahighways.org/wp-content/uploads/2024/08/KateMAd-e1723921253848.jpg",
"https://americanahighways.org/wp-content/uploads/2024/04/Team-C-logo-Record-T_mock2.jpg",
"https://americanahighways.org/wp-content/uploads/2024/04/Team-C-logo-Record-T_mock2.jpg",
"https://www.paypal.com/en_US/i/scr/pixel.gif"
] |
[] |
[] |
[
""
] | null |
[
"John Apice",
"Jeff Burger",
"Steve Wosahla"
] |
2024-08-06T00:00:00
|
Musicians Obituaries – May-July 2024. Far too many, including John Mayall, Sandy Posey, Kinky Friedman, Jeremy Tepper, Buzz Cason and more.
|
en
|
Americana Highways
|
https://americanahighways.org/2024/08/06/musicians-obituaries-may-july-2024/
|
Americana Highways Musicians Obituaries – May-July 2024
John Mayall @ 90 – A legendary English blues great who dedicated his life to the genre, played with some legendary greats like John Lee Hooker & Champion Jack Dupree & single-handedly discovered & gave breaks to some of the most successful & famous musicians in rock & blues. John Mayall was inducted into the R&R Hall of Fame in the musical influence category in 2024.
His bands over the years featured John McVie & Mick Fleetwood (Fleetwood Mac), Eric Clapton & Jack Bruce (Cream), Peter Green (Fleetwood Mac), Mick Taylor (The Rolling Stones), Andy Fraser (Free), Jon Hiseman (Colosseum), Jon Mark & John Almond (Mark-Almond Band). Mayall died July 22 at home in CA. No cause was issued. The color image courtesy of David Gomez.
Françoise Hardy @ 80 – A French singer-songwriter/actress/author & French cultural icon who sang primarily melancholy, sentimental ballads & French chanson singing with her breathy alto. She was not the typical pop singer & was compared in some areas song-wise to Marianne Faithful & Nico. She had said she admired the obscure English singer-songwriter Nick Drake (who she met & wanted to work with). Her career started in 1962 through 2021 & she reinvented herself several times. She sang in 4 languages & released over 30 studio albums. She first retired in 2012 after being diagnosed with cancer but 5 years later (2018) she released an album. By 2021 she announced she could no longer sing due to cancer treatments. B&W 1960 image courtesy of Mondadori/Getty Images.
David Sanborn @ 78 – The multiple Grammy-Award-winning Tampa, Florida-born sax player passed away Sunday, May 12 from prostate cancer. Sanborn had been battling the disease since 2018 & played as much as he could since his diagnosis. David through his 6-decade career had played on many sessions for major artists (Butterfield Blues Band, Paul Simon, James Taylor, Stevie Wonder, the Rolling Stones & touring with David Bowie). He also recorded his albums (25) as well (“Taking Off” & “Hideaway”). The color image courtesy of David Sanborn’s website.
Angela Bofill @ 70 – Born Angela Tomasa Bofill – she was an American singer & composer of Cuban/Puerto Rican origins & a New York City native. Her career (1973-2006) started in the 70s & over a 4-decade career had multiple hits & 10 solo LPs over several major labels. Angela became one of the first successful Latina singers to penetrate the R&B & jazz markets & sold-out places like Avery Fischer Hall. Tragically, Bofill suffered a stroke in 2006 which paralyzed her left side & then suffered a second stroke in 2007 impairing her speech & mobility. She passed away on June 13th at her daughter’s home in CA. The color image courtesy of GAB Archives/Redferns.
Kinky Friedman @ 79 – An American controversial but clever singer-songwriter, novelist, humorist, politician & writer who considered himself a modern-day satirist in the shape of Mark Twain or Will Rogers. Born in Chicago as Robert Samet Friedman his family moved to Texas; he played chess quite well & earned a BA from the University of Texas. He served 2 years in the Peace Corps in Borneo & Malaysia & later formed a band called Kinky Friedman & the Texas Jewboys. As a solo act, he was signed by ABC Records (the early 70s) where he met & toured with Bob Dylan’s Rolling Thunder Revue in 1976. He was always quite a diversified performer if not a little unfocused. He also wrote interesting detective novels & released 17 solo LPs. Kinky famously smoked Montecristo & Bolivar cigars. He died at home in Texas from complications of Parkinson’s disease. Color image courtesy of Jay Janner/American-Statesman
Duke Fakir @ 88 – Last surviving original member of the marvelous ‘60s legendary Motown vocal group The Four Tops. First tenor Abdul (Duke) Fakir sang with lead singer Levi Stubbs on multiple hits like “I Can’t Help Myself,” “It’s The Same Old Song,” “Reach Out I’ll Be There,” “Bernadette,” & “Standing In the Shadows of Love.” For many baby boomers, a piece of their childhood has been chipped away. Fakir passed away at his home in Detroit from heart failure. The photo is courtesy of Duke’s Wikipedia site at the LBJ Presidential Library 2019.
John Barbata @ 79 – Former drummer for The Turtles (on many of their hit singles), Jefferson Airplane & Starship, Crosby, Stills, Nash & Young, Lee Michaels, Johnny Rivers & many others. The New Jersey-born musician played between 1961 and 2024 beginning with The Sentinels. No cause of death was issued. The color image courtesy of John “J-Cat” Griffith.
John Hawken @ 84 – English-born keyboard player John Christopher Hawken passed away in May 2024. Originally with the Nashville Teens (“Tobacco Road”) & later a member of the original Renaissance with Jane Relf & Strawbs (for 2 albums) & reunited with them in 2004 for another 2 albums. In 2019 he played the Strawbs’ 50th Anniversary show. Strawbs’ leader Dave Cousins introduced Hawken to the mellotron. John also played with bands as diversified as Spooky Tooth, Vinegar Joe, Illusion (the original Renaissance re-grouped) & then became a session keyboard player. Hawken died from melanoma at his Metuchen, NJ home. Color image tagged public domain.
“Spider” John Koerner @ 86 – New York State-born blues guitarist & singer who mentored Bob Dylan when living, performing & recording in Minnesota as a blues/country blues trio — Koerner, Ray & Glover (Dave Ray & Tony Glover). John recorded with the trio in 1963 & released his first solo LP in 1965 “Spider Blues” for Elektra. He also recorded with Ramblin’ Jack Elliott & the late Utah Phillips. John passed away from bile duct cancer on May 18th. The B&W image courtesy of Nate Ryan/MPR.
Doug Ingle @ 78 –Frontman/organist of the pioneering heavy rock band Iron Butterfly & last surviving original member. The band was pivotal in the development of heavy metal & hard rock. Famous for their long iconic 1968 hit Doug co-wrote “In-a-Gadda-Da-Vida” (which translates to “In the Garden of Eden”). That album sold over 30 million copies & remained in the Top 10 for 81 weeks. The band had some other interesting Ingle songs (“New Day,” “Filled With Fear,” “Soul Experience” & “In the Time of Our Lives”). But their momentum, like the hard rock band Blue Cheer, petered out. But their legendary status in pop culture & image did live on respectfully (used in “The Simpsons”). Doug passed away Friday, May 24. The B&W photo courtesy of Michael Ochs Archives/Getty Images.
Mark James @ 83 – Writer of Elvis Presley’s classic “Suspicious Minds,” & other songs (“Hooked On a Feeling” & Grammy Award-winning “Always On My Mind” by B.J. Thomas, Elvis & Willie Nelson. Mark passed away at his home in Nashville, TN. Color image courtesy of Roman Cho/Houston Chronicle.
Buzz Cason @ 84 – Songwriter, producer, author & rock singer born in Nashville, TN. He was a founding member of the R&R band The Casuals. As a solo artist, he issued singles & had some hits as Gerry Miles. He & Leon Russell (a session producer at the time) together produced The Crickets. He also performed as a session singer (for Elvis Presley & Kenny Rogers). His biggest hit “Everlasting Love” was co-written with Mac Gayden & became a hit 4 times – once for Robert Knight (US), then by Love Affair (UK) & Carl Carlton again (US) with an Australian country band the Town Criers charting a 4th time in 1968. The color image courtesy of the Country Music Hall of Fame & Museum.
Happy Traum @ 86 – Harry Peter Traum was born in the Bronx, NY & performed with or was associated with Bob Dylan, Richard Thompson, Martin Simpson, Jim Kweskin, Sam Bush, Tony Rice, John Sebastian, Peggy, Arlo & Pete Seeger, English folk singer Paul Brady, Bela Fleck, Jorma Kaukonen, Chris Smither, Roger McGuinn, Ramblin’ Jack Elliott, Levon Helm, Jerry Jeff Walker, Lyle Lovett, Paul Butterfield, Bob Neuwirth, Geoff Muldaur & Larry Campbell. He was a mainstay of the Greenwich Village (late ‘50s through the ‘60s) & Woodstock folk scene of the early ‘70s. He performed contemporary & traditional folk songs with exceptional fingerpicking acoustic guitar. The color image is courtesy of Happy’s website.
Sandy Posey @ 80 – Alabama-born country pop-singer who had several charted MGM Records hits (“Single Girl,” “Born a Woman,” “I Take It Back”) & was an Elvis Presley session vocalist passed away from complications of dementia in her Tennessee home. Ms. Posey was also nominated twice for Grammy Awards. The color image courtesy of GAB Archive/Redferns.
Bernice Johnson Reagon @ 81 – The Georgia-born singer founded the acapella group Sweet Honey In the Rock, the Freedom Singers & was a Civil Rights activist & mother of folk singer Toshi Reagon. No cause was released. Color image courtesy of Bernice Johnson Reagon/Photo by Sharon Farmer.
Bev Paul @ 76 – Passed away April 19th in Durham, North Carolina. Bev helped turn the roots-oriented Sugar Hill label into an iconic brand & became its general manager. Her contributions to the music industry were impressive. She was a true advocate for artists & held a leadership role in venues/club management. The color photo courtesy of Walker Funeral Service.
Phil Wiggins @ 69 – Piedmont, blues-based harmonica (ragtime & country) legend died in Maryland. Born in Washington D.C. in 1954. He was part of the duo Cephas & Wiggins who recorded over a dozen albums. A cause of death has not been issued. Color image courtesy of Bibiana Huang Matheis.
Charlie Colin @ 58 – Bassist & a founding member of the Grammy-winning band Train (“Drops of Jupiter”) & had their most success in the late 1990s & early 2000s. Colin left the band in 2003 due to substance abuse. He was living & working in Brussels. According to reports he had a tragic accident – a fatal fall in the shower while house-sitting for a friend in Belgium & he was found 5 days later when his friends returned. Color image courtesy of Paul Redmond/WireImage.
James Chance @ 71 –Born James Siegfried in Milwaukee he led bands known as James White & the Blacks & James White & the Contortions. James played sax & keyboards & sang. He was part of the No Wave movement in the ‘70s that originated in New York City — an alternative to the popularity of punk & New Wave at that time. No cause of death was given but his brother David had stated that James’ health had been in decline for several years. B&W image courtesy of Frans Schellekens/Redferns.
Dave Loggins @ 76 – Cousin of singer Kenny Loggins, Dave charted with the hit “Please Come To Boston.” He wrote songs that were hits for other country artists such as Lee Ann Womack, Mindy Smith, Jimmy Buffett, Wynonna Judd, Alabama, Reba McIntyre, Three Dog Night, Restless Heart & Willie Nelson. He dueted with Ann Murray which topped the country charts. No cause of death was announced but he passed away in a hospice in Nashville, TN. B&W image courtesy of Redferns.
Joe Egan @ 77 – Vocalist/keyboardist & guitarist with the Scottish folk/rock band Stealers Wheel – formed in 1972 with the late Gerry Rafferty. He co-wrote the hit song “Stuck In the Middle With You.” Color image courtesy of Rex.
Jerry Miller @ 81 – Guitarist with the mid-60s group Moby Grape who co-wrote several of their most memorable songs (“Murder In My Heart For the Judge”). He also co-founded the band with Peter Lewis, Bob Mosley, Skip Spence & Don Stevenson. Miller was listed #68 on Rolling Stone’s greatest 100 rock guitarists. Miller was admired by Eric Clapton, Stephen Stills, David Crosby, Taj Mahal, Robert Plant & Jimmy Page. No cause of death was given. Photo courtesy of Pappi Swarner.
Jerry Fuller @ 85 – Fort Worth, Texas songwriter between 1959-2018 of songs such as “Travelin’ Man,” a hit for Ricky Nelson that sold 6 million copies. He was the featured singer in The Champs, with Glen Campbell, Seals & Crofts (“Tequila”). He discovered the Beatles-like sounding group The Knickerbockers in 1965 (“Lies”). As a producer, he brought to Columbia Records the band Gary Puckett & the Union Gap who had several hits with Fuller compositions (“Young Girl,” “Lady Willpower” & “Over You”). He also produced Mark Lindsay of Paul Revere & the Raiders & O.C. Smith’s “The Son of Hickory Hollar’s Tramp” & wrote his hit “Little Green Apples.” Fuller died from cancer at his home in CA. B&W image courtesy of Footprint Sound.
Jeremy Tepper @ 60 – alt-country impresario/journalist/musician & executive. He was SiriusXM’s outlaw country program director. Tepper was a former frontman with the band World Famous Blue Jays. Tepper endorsed alternative music to the Nashville mainstream. It was reported he passed away in NYC from a heart attack. B&W image courtesy of Mike Dunn.
Johnny Canales @ 81 – A Mexican Tejano vocalist & TV broadcaster & was credited with providing the late Selena with one of her first live appearances at 13 years old. His TV work was broadcast in Mexico & via Univision in the USA (1988-1996) & then transitioned to Telemundo. Canales was born Juan Jose Canales in Mexico & died in Corpus Christi, Texas. The color image courtesy of Rodrigo Varela/WireImage.
Ivana Pino Arellano @ 32 – A beloved Chilean Country singer who was tragically killed June 15th in a freakish auto accident where she lost control of her car & hit a concrete barrier on the day after her birthday. Her passenger was seriously injured & transported to a hospital. The color image is courtesy of Jam Pressi.
Tom Fowler @ 73 – The Salt Lake City, UT-born bassist for Frank Zappa & Ray Charles. He played with groups such as It’s a Beautiful Day, 21 Mothers of Invention albums, Jean-Luc Ponty, George Duke, Steve Hackett & Air Pocket (a band with his siblings). Tom passed away after suffering from an aneurysm. Color image courtesy of Haluk Gurer.
Mary Martin @ 85 – A native of Toronto, Mary was a veteran legendary music executive/artist manager/A&R executive in Country, folk & rock n’ roll formats with ties to Bob Dylan, The Band, Vince Gill, Leonard Cohen, Emmylou Harris & many others. Mary passed away in a hospice. The B&W image courtesy of the Country Music Hall of Fame & Museum.
Randall Collins @ 84 – lifelong Georgia blue grass fiddler who founded the Pinnacle Boys & recorded 8 albums. Collins also released solo work & fiddled for groups such as the Stoney Mountain Boys, Carolina Buddies, the Morris Brothers & Randall’s band. No cause of death was given. Color image courtesy of Bluegrass Today.
Danny Reid Carter @ 71 – A 35-year touring musician who played guitar as the North Carolina duo The Carter Brothers. The group played a rock version of bluegrass. The duo recorded for Compass Records until Danny suffered a series of strokes that led to his dementia. The brothers were related to the legendary Carter musical family. The color image courtesy of Bluegrass Today.
Joe Bonsall @ 76 – Joe was a Philadelphia-born tenor singer who sang with The country-gospel group the Oak Ridge Boys (1973-2023). He was inducted into the Country Hall of Fame. Joe passed away from complications of ALS (amyotrophic lateral sclerosis) in TN. The color image courtesy of Jon Mir.
The Nelons – Three members of a Georgia-based Hall of Fame gospel family were killed along with 4 others in a Wyoming plane crash. Kelly Nelon Clark (64), her daughter Amber Kistler (35), & Kelly’s second husband Jason Nelon (49). There were no survivors. The color image is courtesy of Annette Holloway/Icon Sportwire via Getty Images file.
RIP – Our thanks for allowing us to hear you & for contributing & traveling on our Americana Highways.
*
CD & Digital Links can be bought at the artists’ respective websites. No photography will appear without a photographer’s credit or owning source.
All pictures, images & CD art displayed in any review were sent from publicists, the artists themselves their websites/Facebook, or PR reps for fair use. When known, all photographer credits will be noted.
Musicians Obituaries: May-July 2024
|
|||||
1487
|
dbpedia
|
0
| 36
|
https://www.imdb.com/list/ls074437197/
|
en
|
Female Artists/Acts who have reached Number 1 on the UK Singles Chart
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:147-7577949-2063953:7R87NPTSVPGHPM8EXRPY$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D7R87NPTSVPGHPM8EXRPY:0",
"https://m.media-amazon.com/images/M/MV5BMTA3NDQ3NTAxNDVeQTJeQWpwZ15BbWU3MDI1MjQ1OTY@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BOGEzMWFhN2UtM2QyOS00MTZmLWJlZGYtNzQwMzk2Y2UyN2NjXkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMzVkMTUzNjMtMjYwNC00MmI4LTk0NWQtMGI0MmM1YzIyZjI3XkEyXkFqcGdeQXVyOTAyMDgxODQ@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQwMDIxMTM4M15BMl5BanBnXkFtZTcwMTkzMDU2MQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWEzYTgzZWYtMTljNC00YzdhLWFjYjAtOTVhNmNiZWYyMTUyL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWM0YTkzMzEtMzE5NS00YmUxLWJmOWItYjFkOGM1NTcxMDQwXkEyXkFqcGdeQXVyMTU3ODQxNDYz._V1_QL75_UY60_CR24,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BZDgzMWU3NTItYjkzMC00M2JkLTkzOTMtZWIwMzIxMGM3N2VkXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR18,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQyMTUyNjI4OF5BMl5BanBnXkFtZTcwMTk4NjkzNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTg1NjQwMzU4MF5BMl5BanBnXkFtZTgwNTk5NjQ4NjE@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjMxMzg3MDI5NV5BMl5BanBnXkFtZTcwOTAxODc0Ng@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjQ1NjliM2YtMDU3OS00ODNkLTgxMGUtMTMxYjJmNDJiMzNjXkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjM0NTg5NjY2NV5BMl5BanBnXkFtZTgwMTA0MjM4MTE@._V1_QL75_UY60_CR15,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjE4MDI3NDI2Nl5BMl5BanBnXkFtZTcwNjE5OTQwOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTk1MzAxNzU0NV5BMl5BanBnXkFtZTcwMDMyODAxNw@@._V1_QL75_UY60_CR13,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTkyMzA1NTk1M15BMl5BanBnXkFtZTcwMTYxNTkzNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTc1NTM4NzQ1Ml5BMl5BanBnXkFtZTcwNjc3MDgwNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY5ODAwNTIxOV5BMl5BanBnXkFtZTYwODUyMzMz._V1_QL75_UY60_CR14,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMjE2Njg5NTA4OF5BMl5BanBnXkFtZTcwOTkyNjY0MQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTQ3MTgxMDM1Ml5BMl5BanBnXkFtZTcwNTU5MzQzNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BN2MyMzlhNGMtMzQyZS00NjgyLWJkM2UtODRhYWFhMWZiMDY1XkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTY1NzA4NDgwN15BMl5BanBnXkFtZTcwOTUyODM0Nw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BMTc4NjYyMTg3N15BMl5BanBnXkFtZTgwOTY1MDM0MTE@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BOWRiMzRlZGUtNjA1Zi00OGJlLTg3Y2QtYjQ3MDNhOTQ1OWVjXkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BZGM0YjhkZmEtNGYxYy00OTk0LThlNDgtNGQzM2YwNjU0NDQzXkEyXkFqcGdeQXVyMTU3ODQxNDYz._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/M/MV5BOGMwODMxMjgtZjRlYi00YjcyLWFkYTItMDQxNzQ5ZTYyMzljXkEyXkFqcGdeQXVyMzQ3Nzk5MTU@._V1_QL75_UX60_CR0,0,60,60_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:147-7577949-2063953:7R87NPTSVPGHPM8EXRPY$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D7R87NPTSVPGHPM8EXRPY:0"
] |
[] |
[] |
[
""
] | null |
[] | null |
Excludes any uncredited appearances on singles.
|
en
|
IMDb
|
https://www.imdb.com/list/ls074437197/
|
Lady Gaga, born Stefani Joanne Angelina Germanotta, is an American songwriter, singer, actress, philanthropist, dancer and fashion designer.
Gaga was born on March 28, 1986 in Manhattan, New York City, to Cynthia Louise (Bissett), a philanthropist and business executive, and Joseph Anthony Germanotta, Jr., an internet entrepreneur. Her father is of Italian descent; and her mother, who is from West Virginia, is of half Italian and half French, English, German, and Scottish ancestry. Gaga was able to sing and play the piano from a young age. She attended the Convent of the Sacred Heart from age 11 where was bullied for her appearance (she was small and plumper than other girls with large front teeth) and eccentric habits.
By the age of 14, Gaga was performing at open mike nights in clubs and bars. By age 17, she had gained early admission to New York University's Tisch School of the Arts. In addition to sharpening her songwriting skills, she composed essays and analytical papers on art, religion, social issues and politics. At the age of 19 Gaga withdrew from her studies and moved out of her parents' home in order to pursue a musical career. During this time she started a band which began to gain local attention.
After a brief partnership with talent scout Rob Fusari, which resulted in the creation of her stage name, Gaga was signed to Def Jam Records in 2006; however she was dropped from the label after just three months. Devastated, Gaga returned home, and became increasingly experimental: fascinating herself with emerging neo-burlesque shows, go-go dancing at bars dressed in little more than a bikini in addition to experimenting with drugs.
Gaga met performance artist Lady Starlight during this time; after a performance at Lollapalooza Festival in 2007 Gaga was signed by Vince Herbert to Streamline Records, an imprint of Interscope Records. Having served as an apprentice songwriter under an internship at Famous Music Publishing, which was later acquired by Sony/ATV Music Publishing, Gaga subsequently struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears and labelmates New Kids on the Block, Fergie, and the Pussycat Dolls. At Interscope, singer-songwriter Akon recognized her vocal abilities when she sang a reference vocal for one of his tracks in studio; Akon then convinced Interscope-Geffen-A&M Chairman and CEO Jimmy Iovine to form a joint deal by having her also sign with his own label Kon Live, making her his "franchise player."
In 2008 Gaga released her first album 'The Fame' to lukewarm radio play; Gaga toured around Europe and in gay clubs in the US to promote the album - however it was not until her first hit 'Just Dance' came to mainstream attention in 2009 that Gaga exploded onto the music scene.
Since then Gaga has gained numerous awards and nominations for a string of hits; her first album spawned several more smash hits 'Paparazzi', 'Loveame' and 'Poker Face'); while touring the album Gaga wrote 'The Fame Monster', an EP examining the darker side to her new-found fame. The Fame Monster was released in 2009 and won multiple awards, spawning her most iconic single 'Bad Romance' as well as 'Telephone' and 'Alejandro'. During this time Gaga came under increased public and critical scrutiny for her eccentric and often bizarre style choices. Gaga embarked on her second tour, The Monster Ball; upon finishing in May 2011, the critically acclaimed and commercially accomplished tour ran for over one and a half years and grossed $227.4 million, making it one of the highest-grossing concert tours of all time and the highest-grossing for a debut headlining artist. Concerts performed at Madison Square Garden in New York City were filmed for an HBO television special. The special accrued one of its five Emmy Award nominations and has since been released on DVD and Blu-ray.
In 2011 Gaga released her second full-length album 'Born this Way'; the album was received vastly more critically than her previous two for touching on themes of politics, sexuality, and religion. Despite this, the album's songs were praised critically, and Born This Way sold 1.108 million copies in its first week in the US, debuting atop the Billboard 200, and topping the charts in more than 20 other countries. In addition to exceeding 8 million copies in worldwide sales, Born This Way received 3 Grammy Award nominations, including her third consecutive for Album of the Year. In March 2012, Gaga was ranked fourth on Billboard's list of top moneymakers of 2011, grossing $25,353,039 dollars, which included sales from Born This Way and her Monster Ball Tour.
At the end of April 2012, Gaga's Born This Way kicked off in Korea - the tour would last 2 years and take the singer to every continent of the globe. However in February 2012 the tour was abruptly canceled; Gaga had a labral tear in her right hip which she had been nursing secretly for several weeks in the hopes that she would be able to continue the tour. After a performance in Toronto left her unable to walk and in considerable pain, she was taken to hospital for surgery and the tour was canceled. Through to Jan. 17, the tour had grossed $168.2 million and moved 1.6 million tickets to 85 shows, according to Billboard Boxscore, with the Asian, European, and South American legs already completed in 2012. The North American leg, which was to wrap the tour and was almost completely sold out, would have likely put the tour at more than $200 million gross, easily in the top 20 tours of all time and probably in the top 15, according to Billboard. As it stands, Gaga finished sixth among all touring artists in 2012, with a gross of $125 million and attendance of more than 1.1 million, according to Boxscore.
Gaga wrote her third album, ARTPOP, released in 2013. Gaga made her acting debut in Robert Rodriguez's Machete Kills (2013), the sequel to his 2010 film Machete, and also appeared in Rodriguez's sequel Sin City 2: A Dame to Kill For (2014). In 2018, she starred with Bradley Cooper, who also directed, in A Star is Born (2018). Gaga received her first Academy Award nomination for Best Actress for the role.
Whitney Elizabeth Houston was born into a musical family on 9 August 1963, in Newark, New Jersey, the daughter of gospel star Cissy Houston (née Emily Lee Drinkard) and John Russell Houston, Jr., and cousin of singing star Dionne Warwick.
She began singing in the choir at her church, The New Hope Baptist Church in Newark, as a young child and by the age of 15 was singing backing vocals professionally with her mother on Chaka Khan's 1978 hit, 'I'm Every Woman'. She went on to provide backing vocals for Lou Rawls, Jermaine Jackson and her own mother and worked briefly as a model, appearing on the cover of 'Seventeen' magazine in 1981.
She began working as a featured vocalist for the New York-based funk band Material and it was the quality of her vocal work with them that attracted the attention of the major record labels, including Arista with whom she signed in 1983 and where she stayed for the rest of her career.
Her debut album, 'Whitney Houston', was released in 1985 and became the biggest-selling album by a debut artist. Several hit singles, including 'Saving All My Love For You', 'How Will I Know', 'You Give Good Love', and 'The Greatest Love of All', were released from the album, setting her up for a Beatles-beating seven consecutive US number ones. The album itself sold 3 million copies in its first year in the US and went on to sell 25 million worldwide, winning her the first of her six Grammies.
The 1987 follow-up album, 'Whitney', which included the hits 'Where Do Broken Hearts Go' and 'I Wanna Dance With Somebody', built on her success but it was the 1992 film Bodyguard (1992) that sealed her place as one of the best-selling artists of all time. While the movie itself and her performance in it were not highly praised, the soundtrack album and her cover of the Dolly Parton song 'I Will Always Love You' topped the singles and albums charts for months and sold 44 million copies around the world.
That same year she married ex-New Edition singer Bobby Brown with whom she had her only child, their daughter Bobbi Kristina Brown in March 1993. It was about this time that her much documented drug use began and by 1996 she was a daily user.
Her 1998 album, 'My Love Is Your Love' was well reviewed but the drug abuse began to affect her reputation and press reports at the time said that she was becoming difficult to work with, if she turned up at all. She was dropped from a performance at The 72nd Annual Academy Awards (2000) because she was "out of it" at rehearsals. Her weight fluctuated wildly - she was so thin at a 'Michael Jackson' tribute in 2001 that rumors circulated the next day that she had died - and her voice began to fail her. She was twice admitted to rehab and declared herself drug-free in 2010 but returned to rehab in May 2011.
Her 2009 comeback album 'I Look To You' was positively received and sold well, but promotional performances were still marred by her weakened voice. Her final acting performance was in Sparkle (2012) (a remake of the 1976 movie, Sparkle - Der Weg zum Star (1976)), released after her death.
She was found dead in a Beverly Hills hotel room on 11 February 2012.
The beat goes on ... and on ... and as strong as ever for this superstar entertainer who has well surpassed the half-century mark while improbably transforming herself from an artificial, glossy "flashionplate" singer into a serious, Oscar-worthy, dramatic actress ... and back again! With more ups and downs than the 2008 Dow Jones Industrial Average, Cher managed to rise like a phoenix from the ashes each time she was down, somehow re-inventing herself with every decade and finding herself on top all over again. As a singer Cher is the only performer to have earned "top 10" hit singles in four consecutive decades; as an actress, she and Barbra Streisand are the only two Best Actress Oscar winners to have a #1 hit song on the Billboard charts. At age 77, Cher has yet to decide to get completely off her fabulous roller coaster ride, although she has threatened to on occasion.
The daughter of Arkansas-born Georgia Holt (the former Jackie Jean Crouch) and truck driver John Sarkisian, Cher was born in El Centro, California, on May 20, 1946. She has a half-sister, Georganne LaPiere. Cher is of Armenian heritage on her father's side, and of English and German, with more distant Irish, Dutch, and French, heritage on her mother's side. Cher's parents divorced when she was an infant and her mother went on to marry six more times. Her mother, who aspired to be an actress and model, paid for Cher's acting classes. Cher had undiagnosed dyslexia, which acutely affected her studies; frustrated, she quit high school at 16 to pursue her dream. At that time, she had a brief relationship with actor Warren Beatty.
Meeting the quite older (by 11 years) Sonny Bono in November 1962 changed the 16-year-old's life forever. Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood at the time and managed to persuade Spector to hire Cher as a session singer. As such, she went on to record backup on such Spector classics as "You've Lost That Lovin' Feeling" and "Be My Baby". The couple's relationship eventually shifted from soulmates to lovers and she and Sonny married on October 27, 1964.
At first Cher sang solo with Sonny behind the scenes writing, arranging and producing her songs. When the records went nowhere, Sonny decided they needed to perform as a team so they put out two songs in 1964 under the recording names of Caesar and Cleo ("The Letter" and "Baby Don't Go"). Again, no success. The changing of their names, however, made a difference and in 1965, they officially took on the music world as Sonny & Cher and earned instant rewards.
The now 19-year-old Cher and 30-year-old Sonny became huge hits following the release of their first album, "Look at Us" (summer, 1965), which contained the hit single "I Got You Babe". With the song catapulting to #1, they decided to re-release their earlier single "Baby Don't Go", and it also raced up the charts to #8. An assembly line of mild hits dotted the airwaves over the next year or two, culminating in the huge smash hit "The Beat Goes On" (#6, 1967). Between 1965 and 1972 Sonny & Cher charted a total of six "Top 10" hits.
The kooky couple became icons of the mid-'60s "flower power" scene, wearing garish garb and outlandish hairdos and makeup. However, they found a way to make it trendy and were embraced around the world. TV musical variety and teen pop showcases relished their contrasting styles -- the short, excitable, mustachioed, nasal-toned simpleton and the taller, exotic, unflappable fashion maven. They found a successful formula with their repartee, which became a central factor in their live concert shows, even more than their singing. With all this going on, Sonny still endeavored to promote Cher as a solo success. Other than such hits with "All I Really Want to Do" (#16) and "Bang, Bang" (#2), she struggled to find a separate identity. Sonny even arranged film projects for her but Good Times (1967), an offbeat fantasy starring the couple and directed by future powerhouse William Friedkin, and Cher's serious solo effort Chastity (1969) both flickered out and died a quick death.
By the end of the 1960s, Sonny & Cher's career had stumbled as they witnessed the American pop culture experience a drastic evolutionary change. The couple maintained their stage act and all the while Sonny continued to polish it up in a shrewd gamble for TV acceptance. While Sonny on stage played the ineffectual object of Cher's stinging barbs on stage, he was actually the highly motivated mastermind off stage and, amazingly enough, his foresight and chutzpah really paid off. Although the couple had lost favor with the new 70s generation, Sonny encouraged TV talent scouts to catch their live act.
The network powers-that-be saw potential in the duo as they made a number of guest TV appearances in specials and on variety and talk shows and in what was essentially "auditioning" for their own TV vehicle. The Sonny and Cher Comedy Hour (1971) was given the green light as a summer replacement series and was an instant sensation when it earned its own time spot that fall season. The show received numerous Emmy Award nominations during its run and the couple became stars all over again. Their lively, off-the-wall comedy sketch routines, her outré Bob Mackie fashions and their harmless, edgy banter were the highlights of the hour-long program. Audiences took strongly to the couple who appeared to have a deep-down sturdy relationship. Their daughter Chaz Bono occasionally added to the couple's loving glow on the show. Cher's TV success also generated renewed interest in her as a solo recording artist and she came up with three #1 hits during this time ("Gypsys, Tramps & Thieves," "Half-Breed" and "Dark Lady").
Behind the scenes, though, it was a different story. A now-confident Cher yearned to be free of husband Sonny's Svengali-like control over her life and career. The marriage split at the seams in 1974 and they publicly announced their separation. The show, which had earned Cher a Golden Globe Award, took a fast tumble as the separation and divorce grew more acrimonious. Eventually they both tried to launch their own solo variety shows, but both failed to even come close to their success as a duo. Audiences weren't interested in Cher without Sonny, and vice versa.
In late June of 1975, only four days after the couple's divorce, Cher married rock musician Gregg Allman of The Allman Brothers Band. That marriage imploded rather quickly amid reports of out-of-control drug use on his part. They were divorced by 1979 with only one bright outcome -- son Elijah Allman.
In 1976 Sonny and Cher attempted to "make up" again, this time to the tune of a second The Sonny and Cher Show (1976). Audiences, however, did not accept the "friendly" divorced couple after so much tabloid nastiness. After the initial curiosity factor wore off, the show was canceled amid poor ratings. Moreover, the musical variety show format was on its way out as well. Once again, another decade was looking to end badly for Cher.
Cher found a mild success with the "top 10" disco hit "Take Me Home" in 1979, but not much else. Not one to be counted out, however, the ever resourceful singer decided to lay back and focus on acting instead. At age 36, Cher made her Broadway debut in 1982 in what was essentially her first live acting role with "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean". Centering around a reunion of girlfriends from an old James Dean fan club, her performance was critically lauded. This earned her the right to transfer her stage triumph to film alongside Karen Black and Sandy Dennis. Cher earned critical raves for Komm' zurück, Jimmy Dean (1982), her first film role since 1969.
With film #2 came a Best Supporting Actress Oscar nomination and a Golden Globe win for her portrayal of a lesbian toiling in a nuclear parts factory in Silkwood (1983), starring Meryl Streep and Kurt Russell. This in turn was followed by her star turn in Die Maske (1985) as the blunt, footloose mother of a son afflicted with a rare disease (played beautifully by Eric Stoltz). Once again Cher received high praise and copped a win from the Cannes Film Festival for her poignant performance.
Fully accepted by this time as an actress of high-caliber, she integrated well into the Hollywood community. Proving that she could hold up a film outright, she was handed three hit vehicles to star in: Die Hexen von Eastwick (1987), Suspect - Unter Verdacht (1987), and Mondsüchtig (1987), for which she won the Academy Award for Best Actress. Along with all this newfound Hollywood celebrity came interest in her as a singer and recording artist again. "If I Could Turn Back Time (#3) and the Peter Cetera duet "After All" (#6) placed her back on the Billboard charts.
During the 1990s Cher continued to veer back and forth among films, TV specials and expensively mounted concerts. In January of 1998, tragedy struck when Cher's ex-husband Sonny Bono, who had forsaken an entertainment career for California politics and became a popular Republican congressman in the process, was killed in a freak skiing accident. That same year the duo received a star on the Hollywood Walk of Fame for their contribution to television. In the meantime an astounding career adrenaline rush came in the form of a monstrous, disco-flavored hit single ("Believe"). The song became a #1 hit and the same-titled album the biggest hit of her career. "Believe" reached #1 in 23 different countries.
Having little to prove anymore to anyone, Cher decided to embark on a "Farewell Tour" in the early part of the millennium and, after much stretching, her show finally closed in 2005 in Los Angeles. It didn't take long, however, for Cher to return from this self-imposed exile. In 2008, she finalized a deal with Las Vegas' Caesars Palace for the next three years to play the Colosseum, and has since returned live on numerous "farewell" tour extravaganzas. Never say never. Cher returned films with her co-starring role opposite Christina Aguilera in Burlesque (2010), but has since only provided a glitzy cameo in Mamma Mia! Here We Go Again! (2018). After keeping a low romantic profile for some time, she nearly out-cougared Madonna by embarking on a romance with four-decades-younger Def Jam executive Alexander "A.E." Edwards, father of rapper Amber Rose's second son. The couple celebrated their one-year anniversary in 2023, right before the release of Cher's first holiday album, simply titled Christmas.
In other facets of her life, Cher has been involved with many humanitarian groups and charity efforts over the years, particularly her work as National Chairperson and Honorary Spokesperson of the Children's Craniofacial Association, which was inspired by her work in Die Maske (1985).
Elena Jane "Ellie" Goulding is an English singer-songwriter and record producer who conquered the UK music field at the age of 23 and went on to win over fans all over the world within a year. A determined child, at the age of eight, she told her mother that she would become famous one day. She learned to play musical instruments and began writing songs when she was still a teenager. She won a singing competition while in college, and went on to win the 'Brit Awards' with her signature brand of "folktronica" music following the release of her debut EP 'An Introduction to Ellie Goulding'. She immediately made an impact with her unique soprano voice. She has so far released three studio albums, 'Lights', 'Halcyon' and 'Delirium'. As a music and fashion icon, she has been featured on magazines, such as 'Elle' and 'Glamour' among others, and as a fitness enthusiast, she has appeared on the covers of magazines like 'Shape' and 'Women's Health'. A social activist and philanthropist, she has participated in many charity events, especially to support underprivileged children and homeless people.
Her father, Arthur Goulding, belonged to a family of undertakers while her mother, Tracey Goulding-Summers, worked at a supermarket.She is the second child of her parents and has an elder sister named Isabel, a brother named Alex and another sister named Jordan. Her brother, Alex, is a bass player and is part of a band in Hereford. Her father left the family when she was only five years old. Her mother later married a lorry driver, but they eventually separated. Ellie is so furious with her stepfather that she mentioned in an interview that she would punch him in the face if she meets him again. Her mother encouraged her to pursue music as a child. She learned to play the clarinet at the age of nine and started writing her own songs when she was 14. However, she took songwriting seriously only during her college days. While studying at the Lady Hawkins' High School in Kington, she played the role of the Scarecrow in a school production of 'The Wizard of Oz'. She would later pursue courses in drama, politics, and English at the University of Kent.
While studying at the University of Kent, Ellie Goulding became interested in electronic music. She contacted record producer Frankmusik via MySpace and with his help developed her own brand of "folktronica" music through the track 'Wish I Stayed'. During this time, she was discovered at a university talent contest by scout Jamie Lillywhite who started as her manager and later became the A&R. He introduced her to his superior, Sarah Stennett, who advised her to leave university and offered her a house in West London. Jamie soon introduced her to Starsmith, a record producer, who helped release her debut single 'Under the Sheets' on November 15, 2009 and later produced her album 'Lights'. She was already signed to Polydor Records in July, but they decided to release the song from independent label Neon Gold Records to reduce pressure on her. Soon after the release of her debut EP 'An Introduction to Ellie Goulding' on December 20, 2009, she was nominated for the 'Critics' Choice Award' at the 2010 'Brit Awards'. She won the award, as well as the 'BBC Sound of 2010' poll. During this time, she co-wrote three songs for Diana Vickers and one song for Gabriella Cilmi. On February 26, 2010, she released her first full-length album 'Lights', which debuted at number one on the 'UK Albums Chart'. It was followed by her second EP, 'Run into the Light', which contained remix of songs from 'Lights' and was released in August that year. She re-released her album 'Lights' in November 2010 as 'Bright Lights', which contained six new tracks. The album featured a cover version of Elton John: Your Song (1970) which reached number two on the 'UK Singles Chart'.On April 7, 2011, she appeared on American television for the first time on Jimmy Kimmel Live! (2003)' and performed Ellie Goulding: Starry Eyed, UK Version (2010). One month later, she appeared on Tina Fey/Ellie Goulding (2011) hosted by Tina Fey.On April 29, 2011, she performed at the royal wedding of Prince William and Kate Middleton, both of whom were her fans. On December 1, 2011, she performed at the White House during the National Christmas Tree lighting.October 5, 2012, Ellie Goulding released her second studio album 'Halcyon', which debuted at No.2 on the 'UK Albums Chart' and topped the chart in January 2014. She released an expanded version of the album, titled 'Halcyon Days', containing ten new tracks.
|
|||||
1487
|
dbpedia
|
3
| 0
|
https://en.wikipedia.org/wiki/1960s_in_music
|
en
|
1960s in music
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Year_music.svg/60px-Year_music.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/55/The_Miracles_%281962_Tamla_publicity_photo%29.jpg/220px-The_Miracles_%281962_Tamla_publicity_photo%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1d/The_Beatles_i_H%C3%B6torgscity_1963.jpg/200px-The_Beatles_i_H%C3%B6torgscity_1963.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/The_Rolling_Stones%2C_Prudential_Center_2012-12-13.jpg/220px-The_Rolling_Stones%2C_Prudential_Center_2012-12-13.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Fanclub1965Lulu.jpg/200px-Fanclub1965Lulu.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/58/Cream_Clapton_Bruce_Baker_1960s.jpg/220px-Cream_Clapton_Bruce_Baker_1960s.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Jefferson_Airplane_early_1966.jpg/220px-Jefferson_Airplane_early_1966.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/The_Mamas_and_the_Papas_Ed_Sullivan_Show_1968.JPG/200px-The_Mamas_and_the_Papas_Ed_Sullivan_Show_1968.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Joan_Baez_Bob_Dylan.jpg/220px-Joan_Baez_Bob_Dylan.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/e5/SimonandGarfunkel.jpg/220px-SimonandGarfunkel.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/69/The_Doors_1968.JPG/220px-The_Doors_1968.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Jimi_Hendrix_1967_uncropped.jpg/220px-Jimi_Hendrix_1967_uncropped.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/e3/The_Beach_Boys_Lost_Concert.jpg/220px-The_Beach_Boys_Lost_Concert.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Cannibal_%26_the_Headhunters.png/170px-Cannibal_%26_the_Headhunters.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fc/Paul_Revere_and_the_Raiders_1967.JPG/170px-Paul_Revere_and_the_Raiders_1967.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Janis_Joplin_1969.JPG/170px-Janis_Joplin_1969.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/The_Band_in_Hamburg%2C_1971.jpg/220px-The_Band_in_Hamburg%2C_1971.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/The_Left_Banke_1966.jpg/220px-The_Left_Banke_1966.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Nancy_Sinatra_%281967%29.png/170px-Nancy_Sinatra_%281967%29.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Bobby_Vinton_1969.JPG/170px-Bobby_Vinton_1969.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/The_Supremes_1967.JPG/220px-The_Supremes_1967.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/75/At_San_quentin_1969_2014-05-04_00-14.jpg/170px-At_San_quentin_1969_2014-05-04_00-14.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Tammy_Wynette_1977.jpg/170px-Tammy_Wynette_1977.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Buck_Owens.jpg/200px-Buck_Owens.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Connie_Smith-Opry_5.jpg/220px-Connie_Smith-Opry_5.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b8/Woodstock_redmond_stage.JPG/220px-Woodstock_redmond_stage.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Armando_Manzanero2010.jpg/250px-Armando_Manzanero2010.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Ang%C3%A9lica_Mar%C3%ADa_en_Mi_h%C3%A9roe_%281965%29.jpg/170px-Ang%C3%A9lica_Mar%C3%ADa_en_Mi_h%C3%A9roe_%281965%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Popzangeres_Salome_zal_Spanje_vertegenwoordigen_op_Euro_Songfestival_in_Madrid%2C_Bestanddeelnr_922-1722.jpg/170px-Popzangeres_Salome_zal_Spanje_vertegenwoordigen_op_Euro_Songfestival_in_Madrid%2C_Bestanddeelnr_922-1722.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/75/Flowerpowerportfolio.jpg/21px-Flowerpowerportfolio.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Guitar_1.svg/15px-Guitar_1.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/7px-GClef.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2009-08-10T16:57:33+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/1960s_in_music
|
Music-related events during the 1960s
For music from a year in the 1960s, go to: 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969
This article includes an overview of the events and trends in popular music in the 1960s.
In North America and Europe the decade was particularly revolutionary in terms of popular music, continuing the shift away from traditional pop that began in the 1950s. The 1960s saw the evolution of rock and the beginnings of the album era.[1] At the beginning of the 1960s, pop and rock and roll trends of the 1950s continued; nevertheless, the rock and roll of the decade before started to merge into a more international, electric variant. In the mid-1960s, rock and roll in its purest form was gradually overtaken by pop rock, beat, psychedelic rock, blues rock, and folk rock, which had grown in popularity. The country- and folk-influenced style[2] associated with the latter half of 1960s rock music spawned a generation of popular singer-songwriters who wrote and performed their own work. Towards the decade's end, genres such as Baroque pop,[3] sunshine pop,[4] bubble gum pop,[5] and progressive rock started to grow popular, with the latter two finding greater success in the following decade. Furthermore, the 1960s saw funk and soul music rising in popularity; rhythm and blues in general remained popular. The fusion of R&B, gospel, and original rock and roll was a success until the mid-part of the decade.[6] Aside from the popularity of rock and R&B music in the 1960s, Latin American as well as Jamaican and Cuban music achieved a degree of popularity throughout the decade, with genres such as bossa nova, the cha-cha-cha,[7] ska,[8] and calypso being popular. From a classical point of view, the 1960s were also an important decade as they saw the development of electronic, experimental, jazz and contemporary classical music, notably minimalism and free improvisation.[9]
In Asia, various trends marked the popular music of the 1960s. In Japan, the decade saw the rise in popularity of several Western popular music groups such as The Beatles. The success of rock music and bands in Japan started a new genre, known as Group Sounds, which was popular in the latter half of the decade.
In South America, genres such as bossa nova, Nueva canción and Nueva ola started to rise. Rock music began leaving its mark, and achieved success in the 1960s. Additionally, salsa grew popular towards the end of the decade.[7] In the 1960s cumbia entered Chile and left a long-lasting impact on tropical music in that country.[10]
United Kingdom
[edit]
Beat music and the British Invasion
[edit]
Main article: Beat music
In the late 1950s, a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs.[11] Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group the Beatles derived their name), as well as earlier British groups such as the Shadows.[12] After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Cilla Black, Gerry and the Pacemakers and the Searchers. Among the most successful beat acts from Birmingham were the Spencer Davis Group and the Moody Blues. From London, the term Tottenham Sound was largely based around the Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones, the Yardbirds and the Kinks. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester,[13] as were Herman's Hermits.[14] The beat movement provided most of the groups responsible for the British Invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music.
Main article: British Invasion
By the end of 1962, the British rock scene had started with beat groups like the Beatles drawing on a wide range of American influences including soul music, rhythm and blues and surf music.[15] Initially, they reinterpreted standard American tunes, playing for dancers doing the twist, for example. These groups eventually infused their original rock compositions with increasingly complex musical ideas and a distinctive sound. In mid-1962 the Rolling Stones started as one of a number of groups increasingly showing blues influence, along with bands like the Animals and the Yardbirds.[16] During 1963, the Beatles and other beat groups, such as the Searchers and the Hollies, achieved great popularity and commercial success in Britain itself.
British rock broke through to mainstream popularity in the United States in January 1964 with the success of the Beatles. "I Want to Hold Your Hand" was the band's first No. 1 hit on the Billboard Hot 100 chart, starting the British Invasion of the American music charts.[17] The song entered the chart on January 18, 1964, at No. 45 before it became the No. 1 single for 7 weeks and went on to last a total of 15 weeks in the chart.[18] Their first appearance on The Ed Sullivan Show February 9 is considered a milestone in American pop culture. The broadcast drew an estimated 73 million viewers, at the time a record for an American television program. The Beatles went on to become the biggest selling rock band of all time and they were followed by numerous British bands.[19]
During the next two years, Chad & Jeremy, Peter and Gordon, the Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, the Rolling Stones, the Troggs, and Donovan would have one or more No. 1 singles.[17] Other acts that were part of the invasion included the Kinks and the Dave Clark Five.[20] British Invasion acts also dominated the music charts at home in the United Kingdom.[16]
The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.[21] In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s.[22] It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis Presley.[23] The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.[24]
British blues boom
[edit]
Main article: British blues boom
In parallel with Beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howlin' Wolf and Muddy Waters. It reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including the Rolling Stones, Eric Clapton, the Yardbirds, Fleetwood Mac and Led Zeppelin.
A number of these moved through blues rock to different forms of rock music and as a result British blues helped to form many of the subgenres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.[25]
British psychedelia
[edit]
British psychedelia emerged during the mid-1960s, was influenced by psychedelic culture and attempted to replicate and enhance the mind-altering experiences of hallucinogenic drugs. The movement drew on non-Western sources such as Indian music's ragas and sitars as well as studio effects and long instrumental passages and surreal lyrics. Established British artists such as Eric Burdon, the Who, Cream, Pink Floyd and the Beatles produced a number of highly psychedelic tunes during the decade. Many British psychedelia bands of the 1960s never published their music and only appeared in live concerts during that time.
North America
[edit]
Folk music
[edit]
Main article: American folk music revival
The Kingston Trio, the Weavers, Pete Seeger, Woody Guthrie, Odetta, Peter, Paul and Mary, Joan Baez, Bob Dylan, The Byrds, Judy Collins, Leonard Cohen, Joni Mitchell, Carolyn Hester, Phil Ochs, Tom Paxton, Buffy Sainte-Marie, Dave Van Ronk, The Mamas and the Papas, Tom Rush, Simon & Garfunkel, Fred Neil, Gordon Lightfoot, Ian and Sylvia, Arlo Guthrie and several other performers were instrumental in launching the folk music revival of the 1950s and 1960s.
Rock
[edit]
Roy Orbison was one of rock's famous artists who wrote ballads of lost love.
In the early part of the decade, Elvis Presley continued to score hits. For most of the 60s, Presley mostly released films. Presley decided to get away from films by 1969; his last #1 song on the charts was Suspicious Minds which was released in 1969.
By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilizing traditional music and new compositions in a traditional style, usually on acoustic instruments.[27] In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics.[27] In the early sixties figures such as Bob Dylan, Chubby Checker, and Joan Baez had come to the fore in this movement as singer-songwriters.[28] Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public,[29] but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.[30] Early attempts to combine elements of folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation.[31] The folk rock movement is usually thought to have taken off with the Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965.[30] With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre.[30]
By the mid-'60s Bob Dylan took the lead in merging folk and rock, and in July '65, released Like a Rolling Stone, with a revolutionary rock sound, steeped in tawdry urban imagery, followed by an electric performance later that month at the Newport Folk Festival. Dylan plugged an entire generation into the milieu of the singer-songwriter, often writing from an urban point of view, with poetry punctuated by rock rhythms and electric power. By the mid to late '60s, bands and singer-songwriters began to proliferate the underground New York art/music scene.
The release of The Velvet Underground & Nico in 1967, featuring singer-songwriter Lou Reed and German singer and collaborator Nico was described as "most prophetic rock album ever made" by Rolling Stone in 2003.[32] Other New York City based singer-songwriters began to emerge, using the urban landscape as their canvass for lyrics in the confessional style of poets like Anne Sexton and Sylvia Plath. In July, 1969, Newsweek magazine ran a feature story, "The Girls-Letting Go," describing the groundbreaking music of Joni Mitchell, Laura Nyro, Lotti Golden and Melanie, as a new breed of female troubadour: "What is common to them are the personalized songs they write, like voyages of self discovery, brimming with keen observation and startling in the impact of their poetry." The work of these early New York based singer-songwriters, from Laura Nyro's New York Tendaberry (1969), to Lotti Golden's East Village diaries on Motor-Cycle her 1969 debut on Atlantic Records, has served as inspiration to generations of female singer-songwriters in the rock, folk and jazz traditions.[33][34][35] Dylan's adoptation of electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone"[30] succeeded in creating a new genre. Folk rock particularly took off in California, where it led acts like the Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned singer-songwriters and performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" being remixed with rock instruments to be the first of many hits.[30]
Folk rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock.[36] However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and in particular, helping to develop the ideas of the singer-songwriter, the protest song and concepts of "authenticity".[30][37]
Psychedelic rock
[edit]
Main article: Psychedelic rock
Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues".[38] The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.[38]
Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965.[39] The Los Angeles-based group the Doors formed in 1965 after a chance meeting on Venice Beach. Although its charismatic lead singer Jim Morrison died in 1971, the band's popularity has endured to this day.[40] The psychedelic life style had already developed in San Francisco since about 1964, and particularly prominent products of the scene were the Grateful Dead, Country Joe and the Fish, the Great Society and Jefferson Airplane.[39] The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken[by whom?] to be a reference to drug use.
Psychedelic rock reached its apogee in the last years of the decade. In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and the Who, whose single "I Can See for Miles" delved into psychedelic territory.[44] Key recordings included Jefferson Airplane's Surrealistic Pillow and the Doors' Strange Days.[45] These trends climaxed in the 1969 Woodstock Festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. The Jimi Hendrix Experience broke up before the end of the decade and many surviving acts moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock.[39]
Surf rock
[edit]
Main article: Surf rock
In the early 1960s, one of the most popular forms of rock and roll was Surf Rock, which was characterized by being nearly entirely instrumental and by heavy use of reverb on the guitars. The spring reverb featured in Fender amplifiers of the day, cranked to its maximum volume, produced a guitar tone shimmering with sustain and evoking surf and ocean imagery.
Duane Eddy's "Movin' and Groovin" is thought by many to be the main contender for laying the groundwork as the first surf rock record, while others claim the genre was invented by Dick Dale on "Let's Go Trippin'", which became a hit throughout California. Most early surf bands were formed during this decade in the Southern California area. By the mid-1960s the Beach Boys, who used complex pop harmonies over a basic surf rock rhythm,[47] had emerged as the dominant surf group and helped popularize the genre in hits like Surfin' U.S.A. In addition, bands such as the Ventures, the Shadows, the Atlantics, the Surfaris and the Champs were also among the most popular Surf Rock bands of the decade.
Garage rock
[edit]
Main article: Garage rock
Garage rock was a raw form of rock music, particularly prevalent in North America in the mid-1960s and is called such because of the perception that many of the bands rehearsed in a suburban family garage.[49][50] Garage rock songs often revolved around the traumas of high school life, with songs about "lying girls" being particularly common.[51] The lyrics and delivery were notably more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming such as the influential Washington based band, The Sonics.[49] They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas.[51] The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.[52]
The style had been evolving from regional scenes as early as 1958. "Louie Louie" by the Kingsmen (1963) is a mainstream example of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise),[53] the Trashmen (Minneapolis)[54] and the Rivieras (South Bend, Indiana).[55] In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a subgenre of garage rock.[56]
The British Invasion of 1964–66 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form.[51] Thousands of garage bands were extant in the US and Canada during the era and hundreds produced regional hits.[51] Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.[51] By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft.[51] New styles had evolved to replace garage rock (including blues-rock, progressive rock and country rock).[51] In Detroit garage rock stayed alive until the early '70s, with bands like the MC5 and the Stooges, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.[57]
Blues-rock
[edit]
Main article: Blues rock
The American blues-rock had been pioneered in the early 1960s by guitarist Lonnie Mack,[58] but the genre began to take off in the mid-'60s as acts followed developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, the J. Geils Band and Jimi Hendrix with his power trios, the Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade.[59] Blues-rock bands like Allman Brothers Band, Lynyrd Skynyrd and eventually ZZ Top from the southern states, incorporated country elements into their style to produce distinctive Southern rock.[60]
Roots rock
[edit]
Main article: Roots rock
Roots rock is the term now used to describe a move away from the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of country rock and Southern rock.[61] In 1966, Bob Dylan spearheaded the movement when he went to Nashville to record the album Blonde on Blonde.[62] This, and subsequent more clearly country-influenced albums, have been seen as creating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians.[62] Other acts that followed the back-to-basics trend were the group the Band and the Californian-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s.[63] The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,[64] and influenced the work of established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970).[39]
In 1968, Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country rock album.[65] Later that year he joined the Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre.[65] The Byrds continued in the same vein, but Parsons left to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers who helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career.[65] Country rock was particularly popular in the Californian music scene, where it was adopted by bands including Hearts & Flowers, Poco and Riders of the Purple Sage,[65] the Beau Brummels[65] and the Nitty Gritty Dirt Band.[66] A number of performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Ricky Nelson who became the frontman for the Stone Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young.[65] The Dillards were, unusually, a country act, who moved towards rock music.[65] The greatest commercial success for country rock came in the 1970s, with artist including the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the Burritos, Poco and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that included Hotel California (1976).[67]
The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul and country in the early 1970s.[68] The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "good ol' boy" image of the subgenre and the general shape of 1970s guitar rock.[68] Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and gospel) the Ozark Mountain Daredevils.[68] After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like .38 Special, Molly Hatchet and the Marshall Tucker Band.[68]
Progressive rock
[edit]
Main article: Progressive rock
Progressive rock, sometimes used interchangeably with art rock, was an attempt to move beyond established musical formulas by experimenting with different instruments, song types and forms.[69] From the mid-1960s the Left Banke, the Beatles, the Rolling Stones and the Beach Boys, had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction.[70] The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers.[69] Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock format of guitars, bass and drums in subsequent progressive rock.[71]
Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract or based in fantasy and science fiction.[72] The Pretty Things' SF Sorrow (1968) and the Who's Tommy (1969) introduced the format of rock operas and opened the door to "concept albums, usually telling an epic story or tackling a grand overarching theme."[73] King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.[69]
Pop
[edit]
Chubby Checker during the early 1960s popularizes the enduring dance craze the Twist with his hit cover of Hank Ballard & the Midnighters' R&B hit "The Twist".[47]
The Brill Building at 1619 Broadway in New York City became the centre of the American music industry that dominated the pop charts in the early 1960s, nurturing many prolific songwriting partnerships. Gerry Goffin and Carole King become a very influential duo in pop music, writing numerous number-one hits including the first song to ever reach number-one by a girl group, The Shirelles "Will You Love Me Tomorrow" and the 1962 number-one hit, "The Loco-Motion" which was performed by Little Eva. Other hits included "Take Good Care of My Baby" (Bobby Vee), "Up on the Roof" (The Drifters), "I'm Into Something Good" (Herman's Hermits), and "One Fine Day" (The Chiffons). Likewise, songwriting couple Ellie Greenwich and Jeff Barry turned out a stream of charting songs, including "Da Doo Ron Ron", "Be My Baby", "Then He Kissed Me", and "Leader of the Pack"; whilst Barry Mann and Cynthia Weil were behind several major hits of the era, including "You've Lost That Lovin' Feelin'", the recording of which by the Righteous Brothers became the most played record on air in the 20th century.
"Sugar, Sugar" becomes a big hit for The Archies, defining the bubblegum pop genre.
The Monkees were a made for TV band, inspired by the antics of the Beatles in A Hard Day's Night. Under contractual reasons, the group were not allowed to play their own instruments, which led to many feuds between the bandmates and music supervisor, Don Kirshner.
The Monkees and The Archies were not unique; in fact, bands not playing their instruments on record was not unusual. Producers like Mickie Most regularly used experienced session musicians whose discipline helped produce a number of tighter-sounding commercial recordings within one time-limited studio session (typically 3 hours).
Studios and producers regularly experimented with session singers and musicians to create a hit. One example was Ohio Express. A single by The Rare Breed, "Beg Borrow And Steal", was picked up by a production company. They remixed the track and credited a new single to Ohio Express" – a name they wholly owned. when it became a hit, the production company quickly assembled a touring band (whose members became the bands' public identity), while making their recordings using other acts or collectives of session musicians as and when available.
R&B, Motown and soul music
[edit]
Main articles: Rhythm and blues and soul music
The Detroit-based Motown label developed as a pop-influenced answer to soul music. The label began a long run of No. 1 U.S. hit singles in 1961 with "Please Mr. Postman" by the Marvelettes, and had numerous No. 1 Billboard hits throughout the decade and into the 1990s. The label's success was driven by songwriters who helped define the Motown sound of the 1960s, including Norman Whitfield, Smokey Robinson and Holland-Dozier-Holland, the latter of whom turned out many notable hits for emerging artists, including and especially the Four Tops and the Supremes. These included "I Can't Help Myself (Sugar Pie Honey Bunch)" and "It's the Same Old Song" for the Tops; and "Baby Love", "You Keep Me Hangin' On" and "Stop! In the Name of Love" for the Supremes. In 1966, The Supremes gained big hit "You Can't Hurry Love" with innovative bassist James Jamerson.[74] Other notable Motown acts included the Miracles, the Temptations, Martha and the Vandellas, Marvin Gaye and the Jackson Five, who debuted in 1969.
Soul music developed popularity throughout the decade, with Atlantic Records as the key label and Solomon Burke as a key figure in the emergence of soul music as an established movement. Ben E. King also achieved success in 1961 with "Stand By Me", a song directly based on a gospel hymn. By the mid-1960s, the initial successes of Burke, King, and others had been surpassed by soul singers such as Sam Cooke, James Brown and Otis Redding.
The most important female soul singer to emerge was Aretha Franklin, originally a gospel singer who began to make secular recordings in 1960 but whose career was later revitalised by her recordings for Atlantic. Her 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man", are considered the apogee of the soul genre, and were among its most commercially successful productions.
By 1968, while at its peak of popularity, soul began to fragment into disparate subgenres. Artists such as James Brown and Sly and the Family Stone evolved into funk music, while other singers such as Marvin Gaye, Stevie Wonder, Curtis Mayfield and Al Green developed slicker, more sophisticated – and in some cases more politically conscious – varieties of the genre. However, soul music continued to evolve, informing most subsequent forms of R&B from the 1970s-onward, with pockets of musicians continuing to perform in a traditional soul style.
In the UK, Dusty Springfield helped popularise soul music – merged with pop – and became one of the most popular female performers on both sides of the Atlantic. One of her defining works was the 1968 album Dusty in Memphis, featuring her signature song "Son of a Preacher Man", an international hit (UK no.9/Us no. 10).
Country music
[edit]
Main article: Country music
Triumph and great tragedy marked the 1960s in country music. The genre continued to gain national exposure through network television, with weekly series and awards programs gaining popularity. Sales of records continued to rise as new artists and trends came to the forefront. However, several top stars died under tragic circumstances, including several who were killed in plane crashes.
The predominant musical style during the decade was the Nashville Sound, a style that emphasized string sections, background vocals, crooning lead vocals and production styles seen in country music. The style had first become popular in the late 1950s, in response to the growing encroachment of rock and roll on the country genre, but saw its greatest success in the 1960s. Artists like Jim Reeves, Eddy Arnold, Ray Price, Patsy Cline, Floyd Cramer, Roger Miller and many others achieved great success through songs such as "He'll Have to Go," "Danny Boy," "Make the World Go Away", "King of the Road" and "I Fall to Pieces." The country-pop style was also evident on the 1962 album Modern Sounds in Country and Western Music, recorded by rhythm and blues and soul singer Ray Charles. Charles recorded covers of traditional country, folk and classical music standards in pop, R&B and jazz styles. The album was hailed as a critical and commercial success, and would be vastly influential in later country music styles. Songs from the album that were released for commercial airplay and record sales included "I Can't Stop Loving You," "Born to Lose" and "You Don't Know Me."
By the end of the decade, the Nashville Sound became more polished and streamlined, and became known as "countrypolitan." Tammy Wynette, Glen Campbell, Dottie West and Charley Pride were among the top artists adopting this style. While George Jones — by the early 1960s one of country music's most consistent hitmakers — also recorded countrypolitan-styled music, his background remained pure honky tonk, singing of heartbreak and loneliness in many of his songs. Also, Marty Robbins proved to be one of the genre's most diverse singers, singing everything from straight-ahead country to western to pop to blues ... and even Hawaiian.
Johnny Cash, who began his career at Sun Records in the 1950s with hits such as "I Walk The Line," ultimately became one of the most influential musicians of the 1960s (and eventually, 20th century), and was labeled "The Man In Black." Although primarily recording country, his songs and sound spanned many other genres including rockabilly, blues, folk and gospel. His music showed great compassion for minorities and others who were shunned by society, including prison inmates. Two of Cash's most successful albums were recorded live in prison: At Folsom Prison and At San Quentin.
During the latter half of the 1960s, Pride — a native of Sledge, Mississippi — became the first African-American superstar in country music, a genre virtually dominated by white artists. Some of his early hits, sung with a smooth baritone voice and in a style meshing honky-tonk and countrypolitan, included "Just Between You and Me," "The Easy Part's Over," "All I Have to Offer You (Is Me)" and a cover version of Hank Williams' "Kaw-Liga." Pride continued to be successful for more than 20 years, amassing an eventual 29 No. 1 hits on the Billboard Hot Country Singles chart.
A newly emerging style, which had its roots in the 1950s but exploded in the mainstream during the 1960s, was the "Bakersfield sound." Instead of creating a sound similar to mainstream pop music, the Bakersfield sound used honky tonk as its base and added electric instruments and a backbeat, plus stylistic elements borrowed from rock and roll. Buck Owens, Merle Haggard and Wynn Stewart were some of the top artists adopting this sound, and by the late 1960s they were among country music's top selling artists.
The 1960s also marked the rise of a young Abbott, Texas, songwriter named Willie Nelson. Starting as a disc jockey in the late 1950s, he began honing his craft and wrote his first hit, "Family Bible," which he sold the rights to guitar instructor Paul Buskirk before it eventually became a hit for Claude Gray in 1960. By early 1961, Nelson's songwriting was gaining national attention, as several of his songs became country standards: "Funny How Time Slips Away", "Hello Walls", "Pretty Paper", "Night Life" and "Crazy" ... all of them for other artists including – respectively – Billy Walker, Faron Young, Roy Orbison, Ray Price and Patsy Cline. He recorded an album, ...And Then I Wrote, and eventually signed with RCA Records, but during most of the 1960s, most of his single releases were mid-chart hits at best; his recording career would not come to full fruition until the mid-1970s, after he became associated with the outlaw movement.
Among female acts, the most successful of the lot were Loretta Lynn, Tammy Wynette and Dolly Parton. Lynn, a native of Butcher Hollow, Kentucky, and indeed, the daughter of a coal miner, would—with the help of her husband, Oliver "Doolittle" Lynn—gain a recording contract with Zero Records in 1960, and while only her first single ("Honky Tonk Girl") of her early 1960s releases charted, her early recordings were the springboard for much bigger and better things to come. By the latter half of the decade, and continuing into the 1970s, she was recording songs that defied the stereotype of the woman who had to put up with men, their hard drinking, philandering and other negative traits—for instance, "Don't Come Home A-Drinkin' (With Lovin' on Your Mind)"—as well as songs that pushed the genre's conservative boundaries ("Dear Uncle Sam," a song about the Vietnam War) and her willingness to stand up to other women ("You Ain't Woman Enough (To Take My Man)").
Parton, a native of the Smoky Mountains town of Locust Ridge, Tennessee, gained national exposure on the nationally syndicated program The Porter Wagoner Show, on which she began appearing in 1967. Two years earlier, she had signed a recording contract with Monument Records and was pushed as a bubblegum pop singer, but had only minor success before one of her compositions – "Put It Off Until Tomorrow" – became a big hit for Bill Phillips (a track which Parton provided backing vocals) in 1966. Eventually, her mountain-influenced, biographical brand of country and her down-home personality won many fans, and her star power would only begin to rise. Her first major hits were mainly duets with Wagoner, although she had several solo hits—including her breakthrough, "Dumb Blonde"—as well.
Wynette gained acclaim with unique perspectives on the classic themes of loneliness, divorce, and the difficulties of life and relationships, illustrated by songs such as "I Don't Wanna Play House" and "D-I-V-O-R-C-E." However, it was "Stand By Your Man," a song pledging of unyielding faithfulness and standing by men despite their shortcomings, that gave Wynette her career hit. By the late 1960s, she was married to fellow country music singer George Jones.
Among other female newcomers, Connie Smith was among the most successful, as her breakthrough hit, "Once a Day" spent eight weeks at No. 1 on the Billboard Hot Country Singles chart in late 1964 and early 1965, the longest-running chart-topper for nearly 50 years. During a career that has spanned 50-plus years, Smith's songs often explored themes of loneliness and vulnerability.
In addition to the syndicated The Porter Wagoner Show, several other television programs were produced to allow country music to reach a wider audience, such as The Jimmy Dean Show in mid-decade. At the end of the decade, Hee Haw began a 23-year run, first on CBS and later in syndication; Hee Haw, hosted by Owens and Roy Clark was loosely based on the comedy series Rowan & Martin's Laugh In, and incorporated comedy along with performances by the show's cast or guest performers from the country music field. The Academy of Country Music and Country Music Association awards programs were telecast for the first time in the late 1960s.
The 1960s were marred with tragedy. Johnny Horton, who sang in the saga-song style, was killed in a car accident in 1960. A March 5, 1963, plane crash claimed the lives of Patsy Cline, Cowboy Copas and Hawkshaw Hawkins. Days later, Jack Anglin was killed in a car accident, while Texas Ruby died in a trailer fire in Texas. In July 1964, Jim Reeves lost his life while piloting a plane near Brentwood, Tennessee. Ira Louvin (one half of the Louvin Brothers) was killed in a car accident in 1965. Success overcame several of those tragic deaths, as both Cline and Reeves had many posthumous hits (with previously recorded songs issued after their deaths) and enjoyed strong followings for many years, while Louvin's brother, Charlie, continued as a successful solo performer for more than 40 years. Other pioneering stars who died during the 1960s included A.P. Carter, Gid Tanner, Moon Mullican, Ernest "Pop" Stoneman, Red Foley, Leon Payne and Spade Cooley.
The 1960s began a trend toward a proliferation of No. 1 hits on the Billboard Hot Country Singles chart, thanks to ever-changing data collecting methods. When the 1960s decade opened, there were but four No. 1 songs topping the chart (five, if one counts Marty Robbins' "El Paso"), but by the mid-1960s, there were always at least a dozen songs topping the chart annually. In 1967, there were more than 20 songs reaching the top spot for the first time ever in a single calendar year ... and that number would only continue to rise during the next 20 years.
Toward the end of the decade, modern fashion trends began to make its way into country music circles. This was specifically inspired by a song, "Harper Valley PTA," written by singer/songwriter Tom T. Hall about a miniskirt-wearing widowed mother of a teenage girl who was criticized by local school officials for supposedly setting a bad example for her daughter. The song was recorded by a young secretary named Jeannie C. Riley, who developed a mod persona in connection with the song by performing onstage in short skirts and go-go boots. Other female country artists began to follow suit in the years that followed, also appearing onstage in miniskirts and minidresses. The song reached both the country and pop charts in 1968; and to this day, "Harper Valley PTA" remains the most requested song in Riley's concerts.
It was attention to detail in songs like "Harper Valley PTA" that made Hall one of the genre's most renowned songwriters, starting in mid-1960s, and earned him the nickname "The Storyteller." His first hits were as a songwriter, with "Hello Vietnam," recorded by Johnnie Wright (husband of Kitty Wells), becoming Hall's first songwriting No. 1 single in 1965. By the late 1960s, Hall began having hits of his own, with songs like "The Ballad Of Forty Dollars" and "Homecoming" both becoming top-10 hits and showcasing his storytelling talents, and that success continued throughout the 1970s and into the 1980s.
Other trends and musical events
[edit]
Late in the decade, the Monterey Pop Festival and Woodstock Music Festival would epitomize the American counterculture.
Current events become a major influence on popular music. Many songs are written in protest to the Vietnam War. The song "Ohio" was written about the Kent State Massacre, and became a hit for Crosby, Stills, Nash and Young.
World music sees a huge rise in popularity as many seek interest in other cultures. Ravi Shankar performs at the Monterey and Woodstock festivals. Latin Rock artist Carlos Santana sees popularity throughout the decade. George Harrison develops an interest in the Hare Krishna culture, adding Indian influence to the Beatles' music including the use of a sitar. Reggae begins to popularize at this time.
In 1969, the Rolling Stones organized the ill-fated Altamont Free Concert.
Songs like "Summertime Blues" and "Eve of Destruction" address the issue of the voting age, which at the time was 21. The issue was that soldiers were drafted at 18, but could not vote. The voting age was eventually lowered to eighteen.
A few songs such as Bob Dylan's "Blowin' in the Wind" address the Civil Rights Movement.
Latin America, Spain and Brazil
[edit]
Bossa Nova
[edit]
Main article: Bossa Nova
This Brazilian musical style, which means "New Trend", had its origins in the upscale neighbourhoods of Rio de Janeiro. Immensely popular in the early 1960s, it was a fusion of samba and cool jazz. Antonio Carlos Jobim, João Gilberto, Astrud Gilberto, and Vinicius de Moraes became some of the best known artists of the Bossa Nova movement. The latter's The Girl From Ipanema, released in 1964, became the first Bossa Nova song to achieve international acclaim. In 1965, it won a Grammy Award for Best Record of the Year. Another prominent Latin pop group was Sergio Mendes and Brazil '66. Their songs included Mas Que Nada, The Joker, and Agua de Beber. In 1966 the group was nominated for a Grammy award for Best Performance by a Duo or Musical Group. They eventually became Sergio Mendes and Brazil '77, and continued playing their brand of Latin pop into that decade.
Romantics
[edit]
Another composer Armando Manzanero widely considered the premier Mexican romantic composer of the postwar era and one of the most successful composers of Latin America has composed more than four hundred songs, fifty of which have given him international fame. His most famous songs include Voy a apagar la luz (I'm Going to Turn Off the Lights), Contigo Aprendí (With you I Learnt... ), Adoro (Adore), No sé tú (I don't know if you...), Por Debajo de la Mesa (Under the Table) Esta Tarde Vi Llover (English version "Yesterday I Heard the Rain"), Somos Novios (English version "It's Impossible"), Felicidad (Happiness) and Nada Personal (Nothing Personal).
Some renowned trios romantics were Trio Los Panchos, Los Tres Ases, Los Tres Diamantes and Los Dandys. Trio Bolero, a unique ensemble of two guitars and one cello. Other singers in singing boleros in Mexico are Óscar Chávez, José Ángel Espinoza and Álvaro Carrillo.
Nueva ola
[edit]
Main articles: Nueva ola and Uruguayan Invasion
It was during the 60s that rock music began to gain acclaim in Latin America. In Spanish speaking South America musicians who adopted US and British inspired rock, mainly rock and roll, twist and British Invasion music, were collectively labelled as Nueva ola (Spanish for "New Wave"). Argentina, having his own Rock and Roll and British Invasion inspired bands and artist, Sandro de América, Sandro y Los de Fuego [es], Johnny Allon [es], Los Gatos Salvajes, Los Beatniks, Los Buhos, among others. suffered the Uruguayan Invasion, a series of British Invasion inspired rock bands from Montevideo that moved to Buenos Aires and soon became popular in Argentina Los Shakers, Los Mockers, Los Iracundos. Rock music during the 60s was still largely sung in English, but some bands like Los Mac's and others mentioned above used Spanish for their songs as well.[78] During the 1960s, most of the music produced in Mexico consisted on Spanish-language versions of English-language rock-and-roll hits. Singers and musical groups like Angelica Maria, César Costa, Enrique Guzmán performed cover versions of songs by Elvis Presley, Nancy Sinatra, Paul Anka and others.
Nueva canción
[edit]
During the 1960s Nueva Canción emerges and starts to expand its influence. This development is pioneered by the Chileans Violeta Parra and Victor Jara who base many of their songs in folklore, specially cueca. Nueva Canción spreads quickly all over Latin America and becomes closely related to the New Left and the Liberation theology movements. In Francisco Franco's Spain Joan Manuel Serrat reaches widespread notability as an exponent of Nueva Canción and of the political opposition.
Salsa
[edit]
Even though salsa music began to take form in a New York scene dominated by Cubans and other Latin American communities, Salsa would not become popular all across Latin America until the late 1980s and is now here today.
Tango
[edit]
Astor Piazzolla won the First Ibero American Music Festival in 1966 with the song "Balada para un loco", that launched him worldwide introducing his New Tango style Nuevo Tango
Música cebolla
[edit]
Música cebolla, a style of music loaded with sentimentality, had its heyday in Chile despite being derided or ignored by mass media.[79]
Australia and New Zealand
[edit]
The 1960s saw increasing interest in how electronic music could solve both compositional and more practical problems. Composers were also absorbing ideas from overseas, such as indeterminacy and electro-acoustic music, and interpreting them in an Australian context to mixed responses from local audiences.
Early in the decade, Bruce Clarke began toying with the new Moog synthesizer. A musicians' strike led him to create a completely electronic soundtrack for a cigarette commercial in 1963. Innovative film makers, like Arthur Cantrill and Dušan Marek, employed tape manipulation, turntables and extended instrument techniques to create soundtracks for their short films. Avowed amateur and Melbourne physician, Val Stephen, became the first Australian to have electronic music released internationally.
After working among the musical avant-garde in Paris, Keith Humble's return to Australia helped to encourage educational institutions to take electronic music seriously. Humble's most notably experimental work was his Nunique series. These vast multimedia events featured simultaneous performances by rock bands, string quartets and theatre ensembles, all according to precise flowcharts.
Humble initiated the Melbourne-based Society for the Private Performance of New Music in 1966, providing a supportive performance space for young innovators both in and outside the academy. Among these were the McKimm/Rooney/Clayton trio, who, since the 1964, had been incorporating graphic scores and aspects of serialism into jazz improvisation. Jazz was radicalizing at the fringes: John Sangster explored free jazz concepts and Charlie Munro incorporated Eastern musical elements. Syd Clayton would leave jazz behind in pursuit of a new form of experimental music theatre that incorporated chance operations along with sports and games as musical structures.
Young composers, like David Ahern, emerged, initially inspired by ideas of the European avant-garde, and applying them to Australian icons, such as Captain Cook and Ned Kelly. Ahern would travel to Europe later in the 1960s, where he encountered Stockhausen and Cardew, before returning home with further more radical ideas that questioned the very premises of composer and music itself.
Legacy
[edit]
It is difficult to determine the lasting impact of 1960s music in popular culture. A 2010 European survey conducted by the digital broadcaster Music Choice, interviewing over 11,000 participants, rated the decade rather low, with only 19% declaring it the best tune decade in the last 50 years,[80] while participants of an American land line survey rated the 1960s a bit higher, with 26% declaring it as best decade in music.[81]
The song Vivo cantando was joint winner of the Eurovision Song Contest with the United Kingdom's "Boom Bang-a-Bang" performed by Lulu, "De troubadour" by Lenny Kuhr representing the Netherlands, and "Un jour, un enfant" sung for France by Frida Boccara. It was Spain's second winning entry in the contest and the last to date.[citation needed]
See also
[edit]
Timeline of musical events
List of 1960s musical artists
1970s in music
1950s in music
References
[edit]
Sources
[edit]
|
||||||
1487
|
dbpedia
|
1
| 83
|
https://www.austinchronicle.com/music/2007-12-07/568527/
|
en
|
The San Francisco Sound
|
[
"https://www.facebook.com/tr?id=1796648420647973&ev=PageView&noscript=1",
"https://www.austinchronicle.com/Images/logo-2020-h-white.png",
"https://www.austinchronicle.com/Images/social/fb.png",
"https://www.austinchronicle.com/Images/social/twitter.png",
"https://www.austinchronicle.com/Images/social/print.png",
"https://www.austinchronicle.com/Images/social/write.png",
"https://www.austinchronicle.com/imager/b/newfeature/568527/84da/music_feature1-1.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/aa2e/music_feature1-2.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/9fc1/music_feature1-3.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/0ff3/music_feature1-4.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/8f20/music_feature1-5.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/99e0/music_feature1-6.jpg",
"https://www.austinchronicle.com/imager/b/newfeature/568527/e12a/music_feature1-7.jpg",
"https://www.austinchronicle.com/imager/b/blogindex/2923825/ac2d/wobblies.jpg",
"https://www.austinchronicle.com/imager/b/blogindex/2028039/8612/pagetwo.gif",
"https://www.austinchronicle.com/imager/b/blogindex/3171216/3716/8._JPEGMafia_--_Courtesy_of_artist_.jpg",
"https://www.austinchronicle.com/imager/b/big/3175391/e6cc/dbh-Moody-Bank__Empire-Garage_071824_03.jpg",
"https://pixel.quantserve.com/pixel/p-7apeS9pNVYMQo.gif"
] |
[] |
[] |
[
"Grateful Dead",
"Jefferson Airplane",
"Love Is the Song We Sing: San Francisco Nuggets 1965-1970",
"Moby Grape",
"Quicksilver Messenger Service",
"Rhino Records"
] | null |
[] |
2007-12-07T00:00:00
|
Celebrating the San Francisco Sound, 1965-1970, if not Rhino Records anthology thereof
|
en
|
/apple-icon-57x57.png?v=3
|
https://www.austinchronicle.com/music/2007-12-07/568527/
|
I
The first music piece I ever wrote was on the then-current San Francisco Sound for my high school newspaper. Racking my brain, listening to records as well as reading everything available (which wasn't much, mostly Crawdaddy! and random record reviews), I was trying to figure out how to define that sound. Finally I suggested that it had a lot to do with the bands' efforts to re-create their live sound in the studio. Even then this was way off-base.
As music critic emeritus Ben Fong-Torres writes in one of the introductory essays to Rhino Records' 4-CD Love Is the Song We Sing: San Francisco Nuggets 1965-1970, "I've never understood that tag [San Francisco Sound]. Maybe it's just me, but I find it difficult to listen to Big Brother & The Holding Company's 'Down On Me,' Jefferson Airplane's 'It's No Secret,' and Country Joe & The Fish's 'Section 43' and make obvious musical connections between the Big Brother's raw blues, the Airplane's folk-rock, and the Fish's acid visions."
It took years of writing before I was comfortable with the idea that specific cultural movements such as New York punk, the French New Wave, progressive country, Sugar Hill rap, New Wave, young German cinema, and so on weren't really defined stylistically. Instead, they had a lot more to do with the emergence of an array of creative talents at the same time, artists innovative in their rethinking of a medium as they rejected its accepted aesthetic standards.
The bands of the New York punk/New Wave scene share the Velvet Underground, New York Dolls, and Stooges as common heritage, while all also acknowledged the importance of the Ramones. What acts like Television, Patti Smith, Richard Hell & the Voidoids, Talking Heads, the Dead Boys, Fleshtones, Blondie, Suicide, and Mink DeVille really share, however, is that they emerged at the same time, most coming out of CBGB.
II
Labeling the music that emerged from the Bay Area between 1965 and 1968/69 as being part of an interconnected scene is nevertheless accurate. The Jefferson Airplane and Moby Grape (along with L.A.'s Byrds) were the first bands with which I really fell in love. This isn't to overlook my affection for the Grateful Dead, Quicksilver Messenger Service, Big Brother & the Holding Company, and Sopwith Camel, among others, but listening to the Airplane and Grape took me to places I'd never been. The music was critical, but the San Francisco mystique and lifestyle were part of the package.
III
There was so much happening musically in the latter half of the Sixties, as well as so much music from the past to discover, that chronology, musicians, musical heritage, and songs all run together in my memory with precious few specifics standing out. Acts weren't really defined in terms of regional scenes at the time, but maybe because Haight-Ashbury evoked so much more than an intersection – a whole hippie lifestyle, rather – the San Francisco scene was always thought of as a geographic entity.
Bands were heard of long before they were actually heard. Pictures of the Grateful Dead and Jefferson Airplane in Time and Newsweek seemed impossibly exotic. Those that have come of age in these times of the Internet, iTunes, MTV, and the prevalence of rock music in all media including TV and movies probably can't really grasp the pony-express way news spread then. It was frustrating, but it also allowed for a mysterious fog to envelop this music. Fitting, given San Francisco's weather.
In January 1967, the massive Human Be-In was held at Golden Gate Park. Called "a Gathering of the Tribes" – could there be a more potent image? – Timothy Leary, Allen Ginsburg, Lawrence Ferlinghetti, Gary Snyder, Dick Gregory, Lenore Kandel (a poet known for her sexually graphic work), and playwright Michael McClure (The Beard) all read, chanted, and spoke. The Grateful Dead, Jefferson Airplane, Big Brother & the Holding Company, Quicksilver Messenger Service, and the Sir Douglas Quintet played. The news showed everyone smoking pot, while the word was that LSD guru Owsley Stanley wandered the crowd, a hippie Johnny Appleseed planting his wares in the consciousness of all.
Is it any wonder that the Summer of Love followed? Perhaps even less surprising is that before the year was over, in October 1967, a mock funeral was held in the Haight mourning "the Death of the Hippie." The following month, the first issue of the then-biweekly Rolling Stone appeared with John Lennon on the cover.
Clothing, long hair, pot, rock posters, LSD, underground papers and comics: The hippie and freak lifestyles were all aspects of what was happening. What an alluring package, combining music, lifestyle, renegade consciousness, and politics.
The music was the message. The handfuls of pictures, random stories, and oral legends all led to it. The bands, fine on records, were even better when finally heard live.
Still, the music itself also came in frustratingly slow-moving concentric circles. Surrealistic Pillow was released February 1967, spawning two radio hits in "Somebody to Love" and "White Rabbit." Although the Airplane's first album, The Jefferson Airplane Takes Off, was released September 1966, it had done so under our radar. The Grateful Dead was released in February 1967, Moby Grape followed in June, and the Airplane's wonderfully strange and overindulgent After Bathing at Baxter's in December. In May 1968, Quicksilver Messenger Service was released, with the first really defining Grateful Dead album, Anthem of the Sun, coming that August.
The Be-In was followed in June 1967 by the Monterey International Pop Festival, the generation's defining music event. Everyone heard the Monterey stories, about Otis Redding stealing the show, Janis Joplin coming into her own, and Jimi Hendrix blowing away all with his otherworldly genius. Consider that more than half of the albums listed above came out after Monterey (five months before Rolling Stone debuted). The myth preceded the eagerly anticipated music by such stretches of time that myth and music lost defining boundaries becoming and being received as one.
IV
The mystery, mystique, and exotic were all crucial to the San Francisco scene, but the center was the music.
The beautiful harmonic power of Marty Balin's and Grace Slick's voices blending together on Surrealistic Pillow and the full encyclopedic but cohesive playing on Moby Grape blew the top of my head off then and can still do so now. Early Dead, Big Brother, Mother Earth, Country Joe & the Fish, and Quicksilver Messenger Service all were engaging and are still more than simply entertaining. Unfortunately, Love Is the Song We Sing is too much a scholarly collection, designed more as a historical document to convey the time, scene, and music than a musically coherent collection.
In another of the set's opening essays, Gene Sculatti celebrates this very inclusiveness. Rather than Love being "Frisco-centric" or just featuring the hits, Sculatti writes, "On the basis of what's heard here, you'd have to say that Northern California in the mid-1960s constituted one of the country's most vibrant regional scenes." Unfortunately I don't have to say that, because instead I find the ambition to convey that is this anthology's greatest failure. One entire CD of the four is devoted to mostly unknown Northern California bands of the period. Being a student of music history, I'm interested in listening to this, but in its attempt to convey the fullness of the San Francisco scene, the disc is an academic distraction. Ignorance be my guide, but I just can't work up much interest in the Front Line, the Mourning Reign, the Immediate Family, Public Nuisance, the Savage Resurrection, and so on.
The packaging is beautiful, the essays excellent, the annotations for each cut knowledgeable and fascinating, all of it accompanied by stunningly reproduced photographs. Even with all that, however, how many pictures of young men with long hair in bands never heard of can one find entertaining?
There aren't enough unheard goodies to excite anyone already enamored and/or familiar with the scene. A couple of EP versions of songs, some original single edits, and a few live versions are about it, with not one being revelatory or enlightening. All told, there are considerably less than a dozen rarities out of the more than 75 tracks.
One of the collection's strengths is rarely heard work by bands that heavily influenced the scene, including the Charlatans, Mojo Men, Beau Brummels, and the Great Society, as well as cuts by bands that evolved into major players; the Warlocks became the Grateful Dead; Dino Valenti joined Quicksilver. But way too many of the selections are from readily available albums. Groups like Salvation, Ace of Cups, the Loading Zone, Fifty Foot Hose, Kak, Sons of Champlin, and Mad River are definitely of some interest. A lot more live recordings, jams, different bands' members playing together, or really obscure releases by the Dead, Airplane, Grape, Quicksilver, Country Joe, Big Brother, and the like would have gone a long way toward redeeming this collection.
Which raises the question as to who the target audience for this collection is. There are way too many cuts by obscure bands (including almost the entire second disc) to be of interest to the novice. The lack of unusual/unknown cuts along with the too-historically oriented organization of the tracks undermines Love for anyone familiar with the music. Only those music fans who combine obsession with listening pleasure, valuing the obscure and unknown as much as the music, will be fully delighted here.
V
What makes Love Is the Song We Sing especially frustrating is that at the end of the day and 40 years, I've come to understand that there was very much a San Francisco Sound. The musicians joining together to form those bands didn't share a single common cultural background but, rather, came out of folk, blues, jug-band music, country, bluegrass, and rock. They abandoned all these styles, then brought them forward, spicing it all up with psychedelics and straining the ideas through the times until it was all one unbelievably rich and potent brew.
The San Francisco Sound was the combination of so much music that came before, uniquely combined into many different sounds yet all played with enthusiasm, skill, knowledge, love, and an impossibly optimistic energy.
|
|||||
1487
|
dbpedia
|
0
| 98
|
http://archive.org/post/1092345
|
en
|
Internet Archive Forums: 1965 DONE
|
[
"http://archive.org/services/img/etree",
"http://archive.org/services/img/librivoxaudio",
"http://archive.org/services/img/metropolitanmuseumofart-gallery",
"http://archive.org/services/img/clevelandart",
"http://archive.org/services/img/internetarcade",
"http://archive.org/services/img/consolelivingroom",
"http://archive.org/images/book-lend.png",
"http://archive.org/images/widgetOL.png",
"http://archive.org/services/img/tv",
"http://archive.org/services/img/911",
"http://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1162784265",
"http://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=1224985797"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Save Page Now
Capture a web page as it appears now for use as a trusted citation in the future.
Please enter a valid web address
|
|||||||
1487
|
dbpedia
|
1
| 40
|
https://www.tuscaloosanews.com/story/news/2006/04/14/the-beatles-1965-capitol-albums-released-on-cd/27675295007/
|
en
|
The Beatles’ 1965 Capitol albums released on CD
|
[
"https://www.gannett-cdn.com/authoring/2006/04/14/NTTN/ghows-DA-1ed45510-abef-4dfb-961a-f2dc74e2d2aa-f75f271f.jpeg?crop=254,191,x0,y75?width=320&height=240"
] |
[] |
[] |
[
""
] | null |
[
"The Tuscaloosa News"
] |
2006-04-14T00:00:00
|
In 1965, a year after Beatlemania blasted through America, Capitol Records made sure to saturate the market by releasing four albums by the Fab Four. \n Now these U.S. releases — “The Early Beatles,” …
|
en
|
The Tuscaloosa News
|
https://www.tuscaloosanews.com/story/news/2006/04/14/the-beatles-1965-capitol-albums-released-on-cd/27675295007/
|
In 1965, a year after Beatlemania blasted through America, Capitol Records made sure to saturate the market by releasing four albums by the Fab Four.
Now these U.S. releases — “The Early Beatles,” “Beatles VI,” the soundtrack “Help!” and “Rubber Soul” — have been released as a four-CD box set. A follow from 2004’s ‘64 collection, also released as a box set, this latest collection shows just how far the band came in a span of a year.
Capitol originally cobbled together the albums from the group’s British recordings, making the critical decision to include singles, unlike the British versions, and limit the number of songs to 11 or 12, instead of 14.
Presented for the first time on CD and in both stereo and mono form, these albums still thrill — 40 years later — with the band’s pop chops.
The harmony-laden cover odes of “The Early Beatles” (songs recorded for 1963’s UK debut “Please Please Me”) are cleverly simplistic in their sincerity, from rowdy rocker “Twist and Shout” to doe-eyed “Anna.”
The harmonica thrust of “Love Me Do,” released as a separate single in Britian, gives an early twinkle of John Lennon and Paul McCartney’s future songwriting brilliance.
“Beatles VI” consists of one memorable number, the rollicking hit single “Eight Days a Week,” while the rest of the album is a decent mix of tracks from the British version of “Beatles For Sale” and a few covers.
“Help!,” the soundtrack album for the group’s second film, replaces seven original British tracks, including “Yesterday,” with the movie’s trippy instrumental score, aided by George Harrison’s newfound love of the sitar.
It’s “Rubber Soul,” though, featuring Ringo Starr’s drumming, Lennon’s rock wit, McCartney’s balladry and Harrison’s expert guitar licks, where the group’s genius truly starts to manifest.
Most similar to its British equivalent, “Rubber Soul” is a glorious folk-pop collection, from the funky bump of “The Word” to the sitar-acoustic guitar swirl of “Norwegian Wood” and lyrical ominousness of “Run For Your Life.”
As box sets go, this one isn’t earth-shattering, but still a reminder of The Beatles’ lasting poignance.
|
|||||
1487
|
dbpedia
|
2
| 15
|
https://www.songfacts.com/facts/the-temptations/my-girl
|
en
|
My Girl by The Temptations
|
[
"https://www.songfacts.com/images/logos/songfacts_logo.png",
"https://www.songfacts.com/images/logos/songfacts_logo.png",
"https://www.songfacts.com/img-artalbums-145-3db67f57a0df2accf24bc1216fca6480.png",
"https://img.youtube.com/vi/qEztui18cA8/hqdefault.jpg",
"https://www.songfacts.com/img-artalbums-240-8699a23d99def3895c98c5faafef57fe.png",
"https://www.songfacts.com/img-artalbums-240-02e3f35ab3965c3686390b43b1fc94bf.png",
"https://www.songfacts.com/img-artalbums-240-f93e633eeaddbefece438270270d3eeb.png",
"https://www.songfacts.com/img-artalbums-240-bfc99a126676f4e863296805a6a8302c.png",
"https://www.songfacts.com/img-artalbums-240-84401d281c2a0cbd5c3202f47fea1e6d.png",
"https://www.songfacts.com/img-artalbums-240-a526f401ebcd4c0fa782e599ba138969.png",
"https://www.songfacts.com/img-blog-240-1312.jpg",
"https://www.songfacts.com/img-blog-240-539.jpg",
"https://www.songfacts.com/img-blog-240-118.jpg",
"https://www.songfacts.com/img-blog-240-1517.jpg",
"https://www.songfacts.com/img-blog-240-529.jpg",
"https://www.songfacts.com/img-blog-240-415.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
My Girl by The Temptations song meaning, lyric interpretation, video and chart position
|
en
|
/images/favicons/apple-touch-icon.png
| null |
Let's DanceDavid Bowie
David Bowie's "Let's Dance" is about more than just dancing. It's about dishonesty, particularly when we mask our true feelings.
True CompanionMarc Cohn
When Marc Cohn played "True Companion" to his girlfriend, she thought he was proposing. He wasn't, but he did eventually marry her.
Born To Be WildSteppenwolf
The first popular song to use the phrase "Heavy Metal" was "Born To Be Wild" by Steppenwolf, which was featured in the movie Easy Rider.
Don't Dream It's OverCrowded House
"Don't Dream It's Over" is the biggest hit for Crowded House, whose lead singer, Neil Finn, sang it on tour when he joined Fleetwood Mac. He wrote the song when he was feeling a bit lost as a way of urging himself on.
Passionate KissesLucinda Williams
Lucinda Williams wrote and recorded "Passionate Kisses" 4 years before it was a hit for Mary Chapin Carpenter.
How "A Rolling Stone Gathers No Moss" Became Rock's Top ProverbSong Writing
How a country weeper and a blues number made "rolling stone" the most popular phrase in rock.
Yoko OnoSongwriter Interviews
At 80 years old, Yoko has 10 #1 Dance hits. She discusses some of her songs and explains what inspired John Lennon's return to music in 1980.
Wedding Bell BluesSong Writing
When a song describes a wedding, it's rarely something to celebrate - with one big exception.
Edie BrickellSongwriter Interviews
Edie Brickell on her collaborations with Paul Simon, Steve Martin and Willie Nelson, and her 2021 album with the New Bohemians.
Reverend Horton HeatSongwriter Interviews
The Reverend rants on psychobilly and the egghead academics he bashes in one of his more popular songs.
Susanna Hoffs - "Eternal Flame"They're Playing My Song
The Prince-penned "Manic Monday" was the first song The Bangles heard coming from a car radio, but "Eternal Flame" is closest to Susanna's heart, perhaps because she sang it in "various states of undress."
|
|||||
1487
|
dbpedia
|
1
| 17
|
https://loureed.bandcamp.com/album/words-music-may-1965
|
en
|
Words & Music, May 1965
|
[
"https://loureed.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif",
"https://loureed.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif",
"https://f4.bcbits.com/img/blank.gif",
"https://f4.bcbits.com/img/0035251250_100.png",
"https://f4.bcbits.com/img/a2950849608_16.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0007064336_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0017828981_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020816747_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027813137_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0035052454_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0035251342_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0019775895_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0000987585_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009923041_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0034701788_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027812312_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027428171_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011965117_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027753105_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0017421260_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011326036_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001264203_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0021323177_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001224259_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032843094_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020394990_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029015510_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023113140_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0005516018_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009562253_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0022736934_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0022330100_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009329265_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023099316_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0031350704_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0010682574_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0030067690_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0014343725_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0028573997_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032667720_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016340883_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0015557265_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0025341896_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0010464002_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004701783_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0021601048_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0034333422_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004641504_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0019806587_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0007066423_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0002591203_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016661470_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026299634_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011808044_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0033063821_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0007064413_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029385532_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020042522_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029551299_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0012940070_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032985700_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0019097126_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029234163_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009418614_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004493404_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0005887679_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001033898_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032691942_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0030036372_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001271880_42.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0031105159_42.jpg",
"https://f4.bcbits.com/img/0028887028_21.jpg",
"https://f4.bcbits.com/img/a0996743328_7.jpg",
"https://f4.bcbits.com/img/a2818505904_7.jpg",
"https://f4.bcbits.com/img/a1638681227_7.jpg",
"https://f4.bcbits.com/img/a2447933407_7.jpg",
"https://f4.bcbits.com/img/a2950849608_7.jpg",
"https://f4.bcbits.com/img/a2975740667_9.jpg",
"https://f4.bcbits.com/img/a1582944245_9.jpg",
"https://f4.bcbits.com/img/a0932855106_9.jpg",
"https://f4.bcbits.com/img/a4048662529_9.jpg",
"https://f4.bcbits.com/img/a2313479398_9.jpg",
"https://f4.bcbits.com/img/a4189686675_9.jpg",
"https://f4.bcbits.com/img/a0882840373_9.jpg",
"https://loureed.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020793483_33.jpg",
"https://f4.bcbits.com/img/0018395902_33.jpg",
"https://f4.bcbits.com/img/0017911903_33.jpg",
"https://f4.bcbits.com/img/0036978088_33.jpg",
"https://loureed.bandcamp.com/img/0.gif"
] |
[] |
[] |
[
""
] | null |
[] |
2022-09-16T00:00:00+00:00
|
Words & Music, May 1965 by Lou Reed, released 16 September 2022
1. I’m Waiting for the Man - May 1965 Demo
2. Men of Good Fortune - May 1965 Demo
3. Heroin - May 1965 Demo
4. Too Late - May 1965 Demo
5. Buttercup Song - May 1965 Demo
6. Walk Alone - May 1965 Demo
7. Buzz Buzz Buzz - May 1965 Demo
8. Pale Blue Eyes - May 1965 Demo
9. Stockpile - May 1965 Demo
10. Wrap Your Troubles in Dreams - May 1965 Demo
11. I’m Waiting for the Man - May 1965 Alternate Version
Light in the Attic Records, in cooperation with Laurie Anderson, proudly announces the inaugural title in their ongoing Lou Reed Archive Series: Words & Music, May 1965. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.
Featuring contributions from Reed’s future bandmate, John Cale, Words & Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “Heroin,” “I’m Waiting for the Man,” and “Pale Blue Eyes”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by Laurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan, the album features newly-remastered audio from the original tapes by GRAMMY®-nominated engineer, John Baldwin. Rounding out the package are new liner notes from acclaimed journalist and author, Greil Marcus, plus in-depth archival notes from Don Fleming and Jason Stern, who oversee the Lou Reed Archive.
The centerpiece of the inaugural Lou Reed Archive Series release is the Deluxe 45-RPM Double LP Edition of Words & Music, May 1965. Limited to 7,500 copies worldwide, this stunning collection was designed by multi-GRAMMY®-winning artist Masaki Koike and features a stylized, die-cut gatefold jacket manufactured by Stoughton Printing Co., with sequential foil numbering. Housed inside are two 45-RPM 12-inch LPs, pressed on HQ-audiophile-quality 180-gram vinyl at Record Technology Inc. (RTI) featuring the only vinyl release of “I’m Waiting for the Man – May 1965 Alternate Version.” A bonus 7-inch, housed in its own unique die-cut picture sleeve and manufactured at Third Man Record Pressing includes the only vinyl release of six previously-unreleased bonus tracks providing a never-before-seen glimpse into Reed’s formative years, including early demos, a cover of Bob Dylan’s “Don’t Think Twice, It’s All Right,” and a doo-wop serenade recorded in 1958 when the legendary singer-songwriter was just sixteen years old. An accompanying saddle-stitched, die-cut 28-page book features lyrics, archival photos, and liner notes Also included is an archival reproduction of a rarely-seen letter, written by Reed to his college professor and poet, Delmore Schwartz, circa 1964. The set includes a CD containing the complete audio from the package, housed in a die-cut jacket.
|
en
|
Lou Reed
|
https://loureed.bandcamp.com/album/words-music-may-1965
|
supported by 51 fans who also own “Words & Music, May 1965”
go to album
supported by 49 fans who also own “Words & Music, May 1965”
go to album
supported by 47 fans who also own “Words & Music, May 1965”
go to album
|
|||||
1487
|
dbpedia
|
1
| 2
|
https://www.songfacts.com/browse/years/1965
|
en
|
Songs released in 1965
|
[
"https://www.songfacts.com/images/logos/songfacts_logo.png",
"https://www.songfacts.com/images/logos/songfacts_logo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
List of Songs having Songfacts entries and released in 1965.
|
en
|
/images/favicons/apple-touch-icon.png
| null |
Songfacts® Newsletter
A monthly update on our latest interviews, stories and added songs
|
|||||
1487
|
dbpedia
|
2
| 9
|
https://playback.fm/charts/top-100-songs/1965
|
en
|
Top 100 Pop Song Chart for 1965
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Find the top 100 Pop songs for the year of 1965 and listen to them all! Can you guess the number one Pop song in 1965? Find out now!
|
en
|
Playback.fm
|
https://playback.fm/charts/top-100-songs/1965
|
List of #1 Pop Singles for 1965
The list on this page is for all #1 hit Pop singles for 1965 using proprietary methods. The results in this chart are not affiliated with any mainstream or commercial chart and may not reflect charts seen elsewhere.
The singles were tracked by international sales, radio airplay, social media mentions, website votes, jukebox plays and digital downloads.
|
|||||
1487
|
dbpedia
|
1
| 56
|
https://newsroom.loc.gov/news/national-recording-registry-inducts-music-from-madonna--mariah-carey--queen-latifah--daddy-yankee/s/5a91b115-3825-4a5f-a702-35940b4de958
|
en
|
National Recording Registry Inducts Music from Madonna, Mariah Carey, Queen Latifah, Daddy Yankee
|
[
"https://newsroom.loc.gov/dist/images/loc-logo.svg",
"https://newsroom.loc.gov/dist/images/loc-mobile-logo.svg",
"https://preview.thenewsmarket.com/Previews/LBOC/VideoAssets/1920x1080/LBOC_53331_640947.jpg",
"https://preview.thenewsmarket.com/Previews/LBOC/VideoAssets/320x320/LBOC_53331_640947.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://preview.thenewsmarket.com/Previews/LBOC/StillAssets/320x320/641021.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://Preview.thenewsmarket.com/Previews/AudioThumbnails/320x320/audio.png",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://preview.thenewsmarket.com/Previews/LBOC/StillAssets/320x320/640205.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://Preview.thenewsmarket.com/Previews/AudioThumbnails/320x320/audio.png",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://preview.thenewsmarket.com/Previews/LBOC/StillAssets/320x320/640210.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://preview.thenewsmarket.com/Previews/LBOC/StillAssets/320x320/640210.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://Preview.thenewsmarket.com/Previews/AudioThumbnails/320x320/audio.png",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://preview.thenewsmarket.com/Previews/LBOC/StillAssets/320x320/639474.jpg",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://newsroom.loc.gov/dist/images/placeholders/placeholder-1x1.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/placeholders/brand-logo-placeholder.png",
"https://newsroom.loc.gov/dist/images/footer/congress-gov.svg",
"https://newsroom.loc.gov/dist/images/footer/copyright-gov.svg",
"https://newsroom.loc.gov/dist/images/footer/powered-newsmarket.svg"
] |
[] |
[] |
[
""
] | null |
[
"Library of Congress"
] |
2023-04-12T09:00:00
|
Librarian of Congress Carla Hayden today named 25 recordings as audio treasures worthy of preservation for all time based on their cultural, historical or aesthetic importance.
|
en
|
dist/images/favicon.png
|
The NewsMarket
|
https://newsroom.loc.gov/news/national-recording-registry-inducts-music-from-madonna--mariah-carey--queen-latifah--daddy-yankee/s/5a91b115-3825-4a5f-a702-35940b4de958
|
Recordings from Jimmy Buffett, Eurythmics, John Lennon, John Denver, The Police, Led Zeppelin and Super Mario Also Among 25 Selected for Preservation
Madonna’s cultural ascent with “Like a Virgin,” Mariah Carey’s perennial No. 1 Christmas hit, Queen Latifah’s groundbreaking “All Hail the Queen” and Daddy Yankee’s reggaeton explosion with “Gasolina” are some of the defining sounds of the nation’s history and culture that will now join the National Recording Registry of the Library of Congress. The 2023 class also includes the first sounds of a video game to join the registry with the Super Mario Bros. theme, powerful voices of women, important inductions of Latin music, and classic sounds of rock and pop from the 1960s to the ‘80s.
Librarian of Congress Carla Hayden today named 25 recordings as audio treasures worthy of preservation for all time based on their cultural, historical or aesthetic importance in the nation’s recorded sound heritage.
“The National Recording Registry preserves our history through recorded sound and reflects our nation’s diverse culture,” Hayden said. “The national library is proud to help ensure these recordings are preserved for generations to come, and we welcome the public’s input on what songs, speeches, podcasts or recorded sounds we should preserve next. We received more than 1,100 public nominations this year for recordings to add to the registry.”
The recordings selected for the National Recording Registry bring the number of titles on the registry to 625, representing a small portion of the national library’s vast recorded sound collection of nearly 4 million items.
The latest selections named to the registry span from 1908 to 2012. They range from the first recordings of Mariachi music and early sounds of the Blues to radio journalism leading up to World War II, and iconic sounds from pop, country, rock, R&B, jazz, rap, and classical music.
NPR’s “1A” will host several features in the series, “The Sounds of America,” on this year’s selections for the National Recording Registry, including interviews with Hayden and several featured artists in the weeks ahead. Follow the conversation about the registry on Twitter and Instagram @librarycongress and #NatRecRegistry.
Listen to many of the recordings on your favorite streaming service.The Digital Media Association, a member of the National Recording Preservation Board, has compiled a list of some streaming services with National Recording Registry playlists, available here: dima.org/national-recording-registry-class-of-2023/
Powerful Voices of Women
This year’s selections include the voices of women whose recordings have helped define and redefine their genres. Madonna’s 1984 smash hit album “Like a Virgin” would fuel her ascent in the music world as she took greater control of her music and her image. Of the nine songs originally on the album, four became top 10 hits.
The legendary Queen Latifah becomes the earliest female rapper to join the National Recording Registry with her debut album “All Hail the Queen” from 1989 when she was just 19 years old. Her album showed rap could cross genres including reggae, hip-hop, house and jazz — while also opening opportunities for other female rappers.
“All I Want for Christmas Is You,” the seasonal juggernaut that now sells more records than its 1994 release, is Mariah Carey’s first song to make the National Recording Registry. The delighted pop star told the Library it’s a perfect fit for a little girl from Long Island who grew up wanting a perfect Christmas. But Carey’s childhood was turbulent, beset by her parents’ divorce and difficult family relations. So, when she was a 22-year-old sensation in the music business, the first Christmas song she wrote was about her own wish for the holiday.
“I tried to tap into my childhood self, my little girl self, and say, ‘What are all the things I wanted when I was a kid?’” she said. “I wanted it to be a love song because that’s kind of what people relate to, but also a Christmas song that made you feel happy.”
She brought the melody and lyrics to her then-songwriting partner and producer Walter Afanasieff, and the pair worked together to create its retro “wall of sound” production, as if it might have been a recorded in the 1960s. A modest hit upon release, it’s grown over time to hit No. 1 on pop charts the last four years, setting Carey’s pop-culture image as the Queen of Christmas.
“I’m most proud of the arrangements, the background vocal arrangements,” she said. “‘All I Want for Christmas’ is sort of in its own little category, and I’m very thankful for it.”
Reggaeton Revolution and First Mariachi Recordings Join Registry
With roots in Panama and Puerto Rico in the 1980s, reggaeton has been described as Reggae, Reggae en Español, dancehall, hip-hop and dembow. But it was Daddy Yankee’s 2004 hit single “Gasolina” that ignited a massive shift for reggaeton with its crossover appeal from Latin radio to broad audiences. “Gasolina” appeal was so great, it even moved some radio stations to switch formats from English to Spanish to tap into this revolution.
Some of the earliest sounds in this year’s class are “The Very First Mariachi Recordings,” an album recorded in 1908 and 1909. Four musicians from the Mexican state of Jalisco made this recording in Mexico City and performed for Mexico’s president. Even early recording technology could still capture the spirit of this music. Scholars and sound archivists collected and reissued this album in 1998 to revive an otherwise lost chapter in the history of mariachi.
Video Game Soundtrack Joins Recording Registry for First Time
Few musicians have had their work become so internationally recognized for decades yet remain so relatively unknown as Koji Kondo, the man who composed the music for the Super Mario Bros. video games in the 1980s. Still today, Kondo is credited for original Nintendo music in the new “Super Mario Bros. Movie” out this month.
Kondo, born and raised in Japan, was a college senior in Osaka, interested in the piano and sound design, when he saw a recruiting flyer from Nintendo on a university bulletin board. He answered the ad, and the rest is video game history. His main, or “Ground Theme,” for the 1985 game is a jaunty, Latin-influenced melody that’s instantly recognizable around the world today.
“The amount of data that we could use for music and sound effects was extremely small, so I really had to be very innovative and make full use of the musical and programming ingenuity that we had at the time,” he said through an interpreter in a recent interview. “I used all sorts of genres that matched what was happening on screen. We had jingles to encourage players to try again after getting a ‘game over,’ fanfares to congratulate them for reaching goals, and pieces that sped up when the time remaining grew short.”
Now 61 and still working for Nintendo, he’s seen his “Mario” music used in films and played by orchestras. He’s designed the world of sound for dozens of other video games. He did, however, have an inkling that they were onto something at the beginning. “I also had a feeling that this game might be something that could turn into a series and continue for a long time,” he said.
“Having this music preserved alongside so many other classic songs is such a great honor,” he said. “It's actually a little bit difficult to believe.”
Classic Folk, Rock and Pop Music Preserved for All Time
Some of the most enduring and beloved music from folk, rock and pop from the 1960s to 1980s tunes many Americans still find themselves singing together every year — also join the National Recording Registry this year.
This year’s class includes “Sherry” by The Four Seasons in 1962, “What the World Needs Now is Love,” recorded by Jackie DeShannon in 1965 and written by the late songwriting duo of Hal David and Burt Bacharach, “Imagine” by John Lennon and Yoko Ono in 1971, Led Zeppelin’s “Stairway to Heaven” from 1971, “Synchronicity” by The Police, including Sting, in 1983, and more unforgettable recordings.
“Take Me Home, Country Roads,” recorded by John Denver in 1971, might be one of the nation’s favorite singalongs year after year. Denver’s family said they were honored the song by Denver, Bill Danoff and Taffy Nivert was chosen for preservation by the Library.
“Dad has been gone 25 years, and this song continues to be sung at concerts and events around the world, which we’re sure Dad, Bill, and Taffy never imaginedwhen they wrote it so many years ago. Thanks to the Library of Congress for this recognition,” Denver’s family said in a joint statement.
David Crosby, Stephen Stills, Graham Nash and Neil Young formed a super-group of the late 1960s and early 1970s. Their second album, “Déjà Vu,” made the National Recording Registry this year representing folk rock at its peak of influence and popularity. With hits such as “Teach Your Children,” “Our House” and “Woodstock,” the 1970 album also showed the influence of Joni Mitchell, this year’s recipient of the Library’s Gershwin Prize for Popular Song.
Mitchell wrote “Woodstock” and Nash, her live-in partner at the time, wrote “Our House” as an almost diary-like entry of a dreary late-winter day at their home in California.
Nash said Crosby Stills Nash and Young’s primary rule was that everyone had to agree on every song they released in order to ensure it was a collaborative statement. This led to meticulous recording sessions — Stills once estimated that it took hundreds of hours of recording to finish “Déjà Vu” — but it paid off in beautiful harmonies and melodies that have lasted for decades.
“We wanted to tell the truth,” Nash told the Library recently. “We wanted to reflect the times in which we lived. I think that’s the duty of every artist.”
Early in the 1970s, Jimmy Buffett was a little-known singer/songwriter when, after a rough night in Austin, Texas, he had a tasty Margarita at a bar the next day. Still sipping, he started scribbling a song on a cocktail napkin, finished it later while stuck in a traffic jam on the Seven Mile Bridge in the Florida Keys and played “Margaritaville” for the first time in a little bar in Key West that night when it was “probably six hours old.”
By 1977, it was a Top 10 hit and has since become a pop culture staple and the namesake of a chain of businesses and products — including books, restaurants, a radio channel, a cruise line and 55-and-older living communities — that Buffett oversees. Initially, though, he said he was just delighted to have a hit song on a hit record and be “actually making money.”
The key to the song’s resonance in American culture, Buffett told the Library, was that people were looking for a song to make them feel good and be happy.
“You're lucky enough at some point to put your thumb on the pulse of something that people can connect with,” he said. “It's an amazing and lucky thing to happen to you, and that happened with ‘Margaritaville.’”
By the 1980s, Annie Lennox and Dave Stewart had been in and out of British-based music groups for some time without much success. Flat broke in 1982, Stewart managed to borrow enough money to buy a couple of synthesizers and a prototype of a drum machine so basic that it was housed in a wooden case.
One night in their studio — the loft of a picture-framing factory in central London — he got the drum kit going and hit a couple of chords on the synthesizer. Lennox sat up bolt upright, as if she’d touched an electric wire. She went to her own synthesizer, played a riff against his beat and soon ad-libbed a lyric, a wry comment on their impoverished status: “Sweet Dreams (Are Made of This).” The Eurythmics’ influential, synthesizer-heavy song was born, and soon the duo would have a massive international dance hit and would be a sensation in the new medium of music videos.
“It’s a mantra, almost like a Haiku poem, a coded message, a commentary about the human condition,” Lennox said of the song. “You can use it as a happy birthday song or a celebratory song…it could be anything. Looking back, I love the way people have identified with it.”
Stewart, who now works primarily as a producer, took a break from working on a musical with Ringo Starr to talk about the song that made the rest of his life possible.
“It’s like alchemy, you get two people like Annie and myself” with different skill sets but a united passion for a single sound, he said. “It’s like one plus one equals three.”
About the National Recording Registry
Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 titles each year that are “culturally, historically, or aesthetically significant” and are at least 10 years old. More information on the National Recording Registry can be found at loc.gov/programs/national-recording-preservation-board/about-this-program/. The public may nominate recordings for the Registry here.
Some registry titles have already been preserved by the copyright holders, artists or other archives. In cases where a selected title has not already been preserved, the Library of Congress National Audio-Visual Conservation Center works to ensure that the recording will be preserved by some entity and available for future generations. This can be through the Library’s recorded-sound preservation program or through collaborative ventures with other archives, studios and independent producers.
The national library maintains a state-of-the-art facility where it acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (loc.gov/avconservation/). It is home to more than 9 million collection items.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States — and extensive materials from around the world — both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
National Recording Registry, 2023 Selections
(chronological order)
“The Very First Mariachi Recordings” — Cuarteto Coculense (1908-1909)
“St. Louis Blues” — Handy’s Memphis Blues Band (1922)
“Sugar Foot Stomp” — Fletcher Henderson (1926)
Dorothy Thompson: Commentary and Analysis of the European Situation for NBC Radio (Aug. 23-Sept. 6, 1939)
“Don’t Let Nobody Turn You Around” — The Fairfield Four (1947)
“Sherry” — The Four Seasons (1962)
“What the World Needs Now is Love” — Jackie DeShannon (1965)
“Wang Dang Doodle” — Koko Taylor (1966)
“Ode to Billie Joe” — Bobbie Gentry (1967)
“Déjà Vu” — Crosby, Stills, Nash and Young (1970)
“Imagine” — John Lennon (1971)
“Stairway to Heaven” — Led Zeppelin (1971)
“Take Me Home, Country Roads” — John Denver (1971)
“Margaritaville” — Jimmy Buffett (1977)
“Flashdance…What a Feeling” — Irene Cara (1983)
“Sweet Dreams (Are Made of This)” — Eurythmics (1983)
“Synchronicity” — The Police (1983)
“Like a Virgin” — Madonna (1984)
“Black Codes (From the Underground)” — Wynton Marsalis (1985)
Super Mario Bros. theme — Koji Kondo, composer (1985)
“All Hail the Queen” — Queen Latifah (1989)
“All I Want for Christmas is You” — Mariah Carey (1994)
“Pale Blue Dot” — Carl Sagan (1994)
“Gasolina” — Daddy Yankee (2004)
“Concerto for Clarinet and Chamber Orchestra” — Northwest Chamber Orchestra, Ellen Taaffe Zwilich, composer (2012)
National Recording Registry, 2023 Selections
(about each selection)
“The Very First Mariachi Recordings” — Cuarteto Coculense (1908-1909) (album)
Mariachi music and its imagery are now emblematic of Mexican national identity, but it was once a rural style of music played mainly in the state of Jalisco. In 1908, four musicians from the town of Cocula, Jalisco, led by the vihuela player Justo Villa, made the first recordings of it in Mexico City, where two years earlier they had introduced the style to the capital when they performed for the Mexican President Porfirio Diaz. These performances lack the trumpet now inextricably associated with mariachi, but even the early recording technology of the time could not fail to capture the group’s drive and spirit, and the recordings remained in print for many years. Thanks to the efforts of scholars and record collectors, the group’s work was collected and reissued in 1998 by Arhoolie Records, revisiting and reviving an otherwise lost chapter in mariachi’s history and paying overdue homage to these recording pioneers.
“St. Louis Blues” — Handy’s Memphis Blues Band (1922) (single)
Even during his lifetime, W.C. Handy was often called the “Father of the Blues.” And while he might not be responsible for an entire genre of music, there is little question that it was largely Handy’s creative output that enabled the blues to cross America’s race and cultural lines. One of the songs he did it with was “St. Louis Blues,” which Handy both wrote and played. It was one of the first blues songs to enjoy success as a pop song. Later, the tune would be incorporated into the repertoire of numerous other legends including Bessie Smith, Bing Crosby, Glenn Miller, Count Basie and Benny Goodman. Meanwhile, Handy, beyond his own composition and performing prowess, created detailed, written exegeses of blues music (including his own compositions) which have long served to educate others about the artistry of blues and aid in their appreciation for this American artform.
“Sugar Foot Stomp” — Fletcher Henderson (1926)
“Sugar Foot Stomp” was a milestone recording that incorporated jazz into a dance band setting. Henderson was one of the most successful African American bandleaders of his time. From its inception in 1921, his band played rather polite dance music, laced with a well-intended yet ponderous style of jazz, typically found in New York during the early 1920s. This changed suddenly upon the October 1924 arrival of New Orleans cornetist Louis Armstrong into the Henderson ensemble. Based on Armstrong’s collaboration with Joe Oliver’s “Dipper Mouth Blues,” “Sugar Foot Stomp” — in a smart, forward-looking arrangement by Don Redman — becomes streamlined and timelessly hip. Its most salient feature was the 36-bar solo by Armstrong, based on Oliver’s own “Dipper Mouth Blues” solo.
Dorothy Thompson: Commentary and Analysis of the European Situation for NBC Radio (Aug. 23-Sept. 6, 1939)
Dorothy Thompson spent most of the 1920s and early 1930s in Europe, covering politics and culture throughout the continent as a print journalist, interviewing subjects as varied as Sigmund Freud and Adolph Hitler. From 1936 on, she wrote a thrice-weekly column, “On The Record,” in which she drew on her unique experience and knowledge of the issues and people in the news in the U.S. and Europe. She also became a frequent presence on network radio, and in late August 1939, as the European situation worsened and war was imminent, she made daily broadcasts on NBC analyzing developments during the last days of peace and the first days of war in Europe. These broadcasts form a unique broadcast record of this complex period.
“Don’t Let Nobody Turn You Around” — The Fairfield Four (1947) (single)
The Fairfield Four has represented the Jubilee style of a cappella quartet singing in the African-American church since their early days in Nashville, Tennessee, in the 1920s, a legacy carried on by the present incarnation of the group. At their second session for Nashville’s Bullet Records label in 1947, they recorded “Don’t Let Nobody Turn You Around,” a signature song that they would perform and re-record throughout their career. The Rev. Sam McCrary had been their lead tenor since 1940, powerfully sustaining words and syllables while the other members intoned their accompaniment. The song had been in the repertoire of others since the 1920s, but at a time when African-American religious music was changing rapidly, adding instruments and amplification in service of the message, the Fairfield Four broke through as the accomplished and passionate embodiment of the older Jubilee style, making their mark in the louder and faster postwar world of America.
“Sherry” — The Four Seasons (1962) (single)
The Four Seasons was one of the most popular groups of the early and mid-1960s with more than 25 hits over a five-year period, and it all began in 1962 with their first single, “Sherry,” a crossover hit that topped the industry pop and R&B charts. With it, Seasons members Frankie Valli, Tommy DeVito, Bob Gaudio and Nick Massi established their signature harmony sound, led by Valli’s three-octave range and soaringfalsetto. Tenor Gaudio said it took him about 15 minutes to write the song, initially as a tribute to first lady Jacqueline Kennedy titled “Jackie Baby,” before it was renamed “Sherry” after the daughter of Gaudio’s close friend, New York radio DJ, Jack Spector. The Four Seasons are still one of the best-selling musical groups of all time, having sold an estimated 100 million records worldwide. The song, “Sherry,” continues to be used in popular culture in films, television and theater, including the Tony Award-winning musical “Jersey Boys,” which chronicled the life and career of Frank Valli and The Four Seasons.
“What the World Needs Now is Love” — Jackie DeShannon (1965) (single)
Even among the galaxy of beautiful, timeless songs co-written by the great songwriting team of Burt Bacharach and Hal David, this lovely 1965 creation sparkles. But its lightness belies its very serious and (still) timely message. Bacharach — recipient of the Library of Congress’ Gershwin Prize for Popular Song in 2012 — had the then raging Vietnam War in his mind during the song’s composition. Originally offered to the team’s frequent collaborator Dionne Warwick (who turned it down) they later made it available to singer/songwriter Jackie DeShannon who used it to kick off her fourth album. For that recording, Bacharach arranged the song, conducted the orchestra and produced the session. Released as a single in March 1965, it became one of DeShannon’s signature hits. DeShannon would win the Grammy that year for Female Vocal Performance, and the song evolved into a standard, not only for her treatment of it but for later cover versions by the likes of Barbra Streisand, Sergio Mendes, Barry Manilow and, eventually, even Dionne Warwick.
“Wang Dang Doodle” — Koko Taylor (1966) (single)
The hard-charging authentic Chicago blues sounds of “Wang Dang Doodle” made for an unlikely hit in the spring of 1966, when poppier sounds from both the U.S. and England dominated the charts. But when Koko Taylor, born Cora Walton in Tennessee in 1935, teamed up with blues composer, bassist and producer Willie Dixon to record it, they hit pay dirt and made a blues standard of a song that had not clicked with audiences even when the great Howlin’ Wolf released a version five years earlier. Taylor sang the lyrics with gusto, backed by a crack team of players that included Buddy Guy on guitar, and the song’s rogues’ gallery of party guests that included “Automatic Slim” and “Razor Totin’ Jim” rocked jukeboxes and radios around the country. Taylor went on to become one of the great voices of Chicago Blues, recording more than a dozen albums and performing around the world until her death in 2009.
“Ode to Billie Joe” — Bobbie Gentry (1967) (single)
Imagery, as vivid as any Southern Gothic novel, meets superlative storytelling and musicianship in this 1967 country classic. It was not, necessarily, a local death that singer/songwriter Bobbie Gentry wanted to explore with the writing of this song but, rather, the banality with which many of us greet and process news regarding the tragedy of others: “Well, Billy Joe never had a lick of sense; pass the biscuits, please.” Spare and arresting, and written and recorded when Gentry was only 25 years old, its release in July 1967 was a distinctive break from most country music of the era, and it resonated strongly with country, pop and R&B audiences. In 1976, “Ode” would inspire a big screen film adaptation and return to the charts, powered once more by its fable-like quality and its central mystery that we are still debating over 50 years since it was proffered to us.
“Déjà Vu” — Crosby, Stills, Nash and Young (1970) (album)
The trio of David Crosby, Steven Stills and Graham Nash re-defined folk-rock and brought a new musical and lyrical maturity to the pop music scene with their eponymous 1969 debut album, and expectations were high for the first release by the expanded “supergroup” of four created by Neil Young’s arrival. Once again, the combination proved far more than the sum of its parts, even though the four found it hard to work together in the studio and the album was largely recorded in individual sessions. Stephen Stills estimates that the album took 800 hours of studio time. While that may be exaggerated, the band’s meticulous attention to detail coupled with the patience and skill of engineer Bill Halvorson, made “Déjà Vu” one of the most iconic albums of the last 50 years. “Déjà Vu” found its audience immediately, and remains the highest-selling album of each member’s career to date, with over 8 million copies sold. The three singles released from it: “Woodstock,” “Teach Your Children,” and “Our House” were AM and FM hits at the time and have each proved to be enduring, defining songs of early 1970s rock.
“Imagine” — John Lennon (1971) (single)
Even among the litany of breathtakingly beautiful songs written by John Lennon, either alone, with the Beatles or with his wife, Yoko Ono (as this song was), his “Imagine” resonates. The best-selling single of Lennon’s solo-career, “Imagine” with its lyrical plea of moving beyond materialism and nationalism and towards a worldwide peace, has become a balm and anthem for people in difficult times. It has been performed at Olympic ceremonies, at tributes to the victims of war, and at memorial services worldwide. Since 1986, the original “Imagine” has been played in New York City every New Year’s Eve as its glittery ball drops signifying the end of one time and the start of a new. Over the years, “Imagine” has been one of the globe’s most often covered songs, with significant versions performed by everyone from Elton John and Lady Gaga to Dolly Parton, Diana Ross and David Bowie. From the song’s debut in 1971, its lyrics have been equal parts heartfelt and thought-provoking (and sometimes controversial) and have been rendered all the more poignant, now, in light of Lennon’s tragic, untimely death in 1980.
“Stairway to Heaven” — Led Zeppelin (1971) (single)
The familiarity of “Stairway to Heaven” can obscure the fact that it is a carefully crafted song. Jimmy Page, Led Zeppelin’s guitarist and producer, was responsible for much of the song’s structure and feel. Early in his career as a studio musician, Page had learned that one of the cardinal rules of studio work was to keep an even tempo and resist the urge to speed up at all costs. Ironically, “Stairway to Heaven” violates this rule to masterful effect, as it gradually increases speed, while adding instruments one at a time. First, we hear a lone acoustic guitar, soon a recorder enters, and, as the sound broadens, we hear vocals, a 12-string guitar and bass. Remarkably, the drums don’t enter until half way through the eight-minute song. As it gains momentum, the acoustic instruments fall away and we find ourselves listening to a fully electric hard-rock band. Bassist John Paul Jones contributed the recorder melody, lending a medieval feel to the song’s early measures. He and drummer John Bonham’s rhythm activities build to their usual huge and thunderous level. Few can imitate Robert Plant’s singing, and his lyrics, most of which were written during the band’s rehearsals, have appealed to a wide range of fans, while proving open to a bewildering number of interpretations. Finally, Page recorded one of the most tasteful solos in rock music.
“Take Me Home, Country Roads” — John Denver (1971) (single)
Though the song clearly celebrates West Virginia, its inspiration actually occurred on the winding highways of another East Coast state, rural Maryland, with a little nostalgic influence from the New England states. It was there, on one of those byways, that two of the song’s co-writers, Bill Danoff and Taffy Nivert (later to become two-thirds of the Starland Vocal Band), struck upon the feelings and imagery for the song that would become “Take Me Home….” Later, in December 1970, the duo met up with singer/songwriter John Denver at a New York City gig they were both playing. After they shared the song with him, Denver added the song’s bridge and later recorded it for his fourth album. It became that album’s first single and his breakout, career-making hit. “Take Me Home…” went on to define much of Denver’s career while also becoming a family and sing-along favorite, hitting a common ground simultaneously shared by the genres of country, folk and pop.
“Margaritaville” — Jimmy Buffett (1977) (single)
Though he began his career as a country-folk artist in Nashville in the late 1960s, it was after an early ‘70s move to Key West that Buffett seemed to find the direction, niche and even persona that would not only endure but also endear him to many generations. Buffett seemed to have created his own genre of music, one that takes life easy, enjoys the beach, the sun, the wind and waves, no matter where one happens to be. It was Buffett’s second release, 1973’s “A White Sport Coat and a Pink Crustacean” that began his transformation but it became fully realized in 1977 with the release of the LP “Changes in Latitudes, Changes in Attitudes.” And that was thanks largely to its breakthrough song “Margaritaville.” The song stayed on industry charts from April to September, scoring with pop and country audiences alike, as well as teenagers and adults. And, today, its lyrics are as memorized as any song in history, “Margaritaville” is as well known and omni-present as ever — a regular component of bars, beach parties, karaoke and any place cool vibes are required.
“Flashdance…What a Feeling” — Irene Cara (1983) (single)
A film about a determined young woman who dreams of living her life in the spotlight doing what she loves to do — dance — needed a song that fully embodied and echoed that very sentiment. In 1983, that movie was “Flashdance,” and to fashion that all-important title track, the filmmakers turned to some experts in the field of music for movies: Giorgio Moroder, Irene Cara and Keith Forsey. Their result not only worked perfectly for the final, climatic moment of the film but sprung out from it to become a major radio hit that lasted 25 weeks on the pop chart, 14 of them in the top 10. While Moroder — as he had done for previous soundtrack songs like Blondie’s “Call Me” — created the pulsating melody, Forsey and Cara, the latter already an icon for her “Fame” success, produced the lyrics, which Cara sang with her characteristic fervor and, indeed, passion. Since its ride on the charts, “Flashdance,” the song, has emerged as an enduring anthem for anyone working to prove the doubters wrong.
“Sweet Dreams (Are Made of This)” — Eurythmics (1983) (single)
David Stewart and Annie Lennox, popularly known as Eurythmics, had enjoyed some chart success prior to the release of “Sweet Dreams (Are Made of This),” but this synth-pop song with its propulsive drum and synth line proved their breakthrough hit. Stewart remembers the track coming together very quickly using a prototype drum machine and two synthesizers. Lennox was depressed and laying on the floor when suddenly this pounding rhythm came out of the speakers. Lennox leapt to her feet, asking, “What’s that?” She quickly seized one synthesizer already preset to a string ensemble sound. That, along with Stewart’s addition of one more monophonic synth line, and the track was complete. Lennox then wrote the bulk of the lyrics on the spot and sang the lead vocal in one take. With the addition of one more section, they had created one of the most recognizable tracks in pop.
“Synchronicity” — The Police (1983) (album)
For their final studio album, which eventually garnered three Grammy awards, The Police gave us a five-year distillation of their previous work that included punk, reggae, and jazz, and a sophisticated sense of melodic line and harmony that echoed the previous 50 years of classic popular song. Instead of an obvious fusion, the musical divisions are so neatly layered and dovetailed that one cannot help but not notice. It is all a dream-like musical tour: from the title song’s hypnotic and somewhat off-balance feel, to the plaintive and heart-wrenching “King of Pain,” to the ear-catching intervallic leaps and magical layering of “Tea in the Sahara.” The Police represented, not a pastiche, but a stylistic ethos. In 1988, Police singer and bassist Sting warned of not labeling music, “The labeling process limits it…gives people prejudice, when they should just be listening to music.”
“Like a Virgin” — Madonna (1984) (album)
Madonna began her cultural ascent with her self-named debut album in 1983. But, even then, few could have predicted the worldwide domination she would achieve, starting on the dance floor, with her follow-up collection, “Like a Virgin.” Madonna was taking greater control of her musical output and skillfully integrating her image with the world mood of the moment. The album did much to solidify the early iconography of the soon-to-be legend — from the bridal dress to the “Boy Toy” belt buckle — but it is the music that endures. Collaborating with the equally legendary Nile Rodgers, Madonna proved no one could craft pop quite like her. Of the nine songs originally included on the album, four became top 10 hits, and a fifth, “Into the Groove,” which was added to a latter pressing, also was a smash. With 21 million copies of this album sold, the influence of Madonna and this album especially — catchy, controversial, coy — has yet to abate, and the beats have yet to stop.
“Black Codes (From the Underground)” — Wynton Marsalis (1985) (album)
“Black Codes (From the Underground)” is regarded as one of Wynton Marsalis’ most beloved and artistically successful recordings. In contrast with the electronic and funk-infused jazz of the 1970s, these recordings hearken back to the acoustic jazz of the 1950s and ’60s, but with a distinctly 1980s flair and virtuosity. Retaining all but one member of his original quintet, the brilliant playing by everyone defined the era, and launched the group that came to be known as the “Young Lions.” Drummer Jeff “Tain” Watts, bassist Charnett Moffett and pianist Kenny Kirkland play with muscular assurance, and a guest appearance by bassist Ron Carter, an alumnus of the second Miles Davis quintet, gives a seal of approval on this new take on 1960’s post-bop jazz. Recorded when he was only 23 years old, “Black Codes” won two Grammy awards that year, including Best Jazz Instrumental Performance-Group. Two years later, in 1987, Wynton Marsalis would help start the Classical Jazz summer concert series at Lincoln Center in New York City and the Jazz at Lincoln Center department, which continues today.
Super Mario Bros. theme — Koji Kondo, composer (1985)
Perhaps the most recognizable video game theme in history, Koji Kondo's main motif for the 1985 Nintendo classic, “Super Mario Bros.,” helped establish the game's legendary status and proved that the five-channel Nintendo Entertainment System (NES) sound chip was capable of vast musical complexity and creativity. The game's main theme, or “Ground Theme,” is a jaunty, Latin-influenced melody that provides the perfect accompaniment to Mario and Luigi's side scrolling hijinks. Kondo's score laid the groundwork for an entire generation of chiptune musicians and has been performed by orchestras around the globe, befitting its status as one of the most beloved musical compositions of the last 40 years. Selected for the 2023 registry.
“All Hail the Queen” — Queen Latifah (1989) (album)
The release of Queen Latifah’s debut album “All Hail the Queen” in 1989 solidified the success of her past singles while also announcing that rap could be female, Afrocentric, and incorporate a fusion of musical genres. Those genres include reggae, as well as hip-hop, house and jazz as she raps in the song, “Come Into My House.” Moreover, Queen Latifah sang as well as rapped on the album. Lyrically, the album addresses race, gender, political and social issues that were contemporary and yet remain universal. The album was released when Queen Latifah was 19 years old. Born Dana Elaine Owens in New Jersey, Queen Latifah was not the first female rapper, but her work with other female rappers, like Monie Love, on both the single and the video for “Ladies First,” opened a new door for discussion about gender in rap. The success of “All Hail the Queen” was both a product of, and led to, Queen Latifah’s success in other areas of media.
“All I Want for Christmas is You” — Mariah Carey (1994) (single)
For the past 40 years, the lower rungs of the pop chart have been littered with attempts to launch a new Christmas standard, a song for the season to modernize the feelings that Bing Crosby and Mel Torme had so resoundingly put onto disc decades before. None of them had ever endured, however, nor taken their place with those previous hits and all the classic Christmas hymns and carols. That was until 1994 when, for her fourth collection, Carey went into the studio to make the now almost obligatory holiday album. For it, she laid down 10 songs, most of them holiday favorites like “Silent Night” and “Santa Claus is Comin’ to Town.” But, in the mix, she and collaborator/producer Walter Afanasieff (a.k.a. Baby Love) also contributed this original tune. The song was first released in October 1994, but, now, almost like Christmas itself, the song comes back again and again; it continues to chart every year. In fact, each year since 2000, the song has even charted higher than the year before! “All I Want…” has now gone 12 times platinum and is the best-selling holiday song ever recorded by a female artist.
“Pale Blue Dot” — Carl Sagan (1994)
Few people understood astronomy, planetary science and astrophysics like Carl Sagan, and even fewer could communicate it in a way that makes us think and feel a deeper connection with the universe. In 1990, as the space probe Voyager 1 was finishing its final mission, Sagan asked NASA to take a photo of Earth in a wide shot across the great span of space. The photo and concept resulted in Sagan’s 1994 book, “Pale Blue Dot,” and reminds us of the humility of being the only known species in the solar system and beyond. Reading the words is one thing, but hearing the recording, in Sagan’s own voice, really paints the perspective on how vast the universe is and the responsibility of our existence. As Sagan so eloquently speaks, “It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
“Gasolina” — Daddy Yankee (2004) (single)
Its roots source back to Panama, Puerto Rico and other Latin American countries in the 1980s. The genre now called “reggaeton” was originally described as Reggae, Reggae en Español, dancehall, hip-hop and dembow. But despite its genesis 30 years prior, reggaeton was only truly ignited with the debut of Daddy Yankee’s massive, seismic-shifting 2004 hit “Gasolina.” A song by a Latin artist first released to Latin radio, “Gasolina’s” unparalleled success quickly poured over every border, musically and geographically, hitting big with a wide swath of audiences. “Gasolina’s” aural dominance was so great that it ushered in a full reggaeton explosion and even saw various radio stations switching their formats — some even switching from English language to Spanish — to be part of the reggaeton revolution. “Barrio Fino,” the album which includes “Gasolina,” debuted at No. 1 on the Top Latin Albums chart, and “Gasolina” was the first reggaeton nominee for a Latin Grammy Award for Record of the Year. Not surprisingly, “Gasolina” is the first reggaeton recording to be added to the National Registry.
“Concerto for Clarinet and Chamber Orchestra” — Northwest Chamber Orchestra, Ellen Taaffe Zwilich, composer (2012)
Composer Ellen Taaffe Zwilich had already written the first movement of this work when the terrorist attacks of 9/11 took place. Clarinetist David Shifrin leads the Northwest Chamber Orchestra on this live recording made in Portland, Oregon, in 2004. He and several members of the ensemble had performed its premiere a year earlier, and their feeling for it comes through in the buoyancy of the first movement, suggesting the hustle and bustle of a normal working day in New York City, and in the violence, anger and sorrow of the rest of the day expressed in the subsequent movements. The 2012 CD release of this performance, and its enduring impact and reputation, are singular for a 21st century classical recording.
###
Media Contact: Brett Zongker, bzongker@loc.gov
Public Contact: Steve Leggett, (202) 707-5912, sleg@loc.gov
|
||||
1487
|
dbpedia
|
2
| 8
|
https://www.goldradiouk.com/features/song-lists/1965-best-songs-ranked/
|
en
|
The 20 best songs of 1965
|
https://imgs.goldradiouk.com/images/603203?width=1200&crop=16_9&signature=bDr50Oy_HIqsLhnRoSosbfhicZo=
|
https://imgs.goldradiouk.com/images/603203?width=1200&crop=16_9&signature=bDr50Oy_HIqsLhnRoSosbfhicZo=
|
[
"https://mediaweb.musicradio.com/player/image.aspx?i=///mediaweb.musicradio.com/artwork/ses/cdc0f2c7-ac9d-4ac3-b232-37f5a400d03e&h=144",
"https://images.musicrad.io/resizer/?image=aHR0cHM6Ly9pczMtc3NsLm16c3RhdGljLmNvbS9pbWFnZS9wZi91cy9yMzAvTXVzaWMvZTUvNWUvYWQvbXppLnBzeWtwYXV6LjYwMHg2MDAtNzUuanBn&width=225&signature=d27sVaJbSdXIvlSkKebg03LywN8=",
"https://imgs.goldradiouk.com/images/603203?crop=16_9&width=660&relax=1&format=webp&signature=Gi1ByXeqltG3UuIC0wds-UYQwQA=",
"https://www.goldradiouk.com/assets_v4r/gusto/img/facebook-share.png",
"https://www.goldradiouk.com/assets_v4r/gusto/img/x-share.png",
"https://i.ytimg.com/vi/MdWGp3HQVjU/hqdefault.jpg",
"https://i.ytimg.com/vi/RqXc-1DzcAQ/hqdefault.jpg",
"https://i.ytimg.com/vi/PclhNB8BiwI/hqdefault.jpg",
"https://i.ytimg.com/vi/9yQKDj_V4Gk/hqdefault.jpg",
"https://i.ytimg.com/vi/une981B7Q4Y/hqdefault.jpg",
"https://i.ytimg.com/vi/SyNt5zm3U_M/hqdefault.jpg",
"https://i.ytimg.com/vi/QYgJZ79FmBo/hqdefault.jpg",
"https://i.ytimg.com/vi/Qyclqo_AV2M/hqdefault.jpg",
"https://i.ytimg.com/vi/GwrwxIOwibQ/hqdefault.jpg",
"https://i.ytimg.com/vi/9JxIw58lkHQ/hqdefault.jpg",
"https://i.ytimg.com/vi/BCwkZrj2VT4/hqdefault.jpg",
"https://i.ytimg.com/vi/nagjPyNMu9Q/hqdefault.jpg",
"https://i.ytimg.com/vi/m0EBs6uRgtw/hqdefault.jpg",
"https://i.ytimg.com/vi/qN5zw04WxCc/hqdefault.jpg",
"https://i.ytimg.com/vi/PnstCrL1_e0/hqdefault.jpg",
"https://i.ytimg.com/vi/YBcdt6DsLQA/hqdefault.jpg",
"https://i.ytimg.com/vi/KOok1WzZbOY/hqdefault.jpg",
"https://i.ytimg.com/vi/IwOfCgkyEj0/hqdefault.jpg",
"https://i.ytimg.com/vi/wXTJBr9tt8Q/hqdefault.jpg",
"https://i.ytimg.com/vi/nrIPxlFzDi0/hqdefault.jpg",
"https://imgs.goldradiouk.com/images/667351?width=105&crop=1_1&format=webp&signature=fhZtZEN1ymlkbyj2XjEriwrqfR8=",
"https://imgs.goldradiouk.com/images/666890?width=105&crop=1_1&format=webp&signature=8f_Ar4mR6gX7PlsdWS1mckGtL5Y=",
"https://imgs.goldradiouk.com/images/664872?width=105&crop=1_1&format=webp&signature=itnB2P-2lsw8t-C3pr1HSVFeokU=",
"https://imgs.goldradiouk.com/images/580166?width=105&crop=1_1&format=webp&signature=CD_9uFwA-xUo_lPSrOYR3dHxC-o=",
"https://imgs.goldradiouk.com/images/664587?width=105&crop=1_1&format=webp&signature=Z60goV87eje8W19sQ-040ILVB_Q=",
"https://imgs.goldradiouk.com/images/663807?width=105&crop=1_1&format=webp&signature=LMFe8QdTdiM1vDiKe34vHgYVPSE=",
"https://imgs.goldradiouk.com/images/663769?width=105&crop=1_1&format=webp&signature=Srp6zw51tKJyMeYrZI6qMWi6AWg=",
"https://imgs.goldradiouk.com/images/662153?width=105&crop=1_1&format=webp&signature=lakGm0NMKN0NzhFKxYDCeR-yXkc=",
"https://imgs.goldradiouk.com/images/561680?width=105&crop=1_1&format=webp&signature=zKM63g4GBq9PSkWSXjSfQHhr0ho=",
"https://imgs.goldradiouk.com/images/314816?width=105&crop=1_1&format=webp&signature=upK25LO6S5BMna-4PGmWnDOpkyw=",
"https://www.goldradiouk.com/assets_v4r/dist/gusto/img/app-store-badge.svg",
"https://www.goldradiouk.com/assets_v4r/dist/gusto/img/google-play-badge.svg"
] |
[] |
[] |
[
""
] | null |
[
"Tom Eames"
] |
2023-09-13T13:46:37+01:00
|
The year 1965 was a remarkable one for music, as it saw the emergence of new genres, styles, and stars.
|
en
|
/assets_v4r/gold/img/favicon-16x16.png
|
Gold
|
https://www.goldradiouk.com/features/song-lists/1965-best-songs-ranked/
|
Barry McGuire - 'Eve of Destruction'
Barry McGuire - Eve Of Destruction (1965)
In 1965, during a period of social and political upheaval in the United States, Barry McGuire released 'Eve of Destruction', a song that would become an anthem of protest and reflection.
Written by P.F. Sloan, this powerful folk-rock ballad captured the anxieties and tensions of the era with vivid lyrics and a raw, emotional delivery.
'Eve of Destruction' is a searing critique of the state of the world, addressing issues such as war, racism, social injustice, and political instability. The song's lyrics paint a bleak picture of a world on the brink of chaos and destruction.
Barry McGuire's passionate and gravelly voice lent an air of urgency and authenticity to the song's message. His delivery was characterized by a sense of frustration and despair that resonated deeply with a generation searching for answers in a tumultuous time.
It sparked both controversy and acclaim. Some critics and radio stations initially banned it due to its confrontational lyrics, while others praised its unflinching social commentary. Regardless of the initial reception, the song struck a chord with a generation of young Americans who were becoming increasingly disillusioned with the status quo.
The Seekers - 'The Carnival is Over'
The Seekers - The Carnival Is Over (1965) 4K
'The Carnival is Over' is a song by the Australian folk pop group The Seekers, written by Tom Springfield, who also wrote their other hits 'I'll Never Find Another You' and 'A World of Our Own'.
The song was released in 1965 and became the Seekers' signature recording, as well as one of the best-selling singles of the decade. The song is based on a Russian folk song from circa 1883, adapted with original English-language lyrics.
Why The Seekers split up and became The New Seekers explained
The Russian song tells the story of Stenka Razin, a Cossack leader who threw his Persian princess lover into the Volga river to appease his rebellious comrades. The Seekers' version changes the setting to a carnival and the theme to a farewell between lovers who know they will never meet again.
The song was a huge success, reaching No.1 in the UK, Australia and Ireland, and selling over 10 million copies worldwide. It also prevented The Who from reaching No.1 with 'My Generation' in the UK.
The song is also considered a classic of Australian music and culture, and has been used in various films and TV shows.
The Animals - 'We Gotta Get Out of this Place'
The Animals "We've Gotta Get Out Of This Place" on The Ed Sullivan Show
Released in 1965 as part of their album Animal Tracks, this track quickly became an anthem for a generation, capturing the restlessness and desire for escape that many young people felt during the turbulent 1960s.
The Animals facts: Songs, members, break-up and reunions of Eric Burdon's blues rockers
The song's gritty, bluesy sound, led by Eric Burdon's distinctive vocals, gave it a raw and powerful edge that resonated with listeners. The lyrics, penned by the prolific songwriting duo Barry Mann and Cynthia Weil, struck a chord with its themes of yearning for a better life and breaking free from the confines of a small town.
It found particular resonance among American soldiers during the Vietnam War, who adopted it as an unofficial anthem of their desire to return home.
The Animals' rendition of this song embodies the rebellious spirit of the 1960s and remains relevant today.
Donovan - 'Catch the Wind'
Catch the Wind Donovan FULL SONG HiQ Hybrid JARichardsFilm
By the mid-1960s, a fresh and poetic voice emerged in the folk music scene, captivating audiences with heartfelt melodies and introspective lyrics.
Donovan, a Scottish singer-songwriter, burst onto the scene with his debut single 'Catch the Wind' in 1965, a song that would become a timeless classic and an emblem of the folk-pop genre.
Donovan's 10 greatest songs ever, ranked
'Catch the Wind' is a tender and earnest ballad that encapsulates the essence of young love and the bittersweet beauty of fleeting moments. Donovan's distinctive voice possesses a gentle, lilting quality that perfectly complements the song's wistful lyrics.
Donovan's fingerpicking guitar style provides a gentle backdrop to his emotive vocals. The song's stripped-down arrangement allows the listener to focus on the raw emotion conveyed through both words and melody.
Donovan's influence extended beyond his music, as he played a pivotal role in the folk revival of the 1960s. His ability to combine poetic lyrics with accessible melodies paved the way for a new wave of singer-songwriters who explored deeper emotional landscapes.
The Supremes - 'Stop! In the Name of Love'
The Supremes - Stop! In The Name Of Love
'Stop in the Name of Love' is a classic Motown song that was recorded by the Supremes in 1965. It was written and produced by the legendary team of Holland-Dozier-Holland, who were responsible for many of the Supremes' hits.
The song was the fourth consecutive number one single for the group on the Billboard Hot 100 chart, and it also reached number two on the R&B chart.
When The Supremes and The Temptations teamed up for a medley of each other's hits
Motown's top 20 songs, ranked
The song is about a woman who pleads with her lover to stop cheating on her and give their relationship another chance. She warns him that he will regret breaking her heart and losing her love. She uses the metaphor of a traffic cop to tell him to stop in the name of love, before he breaks her heart.
The song has a catchy chorus and a distinctive rhythm that makes it easy to dance to. The Supremes' choreography for this song involved one hand on the hip and the other outstretched in a stop gesture, which became iconic and widely imitated.
The Beatles - 'Ticket To Ride'
The Beatles - Ticket To Ride
In the spring of 1965, The Beatles unleashed 'Ticket to Ride' upon the world, forever altering the landscape of rock music. This iconic song, penned primarily by John Lennon but credited to the Lennon-McCartney songwriting duo, represents a pivotal moment in the band's evolution, transitioning from their earlier pop sound to a more mature and experimental style.
'Ticket to Ride' is a striking blend of rock and pop, with a distinctive guitar riff and an unforgettable drumbeat provided by Ringo Starr. The opening guitar notes, played by George Harrison, are instantly recognizable and set the tone for the entire song. McCartney's pulsating bassline provides a driving force that propels the track forward.
Lyrically, the song is open to interpretation but is often considered a reflection of strained relationships and the desire for independence. Lennon's distinctive vocal delivery, with its raw and raspy quality, convey a mix of melancholy and determination.
'Ticket to Ride' became an instant chart-topper on both sides of the Atlantic.
The Rolling Stones - 'Get Off of My Cloud'
The Rolling Stones - Get Off Of My Cloud (Official Lyric Video)
'Get Off My Cloud' was written by Mick Jagger and Keith Richards as a response to the pressure and expectations they faced after the success of their previous hit, '(I Can't Get No) Satisfaction'.
The song expresses the band's desire for freedom and privacy from the intrusive demands of the media, fans, and society in general.
The song begins with a drum intro by Charlie Watts and twin guitars by Brian Jones and Richards, creating a bluesy and energetic sound. Jagger sings in a defiant and sarcastic tone, telling various people to 'get off of my cloud', a metaphor for his personal space and happiness.
'Get Off My Cloud' is a classic rock song that reflects the mood and spirit of the 1960s. It showcases the Rolling Stones' talent and charisma as one of the most influential bands in music history. It also conveys a universal message of individuality and independence that resonates with listeners of all generations.
The Beatles - 'We Can Work It Out'
The Beatles - We Can Work it Out
'We Can Work It Out' is a song that showcases the creative collaboration and contrasting perspectives of Paul McCartney and John Lennon, the main songwriters of the Beatles.
The song was released as a double A-side single with 'Day Tripper' in December 1965, and was recorded during the sessions for the band's Rubber Soul album. It became the Beatles' sixth single in a row to top the US charts, and won the Ivor Novello Award for the top-selling A-side of 1965 in Britain.
The song is composed of two distinct sections: the verses and chorus, written by McCartney, and the middle eight, written by Lennon. McCartney's lyrics are optimistic and conciliatory, expressing a desire to work out the problems in a relationship, while Lennon's lyrics are impatient and realistic, acknowledging the brevity of life and the futility of fighting.
The song is a rare example of a Lennon–McCartney collaboration from this period in the Beatles' career, as they usually wrote songs separately or with minimal input from each other.
James Brown - 'Papa's Got a Brand New Bag'
James Brown "Medley: Papa's Got A Brand New Bag, I Got You (I Feel Good), It's A Man's World & more"
'Papa's Got a Brand New Bag' is a song that marked a turning point in the career of James Brown, the Godfather of Soul.
It was released as a two-part single in 1965, and it became his first song to reach the top ten of the Billboard Hot 100, peaking at number eight.
The song is widely regarded as one of the first funk songs, a genre that Brown would pioneer and dominate for the next decade. Brown sings about an old man who has a new interest in dancing and having fun. The phrase 'brand new bag' means a new way of doing things, or a new attitude.
'Papa's Got a Brand New Bag' is a song that celebrates the joy of music and dancing, and the power of change and innovation. It is a testament to the genius and legacy of James Brown, who changed the face of music with his brand new bag.
Sonny & Cher - 'I Got You Babe'
Sonny & Cher - I Got You Babe (Official Video) [HD] - Live on Top of the Pops, 1965
In the summer of 1965, the airwaves were graced by the enchanting harmonies of Sonny & Cher in their iconic hit, 'I Got You Babe'. This enduring classic remains a symbol of love and unity, not only in the realm of music but also in the hearts of fans across generations.
'I Got You Babe' by Sonny & Cher: The making of the classic '60s flower power pop duet
When Sonny & Cher reunited to perform 'I Got You Babe' for the very last time
'I Got You Babe' is a tender and heartfelt duet, with Sonny Bono and Cher's voices blending seamlessly to create a magical musical connection. The song's simple, yet catchy melody, combined with the duo's unmistakable chemistry, captures the essence of romantic devotion and the assurance that love conquers all.
Cher's distinctive contralto voice complements Sonny's tenor beautifully, creating a harmonious blend that resonates with listeners on an emotional level.
'I Got You Babe' was not just a musical success; it also catapulted Sonny & Cher to stardom. Their unique blend of folk, pop, and rock elements in this song reflected the changing times of the 1960s and resonated with the youth culture of the era.
Smokey Robinson & the Miracles - 'Tracks of My Tears'
Smokey Robinson & The Miracles - Tracks Of My Tears
This ballad was written by Smokey Robinson, Pete Moore, and Marv Tarplin, who were members of the Miracles, a vocal group signed to Motown Records. The song was released as a single in 1965 and became one of the Miracles' most successful and acclaimed songs.
The song is notable for its poetic lyrics, which use the metaphor of tears leaving tracks on the face to show the hidden sadness behind a smiling facade. Smokey admits that he is still in love with his former partner, who has left him for someone else. He tries to act happy and normal in front of his friends, but he cannot hide his true feelings from himself or from his ex-lover.
The song features a distinctive guitar intro by Marv Tarplin, inspired by a classical piece by Johann Sebastian Bach. It is also backed by a lush orchestration and a tight rhythm section, typical of the Motown sound.
Tom Jones - 'It's Not Unusual'
Tom Jones "It's Not Unusual" (April 21, 1968) on The Ed Sullivan Show
In the mid-1960s, the music world was graced by the charismatic presence and unmistakable voice of Tom Jones, and one of his most iconic hits, 'It's Not Unusual', became an instant sensation.
Released in 1965, this song catapulted Jones to international stardom and remains an enduring classic to this day.
Tom Jones recalls astounding moment Elvis Presley sang his own song to him the first time they met
The song is a vibrant and infectious tune that effortlessly blends elements of pop, rock, and soul. The song's arrangement is a fusion of horns, catchy rhythms, and Jones's powerhouse vocals. From the very first notes, it's impossible not to tap your feet and feel the urge to dance along.
'It's Not Unusual' became a defining song of the 1960s and solidified Tom Jones's status as a musical icon. Its popularity has endured over the decades, and it remains a staple at weddings, parties, and dance floors worldwide.
The Righteous Brothers - 'Unchained Melody'
Righteous Brothers -- Unchained Melody (Live, 1965) (Picture and Sound Restored)
'Unchained Melody' is one of the most recorded songs of the 20th century, with over 1,500 versions by more than 670 artists in multiple languages.
The song was originally composed by Alex North and written by Hy Zaret for the 1955 prison film Unchained, where it was sung by Todd Duncan. The title refers to the longing of a prisoner for his lover, who is waiting for him outside.
The song became a hit in 1955, when three different versions (by Les Baxter, Al Hibbler, and Roy Hamilton) reached the top 10 in the US charts. However, the most famous and enduring version of the song was recorded by The Righteous Brothers in 1965, as a solo by Bobby Hatfield.
The duo were known for their blue-eyed soul style, blending R&B and pop vocals with orchestral arrangements. Hatfield changed the melody in the final verse, giving the song a more dramatic and emotional climax.
The Righteous Brothers' version of 'Unchained Melody' was produced by Phil Spector, who used his signature 'Wall of Sound' technique to create a rich and powerful sound. The song was initially released as a B-side to 'Hung on You', but it soon became more popular and reached number four on the Billboard Hot 100. The song also topped the UK charts twice, in 1965 and 1990.
The song's popularity was revived in 1990, when it was featured in the romantic film Ghost, starring Patrick Swayze and Demi Moore. The scene where the couple makes pottery while listening to the song became iconic and boosted the sales of the song.
The Who - 'My Generation'
The Who - My Generation
This is one of the most iconic songs of the 1960s, expressing the rebellious spirit and frustration of the youth culture at the time.
The song was written by Pete Townshend, the guitarist and main songwriter of The Who, who was inspired by various influences, such as the Queen Mother, who allegedly had his hearse towed away, Mose Allison's 'Young Man Blues', and the Mod subculture that he belonged to.
'My Generation' by The Who: The making of the ageless anthem for rebellious youth
The Who facts: Members, songs, films, break-up and reunion of the mod icons
The song features a distinctive vocal style by Roger Daltrey, the lead singer, who stuttered on some words to create a sense of urgency and defiance. The song also showcases the powerful rhythm section of John Entwistle on bass and Keith Moon on drums, who added a dynamic and explosive sound to the song.
The song ends with a feedback noise created by Townshend's guitar, which was one of the earliest uses of this technique in rock music.
The song's lyrics are a simple but effective statement of youthful rebellion, challenging the older generation and their values. The most famous line of the song is 'I hope I die before I get old', which reflects the attitude of living fast and dying young that many young people adopted in the 1960s.
The Byrds - 'Mr Tambourine Man'
The Byrds "Mr. Tambourine Man" on The Ed Sullivan Show
The Byrds' iconic rendition of Bob Dylan's 'Mr. Tambourine Man' remains a cornerstone of the folk-rock genre, and its unforgettable mark on the cultural tapestry endures to this day.
Released in 1965, 'Mr. Tambourine Man' was not merely a cover; it was a reimagining that transformed Dylan's acoustic ballad into a shimmering, psychedelic masterpiece. The ethereal harmonies and jangling 12-string Rickenbacker guitar, played by Roger McGuinn, introduced a new sonic dimension to folk music, giving birth to the genre known as "folk-rock."
'Mr Tambourine Man' by The Byrds: The making of the folk-rock masterpiece
Lyrically, the song is a poetic journey into the whimsical and surreal, as the narrator implores the mysterious 'Mr. Tambourine Man' to play a song that will transport him away from the troubles of the world.
What truly distinguishes The Byrds' rendition is their harmonious vocal blend. The three-part harmonies of McGuinn, Gene Clark, and David Crosby create an otherworldly atmosphere, evoking a sense of transcendence and euphoria.
'Mr. Tambourine Man' became an anthem of the 1960s, capturing the spirit of a generation searching for meaning and escape in a rapidly changing world. It encapsulated the era's yearning for liberation, both from societal norms and the constraints of everyday life.
The song's influence reverberated throughout the music industry, inspiring countless artists to explore the fusion of folk and rock. It marked the beginning of a folk-rock revolution that would give rise to iconic bands like Crosby, Stills, Nash & Young and the Eagles.
The Beatles - 'In My Life'
In My Life (Remastered 2009)
From the Rubber Soul album, this song was written primarily by John Lennon and credited to Lennon–McCartney. George Martin contributed the piano solo bridge, which was actually a piano recording played at double speed.
The song is considered one of the Beatles' finest and most personal songs, as it reflects Lennon's nostalgia for his childhood and his love for his friends and family. According to Lennon, the song was inspired by a remark from English journalist Kenneth Allsop, who suggested that Lennon should write songs about his own life.
Lennon then wrote a long poem based on a bus route he used to take in Liverpool, but later revised it to make it more general and universal.
The song has a simple melody and a gentle rhythm, with Lennon's vocals conveying a sense of warmth and sincerity. The lyrics express gratitude and affection for the people who have been part of his life, some of whom are dead and some are living. The song also acknowledges that things change and life goes on, but the memories remain in his heart.
The song is also one of the most popular choices for weddings and funerals, as it expresses a deep and lasting love for the people who matter most in one's life.
The Mamas & the Papas - 'California Dreamin''
The Mamas & The Papas - California Dreamin' (Official HD Video)
This song was written by John Phillips and Michelle Phillips, who were members of the group and a married couple at the time. The song expresses their nostalgia for the sunny and warm California, where they had lived before moving to New York City in 1963.
The song also reflects their dissatisfaction with the cold and dreary winter in New York, as well as their longing for a more free and adventurous lifestyle.
'California Dreamin' by The Mamas & the Papas: The making of the sunshine pop classic
The Mamas and the Papas facts: Members, songs, albums and more about the 'California Dreamin'' stars
The song begins with a distinctive guitar intro by PF Sloan, followed by Denny Doherty's lead vocal, which is accompanied by the harmonies of John, Michelle, and Cass Elliot.
The lyrics describe a scene where the narrator walks on a winter's day and stops into a church to pretend to pray. The preacher knows that the narrator is not sincere and is only there to escape the cold.The song also features an alto flute solo by Bud Shank, which adds a melancholic and exotic touch to the song.
The song was not an immediate hit when it was released, but it gained popularity after being played by a radio station in Boston. It also became an anthem of the emerging counterculture movement, as it represented the ideal of escaping from the conventional society and pursuing one's dreams.
Bob Dylan - 'Like a Rolling Stone'
Bob Dylan - Like a Rolling Stone (Official Audio)
'Like a Rolling Stone' is one of the most influential songs in the history of rock music. It was released in 1965 by Bob Dylan, who was then a young folk singer who had just switched to electric guitar and band.
The song marked a radical departure from his previous acoustic style, and challenged the conventions of popular music at the time.
When Bob Dylan was furious about The Beatles ripping him off: "I invented it!"
The song tells the story of a wealthy woman who falls from grace and becomes a homeless outcast. The lyrics are harsh and sarcastic, mocking her former lifestyle and asking her repeatedly, "How does it feel?"
The song is notable for its musical structure and innovation. It is over six minutes long, which was unusual for a single at the time. It has no chorus, but four verses and a bridge that vary in length and rhyme scheme. It features a distinctive organ riff by Al Kooper, who improvised it during the recording session.
The song had a huge impact on the culture and music of the 1960s and beyond. It was ranked as the number one song of all time by Rolling Stone magazine in 2004 and 2010.
The Beatles - 'Yesterday'
Yesterday (With Spoken Word Intro / Live From Studio 50, New York City / 1965)
'Yesterday' by The Beatles is a song that has become a classic in the history of popular music. It is a melancholic ballad about a man who regrets losing his lover and wishes he could go back to the past.
The song was written by Paul McCartney, who claimed that he dreamed the entire melody one night and then composed the lyrics and arranged the music with the help of producer George Martin.
When Paul McCartney busked 'Yesterday' on London's streets and nobody noticed
These isolated a cappella vocals from the Beatles on 'Yesterday' and 'Penny Lane' are spine-tingling
The song was released in 1965 as part of the album Help! in the UK and as a single in the US, where it reached number one on the charts. It was also the first Beatles song to feature only one member of the band, as McCartney sang and played acoustic guitar accompanied by a string quartet.
The song has been covered by more than 2,200 artists, making it the most covered song ever recorded. Some of the notable versions include those by Frank Sinatra, Elvis Presley, Ray Charles, Marvin Gaye, and Bob Dylan.
The Rolling Stones - 'Satisfaction'
The Rolling Stones - (I Can't Get No) Satisfaction (Official Lyric Video)
'Satisfaction' by The Rolling Stones is a timeless rock 'n' roll anthem that was released in 1965. Written by Mick Jagger and Keith Richards, this song has left a memorable mark on the music world.
The opening guitar riff, crafted by Keith Richards, is instantly recognizable and sets the tone for the entire track. Jagger's distinctive vocals, full of raw energy and passion, deliver lyrics that convey a sense of restlessness and desire.
'(I Can't Get No) Satisfaction' by The Rolling Stones: The making of the riff-tastic anthem
The Rolling Stones' 25 greatest songs, ranked
The song's rebellious spirit and provocative lyrics made it an instant hit and a symbol of youth counterculture in the 1960s. 'Satisfaction' became an anthem for a generation that was questioning the norms and seeking something more in life.
'Satisfaction' by The Rolling Stones is not just a song; it's a cultural phenomenon. Its powerful combination of rock, blues, and social commentary continues to resonate with audiences of all ages, making it a song that will forever be cherished in the annals of music history.
|
||
1487
|
dbpedia
|
1
| 57
|
https://www.billboard.com/pro/billboard-chart-history-evolution-milestones/
|
en
|
How the Charts Have Evolved Across Billboard’s History: The Hot 100, Billboard 200 & More
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.billboard.com/wp-content/uploads/media/01-elton-john-chart-milestone-125-billboard-1548.jpg?w=942&h=623&crop=1",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Gary Trust"
] |
2019-11-14T15:35:50+00:00
|
Take a trip through the history of Billboard charts, which have welcomed everyone from Frank Sinatra to Frank Ocean, and all the other artists who keep the charts, as much as ever, bright and interesting.
|
en
|
Billboard
|
https://www.billboard.com/pro/billboard-chart-history-evolution-milestones/
|
“A monthly résumé of all that is new, bright and interesting on the boards.”
That’s how Billboard began, per its mission statement in the first issue, dated Nov. 1, 1894. Upon its launch, the eight-page magazine was “devoted to the interests of advertisers, poster printers, bill posters, advertising agents & secretaries of fairs.”
As the decades went on, and the entertainment business evolved from carnivals and circuses to greater consumption of recorded music, so did Billboard, which, by the 1940s, was on its way to becoming more known for what has been a hallmark since: our music charts.
From the first regularly published R&B and country surveys in the 1940s to newer charts and changes in methodologies through today, as jukeboxes gave way to 8-tracks, cassettes, CDs, mp3s and more, Billboard‘s charts (now shared online worldwide, in addition to printed pages) have progressed as well, always with the aim of reflecting the most popular music in the United States.
Below, take a trip through the history of Billboard charts, which have welcomed everyone from Frank Sinatra to Frank Ocean, and all the other artists who keep the charts, as much as ever, bright and interesting.
July 27, 1940: Billboard publishes its first top 10 singles chart, Best Selling Retail Records, with Tommy Dorsey’s “I’ll Never Smile Again” (featuring vocals by Sinatra) at No. 1.
Oct. 24, 1942: The first R&B chart, Harlem Hit Parade, is published. Like many Billboard charts, its name would change several times over the years.
Jan. 8, 1944: The first country chart, Most Played Juke Box Folk Records, is published.
March 24, 1945: Billboard’s first album chart, Best Selling Popular Record Albums, debuts. But an albums chart would not be published on a consistent, weekly basis until 1956.
Nov. 12, 1955: The Top 100 singles chart launches. It’s the publication’s first all-encompassing, 100-position chart. The first No. 1: Four Aces’ “Love Is a Many Splendored Thing.”
March 24, 1956: The first regularly published weekly albums chart, Best Selling Popular Albums, debuts; this chart would eventually become known as the Billboard 200.
Aug. 4, 1958: The Billboard Hot 100 launches, replacing the Top 100. The first No. 1: “Poor Little Fool” by Ricky Nelson.
May 25, 1959: The album chart splits in two: Best Selling Monophonic LPs and Best Selling Stereophonic LPs. The names and depths of the charts would change slightly over time, but Billboard would publish two charts for mono and stereo albums until Aug. 10, 1963.
July 17, 1961: The Easy Listening chart debuts; it will later become the Adult Contemporary chart.
Aug. 17, 1963: The mono and stereo LP charts fold back into one overall chart known as Top LP’s. The 150-position chart would grow to 175 positions on April 1, 1967.
Jan. 11, 1964: The Top Country Albums chart debuts.
Jan. 30, 1965: What is now known as the Top R&B/Hip-Hop Albums chart debuts.
May 13, 1967: The Top LP’s chart expands to 200 positions, where it has remained ever since.
Feb. 19, 1972: The name of the Top LP’s changes to Top LP’s & Tapes.
Oct. 26, 1974: Billboard’s first dance chart, Disco Action, is published. Becoming a national survey on Aug. 28, 1976, it will eventually be renamed Dance Club Songs.
June 7, 1975: Elton John’s Captain Fantastic and the Brown Dirt Cowboy becomes the first LP to debut at No. 1 on Top LP’s & Tapes, one of only six albums to do so on the albums chart until the SoundScan era begins in 1991.
March 21, 1981: The first rock-specific charts, Top Rock Tracks (now Mainstream Rock Songs) and an early version of Rock Albums, debut.
Oct. 20, 1984: The Top LP’s & Tapes chart becomes the Top 200 Albums. It later is renamed Top Pop Albums (Jan. 5, 1985) and then The Billboard 200 Top Albums (Sept. 7, 1991). Its current name, Billboard 200, is adopted on March 14, 1992.
June 29, 1985: The first weekly Latin chart, Top Latin Albums, is published.
Oct. 4, 1986: The Hot Latin Songs chart launches.
Sept. 10, 1988: The Alternative Songs airplay chart debuts, reflecting the growing influence of R.E.M., U2 and others.
March 11, 1989: The first rap chart, Hot Rap Singles, is published.
Jan. 20, 1990: Billboard begins using Broadcast Data Systems’ (BDS) electronically-tracked airplay monitoring system for the Hot Country Songs chart. It was the first Billboard chart to employ BDS data. BDS’ information would later filter across all of our airplay charts.
May 25, 1991: The Top Pop Albums chart begins using SoundScan Inc.’s electronically monitored point-of-sale information to power its rankings. Billboard’s then-publisher, Howard Lander, wrote in that week’s magazine, “For more than 30 years, our sales charts have relied on rankings of best-selling records obtained from stores, over the telephone or by messenger service. Until now, the only technological changes have been the introduction of computer to tally the data more quickly and the recent usage of fax machines, but the basic methodology has remained the same. With [this week’s charts], we are proud to begin using actual piece counts on our two leading [album] charts: Top Pop Albums and Top Country Albums.”
Following this change, the behavior of albums’ movement on the albums chart noticeably changed. Quickly, rap, hard rock and country albums occupied higher rankings on the list, and albums began frequently debuting at No. 1. The first album to bow at No. 1 after the introduction of SoundScan’s data was Skid Row‘s Slave to the Grind on the list dated June 29, 1991. Six more No. 1 debuts followed in 1991: four rock albums, one country set (Garth Brooks‘ Ropin the Wind) and Michael Jackson‘s Dangerous. Since SoundScan data began powering the chart in 1991, more than 700 albums have debuted at No. 1. (SoundScan and BDS are now Nielsen Music.)
Nov. 30, 1991: The Billboard Hot 100 transforms from a tally combining ranked airplay and sales reports submitted by radio stations and retailers, respectively, to one based on electronically-monitored airplay by Broadcast Data Systems (BDS) and singles sales data from SoundScan.
Oct. 3, 1992: The Nielsen-based Mainstream Top 40 (also known as Pop Songs) and Rhythmic airplay charts debut, reflecting a splinter at the format following the pop-dominated ’80s, as hip-hop and grunge took hold in the early ’90s. The first No. 1 on each list? Ironically, given its title: Boyz II Men‘s “End of the Road.”
Sept. 18, 1993: The Adult R&B Songs airplay chart launches.
Jan. 20, 1996: The Triple A (Adult Alternative Songs) airplay chart debuts.
March 16, 1996: The Adult Top 40 (Adult Pop Songs) chart, a spinoff of Adult Contemporary featuring more uptempo fare, begins appearing in Billboard‘s pages.
Dec. 5, 1998: For the first time in the Hot 100’s then-40-year history, songs do not need to be commercially-available singles (at the time on CD, cassette or vinyl). By the mid-’90s, record labels were promoting many songs to radio but withholding their physical single releases, hoping that listeners would then buy the songs’ (more expensive) parent albums.
June 21, 2003: The Hot Christian Songs chart begins.
Feb. 12, 2005: The Hot 100 begins incorporating digital sales data, reflecting the rise of iTunes, among other online retailers; the Digital Song Sales chart begins ranking the top-selling downloads of the week.
March 19, 2005: The Hot Gospel Songs chart starts.
Dec. 11, 2010: As fan armies become a force online, the Social 50 chart debuts, reflecting the top acts based on social-media fan reaction. The first act at No. 1? Thanks to the Navy, Rihanna.
Dec. 10, 2011: The Holiday 100 chart begins ranking the top holiday hits of all eras using the same methodology as the Hot 100.
March 24, 2012: The On-Demand Streaming Songs chart debuts, reflecting streaming behavior on on-demand audio platforms.
Oct. 20, 2012: In a large-scale revamp, genre charts like Hot Country Songs and Hot Rock Songs all adopt the Hot 100’s streaming, airplay and sales data formula to better reflect listener behavior.
March 2, 2013: The Hot 100 begins incorporating YouTube data. Sparked by the addition, Baauer‘s viral hit “Harlem Shake” debuts at No. 1.
July 19, 2014: Billboard‘s first weekly artist ranking, the Artist 100, debuts, measuring popularity in a range of metrics.
Dec. 13, 2014: The Billboard 200 becomes a multi-metric popularity chart ranking overall consumption, measuring traditional album sales, track equivalent albums and streaming equivalent albums. The new methodology was devised to provide a better sense of an album’s popularity by reflecting not just sales, but overall activity. (A pure sales chart was simultaneously launched as well: Top Album Sales. It maintains the previously methodology employed by the Billboard 200, comprising Nielsen’s sales data exclusively.) The first No. 1 on the consumption-based chart was Taylor Swift‘s 1989.
Aug. 4, 2018: The Hot 100 celebrates its milestone 60th anniversary. Chubby Checker‘s “The Twist” is crowned top song and The Beatles, top artist.
March 21, 2019: In addition to long-running weekly Billboard Boxscore reporting, covering the top events submitted each week, Billboard introduces a monthly boxscore series, where “we’ll chart the top events of each calendar month, providing a more accurate and comparative look at performances over a standardized period.”
June 15, 2019: While Billboard has long ranked top songwriters and producers at years’ end, the weekly Hot 100 Songwriters and Hot 100 Producers charts, along with genre-based versions, begin publishing. “We’re extremely excited to acknowledge the top creative forces behind music’s biggest hits on a weekly basis,” notes Silvio Pietroluongo, Billboard svp of charts and data development. “A songwriter or producer’s influence and importance within the industry and beyond certainly merits recognition beyond our yearly rankings.”
|
|||||
1487
|
dbpedia
|
1
| 16
|
https://www.rollingstone.com/music/music-news/pink-floyd-release-rare-1965-their-first-recordings-ep-61228/
|
en
|
Pink Floyd Release Rare ‘1965: Their First Recordings’ EP
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif",
"https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif"
] |
[] |
[] |
[
""
] | null |
[
"Daniel Kreps"
] |
2015-12-02T23:20:00+00:00
|
Amid the Black Friday stock of Record Store Day exclusives, Pink Floyd quietly released a limited edition EP titled 1965 – Their First Recordings.'
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/pink-floyd-release-rare-1965-their-first-recordings-ep-61228/
|
Amid the Black Friday stock of Record Store Day exclusives, Pink Floyd quietly released a limited edition six-song EP titled 1965 – Their First Recordings. The collection, recorded prior to the group’s seminal 1967 album The Piper at the Gates of Dawn, features Syd Barrett, Roger Waters, Nick Mason and Richard Wright along with then-guitarist Rado Klose, a classmate of Waters and Barrett’s. The EP’s six songs – including the oft-bootlegged Slim Harpo cover “I’m a King Bee” and “Lucy Leave” – were recorded when the band was still known under monikers like Sigma 6 and the Abdabs.
Pink Floyd confirmed the EP was an official release Monday. “To mark 50 years since the tracks were recorded, Pink Floyd have released a limited edition set of two seven-inch singles containing the band’s first recordings,” the statement read. For non-U.K. fans that missed out on the 1,000-copy EP – which featured a cover design inspired by a photo by Hipgnosis Creative Director Aubrey Powell – the band promised that they “hope to make them available in some physical form towards the end of next year.”
Trending
The R&B-infused recordings feature four Barrett originals (“Remember Me,” “Lucy Leave,” “Double O Bo” and “Butterfly”) as well as “Walk With Me Sydney,” one of Waters’ earliest compositions; the latter track features background vocals from Juliette Gale, who would later marry Wright. Andy Jackson of Tube Mastering and Ray Staff of AIR Studios mastered the original analogue tapes for the sharp-sounding 1965.
|
|||||
1487
|
dbpedia
|
2
| 14
|
https://bowiesongs.wordpress.com/
|
en
|
Pushing Ahead of the Dame
|
[
"https://bowiesongs.wordpress.com/wp-content/uploads/2024/07/lzj.jpg?w=485",
"https://bowiesongs.wordpress.com/wp-content/uploads/2024/07/moss.jpg?w=676",
"https://bowiesongs.wordpress.com/wp-content/uploads/2024/07/dancingst.jpg?w=677",
"https://bowiesongs.wordpress.com/wp-content/uploads/2024/07/lfors.jpg?w=509",
"https://bowiesongs.wordpress.com/wp-content/uploads/2024/07/wherer.jpg?w=572",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2020/12/bowie-xmas.gif?w=499",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/dbbudd.jpg?w=600",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/daily_mirror_wed__nov_3__1993_.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/budda.jpg?w=600",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/the_daily_telegraph_sat__nov_13__1993_.jpg?w=882",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/db93.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/11/spheres.jpg?w=568",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/07/idiots.jpg?w=904",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/07/3456px-mapcarta.jpg?w=1024",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/tndgaurdain.jpg?w=849",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/rockinon.jpg?w=702",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/db_jimmyking1.jpg?w=600",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/palmerdeep.jpg?w=433",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/dbking.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/db74alt.png?w=733",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/block1-1.jpg?w=632",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/barnbrook.png?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/20230310_094037.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/barnbrook.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/starr-2.jpg?w=660",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/nextt.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/analysis.jpg?w=628",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/db2013jk.jpg?w=836",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/ifyoucanseeimeicanseeyou.jpg?w=783",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/dbnext.jpg?w=403",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/where2.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/explainer.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/plan.jpg?w=628",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/03/dbk.jpg?w=820",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/01/db13.jpg?w=736",
"https://bowiesongs.wordpress.com/wp-content/uploads/2023/01/to-db-500.jpg?w=500",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2020/12/bowie-xmas.gif?w=499",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/outake1.jpg?w=640",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/43_org.jpg?w=777",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/mirror72.jpg?w=680",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/fulf2hmwuaeqghj.jpg?w=477",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/boure.jpg?w=356",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/fuktvlhwaamrtdu.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/zsmastertape1.jpg?w=800",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/ladyslyric.jpg?w=795",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/r-2287105-1599281815-2514.jpg?w=450",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/zsmastertape2.jpg?w=800",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/scmusic.jpg?w=700",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/privilege.jpg?w=745",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/bowie-ziggy-stardust-record-inner-sleeve.jpg?w=1024",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/r-596511-1229637491.jpg?w=599",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/r-1796059-1433659749-1393.jpg?w=600",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/tumblr_n6eafjxs0d1qaszffo2_500.jpg?w=500",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/e7txtnbxoaa9zco.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/dyw_2fax0aajbg2.jpg?w=453",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/r-1065569-1189448414.jpg?w=594",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/06/guardina02.jpg?w=545",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dc.jpg?w=642",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/david-bowie-childhood-14.jpg?w=640",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dbkonradds.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/konradsdb.jpg?w=742",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/bbc-audition-report_2000-730x1024-1.jpg?w=730",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/emixou5xuaae2ho.jpg?w=680",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/febeaxax0aue0lx.jpg?w=526",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dwmypypx0aa4se-.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/recmirro67.jpg?w=749",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/herm.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/20220107_102120.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/gaimandb.jpg?w=700",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/staram.jpg?w=620",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/20220107_163020.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/daily_news_sun__jun_18__1972_.jpg?w=540",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/ec1ivnhwkacqsm3.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/182.-david-bowie-1973-1057a_38a_39-copy.jpg?w=667",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/db288.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dogs.jpg?w=630",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/edt5o8rx0aakbwk.jpg?w=1005",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/20220107_163251.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/kent76.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/david-bowie-cover-rolling-stone-rock_1_4909fa75372ed11d64b9bd3996e5adcd.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/defenders52.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/fg1v1b6xiaspah1.jpg?w=812",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/circusjan77a.jpg?w=826",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/b4sarmsiuaafvdv.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/heroes-lyric.jpg?w=390",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/29616.jpg?w=660",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/78book.jpg?w=414",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dbgruen.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/upthehill.jpg?w=497",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/facenov80.jpg?w=409",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/82rt.jpg?w=460",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/83rs.jpg?w=477",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/la_weekly_thu__jun_16__1983_.jpg?w=777",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/velvet-goldmine-tommy-stone.jpg?w=600",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/cxhqyk3umaa1etm.jpg?w=493",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/87faceglassmaybe.jpg?w=409",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/tincass.jpeg?w=504",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/eno1.jpg?w=569",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/ca0121f08691d87e6c553a64eb14cf23-david-bowie-starman-pre-wedding.jpg?w=736",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/sexchurch.jpg?w=740",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/trainspott.jpg?w=588",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/dpwghrrwaamp2ue.jpg?w=750",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/af42bcf67b91a4d04bbe16a08a7bad8c-magazine-design-editorial-design.jpg?w=468",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/800px-president_bill_clinton_speaks_with_david_bowie_and_his_band.jpg?w=800",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/omikron-the-nomad-soul-screenshot_1280.0.0.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/tc.jpg?w=756",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/e7txtnbxoaa9zco.jpg?w=1024",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/filter.jpg?w=468",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/15241430_10155547459187699_8210789283934465390_n.jpg?w=825",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/db2009.jpg?w=435",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/voge_french_kate-moss-channels-david-bowie-on-the-cover-of-french-vogue-december-2011-on-exshoesme.com_.jpg?w=640",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/nme02mar13.jpg?w=452",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/blackstarjourn1.jpg?w=740",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/david-bowie_bts_exclusive_g4q9951_2015nov-2-920x610-1.jpg?w=848",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/blackstr2.jpg?w=380",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/bstar4.jpg?w=395",
"https://bowiesongs.wordpress.com/wp-content/uploads/2022/01/4_plaistow_grove_sundridge_bowie_plaque.jpg?w=1024",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/speech_bubble.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/documents.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/permalink.gif",
"https://s2.wp.com/wp-content/themes/pub/contempt/images/blog/figure_ver1.gif",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] | null |
David Bowie, song by song
|
en
|
https://s1.wp.com/i/favicon.ico
|
Pushing Ahead of the Dame
|
https://bowiesongs.wordpress.com/
|
You often ask me why I don’t write. I could answer you by saying I have no sense of history. It costs me an entire day’s effort to think about the next day.
Guillermo Cabrera Infante, Tres Tristes Tigres.
EFFIGIES INDULGENCES ANARCHIST
When I engaged with it deeper, I found the longer you sit with it the better you see the trick he’s trying to pull. I can see he was trying to pull off something quite grand and meta. Whether the material started off intended for a musical or as some kind of experiment or exercise to build back his songwriting chops, maybe that’s one of the reasons why it’s got some weird shapes and so much surplus detail.
One of my conclusions about it is that it works best when you consider it as assemblage art, like the key is not only seeing what it resembles, but also seeing the various parts and remnants that comprise it, the bolts and screws and seams, the proximities of everything.
Leah Kardos, on The Next Day
VIOLENCE CHTHONIC INTIMIDATION
Not long ago at all, was it? Not very. Find a photograph from 2013 and have a look: not much has changed. Lots of superhero movies. Something ridiculous or awful happens and you complain about it on some social medium. The fashions, the haircuts, even the phones haven’t altered much. Well, you were younger: there’s that.
Number one hits include “Harlem Shake,” “Blurred Lines,” “Get Lucky,” “Roar,” “Thrift Shop”: songs for which I can’t imagine anyone having nostalgia (cue young nostalgists). There are no scuffed stand-six-feet-apart footprint marks on store floors, no masks on airplanes. The President of the United States is Barack Obama. The Prime Minister of the United Kingdom, a member state of the European Union, is David Cameron. The President of Russia is Vladimir Putin, who in September writes an editorial in the New York Times: “It is extremely dangerous to encourage people to see themselves as exceptional, whatever the motivation. There are big countries and small countries, rich and poor, those with long democratic traditions and those still finding their way to democracy. Their policies differ, too. We are all different, but when we ask for the Lord’s blessings, we must not forget that God created us equal.”
In 2013, I’m doing this blog and slowly writing the book that will become Rebel Rebel. I don’t know the woman to whom I’m now married, but she has recently moved to New York from London. I’m living in a place where I don’t live anymore.
David Bowie is alive in 2013. So is Prince, Anna Karina, Chadwick Boseman, Tom Petty, Leonard Cohen, Walter Abish, Tom Verlaine, George Michael, Queen Elizabeth II, my dog.
VAMPYRIC PANTHEON SUCCUBUS
Who was “David Bowie” in 2013? That’s what was gnawing at him: was he past it? Was this a folly? Did the world need a new David Bowie record? Would he be better off remaining an absence?
The Next Day came out on the same day that Eric Clapton released Old Sock, whose cover photo is a selfie. Old Sock: now that’s a title you give an album released in your sixth performing decade, an album which only your devoted longtime fans will buy. A dad Christmas present: you’ll find it on a shelf a year later, still in its shrink wrap. Was Bowie making an Old Sock? (As it turned out, Bowie gave Clapton that title.)
It’s what Alfred Soto feared in his SPIN review:
“The Next Day is an album that didn’t need to be made. Plenty of his contemporaries—including Elton and the Stones —still release albums at his level of craft, a couple of which sundry publications have even patted on the head and cited in year-end lists. But because Bowie requires context and reactive poses for vitality—and uses distance as a muse—his albums don’t function as mere singer-songwriter collections; they demand to be accepted as statements. He can’t, at 66, suddenly cultivate a new imaginary universe commensurate with the demands of such an infamous style thief and aesthetic flâneur. Does he still require vampiric devotion at the level described in “The Stars (Are Out Tonight)”?”
The secrecy of the LP’s making, its sense of being a heist in which the aim was to smuggle something into the museum, was in part meant to lessen the inevitable letdown—the first new Bowie album in ten years would be defined more by its surprise existence. The deftness of its making was more notable in the press than any of its tracks. Marketed by silence, with vigorous obscurity: no interviews, no explanations, no glad-handing, just cryptic slogans, masks, and code words. The album cover was the absence of one, an erasure of one.
HOSTAGE TRANSFERENCE IDENTITY
That was the public context, the scaffolding, of The Next Day—the Bowie “comeback” record, the one that he made as if in witness protection, the opening chapter of what would be the last Bowie narrative.
As time spools on, the scaffolding drops away. It always does. There was a context that we no longer have for Young Americans—-how a diehard Ziggy Stardust fan felt when he heard Bowie doing “soul.” How the soul Bowie fan felt when she first put on Low. How someone who loved Low felt when she first heard “Let’s Dance” on the radio, knowing Bowie was no longer hers. How a kid who only knew Bowie through “Let’s Dance” felt when he saw Bowie sing “The Hearts Filthy Lesson” on Letterman.
The privilege of a point in time is to experience something in a way that everyone who comes later can only approximate. The mistake is to think this will matter. Like a gambling house, the future always wins.
Ten years on, what is The Next Day? A Bowie “late work,” the crankier older sister to Reality, the lead-up to Blackstar, that wasn’t as good as Blackstar, that’s underrated compared to Blackstar (I’ve seen the latter argument of late). Even this sort of cause-and-effect structuring is shaky. The Next Day, Bowie’s first streaming-era album, already lacked definition: it existed in competing editions, with various songs appended (three bonus tracks currently aren’t streaming and thus, to many, no longer exist—the album already has apocrypha). Its sequencing never seemed right, as if Bowie knew its fate was to be shuffled through, to wind up as another source of Bowie Content: songs guided by inscrutable algorithm into a “Heavy Moods” playlist (“Where Are We Now”), or licensed for a moderately edgy Showtime drama in 2026 (“Love Is Lost”).
MAUER INTERFACE FLITTING
The truth was that now that I had time to stop in front of the stores after months of ignoring their existence, they had too much to say to me.
Alejo Carpentier, The Lost Steps.
Its first set of songs were tracked in early May 2011, though vocals were done sometimes over a year later. Many of these share a mood: they’re loud, raucous, a bit strained. Working back into shape with his fists, it’s Bowie in training montage, as if in a Rocky movie. (With asides by commenters from the original blog entries in 2015.)
The Next Day. The first track Bowie cut upon his return to the studio, and it sounds like a starter: a sparse construction, with long stays on the home chord. Here I am, not quite dying!; a lyric in part inspired by Robert Palmer’s study of Senegambian griots, who are thought to converse with evil spirits, their bodies left to rot in hollow trees. Momus: It feels to me like a movie trailer, which hypes up an action film by packing way too much catastrophe into too little space. DB self-references: “Repetition,””New Killer Star.”
Atomica. Sharing with “Next Day” a harmonic stinginess and a guitar sound that manages to seem dated without quite having a time to date back to (so, very Bowie). Meta-banality? Some lines now read as if generated by ChatGPT. It goes on too long. Deanna K: And that’s the problem with the album! Songs don’t die on their own terms, they’re put on life support but then eventually shot when it gets too expensive for everyone. ‘Just die already!’, they yell.
How Does the Grass Grow? Along with the title track, a sign that The Next Day will be stocked with old violence; the guitar solos sample Bowie eras as if moving between aisles in a warehouse. Though Tony Visconti once said the track “was very different, new Bowie, new-style Bowie,” its refrain is that of Jerry Lordan’s 1960 “Apache,” overt enough for Lordan’s estate to get co-composition credit. Gcreptile: It sounds a bit as if all the unused ideas for this album were crammed into a single song. I do like the high voice in the bridge, which reminds me of old 60s/70s songs like “Sugar Baby Love” or something like that. DB self-reference: “Boys Keep Swinging.”
You Feel So Lonely You Could Die. A keeper—it sounds even more sumptuous today. A line that makes me crack up now: how Bowie sings “you got the blues, my friend!” in this dotty, vicious register, making this nondescript line a curse by a petty God (“people don’t like you!”). Billter: I’ve been thinking more about this song’s relationship with “Rock’n’Roll Suicide.” The latter’s message was “You may think you’re alone in the world, but you’re not. There are others out there who will understand you–you may not know them yet, but they exist.” The newer song’s message is “In case you were wondering whether you’re alone in the world…yes, you are. People don’t like you and they all wish you would die.” (Shades of “Pug Nosed Face.”) DB self-references: “Rock ‘n’ Roll Suicide,” “Five Years.”
If You Can See Me. One of the weirdest pieces, temporally and harmonically, that Bowie wrote in his later years. Leah Kardos, in her Blackstar Theory: “The drumbeat, guitar and percussion rhythms are in 4/4, but the bass and changing harmony is in 5/4. This creates a phase relationship where downbeats only come into alignment after five bars (counting in 4/4), or four bars (counting in 5/4)…The polymetric interplay between these elements is disorienting and cumbersome, cogs of uneven size turning at different speeds.” In retrospect, the signal change for “Sue” and Blackstar to come. Like “You Feel So Lonely,” it could be sung by a vengeful deity. David [not DB, to my knowledge]: The apocalyptic vagaries of 1Outside, Man Who Sold, Five Years and Diamond Dogs are all in attendance, but this one has a blacker soul, a buzzing, crawling feeling of imminent dread running through. DB self-references: “Ricochet,” “Chant of the Ever Circling Skeletal Family.”
ISOLATION REVENGE OSMOSIS
I didn’t think it was going to be controversial. As I say, it’s just me and David talking so I didn’t realise. But I think that’s good because I think that people don’t normally discuss albums because the golden age of record sleeve design has gone…The design process was all very secretive, as requested, to be safe. And we never used David Bowie’s name or the album name–we had a code word for it: he was just called The Artist and the album was called Table. I don’t know why.
Jonathan Barnbrook, on his album cover, 2013
CRUSADE TYRANT DOMINATION
Dancing Out In Space: Engagingly minor; a joy for the vocal arrangement alone (“big bay-bee”) Momus: If The Next Day sounds geriatric in some ways—this backward-looking, death-oriented, future-oblivious thematic—it’s worth remembering that the medium itself, rock music, is essentially an oldies artform now, with a rock press firmly in retro mode. DB self-reference: “Lust for Life.”
Like a Rocket Man: As close as Bowie came to a first-person account of being a cocaine addict, of someone who had found, as per the novelist Edward St Aubyn, that cocaine “was an opportunity to explore the arctic landscape of pure terror.” Or as John Lennon once sang, help! I need somebody! I’ve come to love this one. Postpunkmonk: What really stood out for me when listening to this was The Return Of Anthony Newley®, for perhaps the last time, in Bowie’s vocal performance. DB self-reference: “Starman” via the knock on Elton John. EJ: “David and I were not the best of friends towards the end.”
Born In a UFO: First tracked in May 2011, then rebuilt from scratch in summer 2012: a lot of work for a song in which Bowie falls in love with his alien inamorata’s fashion sense: her A-line skirt, clutch bag, Perugia shoes, and lavender mesh (“she was all Courrèges!” he swoons). Afterallalong: I like the sound of DB cutting loose. Or, a bit looser, anyway. DB self-reference: “Shopping for Girls” (the verse melody).
INDIFFERENCE MIASMA PRESSGANG
Heat: The endemic violence of The Next Day—dying men in trees, soldiers pinned down on beaches, high school shooters, traitors dangling from ropes—stops at last in “Heat,” a world bled free of killing as anything else. Mishima’s dog is already dead, just obstructing the flow of water. MC: For me, its pastiche of Scott made it a fantastic closer for TND; it’s right in line with the album’s backward-looking (in Anger) tendencies, but with its eerie sense of movement – a perfect distillation of mid-period Walker – setting it apart from the preceding album, as you say in the entry… in retrospect Heat points pretty clearly toward The End, more than anything else on TND. DB self-references: “Nite Flights,” “The Motel.”
The Stars (Are Out Tonight): The stars of the 2010s are in the late-capitalist cycle of working longer for fewer rewards. “We have a nice life,” Bowie tells Tilda Swinton in the video. Compared to the ever-hustling celebrities of today, he’d gotten off easily, and he knew it. Soto: The album’s best track: mania as done by an aging man. Bowie’s sounding out of breath works for the track. I’m taken with the doubletracked harmonies on the “toss and TURN at night” line–an echo of a Hunky Dory moment, gone forever. DB self-references: “Looking for Water,” “Starman,” “Star” and so on.
So She: One of the three songs from the Next Day bonus CD currently unavailable on [US at least] streaming, and so deepening an already-obscure song’s obscurity. A shame, as it’s lovely. Jubany: “When I first heard this track I thought: “Bowie wrote a Neil Hannon tune!” DB self-reference: “I Would Be Your Slave.”
DISPLACED FLIGHT RESETTLEMENT
Tony Visconti, on The Next Day: “[It] started out trying to do something new but something old kept creeping in…”
The Next Day is a catalog missing half its pages. A museum exhibit, one without …’hours’ or order, without curatorial notes, the cracked mirror of the actual museum exhibit, which opened in London a week after this record came out. The exhibition of a process, no results. Bowie’s own Museum of Jurassic Technology, with its dioramas and miniatures and stuffed oddities. Lawrence Weschler, on the Museum: “It’s here that you’ll encounter, across a maze of discreet alcoves, in meticulous displays exactingly laid out, the ant, the bat, the falls, the diva, the insomniac…”
Bowie walking through David Bowie Is with his family. A knowing smile on his face, bringing to mind what he once told Nicholas Pegg, about Pegg’s definitive guides to his music. “An amazing job, but, of course, it’s all wrong!”
Did songs come out of the 100 Favorite Books list? (Nabokov via Otto Friedrich, Mishima, Waugh, etc.). So many lists made. The compilations, the redactions, the archival digs. The contracts, the bills of lading. The Amazon wishlist. Getting things done: remix Lodger, redo Never Let Me Down, talk to Brian about 2. Contamination. Piling everything up, trying to cram everything in. The man in “Conversation Piece,” with his papers strewn on the floor of Ken Pitt’s apartment. The man in Berlin in 1978, watching the skies. Any sudden movement, I’ve got to write it down. The man a decade before, looking for UFOs on Hampstead Heath with Lesley Duncan, who’s been playing him albums by her ex, Scott Walker. A see-er, also a liar.
Were the songs about exile and emigration intended for Lazarus (named after Emma, after all)? Are all of them about Thomas Jerome Newton? How much of this record is Bowie simply doing a tribute to Dennis Potter, whose works he apparently gorged on during the “retirement” years? (“Heat” is the second episode of The Singing Detective.)
A room of bloody history, you made sure of that
FUNEREAL GLIDE TRACE
Writing is the art of disorganizing an order and organizing a disorder.
Severo Sarduy, Cobra.
BALKAN BURIAL REVERSE
The second block of tracking for the album, in early-mid September 2011, yields:
God Bless the Girl: Originally “Gospel.” At the close, he sings “the years pass so swiftly” in a despairing tone, all but lost in the swirl of voices. RB: All great Bowie songs are also a little bit about himself. And this is one of them. It should be used for a soundtrack, and maybe someday it will be. DB self-references: “Underground,” “Panic in Detroit.”
I’ll Take You There: One of the Gerry Leonard co-compositions, one of the songs of exile, displacement, refugees and emigrants. Anonymous: Chris O’Leary dropped the ball on this one. There’s clearly a little bit more going on in this song than just a raucous re-tread of dippy, disgusting, guilty pleasure ‘Beat Of Your Drum’ and O’Leary…should be ashamed for not giving some of it notice….dude are you burning out? DB self-reference: “Beat of Your Drum”
Where Are We Now?: Where were we, again? DB self-reference: “Heroes.”
Love Is Lost: Along with “Where Are We Now,” the track from TND that will likely go the longest distance. Always conceived as a Lazarus song? As “Jane” wrote on the blog entry: Makes me think of “The man who fell to earth” with the new accent, maid, and eyes. The fear of losing his family. What have you done, Newton? DB self-reference: Low (viva Harmonizer).
Boss of Me: Time doesn’t improve some things. Ric: One of those where the co-writer is there to share the responsibility, rather than the credit. DB self-reference: “Shake It.”
The Informer: Hitman holed up in a bathroom, windows shattered, down to his last clip. The end is closing in, so he arraigns his employers, tries to balance his accounts. Gcreptile: The end of an era that has run all out of gas. All guitar-rich swagger and bleak lyrics, with underdeveloped melody and very standard instrumentation.” DB self-reference: “Changes” (“I still don’t know/what we were looking for”).
I’d Rather Be High: With “How Does the Grass Grow?,” “The Informer,” and “Valentine’s Day,” “I’d Rather Be High” is part of a broader theme —civilization’s recursive betrayal of its youth. Bowie’s was a generation that, for once, hadn’t been slaughtered in its prime by the wars of old men. Had he been born in 1895 or 1920, he would have been on a beach, bullets spraying around him, dreaming of pleasures that postwar British teenagers took as their birthright. Sylvie D: I find it quite extraordinary that a song about young people getting killed in stupid wars ended up in Louis Vuitton commercials.
Dirty Boys: One of the best pieces of sequencing on TND, a clean break between the title opener and “Stars.” Momus: I think what troubles me about it is the slightly reedy and strained vocal. It’s one of the tracks in which Bowie sounds old, and that disturbs me in all sorts of ways. DB self-reference: “The Gospel According to Tony Day.”
MANIPULATE ORIGIN TEXT
There’ll probably be another album not far behind this. I don’t know. I don’t think he knows. He doesn’t owe pop music anything. The next album could be this one defaced again, you don’t know.
Barnbrook, 2013.
The moment you know, you know you know
TRAITOR URBAN COMEUPPANCE
The subject of our testimony is an exceptional case. It is the story of a man who, unlike us, could not or would not adjust to this practical world. On the contrary: he explored absurd and desperate paths, and worse yet, paths where he attempted to take with him everyone he met.
Reinaldo Arenas, The Doorman.
The last songs, cut in summer-autumn 2012. As if Bowie couldn’t stop working on the album, that there was another, better version of it always just out of reach.
(You Will) Set the World on Fire: As per the Michael Cunningham piece, Bowie in the late 2000s/early 2010s was working on a musical which included “fake Bob Dylan songs”—if true, this one was perhaps a refugee from it. Recorded late in the day, and an addition to the record that never made sense; perhaps why it was included. Tresilaze: I have a quarter-baked theory that The Next Day is a muddled, non-linear narrative, maybe one that’s made of multiple abandoned stories that were forged together. Basically, it’s about someone fleeing a country torn by war and/or paranoia for America and trying to become a star. Songs dealing with where she left: The Next Day, Dirty Boys, Valentine’s Day, If You Can See Me, I’d Rather Be High, How Does…, You Feel So Lonely, Heat. The “father” in Heat is the subject of You Feel So Lonely. Songs about the girl: I’ll Take You There, Set The World on Fire, Boss of Me, The Stars Are Out Tonight, God Bless The Girl, Where Are We Now (this could be a return to her home country, or it could be set there and about living in a totalitarian state. DB self-reference: “Bang Bang.”
Valentine’s Day: Just after the blog post published in 2015, there was Umpqua Community College. As I was finishing the book revision in 2018, there was Parkland High. The line central to the refrain—he’s got something to say—perverts what Bowie had offered his fans: the belief you can transform yourself, become a star in your own world, build a life on change. Now it’s a demand— listen to me, look at me— at the point of a gun. The terrorist position, as Leonard Cohen called it in the early Nineties. “So seductive that everybody has embraced it,” Cohen said. “Reduce everything to confrontation, to revenge.” DB self-reference: “Everyone Says ‘Hi,'” his cover of “Waterloo Sunset.”
ENDCREDITS: SUBHEADS: DB. DB PHOTOS: THE EVER MYSTERIOUS JIMMY KING, 2013. BARNBROOK TND PHOTOS: BARNBROOK. DETOURNAMENDED TEXTS REPEATER BOOKS OTHERS USED IN THE SPIRIT OF GOODWILL AND FAIR USE. FOR L, R, & J. EASTHAMPTON 2013 EASTHAMPTON 2015 EASTHAMPTON 2018 SOUTHAMPTON 2023.
TRAGIC NERVE MYSTIFICATION
Just remember, duckies, everybody gets got.
1. The first sound that you hear, creeping in via Ken Scott’s faders, is Woody Woodmansey’s kick drum and closed hi-hat, in 3/4 time, with a snare hit (flutter) on the third beat, then (wham!) on the downbeat. Woodmansey later describes it as putting “hopelessness into a drumbeat.”
2. This is going to be something new…no one has ever seen anything like this before….it’s going to be entertainment. That’s what’s missing in pop music now—entertainment….You can’t remain at the top for five years and still be outrageous. You become accepted and the impact has gone. Me? I’m fantastically outrageous.
Bowie, June 1972.
3. “Five Years,” one of Bowie’s last Sixties songs, could have been sung at his Arts Lab in Beckenham–you can imagine his folk trio Feathers doing it. It’s an acting troupe sketch, with scenario by Liverpudlian poet Roger McGough, place setting of the Market Square, Aylesbury, location of the Friars Club (we’re pushing through, not pushing ahead), and various mimes (“queer” vomiting, soldier with broken arm, cop kneeling to priest, girl drinking milkshake).
4. Instruments stagger in. Double-tracked autoharp and piano (ZING! “pushing through the market square”). Trevor Bolder on bass, making interjections between lines (e.g., the octave jump after the news guy tells us the bad news). Bowie on 12-string acoustic guitar (“a girl my age”) shadowed by Mick Ronson-arranged strings (“went off her head”). Ronson’s electric guitar only appears on the refrain’s fourth go-round (cued by a “what a surprise!”). The verses of “Five Years” seem like they will never end, until, after curling into a ball, they become a doomsday pub singalong refrain. Five repeats in all, the rest of the song, which ends in screams, then fades away. Dennis MacKay, engineer on Ziggy: “Bowie’s screaming and what you hear on that song, the emotion is for real. I was in shock because he was also hitting every note spot on.”
5. It’s work generally in an atmosphere that’s five years behind. There’s so much of it that seems to represent today, but it isn’t, in fact: it’s using references and feelings and emotions from a few years back.
Bowie on rock music, 1980.
6. “My brain hurt like a warehouse.” Ziggy is a work of Bowie writing about work. “Busting up my brains for the words.” “I’m so wiped out with things as they are.” “I felt like an actor.” Much of it is heard second-hand. Tapes, transmissions, backstage stories (“boy could he play guitar”). A record plays somewhere deep in the building, reduced by walls and floors to muffled basslines, ghost voices, the occasional piercing guitar note. Songs drift past on the radio. A band, sitting in a club long after hours, has gotten it together and can play all night, but few are there to hear them.
7. I thought of my brother and wrote ‘Five Years’.
Bowie, 1975.
8. “Soul Love” again opens with Woodmansey alone, but he’s cheerier now. Hi-hat flourish, then rim-shots and kick drum, chased with handclaps and conga.
9. “All I have is my love of love, and love is not loving.” Love as infestation (sweeping over cross and baby), as a priest talking to the empty sky.
10. Bowie’s baritone saxophone moves the action along in the second verse, then takes over, upturning the top melody and spooling it out, following a lengthy sloping phrase with a sharply arcing one, ringing in the key change.
11. David Bowie and Marc Bolan were Sixties people who made it late…they were that much more grown up and that much more experienced…They’d been consuming media for a long time and, on a smaller scale, they’d been dealing with media already…their Sixties forebears had been making it up as they went along. The major work of art was actually the media events. The records and shows were part of the superstructure. Charles Shaar Murray.
12. The key to “Moonage Daydream” isn’t Ronson’s opening chords or Bowie’s opening blast of “I’m an all-ih-ga-torrr!” It’s the diminishing that follows them. “Moonage” is carried for the rest of its verse on Bowie’s 12-string acoustic, augmented by Ronson muting his Les Paul strings; it’s as if a dance floor has cleared out. The heavy guitar is there in corners, rarely where one expects it. The countermelodies in the refrain are low backing vocals and piano; the solo is a duet of recorder and baritone saxophone. Ziggy keeps rock at a distance, rationing its appearances, rehearsing for a play that we will never see.
13. Then, as “Moonage Daydream” draws to its close, Ronson steps into the center, boring through, pushing out, rocketing away.
14. The image of Ziggy Stardust in shuffle. The LP cover photo, of Bowie in a post-Hunky Dory look, still with mousy hair (tinted blonde), now in a jump suit. George Underwood’s illustration, used for early LP and tour advertisements: a sexualized Laughing Gnome. The Ziggy of the Top of the Pops “Starman,” a variation on Peter Cook’s Satan in Bedazzled (“Drimble Wedge and the Vegetation“). In late 1972 shows, Ziggy as a pantomime figure, an ominous Ghost of Christmas Present. There’s the post-Japan imperial Ziggy, a space empress. His wasted, gaunt final edition on the 1980 Floor Show, a shade without a corpse.
15. They tell me the next record is going to be the big one. RCA are very confident.
Kenneth Pitt, Bowie’s ex-manager, to George Tremlett, early 1972.
16. The strings of “Starman”—graceful cello ascension on the title line, high elaborations on Bowie’s la-la-las in the outro. Ronson used Cilla Black records as a primer for his arrangements: likely contenders include her mid-’60s heartbreakers “I’ve Been Wrong Before” (tensed strings take flight in the bridge) and the grand ballroom sweeps in “Love’s Just a Broken Heart.”
17. The verses are done in confidence: Bowie, You, and the Starman, communicating through radio receivers as if they’re walkie-talkies. Music played in a darkened bedroom, trying not to wake your parents.
18. On The Crown, dour Princess Anne sings the closing “lar lar la-lars” of “Starman” as she strides through a blacked-out Buckingham Palace. With its Judy Garland steals and clopping handclaps, it’s a song one can imagine the royals enjoying.
19. Lost pasts dept., part one: RCA PRESENTS DAVID BOWIE’S NEW RECORD: “ROUND AND ROUND.” Look out, you rock and rollers! The 15 December 1971 master was: Side 1: Five Years/ Soul Love/ Moonage Daydream/ Round and Round/ Amsterdam. Side 2: Hang Onto Yourself/ Ziggy Stardust/ Velvet Goldmine/ Star/ Lady Stardust.
20. It originally started as a concept album, but it kind of got broken up because I found other songs I wanted to put in the album which wouldn’t have fitted into the story of Ziggy…so at the moment it’s a little fractured and a little fragmented…so anyway what you have there on that album when it does finally come out is a story which doesn’t really take place…it’s just a few little scenes from the life of a band called Ziggy Stardust and the Spiders From Mars…who could feasibly be the last band on Earth—it could be within the last five years of Earth…I’m not at all sure. Because I wrote it in such a way that I just dropped the numbers into the album in any order that they cropped up. It depends in which state you listen to it in…I’ve had a number of meanings out of the album, but I always do. Once I’ve written an album, my interpretations of the numbers in that album are totally different afterwards than the time that I wrote them and I find that I learn a lot from my own albums about me.
Bowie, radio interview, February 1972.
21. Having knocked “It Ain’t Easy” a lot over the years, I’ll try to make a case for it. The album needs a chunk of early Seventies Rawk to counter its flightier numbers. Despite being a Hunky Dory outtake, “It Ain’t Easy” still fits better in the LP sequence than “Amsterdam” (too folkie) or “Round and Round” (too scrappy). “Sweet Head” was never a contender; “Velvet Goldmine,” too magnificently singular. “It Ain’t Easy” is the communal closer to the LP side, the same role as “Rock ‘n’ Roll Suicide” on the flip. When Bowie had performed it in 1971, he gave the verses to Geoff MacCormack, George Underwood and Dana Gillespie to sing (Gillespie is on the Ziggy take, as is Rick Wakeman on harpsichord). If five years is all we’ve got, spend them with your friends.
22. Still, “Velvet Goldmine.”
23. Lost pasts dept., part two; Bowie, to GQ, 2000: “I’ve pulled out a good deal of scraps that were never used at the time [on Ziggy Stardust]. Some of them are only 30 seconds long, but I’m extending those. I thought, ‘OK, is this crap and is that the reason why it never appeared on the first one or is it OK and should I try and do things with it?’ So I’ve taken those six tracks and thrashed them out and made them into songs that will support the original. One’s called the ‘Black Hole Kids’ which is fascinating.”
24. The demo of “Lady Stardust” is, ever since I first heard it on Ryko’s reissue in 1990, the song’s canonical recording for me. The strength of Bowie’s singing, the intimate grandeur of the track. It’s to the point that whenever I hear the Ziggy version, everything sounds off, especially Bowie’s phrasing. It’s become a retrospective outtake.
25. I knew someone who was in a band in the Nineties. They got signed by a major label, cut a record. Then, as often happens, there was a shift in label management, or the promo staff thought it wouldn’t hit on radio: something went wrong, a few bad rolls of the dice. The record was shelved, never to be released; the band split up. But during this time, they worked with Mick Ronson. One night, without prompting, Ronson sat at a piano and played “Lady Stardust” for the band, letting the song roll through him.
26. I guess it’s kind of that art school kind of posturing that the Brits usually have. And it was people like myself and Roxy Music that had a different agenda about taking up music. I think we all were kind of – well, maybe – I can’t speak for Roxy, of course. But some of us were failed artists or reluctant artists. You know, the choices were either, for most Brit musicians at that point, painting or making music. And I think we opted for music: one, because it was more exciting. And two, you could actually earn a living at it.
Bowie, 2002.
27. We’re as far away now from Ziggy Stardust as it was from Ulysses and The Waste Land, from Buster Keaton and Charlie Chaplin at their youthful peaks. As a child in the mid-1980s, I thought Ziggy, what I knew of it, seemed old and weird. Its film clips (bits from Ziggy Stardust: the Motion Picture and Mick Rock’s promos were pressed into service on occasion on Friday Night Videos) were like scenes from some ancient, decadent world. It was hard to reconcile Bowie of the then-present, a genial, medium-cool figure singing “Blue Jean” and “Dancing in the Street” and at Live Aid, with the jaundiced extraterrestrial in 16mm, this hollow-cheeked specter.
28. “Star”: A kid in her bedroom sings to the mirror; a school band struggles to get the song right for once (the drummer always fumbles the transitions) before the talent show. The opening number of the musical, actors spilling on stage, playing to the back rows. Soooooo exciting! to play the part!
29. The apparent reference to Nye Bevan “try[ing] to save the nation” in the second verse is one of Bowie’s more obscure lyrical nods, at least for non-UK listeners. Someone ages ago claimed to me it was actually a reference to ELO’s Bev Bevan, who I didn’t realize had been so ambitious.
30. Nickelodeon backing vocals in “Star”—air-raid siren “oooh wahs”; ch-ch-ch, ch-ch, cha-la-la-la!; you know that I couuuuld–end in Bowie’s ping-ponging hums and a whispered “just watch me now!”
31. “On stage when you are performing you are in total control. It is like a demon or spirit taking over. You have a congregation and you are the high priest.” But rock and roll doesn’t really fascinate him. “It is hardly a vocation.” Ziggy Stardust was conceived as a film. No one would make it, so he turned it into a record instead.
David Lewin, “Will the Real David Bowie Stand Up?” Sunday Mirror, 20 July 1975.
32. How restrained “Hang Onto Yourself” is. The one-two opening punch of the riff is kept in check; the refrain’s an insinuation. Trevor Bolder’s bass as the focal point. Even Ronson’s slide guitar packs off without too much fuss.
33. “Layin’ on electric dreams.”
34. The guttural backing vocals that surge under “honey not my money” or “bitter comes out better” make those sections of the track sound as if the tape’s flaking apart.
35. Few have ever been in love with the sound of this album. Too tinny, too murky, too weedy, a rock record on which the rock has been boxed off. Audiophile message boards have hosted decades’ worth of battles over which pressing, which reissue, which remix salvages it. There will forever be some magnificent ideal Ziggy waiting for the right engineer to, at last, set it free.
36. The name, distilled from Bowie’s American trip of early 1971: the wild boy (Iggy Pop) and the wild man (The Legendary Stardust Cowboy). The character, bits taken from Nik Cohn’s chaos incarnate pop star Johnny Angelo and, as per Bowie legend, the acid-damaged Vince Taylor. Ziggy as a commemorative coin minted from the great rock ‘n’ roll dead: Brian Jones, Eddie Cochran, Hendrix, Morrison, Buddy Holly, countless more in the years since. Yet this misses Bowie’s point that Ziggy wasn’t supposed to be some great charismatic pop singer, but someone chosen, possibly at random, by “black hole jumpers” as their vessel. A middling performer, working through yet another set in yet another half-filled room, complaining to his manager that the latest single, “Liza Jane” or “I Dig Everything,” has gone nowhere.
37. While Ronson gives a grand ornamentation to “Ziggy Stardust”—the crunching chromatic bass figure under “Spiders from Mars” in the verse, the harmonics on “became the special man,” the vicious chords in the refrains—the memory may only recall him playing the main riff over and over again. The riff is Bowie’s version of Handel’s “Arrival of the Queen of Sheba”: each time it appears, the rest of the band stops to pay homage.
38. Like the New Testament gospels, the story of Ziggy is redacted from different, contradictory narrators. The timeline’s murky: a legendary past shot through with future premonitions. “He was the Nazz,” Bowie sings: Lord Buckley’s name for Christ, the Nazarene (is “god-given ass” a pun?). The Nazz never did nothin’ simple, Buckley would say. When He laid it, He laid it.
39. The opening riff of “Suffragette City”: played on Les Paul and 12-string acoustic guitar, soon bolstered by a monster ARP 2500 that got hauled down from another floor at Trident, all sounding as if they’re about to tear into Frankie Ford’s “Sea Cruise.”
40. HEY MAN.
41. Ronson’s pick scratch as “wham bam!” hits. The ARP doubling Bolder’s bass; the bright rock ‘n’ roll rumble on the Trident Studios’ Bechstein. Woodmaney’s snare fills on the title phrase. How the front-mixed acoustic guitar works more as a percussion line (Ken Scott: “I wasn’t too into cymbals back then so I mixed them low”).
42. “Suffragette City” is the first Bowie song that I ever heard, or at least the first one I remember being a “David Bowie song.” Via a grade school friend whose sister, in college at the time, would come home on holiday breaks with the cool records. The nasally presence, the push of the track—it sounded diabolical.
43. Bowie atlas, with Suffragette City as sordid port town; its sister city across the water, Amsterdam; Hunger City, casting its long shadow on the plains. Oxford Town beyond the hills. Berlin, Jareth’s Labyrinth, Amlapura, Crack City. Freecloud Mountain to the north.
44. I dream about him a lot, but they’re always horrid dreams ’cause he always dies in the end.
Teenage fan of pop idol Steven Shorter (Paul Jones), in Privilege (1967).
45. “What do you think?” she asked Peter.
“If you believe,” he shouted to them, “clap your hands; don’t let Tink die.”
Many clapped. Some didn’t. A few beasts hissed.
The clapping stopped suddenly; as if countless mothers had rushed to their nurseries to see what on earth was happening; but already Tink was saved. First her voice grew strong, then she popped out of bed, then she was flashing through the room more merry and impudent than ever. She never thought of thanking those who believed, but she would have liked to get at the ones who had hissed.
JM Barrie, Peter Pan (1904).
46. Gimme your hands!
47. In his hand-written lyrics for “Rock ‘n’ Roll Suicide,” Bowie wrote “the water-wall is calling” in the first verse. Robin Mayhew, his tour sound engineer, was asked to proofread lyrics while visiting Gem Music one day, and thought he heard Bowie singing “wall-to-wall,” changing the line on the lyric sheet without telling Bowie (listen to the original—Bowie’s almost certainly singing ‘waw-ter wall’). “Wall-to-wall” has been the official lyric ever since. In the Bowie spirit, the mistake works as well as, if not better than, the intention.
48. Throughout Ziggy, horn lines are masqueraded by the ARP, or delivered alone by Bowie. Now, for the finale, Ronson at last scores a brass section—trumpets, trombones, tenor and bari saxes—as if inviting the neighbors in for a party.
49. Ronson’s won!-der-fuls towards the close.
50. The last thing that you hear: celli and double basses, a beat after everyone else departs, playing one last D-flat chord. An album that begins with a solitary drummer ends with four musicians bowing in unison. Oh no, love, you’re not alone.
Essentials: The Ziggy Stardust Companion; Mark Paytress, Classic Rock Albums: Ziggy Stardust; The Rise and Fall of Ziggy Stardust: Off the Record (International Music Publications Ltd.)
Changes (demo).
Changes.
Changes (live, Glastonbury, 1971).
Changes (live, 1973).
Changes (live, 1974).
Changes (rehearsal, 1976).
Changes (live, 1990).
Changes (live, 1999).
Changes (live, Glastonbury, 2000).
Changes (A&E Live By Request, 2002).
Changes (live, 2002).
Changes (Ellen, 2004).
Changes (Butterfly Boucher with David Bowie, 2004).
Changes (with Mike Garson and Alicia Keys (Bowie’s last performed song), 2006.)
Changes (Cristin Milioti, 2016).
Changes (50th anniversary remix).
David was born on 8th January [1947]. The midwife said to me, “this child has been on earth before,” and I thought that was rather an odd thing to say, but the midwife seemed quite adamant.
Margaret “Peggy” Burns Jones.
The very first memory I have is of being left in my pram in the hallway of 40 Stansfield Road [Brixton], facing the stairs—they were dark and shadowy.
Bowie, 2003.
If there was anything that caught his ear, he would tell everyone to be quiet and listen, and then fling himself about to the music.
Peggy Jones.
So many people are born in a trap. And they don’t seem to have the courage to want to get out. And it’s so simple, really, so simple.
Gurney Slade (Anthony Newley), The Strange World of Gurney Slade.
So many of the things I wanted to do come from books.
Bowie, 1993.
He didn’t actually go out very much but preferred to stay home. I’d often invite him to a party and he would often say, “No, I’m going to stay in, I’ve got some work to do.”
George Underwood.
David knew all the songs by heart and in his peculiar way could sing every song in our set [but] none of us liked his voice at all.
Alan Dodds, The Kon-Rads.
He looked like a young waiter who had blown his first check on a bad haircut.
John Bloom, recalling Davie Jones and the King Bees’ performance at Bloom’s birthday party, April 1964.
One of the ways we would write was I would bring my fingers down on the keyboard and David would say, “What’s that? Hold that chord.” And we would write something around it. I found it hard getting my fingers used to those chords, he never made things easy.
Denis Taylor, lead guitarist, The Lower Third.
You can’t give all you have to take something back.
“Take My Tip” (1965).
He had written a lot of songs, they were not Rock and Roll but they were very good, very musical and they had unusual shapes, nothing like the current Top 20 stuff.
John “Hutch” Hutchinson, on first working with Bowie in The Buzz, 1966 (from Bowie & Hutch).
Now you know I’m not the warmest performer on stage, and I never have been…I’ve never felt comfortable talking on stage. With ‘Diamond Dogs’ I even wanted to have the band in an orchestra pit.
Bowie, 1976.
David, you’re working with a backing group, The Buzz. Have you always worked with them?
As David Bowie, yes. I’ve always been with them, for about six months.
Why do you say ‘as David Bowie’?
I was someone else before that.
Radio London interview with Bowie at the Marquee Club, 1966.
I want to act. I’d like to do character parts. I think it takes a lot to become somebody else. It takes some doing.
Bowie, to Melody Maker, 26 February 1966.
He would go down to Carnaby Street and get himself kitted in a fancy outfit. You would never see him walking around like a slob. He didn’t do slob.
Dana Gillespie, to Dylan Jones.
Lo, Palmer’s Green has been disrupted by a clown and two friends. Twenty-four people walked out the first night. Most of them were coppers off duty. One old man sat and read a newspaper: The Sketch, I think. And a couple of nice ladies talked about their babies, bingo, and bras in Row E. Lindsay [Kemp] was pissed, Jack [Birkett] was ill and I just sang.
Bowie, letter to Hermione Farthingale, 1967.
I’m not quite sure what
We’re supposed to do
So, I’ve been writing just for you
“Letter to Hermione”
Bowie: What do you think you’ll be doing in ten or twenty years’ time?
Writing—and you?
Bowie: I might be writing, too. I think of myself more as a writer than a musician. I shall be a millionaire by the time I’m thirty, and I’ll spend the rest of my life doing other things.
Interview by George Tremlett in Ken Pitt’s apartment, 39 Manchester St., London, 17 November 1969.
David Bowie is 22 years old, thin, with a halo of fair hair, a delicately soft face and two cold eyes. One is pale kitten blue and the other green, and it makes it rather disconcerting to talk to him.
Penny Valentine, Disc, 11 October 1969.
I haven’t got a clue why Visconti didn’t like the song. The fact is, Mercury didn’t have any major acts with the exception of Rod Stewart, who at that point wasn’t a major act anyway…they took Bowie on specifically because of “Space Oddity.” They’d heard the demo and in those days a gimmick was a big deal, and people who had gimmicks were taken more seriously than those who hadn’t.
Gus Dudgeon, 1993.
I wasn’t interested in the far future, spaceships and all that. Forget it. I was interested in the evolving world, the world of hidden persuaders, of the communications landscape developing, of mass tourism, of the vast conformist suburbs dominated by television—that was a form of science fiction, and it was already here.
J.G. Ballard, 2008.
With The Man Who Sold The World I wanted to work in some kind of strange micro-world where the human element had been taken out, where we were dealing with a technological society. That world [was] an experimental playground where you could do dangerous things without anybody taking too many risks, other than ideas risks….It was all family problems and analogies, put into science-fiction form.
Bowie, 1993; 1976.
The song breathes out the whole sweep of postwar British culture before the Beatles turned it on its head—the slow, squalid sink of pointless desires caught in John Osborne’s Look Back in Anger, Colin MacInnes’s Absolute Beginners, Tom Courtenay and Julie Christie in Billy Liar, Nell Dunn’s Up the Junction—and places it squarely in the present. It’s a drama of ordinary life you can’t turn away from, because you’re seeing a life that you know, that you’re living, thrown up on the screen of the song. The quietest tinkling piano begins it; at the end, the piano trails off into a huge, harsh crescendo of movie-finale strings—hero and heroine clasped in each other’s arms, wind propelling them into their future—as if the notes can’t remember the song.
Greil Marcus, on “Life on Mars?”
The day will come when David Bowie is a star and the crushed remains of his melodies are broadcast from Muzak boxes in every elevator and hotel lobby in town.
Nancy Erlich, New York Times, 11 July 1971.
You had to make the two sides of the album roughly the same length. While parts were being worked out, I would spend time working out the timings and putting songs together so I could suggest which order would work best…Up to a point, the running order was dictated by the LP format. The whole idea about the concept album thing…there are some songs that fit together on a certain story. But I dispute the fact that it’s a concept album, because why would you have “It Ain’t Easy,” which was recorded for Hunky Dory?
Ken Scott, on The Rise and Fall of Ziggy Stardust and the Spiders From Mars.
Writers like George Steiner had nailed the sexy term “post-culture” and it seemed a jolly good idea to join up the dots of rock…Everything was up for grabs. If we needed any truths we could construct them ourselves. The main platform would be, other than shoes, “we are the future, now” and the way of celebrating that was to create it by the only means at our disposal.
Bowie, introduction to Moonage Daydream, 2002.
Ziggy was this kind of megalomaniac little prophet figure who came down to tell us it was all over. We were never quite sure whether he meant it or not, whether he was from outer space or not.
Bowie, on 20/20, 1980.
As David Bowie appears, the child dies. The vision is profound – a sanity heralding the coming of consciousness from someone who – at last! – transcends our gloomy coal-fire existence. David Bowie is detached from everything, yet open to everything; stripped of the notion that both art and life are impossible. He is quite real, impossibly glamorous, fearless, and quite British. How could this possibly be?
Morrissey, Autobiography.
How would you describe yourself?
Bowie: Partly enigmatic, partly fossil.
Backstage interview at Carnegie Hall, 28 September 1972.
Among certain more affluent hippies Bowie is apparently the symbol of a kind of thrilling extremism, a life-style (the word is for once permissible) characterised by sexual omnivorousness, lavish use of stimulants— particularly cocaine, very much an élitist drug, being both expensive and galvanising—self-parodied narcissism, and a glamorously early death. To dignify this unhappy outlook with such a term as “nihilist” would, of course, be absurd; but Bowie does appear to be a new focus for the vague, predatory, escapist reveries of the alienated young. Although Bowie himself is unlikely to last long as a cult, it is hard to believe that the feelings he has aroused or aggravated will vanish along with the fashion built round him.
Martin Amis, The New Statesman, 6 July 1973.
The Sixties are definitely not with us anymore…the change into the music of the Seventies is starting to come with people like David Bowie and Lou Reed…they don’t expect to live more than thirty years and they don’t care. And they don’t care. They’re in the Seventies. What I’m tryin’ to say is these people like Lou Reed and Davie Booie or Bowie, however you pronounce it, those folks—I think they got somethin’ there, heh heh. Take a walk on the wild side!
Neil Young, 1973.
Living in Dagenham, the appeal was that if you dyed your hair or had a little bit of make-up or wore a bangle, you’d get the piss taken out of you, but because it was David Bowie you didn’t. You could dress up like that…It was so obvious that girls liked it—thank you David Bowie! And good music to shag to, I have to say.
Steve Ignorant, of Crass (whose name came from “the kids were just crass” in “Ziggy Stardust”).
“Lady Grinning Soul”—to have all those runs on the piano, I was practicing eight hours a day at the time, year after year. You can’t play like that if you haven’t done tons of repetition….then when we did “Time” they found that truly humorous, and David being almost like a Broadway singer and knowing all the German stuff, everything about it was David Bowie. But I was playing the piano how I think he would have played if he could play at my level. He could play, he played well, but it was very basic piano. I think, if he had my chops, that’s what he would have done.
Mike Garson, on Aladdin Sane.
The ego is the instrument of living in this world. If the ego is broken up or destroyed…then the person may be exposed to other worlds, “real” in different ways.
R.D. Laing, The Politics of Experience.
I was already a 13-year-old fan when Diamond Dogs came out…Diamond Dogs is not a coherent story, but I’m not sure I wanted a coherent story. The inner sleeve’s photographs of a broken city, as if seen in a damaged kaleidoscope, aren’t coherent either, but they paint a place…it’s my favourite album because it was mine—in a way no other Bowie album had been, or would be again…because it contained complex lyrics on Sweet Thing and Candidate that made me feel like I was being shown a 12-hour drama through a letterbox slot; because the opening monologue pronounces the album unashamed science fiction; because it sent me to the school library aged 13 to borrow 1984, back then only a decade away; because the track listing on the cassette was all jumbled for reasons of time, so that story, whatever it was, and that sequence was what I first encountered and responded to, built up in my head, which meant that it would be another 32 years until I realised I could reorder the track listing on my computer and listen to Diamond Dogs in a way that felt right to me.
Neil Gaiman.
I just remember I wanted to write something that would read the way Diamond Dogs sounded.
William Gibson, on writing Neuromancer.
Diamond Dogs, as I remember it at the time, was trying to accomplish some great mockery of rock ‘n’ roll. It seemed to be part of my manifesto at the time, I don’t know why.
Bowie, 1991.
It solidified..what I wanted to do with Devo. We’d spent way too much time smoking pot talking about ideas & doing nothing about it. Here was someone who’d taken the time to do it for real.
Jerry Casale, on seeing the Diamond Dogs tour in Cleveland, June 1974.
I ran to his room and looked at the thin white man singing on Soul Train. Bowie was wearing a dark suit with a light shirt. He was moving very slowly, as though he were high or drunk or too cool to sweat. “He sing ‘Fame'”? I said. We loved that song. “I thought he was black.” We stared at the television as though we didn’t know whether to laugh or cry. “I’m trippin’,” Keith kept saying. “I am really trippin’.” “Me too,” I said. “He white?” “I don’t care,” Keith said. “He bad. He a bad dude.”…Who was this man who wasn’t anything close to what he looked and sounded like? Who let him do that? Who let him be white and weird and on Soul Train?
Dana Johnson, Elsewhere, California.
Plane comes into view, loud, knocks letters out. Hand places “The Young American.” Major Tom walks into vision. The letters drop and he passes the camera…We are in [an] aircraft and slide back to passenger section to find Major Tom watching English news TV of his sensational send-off.
Bowie, film scenario, 1974.
David played “Station to Station” to me at Cherokee. When he played that…it was cinematic in every respect…I was amazed how he could come up with that, having been in complete cocaine psychosis.
Glenn Hughes (Deep Purple).
The tree-top at last! Here we are at the very apex of the Middle Pillar where we can make no further progress on the Tree of Life unless we leave it altogether into the Nothing above, or fall back to Malkuth and start all over again.
William G. Gray, The Ladder of Lights (1968).
I walked out on Bowie’s show. I thought it was dreadful. I got turned off by that whole ego trip. That ‘here I am, baby, and isn’t it wonderful to actually be able to see me, I’m the thin white duke’ bit. What is all that about? I could call myself the fat pink pulp, but I don’t.
Elton John, 1976.
“The first space-rock hero of the 70s,” as David has been called, has finished a book of “semi-autobiographical” short stories called “The Return of the Thin White Duke,” which will be published at Christmas—by his own company, natch.
The Los Angeles Times, 24 July 1975.
And all of the imbeciles and cretins, who had been delegated to some other imperceivable providence of their own, have tumbled and fallen from the sky, soared spouting from the seas. The catastrophic menage is ripping and torturing their release from the soul of OM. And the rock bands just dirge and provacate [sic] the malforms into the frenzid waltz of [infinity symbol].
Excerpt from Chapter One of The Return of the Thin White Duke.
Because of the dark glasses Bryce could not see Newton’s eyes, but it seemed to him as though Newton were looking everywhere. “Easy come, easy go, Nathan,” he said. Newton began to tremble. His angular body began to lean forward and the felt hat fell silently on the table, showing his chalk-white hair. Then his Anthean head fell on to his spindly Anthean arms and Bryce saw that he was crying…
The bartender had come over and when Bryce looked up the bartender said, “I’m afraid this fellow needs help.”
“Yes,” Bryce said. “Yes, I guess he does.”
Walter Tevis, The Man Who Fell to Earth.
In this movie, the forlorn, limp hero-David Bowie—a stranger on earth, doesn’t have a human sex drive. He isn’t even equipped for it: naked, he’s as devoid of sex differentiation as a child in sleepers. When he splashes down in a lake in the Southwest and drinks water like a vampire gulping down his lifeblood, one is drawn in, fascinated by the obliqueness and by the promise of an erotic sci-fi story. It is and it isn’t. The stranger has come to earth to obtain the water that will save his people, who are dying from drought, but he is corrupted, and then is so damaged that he can’t return…The plot, about big-business machinations, is so uninvolving that one watches Bowie traipsing around—looking like Katharine Hepburn in her transvestite role in Sylvia Scarlett—and either tunes out or allows the film, with its perverse pathos, to become a sci-fi framework for a sex-role-confusion fantasy. The wilted stranger can be said to represent everyone who feels misunderstood, everyone who feels sexually immature or “different,” everyone who has lost his way, and so the film is a gigantic launching pad for anything that viewers want to drift to.
Pauline Kael, review of The Man Who Fell To Earth, The New Yorker, 8 November 1976.
[Bowie’s] done something that I should have done but I backed out of doing, which is just split the album into two halves and said “Well, here’s all the fast songs—and here’s all the other things that I also like.” I’ve got this same problem coming up again now. Because it’s even more polarized. I’ve got on the one hand some really manic songs. Oh dear, they sound so bizarre I don’t know what I’m gonna do with them. They sound a bit like Captain Beefheart or my version of modern jazz or something like that.
Brian Eno, NME interview, 27 November 1976.
On this album David Bowie achieves the ultimate image-illusion available to an individual working within the existing cultural forms of the West.
He vanishes.
THE FIRST IMPRESSION Low imparts to the listener is that he is somehow hearing it sideways.
Ian MacDonald, Low review, NME, 22 January 1977.
It’s decadent in the sense that it glamourises and glorifies passive decay and I don’t give a shit about how clever it may or may not be—David never makes minor errors, only fundamental ones—it stinks of artfully counterfeited spiritual defeat and futility and emptiness.
We’re low enough already, David.
Give us a high or else just swap tapes with Eno by post and leave those of us who’d rather search for solutions than lie down and be counted to try and find ourselves instead of lose ourselves.
You’re a wonderful person but you’ve got problems.
Charles Shaar Murray, Low review, NME, 22 January 1977.
From station to station back to Düsseldorf city
Meet Iggy Pop and David Bowie.
Kraftwerk, “Trans-Europe Express.”
We went to East Berlin across Checkpoint Charlie where you have to show your passport to the East German police. David’s passport had a picture of him with curly hair from his “Space Oddity” days and Iggy Pop had platinum blonde hair in a Beatles cut. The guards took one look and burst out laughing at the two passports. David and Iggy were holding back their aggression and gritting their teeth, saying “very funny.”
Tony Visconti.
I’m happy now. Content. I feel more than a product on an assembly line and no more a means of support for 10,000 persons who seem to revolve around every fart that I made.
My role as an artist in rock is rather different to most. I encapsulate things very quickly, in a very short space of time. Over two or three months usually. And generally my policy have been that as soon as a system or process works, it’s out of date. I move on to another area. Another piece of time.
You wouldn’t believe how much of it was entirely unwitting. I think I did play outside the boundaries of what is considered the general area of rock ‘n’ roll. Some of it, just pure petulance, some of it was arrogance, some of it was unwitting, but, inevitably, I kept moving ahead.
Ziggy, particularly, was created out of a certain arrogance. But, remember, at that time I was young and I was full of life, and that seemed like a very positive artistic statement. I thought that was a beautiful piece of art, I really did. I thought that was a grand kitsch painting. The whole guy. Then that fucker would not leave me alone for years. That was when it all started to sour.
Bowie, Melody Maker interview, 29 October 1977.
[Marianne Faithfull] reminded me of Grace Kelly, or rather Kelly’s voice in the duet she sang with Bing Crosby in High Society, “True Love.” Kelly was almost speaking her parts in a captivating and sensual monotone. It was not unlike Crosby’s later duet, with David Bowie playing Princess Grace.
Andrew Loog Oldham (from Stoned).
I’m incredibly happy now, because I’m not ambitious anymore. I do have a strong paternal streak. I’m a born father. I want more children, but not ego children…You can stuff all your punk bands, give me three children instead.
Bowie to Lisa Robinson, Hit Parader, March 1978.
“You owe me a move,” say the bells of St. Groove
“Come on and show me,” say the bells of Old Bowie.
The Clash, “Clash City Rockers” (1978).
They’re different from me, they actually go and read books, they don’t read walls.
Bowie, introducing Talking Heads’ “The Book I Read” on BBC1’s Star Special, 20 May 1979.
I’m so pleased that the conclusion of these three albums has been so up. I think it would have been terribly depressing if the third one had been down. At least this one has a kind of optimism.
Bowie, 1979, on Lodger.
The [Scary Monsters cover] character is based on Lindsay Kemp’s very wonderful-looking Victorian clown. I took that feeling and looked inside of that, that’s when you get the disheveled side of the clown. It’s a nod backwards to an element I started with. One always returns and looks back and reincorporates those old things and reevaluates them from time to time…There were an awful lot of mistakes on that album [Scary Monsters] that I went with rather than cut them out. [It’s hard] to put oneself on the line artistically ever since the Dadaists, who pronounced Art Is Dead. Once you’ve said Art is Dead, it’s very hard to get more radical then that. Since 1924 it’s been dead, so what the hell can we do with it from there on? One tries to at least keep readdressing the thing and looking at it from a very different point of view.
Bowie, 1980.
I must say I admire [Bowie] for his vast repertoire of talent the guy has, you know. I was never around when the Ziggy Stardust thing came, because I’d already left England while all that was going on, so I never really knew what he was. And meeting him doesn’t give you much more of a clue, you know…Because you don’t know which one you’re talking to.
John Lennon, BBC interview, 6 December 1980.
I enjoy David Bowie. He can stay right out of it all and enjoy his life, enjoy his music. I can enjoy my life like that when I’ve done a lot more work.
Adam Ant, NME interview, November 1981.
The subject matter of ‘Let’s Dance’ is nebulous. There is an undercurrent of commitment, but it’s not quite so straightforward… It’s a one-to-one thing, yes, but the danger, the terrifying conclusion is only intimated in the piece. It is not apparent what exactly the fear is that they’re running from. There’s an ominous quality about it, quite definitely. That was the dance song that has all the trappings of old disco music, but it’s almost like the last dance.
Bowie, NME interview, 16 April 1983.
Bowie: Having watched MTV over the last few months, it’s a solid enterprise…I’m just floored by the fact that there are so few black artists featured on it. Why is that?…The only few black artists that one does see are on from about 2:30 in the morning to around six.
Mark Goodman: Of course we have to try and do what we think not only New York and Los Angeles will appreciate but also Poughkeepsie, or pick some town in the Midwest that would be scared to death by Prince, which we’re playing, or a string of other black faces.
Bowie: That’s very interesting. Isn’t that interesting.
Goodman: We have to play the music that we think an entire country’s going to like…should PLJ play the Isley Brothers? Now you and I might say yeah, because we grew up in an era when the Isley Brothers mean something to millions…but what does it mean to a 17-year old?
Bowie: I’ll tell you what the Isley Brothers or Marvin Gaye means to a black 17 year old, and surely he’s part of America as well…Do you not find it is a frightening predicament to be in?…Is it not possible that it should be a conviction of the station and of other radio stations? It does seem to be rampant through American media. Should it not be a challenge to try and make the media far more integrated? Especially, if anything, in musical terms.
Bowie MTV interview, January 1983
Somebody once said — who was it? It’s terribly important — that Harry Langdon, the silent comedian, cannot be taken on his own; you have to put him alongside that which went on around him, like Buster Keaton and Harold Lloyd and Chaplin. He can only be seen by reference, and somebody said that about me, which is probably very true. I kind of quite like that, actually, that you can’t take me on my own. You can only use me as a form of reference!
Bowie to Charles Shaar Murray, NME, 29 September 1984.
Mick wants to do new things. He would much prefer to be David Bowie than to work with Keith Richards because when he makes a record now he has to deal with the fact that Keith Richards wants to be like Muddy Waters and grow old and die playing the blues.
Pete Townshend, 2002.
August 1987: Cafe Luxembourg, following Bowie’s Madison Square Garden Glass Spider concert. Nick Rhodes, Jeremy Irons, Coco Schwab…Bowie asks me what I thought of the show. “A little busy,” I say, attempting to be flippant about the dancers, the huge props, the overkill. “No, really,” he says. “C’mon, you and I have known each other too long. What did you really think?” In no uncertain terms, I proceed to tell him what I thought. You can only fool some of the people some of the time, I say. Less is more, David. Put on a leather jacket and jeans and go out and sing your hits, for God’s sake. It’s a new generation: they’d love those songs. I finish; everyone is horrified. David is laughing.
Lisa Robinson, SPIN, August 1990.
I knew David wanted to do a different kind of music. [But] I always thought if I gave it back to him, it would end up going back to the Spiders from Mars. That’s exactly what happened.
Carlos Alomar.
Hunt Sales: But, man, those albums. I dunno. And the Glass Spider tour? Well, I didn’t go and see it but I saw it on TV and…
Bowie: But, Hunt (slips into music hall straight man mode), I thought you never missed any of my tours...
Hunt: I never miss any of your tours. I never go see ’em, so I never miss ’em…
Bowie: Boom boom!
Hunt: But I didn’t like Glass Spider. I mean that. Seriously. I thought it was a bit beneath you. That’s my opinion. I don’t need to sit here and say that I love something I didn’t think much of. I watched it thinking, This is the guy who did Spiders From Mars.
Bowie: What he’s saying is he hasn’t listened to anything of mine since Spiders From Mars!
Reeves Gabrels: But Glass Spider was cabaret. A lot of critics said…
Bowie: Yeah, critics. Give me your personal opinion.
Reeves: If you want my personal opinion you’ll have to ask my wife. But it seemed to me it was about entertainment more than music. I went to see a soundcheck in Chicago and that was better than the show.
Bowie: To come to its defence, I liked the video of it. But I overstretched. I made too much detail of… Oh Christ. Next question!
Tony Sales: He’s beginning to roast!
Tin Machine interview by Adrian Deevoy, Q, June 1989.
He was lying in bed, too weak to stand, losing his sight, going: “Have you heard Mrs Bowie’s new album, darling? What does she think she’s doing?“
Elton John, on Freddie Mercury in 1991.
Did you hear the latest Living Colour album? Vernon Reid wrote a song about bisexuality. I think that’s very good of him, very brave. Because I think especially today people shouldn’t be made to feel as if they should hide their sexuality. These are dangerous times for everyone that wants to explore their own sexuality. Sex is becoming a taboo again and I feel people should be able to talk about it. As long as the discussion remains open you’ll prevent so-called vigilantes from using AIDS as an excuse to discriminate and isolate certain groups from society. Because of this, people will turn inward or won’t experiment with their sexuality or worse: pretend to be something different sexually then they really are and that is very, very dangerous. It must be awful for young people today to be trapped into an existence that goes against their very nature, you have to continue to rebel against this. Sexual experimentation might be dangerous right now, but the danger should not be a reason to stop people from being who you want to be.
Bowie, interview with Oor, 1993.
My personal brief for this collection was to marry my present way of writing and playing with the stockpile of residue from the 1970’s.
Here is a partial list: Free association lyrics Pink Floyd Harry Partch Blues clubs Unter den Linden Brücke Museum Pet Sounds Friends of the Krays Roxy Music T. Rex Costume The Casserole Neu Kraftwerk Bromley Croydon Eno Prostitutes & Soho Ronnie Scott’s club Travels thru Russia Loneliness O’Jays Philip Glass in New York clubs Die Mauer Drugs.
Bowie, liner notes to The Buddha of Suburbia (1993).
Phillip Jeffries: Well now, I’m not gonna talk about Judy. In fact, we’re not gonna talk about Judy at all, we’re gonna keep her out of it.
Special Agent Dale Cooper: [bewildered] Gordon?
Gordon Cole: I KNOW, COOP!
Jeffries: Who do you think this is there?
Albert Rosenfeld: Suffered some bumps on the old noggin, hey, Phil?
Cole: WHAT THE HELL DID HE SAY THERE, ALBERT? THAT’S SPECIAL AGENT DALE COOPER! FOR GOD’S SAKES, JEFFRIES, WHERE THE HELL HAVE YOU BEEN? YOU’VE BEEN GONE DAMN NEAR TWO YEARS!
Jeffries : The stories that I wanna tell you about… It was a dream! We live inside a dream!
Twin Peaks: Fire Walk with Me (1992).
I see no way we can go back, philosophically, to a world of absolutes. Which I feel very comfortable with and I always have done…I think seeing the problems that historians themselves have with revisionism of history it seems almost nonsensical for the layman to even bother to try and analyze history any more in a straight narrative way. In a way history almost ceases to exist—possibly we can’t really entertain the idea of a future in the same way. Which may be not a bad thing…I mean, by hacking off the limbs of both past and future we might have created a workable future where we have to deal with things on a day-to-day basis, rather than having long term plans for a world which really can’t afford to have long term plans.
Bowie to Ian Penman, Esquire, 1995.
Brian and I had both felt resolutely out of it. I tried passionately hard in the first part of the ’80s to fit in, and I had my first overground success. I was suddenly no longer the world’s biggest cult artist in popular music. I went mainstream in a major way with the song “Let’s Dance.” I pandered to that in my next few albums, and what I found I had done was put a box around myself. It was very hard for people to see me as anything other than the person in the suit who did “Let’s Dance”, and it was driving me mad – because it took all my passion for experimenting away. I went through the doldrums at approximately the same time as Brian. I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time. Then, toward the end of the ’80s, everything started to fall back into place again. It was as though there had been this hiatus where everything had stood still. Birds hung in the sky; they didn’t finish their flight.
Bowie to Ingrid Sischy, Interview, 1995.
Caller: How did you get the title for the new album and why is the title split up on the album cover?
Bowie: Well it was kind of lugubrious, it was a rather a weak pun on the fact that I feel quite happy with life and anything else you want to read into it, you know, the work is never finished until the audience participates and all that. But I think the idea if you change the content of something, if you look at something that you know very well for a long time, it starts to disappear. So if you change the context of what that thing looks like people notice it more, so we put spaces in the word just to make you take in the word “Earthling” in a different way to how you would normally receive it.
Riki Rachtman: What was that word again, there, nugubrious?
Bowie:…It’s an old graphic design trick.
Rachtman: Well you gotta help me with that other word David, I wanna learn a new word. “Unagubrious”?
Bowie: [laughs] Lugubrious.
Rachtman: Oh OK, I just want to say I learned that one —
Bowie: It’s from Alfonse Lugubri, the old silent actor.
Bowie radio interview, Rockline, 1997.
Wake up, people of Omikron! Reshev and his corrupt government are lulling you to sleep in order to control you better. They have transformed you into puppets that are manipulated by Ix and the demons. Join the Awakened Ones and rise up to fight for your freedom.
Boz (Bowie)’s message; Omikron: The Nomad Soul (1998).
Jeremy Paxman: You’ve got to think that some of the claims being made for [the internet] are hugely exaggerated. I mean, when the telephone was invented, people made amazing claims.
Bowie:…No, you see, I don’t agree. I don’t think we’ve even seen the tip of the iceberg. I think the potential of what the internet is going to do to society, both good and bad, is unimaginable. I think we’re actually on the cusp of something exhilarating and terrifying.
Paxman: It’s just a tool though, isn’t it?
Bowie. No, it’s not. No. It’s an alien life form. [Laughs] Is there life on Mars? Yes, it’s just landed here… I’m talking about the actual context and the state of content is going to be so different from anything we can envisage at the moment, where the interplay between the user and the provider will be so in sympatico, it’s going to crush our ideas of what mediums are all about.
Bowie on Newsnight, 1999
Isn’t it all so personal, though, isn’t really all so personal? If by consensus an artist is great, if numerically enough people like that artist, that he becomes a great artist? [Roy] Lichtenstein that way isn’t a great artist. How can he be a great artist if I don’t think he’s a great artist? I mean he had a great gag for the first few years, and then he just did it and did it and did it and then he died.
Bowie on Charlie Rose, 1998.
Our ace boon Arthur Jafa likes to say that ”Andy Warhol was so white he was black.” Bowie (who played Warhol in Schnabel’s film Basquiat) was likewise so avant-garde he tipped over into the Avant-‘Groid—that Afro-outré dimension where Little Richard and Sun Ra define how far out you can go and command love from the folk. Like Joni Mitchell—another unguilty pleasure of many boho blackfolk—Bowie double-crossed back over to black culture by being his own transcendently pan-everything creation. But not even Queen Mother Joni can say she provoked James Brown to copycat action twice in his career. JB was so blown away by Bowie’s ”Fame,” he cut his own carbon-copy track, ”Hot (I Need to Be Loved, Loved, Loved),” and, years later, when Bowie optioned his publishing for stock points, the Godfather of Soul got the news about how lucrative the deal proved and quickly followed suit. Bowie once said, “The secret to my success was I was always the second guy to come up with the idea.” All hip-hop junkies can relate.
Greg Tate, “Brother From Another Planet,” 2016.
I feel like I’ve finally arrived at being instead of becoming, which is kind of how I feel about being young – there’s always a sense that you’re becoming something, that you’re going be shocked by something new or discover something or be surprised by what life has in store. I’m still surprised at some things, but I do understand them, I know them. There’s a sense that I know where I am now. I recognise life and most of its experiences, and I’m quite comfortable with the idea of the finality of it. But it doesn’t stop me trying to continually resolve it: resolve my questions about it. And I probably will. I think I’ll still be doing it – hopefully – like Strauss, at 84.
Bowie, to The Observer, June 2002.
Down in space it’s always 1982.
“Uncle Floyd”/ “Slip Away”
I don’t think we are going to destroy it at all. I’m not that pessimistic. I just believe we’re going through a transition where we will become a humankind that accepts chaos as our basic premise.
Bowie, Soma interview, 2003.
I’m grateful for any audience, you know? It’s fine; I don’t care if they’ve got two heads. As long as they are there to enjoy themselves, come listen. I suppose the only thing I’m fairly strong-armed about is that I really kind of require them to get involved with the new material I’m writing as well as the older things.
Bowie, Weekly Dig interview, 2003.
The last time I saw him was in New York at a party in the early 2000s. I arrived a bit late and was surprised to see Bowie stepping out of a yellow cab. I asked him how he traveled about Manhattan, unrecognized and un-harassed. Simple, he said. I carry a Greek newspaper. He held it up…People think, hey that’s David Bowie! Then they see the newspaper and realize it’s just some Greek guy who looks like him.
William Boyd.
It was early 2007. She was out in the East Village on St. Mark’s Place in the middle of a blizzard, trying to hail a cab. [There was] only one other pedestrian on the sidewalk. When a lone pair of headlights appeared through the snow, the stranger gallantly said, “go ahead.” She said, “why don’t we share?”…It was only in the cab that the scarves and hats came off and she said, “Oh, I know who you are.” She made the split-second (but brilliant) decision to start talking about herself and tell him her entire life story, so he could relax and not have to entertain this stranger he was trapped with…She told him every last detail of her family life (“You’ve got to forgive, for your own sake,” he kept telling her) until the taxi reached Soho. As she got out, he said, “Now when you tell your friends about this, make sure you mention that I was wearing fabulous shoes.”
Rob Sheffield, on his friend’s encounter with Bowie (On Bowie, 2016).
“I’m not thinking of touring,” he said. “I’m comfortable.” He draws, paints and collects 20th Century British art.
Bowie’s last quote to the New York Times, in a profile of his wife, 6 June 2010.
Here’s what David sent me (and I should thank him for doing it, and so I fervently thank him here):
Effigies
Indulgences
Anarchist
Violence
Chthonic
Intimidation
Vampyric
Pantheon
Succubus
Hostage
Transference
Identity
Mauer
Interface
Flitting
Isolation
Revenge
Osmosis
Crusade
Tyrant
Domination
Indifference
Miasma
Pressgang
Displaced
Flight
Resettlement
Funereal
Glide
Trace
Balkan
Burial
Reverse
Manipulate
Origin
Text
Traitor
Urban
Comeuppance
Tragic
Nerve
Mystification
Bowie’s list was left-justified, but probably because he didn’t want to take the time to center justify, and also his list was purposefully double-spaced.
Rick Moody, 25 April 2013.
That’s why I’m so puzzled when people say [my work is] all dark, dark, dark, whereas I think there’s a lot of beauty in it. Obvious beauty. I’m not a religious man, but it’s a longing. For who knows. For existence itself. True existence. It’s a longing for a calling. It’s just a feeling that it might be there.
Scott Walker, 2012.
There are songs to sing, there are feelings to feel, there are thoughts to think. That makes three things, and you can’t do three things at the same time. The singing is easy, syrup in my mouth, and the thinking comes with the tune, so that leaves only the feelings. Am I right, or am I right? I can sing the singing. I can think the thinking. But you’re not going to catch me feeling the feeling. No, sir.
Dennis Potter, The Singing Detective.
I know something’s very wrong
The pulse returns the prodigal sons
The blackout hearts the flowered news
With skull designs upon my shoes
“I Can’t Give Everything Away”
NEWTON: And I’m not of this world. And not yet marked by this place here. Not pinned down in this apartment—not divided into days and praying for my death—and bullied by this broken mind—and before all of this happened to me—and before the journey down here—to wake in the place where I was born. And to be up there.
Lazarus (Bowie/Walsh, 2015).
I remember when I found out about 2:30 in the morning that he’d passed, I was laying in bed, my partner woke me up; she’d heard from Duncan [Bowie’s son]. I just kind of laid in bed and I started laughing. She said, “Why are you laughing?” I said, “Because we had so much fun.“
Reeves Gabrels.
The night of April 14, 1865, and Lincoln’s assassination. As Lincoln drew his last breath, all the worthies who had crowded into a little back bedroom in a boarding house across the street from Ford’s Theatre turned to Edwin Stanton, Lincoln’s formidable Secretary of War, for a final word….Stanton stood still, sobbing, and then said, simply, “Now he belongs to the ages.”
I picked up James L. Swanson’s “Manhunt,” a vivid account of the assassination and the twelve-day search for John Wilkes Booth that followed. Once again, I came to the deathbed scene, the vigil, the gathering…Again Stanton broke the silence. ‘Now he belongs to the angels.’ Now he belongs to the angels? Where had that come from?…In the endnotes, Swanson explained that his rendering was deliberately at variance with the scholarly consensus: “In my view, shared by Jay Winik, the most persuasive interpretation supports ‘angels’ and is also more consistent with Stanton’s character and faith.”
…I made up my mind about what must have happened: Stanton had muttered “angels,” been heard as saying “ages,” and, if he had been asked which afterward, would have been torn. He might have decided to enable the mishearing, in order to place Lincoln in history, not Heaven. It seemed possible that both versions were true, one to the intention and the other to the articulation, one to the emotion of the moment and one, in retrospect, to the meaning of the life. Angels or ages? Lincoln belongs to both.
…And then I knew that we probably would not have understood any better had we been standing there than we do now. Stanton was weeping, Lincoln had just died, the room was overwhelmed, whatever he said was broken by a sob—the sob, in a sense, is the story. History is not an agreed-on fiction but what gets made in a crowded room; what is said isn’t what’s heard, and what is heard isn’t what gets repeated…The past is so often unknowable not because it is befogged now but because it was befogged then, too, back when it was still the present. If we had been there listening, we still might not have been able to determine exactly what Stanton said. All we know for sure is that everyone was weeping, and the room was full.
Adam Gopnik, “Angels and Ages,” The New Yorker, 28 May 2007.
Something happened on the day he died.
“★“
|
||||
1487
|
dbpedia
|
1
| 41
|
https://www.soundtrack.net/releasedates/albums/1965/
|
en
|
1965 Movie Soundtracks & Film Scores
|
[] |
[] |
[] |
[
"1965",
"soundtracks",
"soundtrack",
"score",
"scores",
"album",
"albums",
"movies",
"films",
"releases",
"release",
"schedule",
"date",
"dates",
"release dates",
"movie",
"film",
"composer"
] | null |
[] | null |
Soundtrack and film score album releases from 1965.
|
/favicon.ico
| null | |||||||
1487
|
dbpedia
|
0
| 21
|
https://en.wikipedia.org/wiki/Hang_On_Sloopy
|
en
|
Hang On Sloopy
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/7/7d/The_McCoys.jpg/220px-The_McCoys.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2004-10-10T17:48:55+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Hang_On_Sloopy
|
1965 single by The McCoys
This article is about the Wes Farrell and Bert Berns song. For the McCoys album, see Hang On Sloopy (album).
"My Girl Sloopy"Single by the VibrationsB-side"Daddy Woo Woo"Released1964 ( )Recorded1964GenreR&BLength2:53LabelAtlanticSongwriter(s)
"Hang On Sloopy" (originally "My Girl Sloopy") is a 1964 song written by Wes Farrell and Bert Berns. Rhythm and blues vocal group the Vibrations were the first to record the tune in 1964. Atlantic Records released it as a single, which reached No. 26 on the Billboard Hot 100 chart. The song is associated with Ohio State University and is Ohio's official rock song.
The song became standard fare for garage bands and, in 1965, it became one of the first songs recorded by the Yardbirds with guitarist Jeff Beck. A version by the rock group the McCoys was the most successful, when it reached number one in the singles chart. Recordings by additional artists also reached the charts, including versions in Spanish and Portuguese.
By one account, the inspiration for the song was Dorothy Sloop, a jazz singer from Steubenville, Ohio, and a student at Ohio University.[3]
McCoys version
[edit]
"Hang On Sloopy"Single by the McCoysB-side"I Can't Explain It"ReleasedJuly 1965 ( )StudioBell Sound (New York City)[4]GenreGarage rock[5][6]Length2:57
3:50 (unedited version)LabelBangSongwriter(s)Producer(s)The McCoys singles chronology
"Hang On Sloopy"
(1965) "Fever"
(1965)
In early 1965, the Strangeloves, a New York City rock band, wanted to make the song the follow-up to their hit single "I Want Candy" and began performing it in concert. However, the Dave Clark Five, with whom they were touring, told the Strangeloves that they were going to record their own version when they returned to England, copying the Strangeloves' arrangement. The Strangeloves realized that the Dave Clark Five's cut would likely be a hit, but they were not yet ready to release a new single because they were still enjoying the success of "I Want Candy" from a few months earlier.
The answer presented itself when a young rock group named Rick and the Raiders opened (and provided backing) for the Strangeloves in July in Dayton, Ohio.[7] The Strangeloves, three writer-producers from Brooklyn, New York City, recruited Rick and the Raiders to record the song under their name. Their 16-year-old leader, Rick Zehringer, was flown to Bell Sound Studios in New York to record his lead vocal over the Strangeloves' already-recorded backing tracks. It was decided to change the name of Rick's group to the McCoys to avoid confusion with another popular band at the time, Paul Revere & the Raiders, and Rick began using the stage name Rick Derringer. The single was issued on Bang Records and entered the chart on August 14, 1965. It reached the top position on October 2. Contrary to the Strangeloves' expectations, the Dave Clark Five version was never even released.
Originally written and recorded with three verses, the retitled "Hang On Sloopy" was edited down to two verses for the single and resulting Hang On Sloopy album. Record World responded positively: "Teens will hang on to this new Bang slice, since the rhythmic song about a hard luck girl is riveting."[8] The unedited three-verse version, at 3 minutes, 50 seconds, first appeared on the 1970 Bang various artists compilation Bang & Shout Super Hits (BLPS-220), then again on the 1991 Rhino Records various artists compilation Grandson of Frat Rock! Vol. 3 and the 1995 Legacy Recordings compilation Hang On Sloopy: The Best of the McCoys.
Legacy
[edit]
The Yardbirds
[edit]
In 1964, Eric Clapton, who was then lead guitarist for the Yardbirds, introduced the group to the Vibration's "My Girl Sloopy".[citation needed] Before they could record the tune, however, Clapton left the group. During his second recording session on April 13, 1965, with the Yardbirds, new guitarist Jeff Beck and the group recorded the song at the Advision Studios in London. Their 5:36 rendition was considered unusual for a studio recording at the time; AllMusic's Bruce Eder called it "the first extended jam to emerge on record from a band on the British blues scene". Group chronicler Greg Russo also commented on the group's "humorous take [in which they] used out of control vocal buildups", which was part of their live performances, such as at the fifth Richmond National Jazz and Blues Festival on August 6.
When looking for material for the Yardbirds' first American album, manager Giorgio Gomelsky included "My Girl Sloopy" and two other tracks recorded at Advision with Beck. The hastily produced album was released on July 5, 1965, to generate interest for the group's upcoming first US tour. On August 11, the three songs formed the Yardbirds' first extended play (EP) release in the UK, where it reached number two on the record chart.
Other charting versions
[edit]
Little Caesar and the Consuls released a version of the song in 1965 that reached No. 50 on the Billboard pop chart and No. 3 in Canada.[12]
The Ramsey Lewis Trio recorded the song for their 1965 live album Hang On Ramsey!; it reached No. 6 on the US R&B chart, No. 11 on the US pop chart, No. 18 on the US adult contemporary chart, No. 37 on the Canadian pop charts,[13] and No. 2 on the Canadian AC charts.[14]
"Es Lupe", a Spanish-language cover version by Los Johnny Jets, was released in 1965. It topped the Mexican charts for 13 weeks.[15]
Leno e Lílian, a Brazilian vocal duo, released a cover version in Portuguese (“Pobre Menina”) in January 1966 that topped the Brazilian charts.[16]
The Lettermen released a version of the song in 1970 that reached No. 18 on the US adult contemporary chart and No. 93 on the Billboard Hot 100.
Rick Derringer released a version of the song in 1975 that reached No. 94 on the Billboard Hot 100 and No. 81 in Canada.[17]
The Sandpipers released a version of the song in 1976 that reached No. 32 on the UK Singles Chart.[18]
The Ohio State University
[edit]
The song gained an association with Ohio State University after its marching band began playing it at football games. It first played the song October 9, 1965, after a staff arranger, John Tatgenhorst, begged the director to try playing it. After finally convincing the director, Tatgenhorst prepared an arrangement and the band played the song in front of the stadium.[19] After the crowd reaction, the band began to play it at every game. The song is traditionally played during the transition from the 3rd quarter to the 4th quarter[20] at Ohio Stadium. Since then, "Sloopy" has been appearing on the band's CDs and was available as a free download on its website.[21] A vocal performance excerpt is also available for download on the university's website.[22]
Home games of professional sports teams throughout Ohio also feature the song. As is the case at Ohio State, fans usually chant the letters "O, H, I, O" during the pauses in the chorus while mimicking the shape of the letters with their arms.
Bruce Springsteen and the E Street Band covered this song live in concert at the university's Schottenstein Center in 1999. When the Rolling Stones played Ohio Stadium on May 30, 2015, as part of their Zip Code Tour, they also performed the song.
When the marching band performed the song pregame during the 2016 College Football Playoff semifinal, then-band announcer Dave Carwile introduced the song by saying, "It's just a part of who we are."[23]
Official rock song of the State of Ohio
[edit]
Later it became the official rock song of the State of Ohio and Ohio State University. In April 1985, Joe Dirck, columnist for the Columbus Citizen-Journal, saw a wire service story about a proposal to designate "Louie, Louie" as the official State song of Washington, and he subsequently wrote a series of tongue-in-cheek columns. He even registered as a lobbyist for the resolution. Dirck played bass guitar in rock bands and knew the McCoys, particularly Rick Derringer. He said it was a good fit because the McCoys were from the Dayton area, and Ohio State marching band had adopted it as an unofficial anthem. Both the public and its elected officials—most importantly, the 116th Ohio General Assembly became aware their State lacked an official song as a result of the exposure from his commentary. They designated "Hang On Sloopy" as the state rock song by House Concurrent Resolution 16 on November 20, 1985, with clauses including:[24]
WHEREAS, "Hang On Sloopy" is of particular relevance to members of the baby boom generation, who were once dismissed as a bunch of long-haired, crazy kids, but who now are old enough and vote in sufficient numbers to be taken quite seriously...
and
WHEREAS, Adoption of this resolution will not take too long, cost the State anything, or affect the quality of life in this State to any appreciable degree, and if we in the legislature just go ahead and pass the darn thing, we can get on with more important stuff
Professional sports
[edit]
"Hang On Sloopy" is also a signature song for Major League Baseball's Cleveland Guardians, who play at Progressive Field in Cleveland, Ohio, typically played during the middle of the 8th inning.[25] The song also plays at the end of the 3rd quarter at FirstEnergy Stadium during every Cleveland Browns game, and is also played at Cleveland Cavaliers games at Rocket Mortgage FieldHouse. During games it is common for fans to yell "O-H-I-O!" following the chorus.[26]
References
[edit]
Bibliography
[edit]
|
||||
1487
|
dbpedia
|
3
| 1
|
https://www.britannica.com/event/British-Invasion
|
en
|
British Invasion | Origins, Groups, & Facts
|
[
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png",
"https://cdn.britannica.com/34/101934-004-CD2C8F59/The-Beatles-Ed-Sullivan-Show-foreground-George-February-9-1964.jpg",
"https://cdn.britannica.com/60/193960-004-3ABA377F/British-pop-group-Searchers-Schiphol-Netherlands-September-1965.jpg",
"https://cdn.britannica.com/mendel-resources/3-124/images/shared/default3.png?v=3.124.12",
"https://cdn.britannica.com/02/178202-131-C6AF820B/Beatles-Rock-film-Publicity-quartet-A-Hard.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/38/117738-131-B3EC18C1/portrait-Mao-Zedong-Chinese-Forbidden-City-palace.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/04/79904-131-6DCAD337/Elizabeth-II-speech-throne-Parliament-state-opening-1958.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/42/245842-131-8BE1496A/Richard-M-Nixon-boards-resignation-helicopter-White-August-9-1974.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/37/153237-131-A68EA014/nano-iPod-size-media-player-Multi-Touch-Apple-2001.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/07/218207-131-ECF570E1/The-Beatles-Harrison-Starr-Lennon-McCartney-August-12-1966.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/34/193634-131-F5FF783D/factories-Industrial-Revolution-workers-house-machines.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/13/134913-131-D9520745/Ice-Sledge-Hockey-Canada-Cup-USA-ice-2010.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/53/189853-131-02462668/Footraces-distances-Summer-Olympics.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/51/189351-131-104BA669/Jesse-Owens-Olympic-Games-1936.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/68/220368-131-C835E48E/United-States-electoral-college-votes-by-state.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/56/198256-131-63923156/Chapter-header-The-Adventures-of-Tom-Sawyer-1884.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/01/190901-131-2048BEEC/vector-illustration-sport-pentathlon-competition-series-Fencing.jpg?w=200&h=200&c=crop",
"https://cdn.britannica.com/34/101934-050-B182738E/The-Beatles-Ed-Sullivan-Show-foreground-George-February-9-1964.jpg?w=400&h=300&c=crop",
"https://cdn.britannica.com/02/178202-131-C6AF820B/Beatles-Rock-film-Publicity-quartet-A-Hard.jpg",
"https://cdn.britannica.com/60/193960-050-7C5E7DC7/British-pop-group-Searchers-Schiphol-Netherlands-September-1965.jpg?w=300"
] |
[] |
[] |
[
"British Invasion",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"Ira A. Robbins"
] |
1999-11-08T00:00:00+00:00
|
British Invasion, musical movement of the mid-1960s composed of British rock-and-roll groups whose popularity spread rapidly to the United States. The bands included the Beatles, the Rolling Stones, the Animals, the Troggs, the Searchers, the Dave Clark Five, Herman’s Hermits, and the Spencer Davis Group.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/event/British-Invasion
|
British Invasion, musical movement of the mid-1960s composed of British rock-and-roll (“beat”) groups whose popularity spread rapidly to the United States.
The Beatles’ triumphant arrival in New York City on February 7, 1964, opened America’s doors to a wealth of British musical talent. What followed would be called—with historical condescension by the willingly reconquered colony—the second British Invasion. Like their transatlantic counterparts in the 1950s, British youth heard their future in the frantic beats and suggestive lyrics of American rock and roll. But initial attempts to replicate it failed. Lacking the indigenous basic ingredients—rhythm and blues and country music—of rock and roll, enthusiasts could bring only crippling British decorum and diffidence. The only sign of life was in the late 1950s skiffle craze, spearheaded by Scotland’s Lonnie Donegan. Skiffle groups (like the Beatles-launching Quarrymen) were drummerless acoustic guitar-and-banjo ensembles, jug bands really, who most often sang traditional American folk songs, frequently with more spirit than instrumental polish.
Britannica Quiz
Phenomenon From Across the Pond
By 1962, encouraged by the anyone-can-play populism of skiffle and self-schooled in the music of Chuck Berry, Elvis Presley, Little Richard, Eddie Cochran, Buddy Holly, James Brown, and Muddy Waters, some British teens had a real feel for the rock-and-roll idiom. Blending that with such local traditions as dancehall, pop, and Celtic folk, they formulated original music they could claim, play, and sing with conviction. Young groups with electric guitars began performing and writing up-tempo melodic pop, fiery rock and roll, and Chicago-style electric blues.
Liverpool became the first hotbed of the so-called “beat boom.” With the Beatles, other exuberant male quartets such as the Searchers, the Fourmost, and Gerry and the Pacemakers—plus the quintet Billy J. Kramer and the Dakotas—launched “Merseybeat,” so named for the estuary that runs alongside Liverpool. The Beatles first reached the British record charts in late 1962 (shortly after the Tornados’ “Telstar,” an instrumental smash that sent word of what was in store by becoming the first British record to top the American singles chart); the rest joined the hit parade in 1963.
Rock swept Britain. By 1964 Greater London could claim the Rolling Stones, the Yardbirds, the Who, the Kinks, the Pretty Things, Dusty Springfield, the Dave Clark Five, Peter and Gordon, Chad and Jeremy, and Manfred Mann. Manchester had the Hollies, Wayne Fontana and the Mindbenders, Freddie and the Dreamers, and Herman’s Hermits. Newcastle had the Animals. And Birmingham had the Spencer Davis Group (featuring Steve Winwood) and the Moody Blues. Bands sprang up from Belfast (Them, with Van Morrison) to St. Albans (the Zombies), with more inventive artists arriving to keep the styles moving forward, including the Small Faces, the Move, the Creation, the Troggs, Donovan, the Walker Brothers, and John’s Children. While the beat boom provided Britons relief from the postimperial humiliation of hand-me-down rock, the Beatles and their ilk brought the United States more than credible simulations. They arrived as foreign ambassadors, with distinctive accents (in conversation only; most of the groups sang in “American”), slang, fashions, and personalities. The Beatles’ first film, A Hard Day’s Night (1964), further painted England as the centre of the (rock) universe. American media took the bait and made Carnaby Street, London’s trendy fashion centre in the 1960s, a household name.
|
||||
1487
|
dbpedia
|
1
| 82
|
https://www.unep.org/news-and-stories/story/birth-ban-history-plastic-shopping-bag
|
en
|
From birth to ban: A history of the plastic shopping bag
|
[
"https://www.unep.org/themes/custom/UNEP_3Spot/img/SDG_Wheel_Transparent_WEB.png",
"https://www.unep.org/themes/custom/UNEP_3Spot/img/SDG_Wheel_Transparent_WEB.png",
"https://cdn.unenvironment.org/styles/article_billboard_image/s3/2021-12/1999-11-15T120000Z_350392003_RP1DRILHANAC_RTRMADP_3_TURKEY-QUAKE.jpeg?itok=V0_mWhvI",
"https://cdn.unenvironment.org/s3fs-public/inline-images/MIT_Industrial_Chemistry_Lab.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/future%20bag.jpeg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/People%20shopping.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/22117238634_bc72519264_k.jpeg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/A%20plastic%20bag%20in%20the%20ocean.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/Settlements%20on%20a%20lake.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/Plastic%20bags%20on%20trees%20in%20a%20park.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/A%20map%20showing%20plastic%20bag%20bans%20across%20the%20globe.png",
"https://cdn.unenvironment.org/s3fs-public/inline-images/Beat%20plastic%20pollution%20logo.jpg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/Plastic%20strategy.jpeg",
"https://cdn.unenvironment.org/s3fs-public/inline-images/Plastic%20infographic.png",
"https://cdn.unenvironment.org/s3fs-public/inline-images/nick-fewings-ywVgG0lDbOk-unsplash.jpeg",
"https://cdn.unenvironment.org/styles/topics_content_promo/s3/2024-06/faucet-3240211_1920.jpg?itok=16-OTV4c",
"https://cdn.unenvironment.org/styles/topics_content_promo/s3/2024-05/GLG%20members.jpeg?itok=SIxx99nZ",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-03.png?itok=iU150Xyf",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-07.png?itok=tgsrA6fl",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-08.png?itok=3b8Z7CcX",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-09.png?itok=PZqq6dO_",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-11.png?itok=SBVdR5ey",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-13.png?itok=LrObZmbm",
"https://cdn.unenvironment.org/s3fs-public/styles/ex/public/2023-03/E-WEB-Goal-15.png?itok=lbzh_hax",
"https://cdn.unenvironment.org/s3fs-public/styles/large/public/2019-02/palstic%20bag.png?itok=-ZxKsApa"
] |
[] |
[] |
[
"Global",
"Chemicals & pollution action",
"",
"Resource efficiency",
"Marine Litter",
"Sustainable Development"
] | null |
[
"United Nations Environment Programme",
"www.facebook.com"
] |
2018-04-25T11:09:00
|
A rare novelty in the 1970s, plastic shopping bags are now an omnipresent global product, produced at a rate of one trillion a year. They are showing up in the darkest depths of the oceans to the summit of Mount Everest to the polar ice caps – and creating some major environmental challenges.
|
en
|
/themes/custom/UNEP_3Spot/favicon.ico
|
UNEP
|
https://www.unep.org/news-and-stories/story/birth-ban-history-plastic-shopping-bag
|
Originally published in April 2018, this story has been updated to include the latest facts, figures and references.
A novelty in the 1970s, plastic shopping bags are now an omnipresent product found in every corner of the world. Produced at a rate of up to one trillion bags per year, they are showing up in the darkest depths of the ocean to the summit of Mount Everest to the polar ice caps. Being so widespread, plastic bags are intensifying some major environmental challenges.
So where did they come from and how did we reach this point?
1933 – Polyethylene, the most commonly used plastic, is created by accident at a chemical plant in Northwich, England. While polyethene had been created in small batches before, this was the first synthesis of the material that was industrially practical. Seeing its potential, it was initially used in secret by the British military during World War II.
1965 – The one-piece polyethylene shopping bag is patented by the Swedish company Celloplast. Designed by engineer Sten Gustaf Thulin, the plastic bag quickly begins to replace cloth and plastic in Europe.
1979 – Already controlling 80 per cent of the bag market in Europe plastic bags begin to spread to the United States and other countries around the world. Plastic companies begin to aggressively market their single-use product as superior to paper and reusable bags.
1982 – Safeway and Kroger, two of the biggest supermarket chains in the United States, switch to plastic bags. Though they are yet to be fully accepted by shoppers, single-use plastic bags are cheaper than alternatives, and more stores begin to follow Safeway and Kroger’s switch. By the end of the decade, plastic bags will have almost entirely replaced paper bags around the world.
1997 – Sailor and researcher Charles Moore discovers the Great Pacific Garbage Patch, the largest of several gyres in the world’s oceans where immense amounts of plastic waste have accumulated. Threatening marine life, this immense collection of marine litter and plastic pollution showcases the long-lasting and harmful effects of single-use plastic products.
2002 – Bangladesh is the first country in the world to implement a ban on thin plastic bags, after it was found they played a key role in clogging drainage systems during disastrous flooding. Other countries begin to follow suit.
2011 – Worldwide, one million plastic bags are consumed every minute.
2018 – As of July 2018, the United Nations Environment Programme (UNEP) finds that 127 out of 192 countries reviewed have enacted some form of national legislation to address the problem of plastic bags.
2018 – #BeatPlasticPollution is chosen as the theme of World Environment Day, hosted by India. Companies and governments around the world continue to announce new pledges to tackle plastic waste.
#BeatPlasticPollution is the theme of World Environment Day 2018.
2019 – The European Union’s (EU) Directive on single-use plastic products takes effect as the EU aims to lead the fight against marine litter and plastic pollution.
2020 – Recognizing its massive waste problem, China commits to strengthening national plastic pollution control, ushering in an era of single-use plastic reduction.
|
||||
1487
|
dbpedia
|
1
| 94
|
https://www.nationalarchives.gov.uk/help-with-your-research/research-guides/census-records/
|
en
|
The National Archives
|
[
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/logo-white.png",
"https://www.nationalarchives.gov.uk/wp-content/uploads/2021/08/HO107-1478-Census-1851-Queen-Victoria-entry-720x457-1.jpg",
"https://www.nationalarchives.gov.uk/wp-content/uploads/2021/08/RG18-229-Census-Registrars-district-31.-Sub-districts-1-2-and-3-Walton-Chertsey-Chobham-1891-720x328-1.jpg",
"https://www.nationalarchives.gov.uk/wp-content/uploads/2021/03/RG9-1085-Census-form-for-vessels-HMS-Beagle-1861-311x720-1.png",
"https://www.nationalarchives.gov.uk/wp-content/uploads/2021/03/RG9-1085-Census-entry-for-crew-of-HMS-Beagle-1861-720x424-1.png",
"https://www.nationalarchives.gov.uk/wp-content/uploads/2021/03/Census-page-showing-TNA-references-PNG.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/global/icon-128-email.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/tna-square-white-logo.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/twitter.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/youtube-play.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/flickr.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/facebook.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/instagram.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/social/rss.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/global/logo-ogl.png",
"https://www.nationalarchives.gov.uk/wp-content/themes/tna/images/global/gov-uk.png"
] |
[] |
[] |
[
"census",
"datasets",
"digitised records",
"online collections",
"population",
"statistics",
"surveys"
] | null |
[
"The National Archives"
] |
2015-03-19T16:07:08+00:00
|
1. Why use this guide?
This guide explains how to access the historical censuses from 1841 to 1921 and provides information on using the census returns of:
England
Wales
the Channel Islands
the Isle of Man
vessels in English and...
|
en
|
/wp-content/themes/tna/images/favicon.png
|
The National Archives
|
https://www.nationalarchives.gov.uk/help-with-your-research/research-guides/census-records/
|
4.1 Where to access the censuses
The censuses from 1841 to 1921 are available online. Links to our official partner websites, Ancestry and Findmypast, for each census (£) are listed in the table below. Images and indexes for all censuses from 1841 to 1911 are available on both of these sites, and on a number of other commercial websites (£).
It is free to search on these sites, but there is a charge to view full search results and digitised images. However, you can view censuses from 1841 to 1921 free of charge on site at The National Archives in Kew, and from 1841 to 1911 at many libraries and record offices and at FamilySearch Centres worldwide. The 1921 Census is also free to view via Findmypast at the Manchester Central Library, on St Peter’s Square, Manchester, supported by the Manchester and Lancashire Family History Society helpdesk and the Archives+ Team, and at the National Library of Wales, in Aberystwyth.
Many local and county record offices also hold microfilm or microfiche copies of the census returns for their own area, excluding 1911 and 1921. Use Find an archive to find contact details for local and county record offices.
Read section 12 for information on the census returns for Scotland and Ireland.
Census year Online version of censuses for… Provided by 1921 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1911 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1901 England, Wales, Channel Islands and Isle of Man Findmypast.co.uk 1891 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1881 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1871 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1861 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1851 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk 1841 England, Wales, Channel Islands, Isle of Man Ancestry.co.uk
There are free indexes to all of the census returns up to 1911 at FamilySearch.org, with links to the images on Findmypast (£). You can also search census returns for England and Wales on Findmypast (£).
Some transcripts of census records covering England, Wales and Scotland are available free of charge on FreeCEN.org.uk. Statistics on coverage are listed, by county, on their website.
4.2 How to search the censuses
You can search by name, browse by place, or locate an exact page if you have the full census reference. Read section 11 for information on using census references. Depending on the census year, and the site, other search options may be available.
Street indexes were created for districts containing towns with a population of around 40,000 or more, from 1841 to 1901. Online versions for the street indexes for 1841, 1851, 1861, 1871 and 1891 are preserved in the UK Government Web Archive. Please note that the limitations of the software that captures website content means that some links within archived web pages do not work. Printed copies of the 1841, 1881 and 1901 street indexes are available in the reading rooms at The National Archives. For 1871 census registration district maps see Cassinimaps.co.uk (£).
4.3 Post-1911 censuses
Unlike earlier censuses, the 1921 census (and later censuses) are subject to the Census Act 1920, as amended by the Census (Confidentiality) Act 1991 c.6 which makes it an offence to disclose personal information held in them until 100 years after the date they were conducted. Until then, they are held by the Office for National Statistics. Statistical information from these censuses is openly available.
Unfortunately, the 1931 census for England and Wales was destroyed by fire in 1942, and no census was taken in 1941 because of the Second World War.
5. People in the census
The following information on individuals enumerated within households is included in each census year as follows (slightly different questions were asked on schedules for institutions and vessels, depending on the location and census year):
1841
first name and surname
age (rounded down to the nearest five years for those aged 15 or over)
sex
occupation
whether they were born in the county where they were enumerated (Y or N)
whether they were born in Scotland (S), Ireland (I) or Foreign Parts (P)
1851 and 1861
first name, middle names (often just initials) and surname
relationship to the head of the household
marital status
age (at last birthday)
sex
rank, profession or occupation
where born – county and parish if born in England or Wales, country only if born outside England and Wales)
whether blind, or deaf and dumb
1871 and 1881
As 1851 and 1861, except for the following difference:
the last column now reads: 1. Blind 2. Deaf and Dumb 3. Imbecile or Idiot 4. Lunatic
1891
As 1871 and 1881 with the following extra details on employment:
whether Employer, Employed, or Neither Employer nor Employed
language spoken (Wales only)
1901
As 1891, with occupation details changed to:
‘Employer, Worker or Own account’
a new column ‘If working at home’
language spoken (Isle of Man only)
1911
As 1901, with extra questions:
For married women only, the number of years of their present marriage, the number of children born of that marriage, the number still living, and the number that had died.
As well as their occupation, the industry in which the person was employed. If employed by a government, municipal or other public body, the name of that body.
Parish and county of birth for anyone born in the UK (which included all of Ireland). If born elsewhere in the British Empire, the colony or dependency, and the state or province.
For anyone born outside England and Wales, whether they were resident or visitor in the country.
Nationality of anyone born overseas whether British by parentage, British by naturalisation (including year of naturalisation) or, if a foreign national, of which country.
In the Infirmity column, the age at which the person had become afflicted.
In 1911 all the household schedules were kept, for the first time (see RG 14), and were not copied into enumeration books. There are instead enumerators’ summary books which list every address, including unoccupied buildings, and the only names they contain are those of the head of each household (see RG 78). These summary books are the only place you will find a description of each building such as ‘House and shop’, ‘Hotel’, ‘Private house’. Unoccupied houses and non-residential properties such as churches and factories are also listed.
1921
This was the first census where old questions were dropped, as well as new ones being added. The questions about the length of present marriage, and the number of children born within it, were no longer included. For the first time since 1841, there was no longer a question on infirmity or disability.
There were also changes to some existing questions:
Age was asked for in years and months, not just in years
‘Divorced’ was added as an option for marital status
Name and business of each person’s employer (in 1911 this was only required from those in public service), and the address of their place of work. ‘No fixed place’ was added as an option, in addition to ‘Home’
For persons born outside the United Kingdom, country and state or province of birth; state or province was previously asked only of those born in the British Empire. Naturalised British subjects were no longer asked for their year of naturalisation
New questions were added:
For children under 15, whether both parents were alive, father dead, mother dead, or both dead
Whether in full-time or part-time education
Married men, widows and widowers were asked for the number and ages of their living children and step-children under 16
In 1921 there are household schedules, as in 1911, but there are no enumerators’ summary books as there are for 1911. Instead, there are ‘Plans of Division’ which describe the boundaries and contents of each enumeration district.
6. Places in the census
The first page of each enumeration book contains a description of the area covered. In the earlier years the amount of detail varies; they could contain a list of streets, and describe the route taken by the enumerator, but in rural areas the description might simply read ‘The whole of the parish of …’. From 1891 onwards there are separate sections for a description of the boundaries of the ED, and for a list of the streets or dwellings included.
In 1911 these details are in the Enumerators’ Summary Books, and in 1921 they are in the Plans of Division.
7. Addresses, houses and other buildings in the census
Exact addresses were not required in 1841, only ‘place’. From 1851 an exact address was required, including the house name or number, if any. However, in rural areas the only information given still might be the name of the village or parish. Numbers in the left-hand column are schedule numbers, and should not be mistaken for house numbers.
A note was made of buildings that were uninhabited, or under construction, in every census year. In 1891 and 1901 the number of rooms in a dwelling was listed, if fewer than five. In 1911 and 1921 the number of rooms is shown on all household schedules, and other information is in the Enumerators’ Summary Books, described in section 5, above, for 1911 only.
From 1851 to 1901 a census entry for a new household is indicated by a new schedule number. In all census years except 1851, 1911 and 1921 the last entry in a building is indicated by a double oblique line //, and where there is more than one household within a building, they are separated by a single oblique line /. In 1851 a line is ruled across the page at the end of a building, or half-way across the page between households within a building.
8. Ships and institutions in the census
Special enumeration books were completed for institutions such as workhouses, barracks and hospitals in every census year from 1851, including 1911. Special schedules for vessels were introduced in 1851, although none are known to survive from that year, so in practice 1861 was the first year to include returns from the Royal Navy and merchant shipping, at sea and in ports at home and abroad. Due to the difficulties of collecting enumeration books from ships in distant ports, shipping returns are likely to be incomplete.
In 1861 all returns from the Royal Navy and from merchant vessels are at the end of the series, but after that vessels in home ports are listed at the end of the districts where they were moored, and only those in foreign waters are grouped together at the end of the series.
There are no surviving records for Royal Navy ships in foreign waters in 1891. It is not known what happened to these records.
In 1901 Royal Navy ships in foreign waters are listed alphabetically, and there are no returns for ships between HMS Amphion and HMS High Flyer. However, a duplicate copy of the enumeration of HMS Cygnet in 1901 was sent to the General Register Office by the Admiralty and is included in RG 19/20.
1911 was the first census where the British Army overseas was enumerated; previously there was only a headcount. This also applies in 1921, with the addition of Royal Air Force bases overseas.
9. Common census terms and abbreviations
In addition to the terms and abbreviations described below, section 5 and section 7 of this guide describe other conventions used in the censuses.
Relationships (from 1851)
In practice, the head of the household was often the oldest male, but not necessarily. Everyone else, whether wife, son, servant or anyone else, should have been described in relation to this person, but this was not always followed accurately. In three-generation families young children may be shown as ‘son’ or ‘daur’ (daughter) when they are really the grandchildren of the head. ‘Son (or daughter)-in-law’ can mean a stepchild, as well as the husband or wife of the head’s own children. A boarder is someone who resides within the household but is not a relative or servant, while a lodger only rents a room or rooms, but these terms are often used interchangeably.
Relationships are not recorded in most schedules for vessels or institutions. Instead, there may be a question on each person’s rank or position within the vessel or institutions. However, the exact details vary depending on the type of schedule, the year, and the location.
Condition (as to marriage)
Mar or M – married
Unm, Un or U – unmarried (replaced by S for single from 1891)
Wid or W – widowed
D – divorced (1921 only)
‘Divorced’ was not an official category until 1921, and does not feature in the statistical tables, but does appear occasionally in this column in some earlier census years.
Rank, profession or occupation
There were specific instructions on recording extra details for several occupations; notably the professions, the armed forces, public servants and anyone involved in agriculture or manufacturing. Sometimes the clerks in the Census Office altered or expanded these definitions to assign them to one of the categories in the Registrar General’s classification of occupations for that census year.
These are some of the most common terms and abbreviations found in the ‘Rank profession or occupation’ column:
Ag lab – agricultural labourer
Annuitant – living on income from investments
Ap or App – apprentice
FS, MS – used in the 1841 census for ‘female servant’ and ‘male servant’
FWK – also in 1841, for ‘framework knitter’ a common occupation in the East Midlands
Gentleman – Usually denotes someone living on an income from investments, or retired from business, but has no official definition
Ind or Independent – ‘Of independent means’
J – journeyman; someone who had completed an apprenticeship but was not a master with a business and apprentices of their own
Pensioner – usually means an army pensioner; other types of pensioner are generally identified as such, including Greenwich Pensioner (naval pensioner), police pensioner and so on. Old age pensions were introduced in 1908, so the term ‘old age pensioner’ appears for the first time in 1911
10. Why can’t I find my ancestor in the census?
There are many reasons that explain why you might not find somebody in the census. Read our blog post ‘Missing from the census?’ or watch our webinar, also called ‘Missing from the census?’, to discover how information can be missed or altered, as well as to learn tips for more successful searching.
There are some pages missing from all censuses, but 1861 has suffered most.
Missing from 1861 census
You can use The National Archives catalogue to find out which parishes or districts are known to be missing from the 1861 census. Use the keyword ‘missing’ to search within series RG 9 in our catalogue.
Missing from 1841 census: Wrexham
The 1841 census returns for the whole registration district of Wrexham, Denbighshire, were believed to be missing. However, the original enumeration books for the town of Wrexham were discovered in a bookshop, and are now deposited in the Denbighshire Archives. An indexed transcript has been published by the Clwyd Family History Society, and a copy is available at The National Archives.
Missing from other censuses
As with the 1861 census, you can use our catalogue to search the record series for any other census year to find out about whole parishes or districts that are known to be missing, but compared to 1861 there is less detail about odd missing pages. Use section 11 to determine which National Archives record series to search within and search using the word ‘missing’.
For more guidance on how to search our catalogue, read Discovery search help.
11. The National Archives references for censuses
Although most people now access the census online, and not on microfilm, census references are still very useful. Search engines on websites vary, and they can also change over time, but the original National Archives references never change. If you have a full reference, you should be able to use it to find a page on Ancestry.co.uk or on Findmypast.co.uk, even if you have obtained it from a different site, or from some other source. This is particularly useful when a person can be found using a name search on one site, but not on another, due to differences in transcription.
You may find census references quoted in books and articles, and you will also need to know how to use them if you are consulting our online and hard-copy street indexes (see section 4.2).
A census reference has three main elements; a department (letter) code, a series number, and a piece number. The department and series codes for each census year are:
1841 and 1851: HO 107
1861: RG 9
1871: RG 10
1881: RG 11
1891: RG 12
1901: RG 13
1911: RG 14
1921: RG 15
A piece may contain hundreds of pages, so extra information is required to find the right place within a piece. The census returns for most years follow a single format, but there are slightly different arrangements for 1841, 1911 and 1921.
Census returns from 1851 to 1901
The extra reference is a folio number and (optionally) a page number.
|