"Sing, Sing, Sing (With a Swing)" is a 1936 song, written by Louis Prima and first recorded by him with the New Orleans Gang and released in March 1936 as a 78 as Brunswick 7628 (with "It's Been So Long" as the B side). It is strongly identified with the big band and swing eras. It was covered by Fletcher Henderson and most famously Benny Goodman. Originally entitled "Sing Bing Sing", in reference to Bing Crosby, it was soon retitled for use in wider contexts. The song has since been covered by numerous artists. The original version of the song by Louis Prima includes lyrics, but, due to the better-known Benny Goodman version being instrumental (and including many musical flourishes in its arrangement), many assume the song was written as such.
Miles Davis
"Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP.[1]
The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century."[2] Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater".[3] The song is recognized as one of the most covered songs in the history of recorded music, with more than 33,000 covers by groups and solo performers.[4]
From Wikipedia, the free encyclopedia
The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century."[2] Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater".[3] The song is recognized as one of the most covered songs in the history of recorded music, with more than 33,000 covers by groups and solo performers.[4]
From Wikipedia, the free encyclopedia
Miles Davis
"Nature Boy" is a song by eden ahbez,
published in 1947. The song tells a fantasy of a "strange enchanted
boy... who wandered very far" only to learn that "the greatest thing...
was just to love and be loved in return". Nat King Cole's 1948 recording of the song was a major hit and "Nature Boy" has since become a pop and jazz standard, with dozens of major artists interpreting the song.
Blue Moods is 1955 album by Miles Davis. It brings Miles Davis together with Charles Mingus, accompanied by Elvin Jones on drums. The arrangement of "Alone Together" was by Charles Mingus, while the other tracks were arranged by Teddy Charles.
It was released on Mingus's own Debut Records label. According to the original sleeve notes, the relatively short playing time of the album was because "the recording was cut at 160 lines per inch (instead of the usual 210 to 260 lines per square inch) making the grooves wider and deeper and allowing for more area between the grooves for bass frequencies […] and was deemed necessary to reproduce the extended bass range and give the listener more quality to that of high fidelity tape recording."
From Wikipedia, the free encyclopedia
Blue Moods is 1955 album by Miles Davis. It brings Miles Davis together with Charles Mingus, accompanied by Elvin Jones on drums. The arrangement of "Alone Together" was by Charles Mingus, while the other tracks were arranged by Teddy Charles.
It was released on Mingus's own Debut Records label. According to the original sleeve notes, the relatively short playing time of the album was because "the recording was cut at 160 lines per inch (instead of the usual 210 to 260 lines per square inch) making the grooves wider and deeper and allowing for more area between the grooves for bass frequencies […] and was deemed necessary to reproduce the extended bass range and give the listener more quality to that of high fidelity tape recording."
From Wikipedia, the free encyclopedia
Nat king Cole
"Nature Boy"
Harvest Of Hits is an original jazz compilation by Nat King Cole released by Capitol Records in 1952. Both a 10 inch (33-1/3rpm) LP version containing 8 tracks, and a 6 track boxed set of three 7 inch (45rpm) discs was released.
From Wikipedia, the free encyclopedia
Harvest Of Hits is an original jazz compilation by Nat King Cole released by Capitol Records in 1952. Both a 10 inch (33-1/3rpm) LP version containing 8 tracks, and a 6 track boxed set of three 7 inch (45rpm) discs was released.
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Chet Baker
Album "Chet " (1987)
"Alone Together" is a song composed by Arthur Schwartz with lyrics by Howard Dietz. It was introduced in the Broadway musical Flying Colors in 1932 by Jean Sargent.
The song soon became a hit, with Leo Reisman and His Orchestra's 1932 recording being the first to reach the charts. It is the most popular of Schwartz and Dietz's collaborations and has become a jazz standard. The first jazz artist to record the song was Artie Shaw in 1939.[1]
From Wikipedia, the free encyclopedia
"Alone Together" is a song composed by Arthur Schwartz with lyrics by Howard Dietz. It was introduced in the Broadway musical Flying Colors in 1932 by Jean Sargent.
The song soon became a hit, with Leo Reisman and His Orchestra's 1932 recording being the first to reach the charts. It is the most popular of Schwartz and Dietz's collaborations and has become a jazz standard. The first jazz artist to record the song was Artie Shaw in 1939.[1]
From Wikipedia, the free encyclopedia
Guns N' Roses
"Paradise City" is a song written by the rock band Guns N' Roses. It is included on the 1987 album Appetite for Destruction and was released as a single in 1988. It is also the only song on the album to use a synthesizer.
It is most known for its iconic lyrics "Take me down to the paradise
city/Where the grass is green and the girls are pretty". The song peaked
at number five on the Billboard Hot 100, the third single of the band's to go Top 10.
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Dire Straits
"So Far Away" is a 1985 rock song by Dire Straits. It appears on the album Brothers in Arms. It became the band's fourth top 20 hit on the Billboard charts, peaking at #19. The original studio version of the track appeared on the 2005 compilation The Best of Dire Straits & Mark Knopfler: Private Investigations.
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
The Rolling Stones
"Sympathy for the Devil" is a song by The Rolling Stones which first appeared as the opening track on the band's 1968 album Beggars Banquet. It was written by Mick Jagger and credited to Jagger/Richards. Rolling Stone magazine placed it at #32 in their list of The 500 Greatest Songs of All Time.
"Sympathy for the Devil" was written by singer Mick Jagger and guitarist Keith Richards, though the song was largely a Jagger composition.[1] The working title of the song was "The Devil Is My Name", and it is sung by Jagger as a first-person narrative from the point of view of Lucifer.[2]
In a 1995 interview with Rolling Stone, Jagger said, "I think that was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song."[1] It was Richards who suggested changing the tempo and using additional percussion, turning the folk song into a samba.[3][4] Additionally, the song has some similarities to Mikhail Bulgakov's novel The Master and Margarita.[3] Jagger's philosophy of the devil states that "Just as every cop is a criminal/ and all your sinners saints."
Backed by an intensifying rock arrangement, the narrator, with chilling narcissistic relish, recounts his exploits over the course of human history and warns the listener: "If you meet me, have some courtesy, have some sympathy, and some taste; use all your well-learned politesse, or I'll lay your soul to waste." Jagger stated in the Rolling Stone interview: ". . . it's a very long historical figure — the figures of evil and figures of good — so it is a tremendously long trail he's made as personified in this piece."[1]
At the time of the release of Beggars Banquet the Rolling Stones had already raised some hackles for sexually forward lyrics such as "Let's Spend the Night Together" [5] and for allegedly dabbling in Satanism [3] (their previous album, while containing no direct Satanic references, had been titled Their Satanic Majesties Request), and "Sympathy" brought these concerns to the fore, provoking media rumours and fears among some religious groups that The Rolling Stones were devil-worshippers and a corrupting influence on youth.[3] The lyrics' focus, however, is on atrocities in the history of mankind, including the trial and death of Jesus Christ ("Made damn sure that Pilate washed his hands and sealed his fate"), European wars of religion ("I watched with glee while your kings and queens fought for ten decades / For the Gods they made"), the violence of the Russian Revolution of 1917 and the 1918 massacre of the Romanov family ("I stuck around St. Petersburg when I saw it was a time for a change / Killed the Tsar and his ministers / Anastasia screamed in vain"), and World War II ("I rode a tank, held a general's rank / When the Blitzkrieg raged, and the bodies stank").[6]
The lyrics also refer to the assassinations of John and Robert Kennedy. The recording sessions for the track were in progress when the latter was killed, and the words were changed from "Who killed Kennedy?" to "Who killed the Kennedys?"[citation needed]
The song may have been spared further controversy when the first single from the album, "Street Fighting Man", became even more controversial in view of the race riots and student protests occurring in many cities in the U.S.[7]
From Wikipedia, the free encyclopedia
"Sympathy for the Devil" was written by singer Mick Jagger and guitarist Keith Richards, though the song was largely a Jagger composition.[1] The working title of the song was "The Devil Is My Name", and it is sung by Jagger as a first-person narrative from the point of view of Lucifer.[2]
In a 1995 interview with Rolling Stone, Jagger said, "I think that was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song."[1] It was Richards who suggested changing the tempo and using additional percussion, turning the folk song into a samba.[3][4] Additionally, the song has some similarities to Mikhail Bulgakov's novel The Master and Margarita.[3] Jagger's philosophy of the devil states that "Just as every cop is a criminal/ and all your sinners saints."
Backed by an intensifying rock arrangement, the narrator, with chilling narcissistic relish, recounts his exploits over the course of human history and warns the listener: "If you meet me, have some courtesy, have some sympathy, and some taste; use all your well-learned politesse, or I'll lay your soul to waste." Jagger stated in the Rolling Stone interview: ". . . it's a very long historical figure — the figures of evil and figures of good — so it is a tremendously long trail he's made as personified in this piece."[1]
At the time of the release of Beggars Banquet the Rolling Stones had already raised some hackles for sexually forward lyrics such as "Let's Spend the Night Together" [5] and for allegedly dabbling in Satanism [3] (their previous album, while containing no direct Satanic references, had been titled Their Satanic Majesties Request), and "Sympathy" brought these concerns to the fore, provoking media rumours and fears among some religious groups that The Rolling Stones were devil-worshippers and a corrupting influence on youth.[3] The lyrics' focus, however, is on atrocities in the history of mankind, including the trial and death of Jesus Christ ("Made damn sure that Pilate washed his hands and sealed his fate"), European wars of religion ("I watched with glee while your kings and queens fought for ten decades / For the Gods they made"), the violence of the Russian Revolution of 1917 and the 1918 massacre of the Romanov family ("I stuck around St. Petersburg when I saw it was a time for a change / Killed the Tsar and his ministers / Anastasia screamed in vain"), and World War II ("I rode a tank, held a general's rank / When the Blitzkrieg raged, and the bodies stank").[6]
The lyrics also refer to the assassinations of John and Robert Kennedy. The recording sessions for the track were in progress when the latter was killed, and the words were changed from "Who killed Kennedy?" to "Who killed the Kennedys?"[citation needed]
The song may have been spared further controversy when the first single from the album, "Street Fighting Man", became even more controversial in view of the race riots and student protests occurring in many cities in the U.S.[7]
From Wikipedia, the free encyclopedia
David Bowie / Pat Metheny
"This Is Not America" is a song from the soundtrack for the film The Falcon and the Snowman.[1]
The track is the result of a collaboration between the jazz fusion Pat Metheny Group and rock singer David Bowie and is actually a version of Metheny's song "Chris" with lyrics and vocals added by Bowie.
It was released as a single which reached #14 in the UK, and #32 in the US.
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Deep Purple
"Smoke on the Water" is a song by the British rock band Deep Purple. It was first released on their 1972 album Machine Head. In 2004, the song was ranked number 434 on Rolling Stone magazine's list of the 500 greatest songs of all time,[2] ranked number 4 in Total Guitar magazine's Greatest Guitar Riffs Ever,[3] and in March 2005, Q magazine placed "Smoke on the Water" at number 12 in its list of the 100 greatest guitar tracks.[4]
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
Roxy Music
"Love Is the Drug" is a 1975 single from Roxy Music's fifth studio album Siren.
The song was the lead single taken from the album Siren. A number two hit in the United Kingdom, it also gave the group its first substantial exposure in the United States, reaching number 30 in early 1976 on the US pop singles chart and doing even better on progressive rock radio. Its B-side in most countries was "Sultanesque", a non-LP instrumental track written by Ferry, which is now available on the The Thrill of It All boxset.
The song started as an Andy MacKay instrumental, but then gained lyrics from Bryan Ferry; Ferry said the song came to him while he was walking and kicking the leaves in London's Hyde Park. The audio sample at the start of the single version is taken from the opening audio of the 1971 film Duel, wherein Dennis Weaver is walking to the garage at his house, stepping into a 1972 Plymouth Valiant, starting its Slant Six motor, and peeling out on gravel that is in the gutter in front of his house.
The unique bassline by John Gustafson became influential. In the DVD, More Than This: The Story of Roxy Music, Nile Rodgers of Chic states that the song was a big influence as the bass timing is almost identical to the one in Chic's song, "Good Times". In the Depeche Mode tour documentary/film 101, lead vocalist Dave Gahan sings along to the song while playing a pinball machine.
The song remains Roxy Music's highest-charting single in the US, while in the UK it was topped only by their 1981 version of John Lennon's "Jealous Guy". It is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
From Wikipedia, the free encyclopedia
David Bowie
"Rebel Rebel" is a song by David Bowie, released in 1974 as a single and on the album Diamond Dogs. Cited as his most-covered track,[1] it was effectively Bowie's farewell to the glam movement that had made him a star.[2][3]
Originally written for a mooted Ziggy Stardust musical in late 1973,[4] "Rebel Rebel" was Bowie's last single in the glam rock style that had been his trademark. It was also his first hit since 1969 not to feature lead guitarist Mick Ronson; Bowie himself played guitar on this and almost all other tracks from Diamond Dogs, producing what NME critics Roy Carr and Charles Shaar Murray called "a rocking dirty noise that owed as much to Keith Richards as it did to the departed Ronno".[5]
The song is notable for its gender-bending lyrics ("You got your mother in a whirl / She's not sure if you're a boy or a girl") as well as its distinctive riff, which rock journalist Kris Needs has described as "a classic stick-in-the-head like the Stones' 'Satisfaction'".[6] Bowie himself later said, "It's a fabulous riff! Just fabulous! When I stumbled onto it, it was 'Oh, thank you!'"[7]
Transsexual rock artist and former Bowie associate Jayne County claims that "Rebel Rebel" was based in part on County's own song "Queenage Baby",[8] which was recorded in January 1974 by Bowie's Mainman Records, but not released at the time. The song later surfaced on the independent 2006 release Wayne County at the Trucks, and some critics, upon hearing the track, echoed County's claims.[9][10]
From Wikipedia, the free encyclopedia
Originally written for a mooted Ziggy Stardust musical in late 1973,[4] "Rebel Rebel" was Bowie's last single in the glam rock style that had been his trademark. It was also his first hit since 1969 not to feature lead guitarist Mick Ronson; Bowie himself played guitar on this and almost all other tracks from Diamond Dogs, producing what NME critics Roy Carr and Charles Shaar Murray called "a rocking dirty noise that owed as much to Keith Richards as it did to the departed Ronno".[5]
The song is notable for its gender-bending lyrics ("You got your mother in a whirl / She's not sure if you're a boy or a girl") as well as its distinctive riff, which rock journalist Kris Needs has described as "a classic stick-in-the-head like the Stones' 'Satisfaction'".[6] Bowie himself later said, "It's a fabulous riff! Just fabulous! When I stumbled onto it, it was 'Oh, thank you!'"[7]
Transsexual rock artist and former Bowie associate Jayne County claims that "Rebel Rebel" was based in part on County's own song "Queenage Baby",[8] which was recorded in January 1974 by Bowie's Mainman Records, but not released at the time. The song later surfaced on the independent 2006 release Wayne County at the Trucks, and some critics, upon hearing the track, echoed County's claims.[9][10]
From Wikipedia, the free encyclopedia
Led Zeppelin
"Black Dog" is a song by English rock band Led Zeppelin, the lead off track of their fourth album, released in 1971. It was also released as a single in the United States and Australia with "Misty Mountain Hop" on the B-side, and reached #15 on Billboard and #11 in Australia.
In 2010, the song was ranked #300 on Rolling Stone's list of the 500 Greatest Songs of All Time.[1] Music sociologist Deena Weinstein argues, "Black Dog" is "one of the most instantly recognisable [Led] Zeppelin tracks".[2]
From Wikipedia, the free encyclopedia
Pearl Jam
"Oceans" is a song by the American rock band Pearl Jam. Featuring lyrics written by vocalist Eddie Vedder and music co-written by Vedder, guitarist Stone Gossard, and bassist Jeff Ament, "Oceans" was released in 1992 as the fourth single from the band's debut album, Ten (1991). Remixed versions of the song can be found on the "Even Flow" single and the 2009 Ten reissue.
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
Led Zeppelin
"Ramble On" is a song by English rock band Led Zeppelin from their 1969 album Led Zeppelin II. It was co-written by Jimmy Page and Robert Plant, and was recorded in 1969 at Juggy Sound Studio, New York, during the band's second concert tour of the United States. In 2010, the song was ranked #440 on Rolling Stone's list of The 500 Greatest Songs of All Time.[1]
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The Doors
"Peace Frog" is a song by The Doors which appears on the album Morrison Hotel. It was released on vinyl in February 1970 by Elektra/Asylum Records and produced by Paul Rothchild.
It has a fairly short running time of 2:50 and blends seamlessly into
the next track on the album, "Blue Sunday", making it easy for radio stations
to play the two songs consecutively. The lyrics were adapted from a
couple of Morrison's poems, one being entitled "Abortion Stories".
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Rory Gallagher
"Moonchild" Released 24 October 1976
Calling Card is the sixth studio release by Irish singer/guitarist Rory Gallagher. A 1976 release, it was his second of four albums released on Chrysalis Records in the 1970s. Deep Purple/Rainbow bass guitarist Roger Glover co-produced with Gallagher: it was the only time that Gallagher worked with a "name" producer. It also marked the final appearances of longtime Gallagher bandmates Rod de'Ath (drums) and Lou Martin (keyboards); Gallagher would revamp the band after the ensuing tour, retaining only his long time bass guitarist Gerry McAvoy.
From Wikipedia, the free encyclopedia
Calling Card is the sixth studio release by Irish singer/guitarist Rory Gallagher. A 1976 release, it was his second of four albums released on Chrysalis Records in the 1970s. Deep Purple/Rainbow bass guitarist Roger Glover co-produced with Gallagher: it was the only time that Gallagher worked with a "name" producer. It also marked the final appearances of longtime Gallagher bandmates Rod de'Ath (drums) and Lou Martin (keyboards); Gallagher would revamp the band after the ensuing tour, retaining only his long time bass guitarist Gerry McAvoy.
From Wikipedia, the free encyclopedia
The Doors
"Love Me Two Times" is a song by The Doors. It was written by the band and first appeared on the 1967 album Strange Days. It was released as the second single (after "People Are Strange") from that album, and reached #25 on the charts in the US. [1]
Ray Manzarek played the final version of this song on a harpsichord, not a clavichord. See Ray Manzarek's book, Light My Fire on page 258.
"Love Me Two Times" was considered to be somewhat risqué for radio airplay.[citation needed]
The lyrics were written by guitarist Robby Krieger. According to band members, the song was about a soldier/sailor on his last day with his girlfriend before shipping out, ostensibly to war (Vietnam).[citation needed]
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Guns N' Roses
"Live and Let Die" is the main theme song of the 1973 James Bond film Live and Let Die and was performed by Paul McCartney & Wings it was one of their most successful singles, and the most successful Bond theme to that point, charting at number two on the US Billboard Hot 100, and number nine on the UK Singles Chart.[1][2] Commissioned specifically for the movie and credited to Paul McCartney and his wife Linda, it reunited McCartney with Beatles producer George Martin, who both produced the song and arranged the orchestral break. It has been covered by several bands, with Guns N' Roses' version being the most popular. Both McCartney's and Guns N' Roses' versions were nominated for Grammys.
From Wikipedia, the free encyclopedia
The Rolling Stones
"Honky Tonk Women"
The song released as a single on 4 July 1969 in the United Kingdom and a week later in the United States, it topped the charts in both nations.[2]
The song was written by Mick Jagger and Keith Richards while on holiday in Brazil from late December 1968 to early January 1969. Inspired by Brazilian gauchos at the ranch where Jagger and Richards were staying in Matão, São Paulo, the song was originally released as an acoustic country song.[citation needed]
Two versions of the song were recorded by the band: the familiar hit which appeared on the 45 single and their collection of late 1960s singles, Through the Past, Darkly (Big Hits Vol. 2); and a honky-tonk version entitled "Country Honk" with slightly different lyrics, which appeared on Let It Bleed. The concert rendition of the song featured on Get Yer Ya-Ya's Out! differs from both the hit version and the country version, with a markedly different guitar introduction and an entirely different second verse, but is much closer to the single version than the album version.
From Wikipedia, the free encyclopedia
The song released as a single on 4 July 1969 in the United Kingdom and a week later in the United States, it topped the charts in both nations.[2]
The song was written by Mick Jagger and Keith Richards while on holiday in Brazil from late December 1968 to early January 1969. Inspired by Brazilian gauchos at the ranch where Jagger and Richards were staying in Matão, São Paulo, the song was originally released as an acoustic country song.[citation needed]
Two versions of the song were recorded by the band: the familiar hit which appeared on the 45 single and their collection of late 1960s singles, Through the Past, Darkly (Big Hits Vol. 2); and a honky-tonk version entitled "Country Honk" with slightly different lyrics, which appeared on Let It Bleed. The concert rendition of the song featured on Get Yer Ya-Ya's Out! differs from both the hit version and the country version, with a markedly different guitar introduction and an entirely different second verse, but is much closer to the single version than the album version.
From Wikipedia, the free encyclopedia
Deep Purple
"Demon's Eye"
The third song from album "Fireball", released in 1971.
It was their fifth studio album, and the second with the classic Mk II lineup. It was recorded at various times between September 1970 and June 1971. It would become the first of the band's three UK #1 albums, though it didn't stay on the charts as long as its predecessor, In Rock.
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