"One More Time" is a song by Daft Punk first released as a single on 13 November 2000[1] and later included in the 2001 album Discovery. The song's vocal performance by Romanthony is heavily auto-tuned and compressed.[2] As part of the album, the track is featured in the introduction to the film Interstella 5555. "One More Time" remains their biggest commercial hit to date. It nearly topped the United Kingdom chart in 2000, instead peaking at #2, and was one of their few charting songs in the United States, reaching #61 on the Billboard Hot 100. It is also featured in the Wii video game Boogie and PlayStation 3's SingStar. Marc Mysterio released a cover version of "One More Time" featuring the vocals of Yardi Don. The song is currently Daft Punk's only #1 single in their home country of France.
The song is listed at #5 on Pitchfork Media's top 500 songs of the 2000s,[3] and #33 on Rolling Stone's top 100 songs of the decade (2000–2009)[4] as well as #307 on Rolling Stone's amended "The 500 Greatest Songs of All Time" list in May 2010.
"California Love" is a hip hop song by 2Pac featuring Dr. Dre and Roger Troutman. The song was released as 2Pac's comeback single upon his release from prison in 1995. A popular remix version of the song appeared on his 1996 double album All Eyez on Me. This is perhaps 2Pac's best-known song and his most successful, reaching number one on the Billboard Hot 100 for two weeks (as a Double-A side single with "How Do U Want It"). The song was nominated for a posthumous Grammy Award as a Best Rap Solo Performance and Best Rap Performance by a Duo or Group (with Dr. Dre and Roger Troutman) in 1997.
The original version of the track was not available on any of Shakur's studio albums due to it being intended for Dr. Dre's shelved album The Chronic II: A New World Odor (Poppa's Got A Brand New Funk). But it can now be found on Shakur's compilation of Greatest Hits and on the United Kingdom version of All Eyez on Me.
The tune was taken from Joe Cocker's song "Woman to Woman". The line, "California knows how to party", and mention of Los Angeles, the neighborhood of Watts and the city of Compton are sung by Roger Troutman,
which in turn are taken from Ronnie Hudson and the Street People's
"West Coast Poplock". The remix features sample from the song "Intimate
Connection" by Kleeer
written by Norman Durham and Woody Cunningham. Pac and Dre mention the
following other California cities in their verses and the outro: San Diego, Bay Area (includes San Francisco and Oakland), Long Beach, Sacramento, Pasadena, Inglewood and Hollywood.
"California Love" was Shakur's only entry on Rolling Stone's 2004 list of the 500 Greatest Songs of All Time, ranked #346 and #51 on VH1's
countdown of the 100 Greatest songs of the 90s. The song has sold over
1,300,000 digital copies despite being released almost a decade before
the digital era.[3]
"Paper Planes" is a song by British musician M.I.A. for her second studio album Kala (2007). The song was written by Maya "M.I.A." Arulpragasam, Topper Headon, Mick Jones, Wesley "Diplo" Pentz, Paul Simonon and Joe Strummer and produced by Diplo with additional production by Switch. A denouement following stereotypical perceptions of immigrants,
violence and M.I.A.'s troubles securing a visa to the US while
recording her second album, the song's development was motivated by her
not knowing the reasons behind her "stupid visa problem...aside from
them thinking that I might fly a plane into the Trade Center – which is
the only reason that they would put me through this...". During the
recording sessions, she wanted to create a song about daily experiences
of immigrants, while listeners could interpret the chorus' protagonist
as being anyone from street hustlers to gun-selling corporations. "Paper
Planes" was released for download in August 2007 and as the album's
third single by XL Recordings and Interscope Records on February 11, 2008.
The song includes a sample of "Straight to Hell" by The Clash. "Paper Planes" is a downtemporap song ballad, with a folk style melody considered less dance
influenced than the other songs on the album. Igniting wide acclaim
upon release, contemporary critics complimented the music direction and
the subversive, unconventional subject matter of the piece, citing its
chorus and its lyrical humour in the promotion of globalization, reaffirming that through these the song continued M.I.A.'s political dance revolution in music. Rolling Stone, Rockdelux, Stylus, NME and The Guardian
ranked "Paper Planes" highly in their lists of the best songs of the
year, the 2000s decade and of all-time. The song won the Indie Award for
Favourite International Single at the 2009 Canadian Independent Music Awards and the American Society of Composers, Authors, and Publishers (ASCAP) recognized the song as one of the most performed ones of 2008 at the ASCAP Pop Music Awards. Several artists have covered the song and released their own remixes.
Achieving much international commercial success, the single peaked in
the top twenty in Belgium, Denmark, Canada, the United Kingdom and the
United States. Her first top twenty single in the UK and her next top
ten charting song in Canada following "Boyz" (2007), it reached the top ten of seven Billboard charts and peaked at number four on the Billboard Hot 100 in the US. The single reached two positions higher than "Boyz" to top the BillboardHot Dance Singles Sales chart. The song became XL Recordings' best selling single, is certified triple-platinum by the Music Canada (CRIA) in Canada and the Recording Industry Association of America in the US, where it is ranked the fifty-ninth most downloaded song in the digital era and certified Gold by the Recording Industry Association of New Zealand in New Zealand. The song has sold 3.6 million copies in the US, becoming the seventh best-selling song by a British artist in the digital era and one of the biggest crossover hits in the country by a solo artist.
On 3 December 2008, the song was nominated for the Record of the Year at the 51st Grammy Awards. "Paper Planes" was sampled in rappers T.I. and Jay-Z's single "Swagga Like Us".
M.I.A. gave a well received performance of both singles at the Grammy
ceremony on the night she expected her first son's birth. The appearance
of "Paper Planes" in the film trailer for Pineapple Express (2008) and the film Slumdog Millionaire the same year greatly increased its international popularity. The single's accompanying music video,
filmed in New York City, showed M.I.A. walking and dancing with friends
along the streets of the city, selling sandwiches to local people and
paper planes flying overhead. The song was performed on Late Show with David Letterman and has regularly featured on M.I.A.'s concert tours since 2007.
"Big Pimpin'" is the last single from rapperJay-Z's fourth album Vol. 3... Life and Times of S. Carter. It features rapping by Southern hip hop group UGK as well as production by Timbaland.
Timbaland samples "Khosara", composed by Egyptian composer Baligh Hamdi in the mid-20th century and originally recorded by the famous Egyptian vocalist Abdel Halim Hafez for the track's beat leading to its Middle Eastern sound. A version of "Khosara", arranged and performed by Hossam Ramzy, can be heard on a CD compilation entitled, “The Best of Bellydance from Egypt, Lebanon, Turkey” which also contains another song that Timbaland sampled for the Petey Pablo track, "Raise Up". In 2007, the song sparked controversy when a copyright co-owner of the sampled track Osama Admed Fahmy filed a lawsuit in Los Angeles Federal Court, alleging that Timbaland illegally replayed portions of "Big Pimpin" note-for-note, using a melody lifted from the song. Jay-Z, Timbaland, Linkin Park and EMI Music Inc. were among the defendants named in the lawsuit. (Linkin Park because the track was also mashed up with their song Papercut on the collaborative EP Collision Course in 2004).[1] The Linkin Park mash-up was entitled "Big Pimpin/Papercut".
This latest lawsuit follows an August (2007) decision by a California judge to dismiss another lawsuit by Ahab Joseph Nafal, who claimed Big Pimpin' infringed the copyright of Khosara, Khorasa. Lawyers for EMI Records argued the 50-year-old track was governed by the 1909 Copyright Act, AllHipHop.com reports.[2]
"Big Pimpin'" was the most commercially successful single from Jay-Z's fourth album, as it reached #18 on The Billboard Hot 100 and #1 on the Rhythmic Top 40 chart. In Rolling Stone's updated 2010 list of "The 500 Greatest Songs of All Time", the song ranked at #467. Despite the song's performance, Jay-Z later revealed he regretted the song's lyrics claiming that, "Some [lyrics] become really profound when you see them in writing. Not "Big Pimpin." That's the exception. It was like, I can't believe I said that. And kept saying it. What kind of animal would say this sort of thing? Reading it is really harsh."[3]Katy Perry covered the song during her 2011/12 California Dreams Tour.
"Umbrella" is a song recorded by Barbadian singer Rihanna, featuring a rap verse by Jay-Z. The song was written by The-Dream, Christopher Stewart, Kuk Harrell and Jay-Z, and was produced by Stewart for Rihanna's third studio album, Good Girl Gone Bad (2007). The song was originally written for recording artist Britney Spears, whose label rejected it. "Umbrella" is a pop and R&B song and lyrically it refers to a romantic and platonic relationship and the strength of that relationship. It is generally considered Rihanna's signature song.
"Umbrella" was well received by music critics, many of whom appreciated the "ella, ella" hook as well as the covincing vocals with which she delivered the chorus. Entertainment Weekly ranked the song number one on the 10 Best Singles of 2007, while Rolling Stone and Time listed the song at number three on the 100 Best Songs of 2007. The song has earned Rihanna several awards and nominations. In 2007, the song won two awards at the MTV Video Music Awards, when it was nominated for four. At the 50th Grammy Awards, "Umbrella" also earned Rihanna and Jay-Z a Grammy Award for Best Rap/Sung Collaboration in addition to receiving nominations for Record of the Year and Song of the Year.
The song serves as the lead single to the album, and was released worldwide on March 29, 2007 through Def Jam Recordings. "Umbrella" was a commercial success, topping the charts in Australia, Canada, Germany, France, the Republic of Ireland, Sweden, Switzerland, the United Kingdom, and the United States. In the United Kingdom, where the song's chart performance generated controversy when the country was experiencing excessive flooding and large amounts of rain at the time, it is deemed an iconic song and was one of the most played songs on radio in the 2000s (decade). It managed to stay at number one on the UK Singles Chart for ten consecutive weeks, the longest run at number one for any single of that decade. The single was one of the highest digital debuts in the United States and remained at the top of the US BillboardHot 100 for seven consecutive weeks.
The single's accompanying music video was directed by Chris Applebaum and features Rihanna's nude body covered in silver paint. The video earned Rihanna a Video of the Year at the 2007 MTV Video Music Awards and Most Watched Video on MuchMusic.com at MuchMusic Video Awards. Along with countless amateurs, "Umbrella" has been covered by several notable performers from a variety of musical genres, including Taylor Swift, OneRepublic, Mike Shinoda of Linkin Park, Vanilla Sky and The Baseballs. Rihanna performed the song at the 2007 MTV Movie Awards, 2008 BRIT Awards and was the closing song of the Good Girl Gone Bad, Last Girl on Earth, and Loud Tours.
"Ignition (Remix)" is a song written and produced by American R&BsingerR. Kelly from his 2003 album Chocolate Factory. The song was also featured on the soundtrack to the 2003 comedy/romance film, Love Don't Cost a Thing. It is viewed as one of his signature songs and has been very popular in the United States, Europe and Oceania.
The song was R. Kelly's second #1 single in the United Kingdom, following "I Believe I Can Fly" in 1997.
It was later included on the updated version of Rolling Stone's 500
greatest songs of all time in 2010 at number 494. The song was listed at
#19 on Pitchfork Media's top 500 songs of the 2000s.
The song is sometimes called simply "Ignition" colloquially and for
marketing purposes, including as the title of one of its releases as a
single and on the Billboard charts. However, the song is most commonly
referred to in writing with the remix designation to prevent confusion
with "Ignition", another track on Chocolate Factory. The songs are otherwise completely different; it is only in Ignition (Remix) that R. Kelly gives the listeners "a lil' preview of the remix", as he states in the song.
"Cry Me a River" is a song by American recording artist Justin Timberlake, recorded for his debut studio album Justified (2002). Timberlake's inspiration to write the song was the failed relationship he had with American singer Britney Spears. It was co-written by Timothy Mosley and Scott Storch with a production helmed by Mosley under his stage name Timbaland. Jive Records serviced the song to contemporary hit and rhythmic radio in the United States on November 24, 2002, as second single from the album. "Cry Me a River" is a pop and R&Bballad, with an instrumentation consisted of clavinet, beatobox, guitars, synthesizers, "Arabian inspired riffs" and "Gregorian chants".[1]
Lyrically, the single is about a brokenhearted man who refuses to look
back. In 2003, Spears recorded a response to the song titled "Everytime" for her fourth studio album In the Zone.
"Cry Me a River" received positive reviews from contemporary music critics with some of them calling it a stand-out track on Justified, while additionally praising Timbaland's production. The song earned Timberlake a Grammy Award for Best Male Pop Vocal Performance at the 46th Grammy Awards.
"Cry Me a River" was a commercial success reaching the top-ten in more
than ten countries worldwide. The song peaked at number three on the US BillboardHot 100 chart and US Pop Songs chart, as well as number two on the US Hot Dance Club Songs
chart. Additionally it peaked inside the top ten in Australia, Belgium,
France, Germany, the Republic of Ireland and the United Kingdom. "Cry
Me a River" was certified gold by the Australian Recording Industry Association (ARIA) for shipping over 35,000 copies. Francis Lawrence directed the accompanying music video in Malibu, California.
The music video features Timberlake spying on his former girlfriend who
allegedly portrays Spears and plotting his revenge with a help of
Timbaland and new lover. Following its release, media speculated that
Spears was the inspiration for the video, however Timberlake denied
that. Spears herself replied to the video, noting it as a great publicity stunt from Timberlake. It was nominated for five MTV Video Music Awards at the 2003 MTV Video Music Awards eventually winning two, for Best Male Video and Best Pop Video. Timberlake performed "Cry Me a River" on his three major tours, Justified and Lovin' It Live (2003—04), his joint effort with Christina Aguilera, Justified/Stripped Tour (2003) and on FutureSex/LoveShow (2007). Recordings artists like Taylor Swift and Leona Lewis performed a cover of the song on their respective concert tours.
"Get Ur Freak On" is a song by American recording artist Missy Elliott. It was written and produced by Elliott and Timbaland for her third studio album Miss E... So Addictive (2001). Based on heavy bhangra elements, a popular music and dance form from the Punjab state of India,[1] the song features a six-note base that is a Punjabi melody played on a tumbi, a stringed Indian instrument.
Released as the album's first single in 2001, the track reached number seven on the US Billboard Hot 100
chart. Internationally, "Get Ur Freak On" became a top ten success in
the Netherlands and the United Kingdom, where it became her first solo
top ten hit, peaking at number 4four. A remix of the song featuring Nelly Furtado was a dance club hit during this period, and was used both in the soundtrack and in the background of the movie Lara Croft: Tomb Raider (2001) starring Angelina Jolie.
In December, the song was listed 14th on Rolling Stone´s Best Songs of the Decade ranking, and later at number 466 on their The 500 Greatest Songs of All Time updated list of 2010.[2] The song also lists at number seven on Pitchfork Media's Top 500 Songs of the 2000's and number 16 on VH1's Greatest Songs of Hip-Hop. In 2011, NME placed it at number 17 on its list "150 Best Tracks of the Past 15 Years".[3]
"Perfect Strangers" is a song by the Britishhard rockbandDeep Purple. It is the title track of their 1984 album Perfect Strangers.
The words tell of the sorrow of remaining "perfect strangers" after
the end of a relationship. It is one of the few Deep Purple songs not to
feature a guitar or organ solo. Band guitarist Ritchie Blackmore has called it his favorite Deep Purple song.[1]
"Love Is Stronger Than Justice (The Munificent Seven)"
The song is written by Sting
Ten Summoner's Tales is the fourth solo studio album by the rock musician Sting. The title is a combined pun of his given name, Gordon Sumner, and a character in Geoffrey Chaucer's The Canterbury Tales,
the summoner. Released in 1993, it explores themes of love and morality
in a noticeably upbeat mood compared to his previous release, the
introspective The Soul Cages.
This album contained two U.S. hits; "If I Ever Lose My Faith in You" reached #17 on the Billboard Hot 100 and "Fields of Gold" reached #23.[9]
Ten Summoner's Tales was nominated for the Mercury Prize
in 1993. In 1994, it was nominated for five Grammy awards, winning Best
Engineered Album, Non-Classical, Best Male Pop Vocal Performance ("If I
Ever Lose My Faith in You") and Best Long Form Music Video. It did not
win Album of the Year or Record of The Year.
A long form video featuring alternate musical performances and live versions of all tracks was filmed at Lake House
and released in conjunction with the album. The video went on to win a
Grammy Award for Best Long Form Video in 1994 and was directed by Doug Nichol and produced by Julie Fong.
The cover of the album was photographed at Wardour Old Castle in Wiltshire, England, featuring Hrímnir, an Icelandic horse
Sting owned for a period. The album was recorded at Lake House,
Wiltshire, mixed at The Townhouse Studio, London and mastered at
Masterdisk, New York.[10]
"Sweet Child o' Mine" is the third single by American rock band Guns N' Roses, and the third from their 1987 debut studio album, Appetite for Destruction. Released on August 17, 1988, the song topped the Billboard Hot 100 chart,[1] becoming the band's first and only number-one single in the U.S. It reached number six on the UK Singles Chart, when re-released in 1989.[2]
Slash has been quoted as having a disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.[3] In a VH1 special, it was stated that Slash played the riff in a jam session as a joke.[3] Drummer Steven Adler
and Slash were warming up and Slash began to play a "circus" melody
while making faces at Steven. Izzy asked Slash to play it again,
meanwhile Axl was upstairs in his room and heard the 'jam session' going
on downstairs and couldn't help but write lyrics. He based it on his
girlfriend Erin Everly.
With Steven Adler's added drum part, Izzy Stradlin's chords and Duff
McKagan's bassline the harmony became the core of the song. Originally,
there was a third verse to the song. However, this verse was later cut
from recording as the band's producer, Mike Clink, felt the song would
carry on for too long. The final dramatic breakdown was not added until
Clink suggested the band add one. They agreed, but weren't sure what to
do. Axl started saying to himself, "Where do we go? Where do we go now?"
Clink suggested that he sing that, and "Sweet Child o' Mine" was born.
In an interview with Hit Parader magazine in 1988, bassist Duff McKagan noted:
“
The thing
about 'Sweet Child o' Mine,' it was written in five minutes. It was one
of those songs, only three chords. You know that guitar lick Slash does
at the beginning? It was kinda like a joke because we thought, 'What is
this song? It's gonna be nothing, it'll be filler on the record.' And
except that vocal-wise, it's very sweet and sincere, Slash was just
fuckin' around when he first wrote that lick.[3]
”
The song is composed in the key of D-flat mixolydian. At the start of the guitar solo, it shifts to the key of E-flat minor, the key in which the song ends.
"(I Can't Get No) Satisfaction" is a song by the English rock band The Rolling Stones, released in 1965. It was written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham. Richards's throwaway three-note guitar riff – intended to be replaced by horns – opens and drives the song. The lyrics refer to sexual frustration and the commercialism particular to America.
The song was first released as a single in the United States in June 1965 and also featured on the American version of Out of Our Heads, released that July. "Satisfaction" was a hit, giving the Stones their first number one in the US. In the UK, the song initially played only on pirate radio stations because its lyrics were considered too sexually suggestive.[4] In Britain, the single was released in August 1965; it became the Rolling Stones' fourth number one in the United Kingdom. The song is considered to be one of the all-time greatest rock songs ever recorded. In 2004 Rolling Stone magazine placed "Satisfaction" in the second spot on its list of The 500 Greatest Songs of All Time, while in 2006 it was added to the Library of CongressNational Recording Registry.
"Sultans of Swing" was the first single release of the British rock band Dire Straits. Although it was first released in 1978, it was its 1979 re-release that caused it to become a hit in both the UK and USA.
The song was first recorded as a demo at Pathway Studios, North London, in July 1977, and quickly acquired a following after it was put on rotation at Radio London. Its popularity soon reached record executives and Dire Straits were offered a contract with Phonogram Records. The song was then re-recorded in early 1978 at Basing Street Studios for the band's debut album Dire Straits. The record company wanted a less-polished rock sound for the radio, so an alternative version was recorded at Pathway Studios in April 1978 and released as the single in some countries including the United Kingdom and Germany.[1]
The song was written by Mark Knopfler whilst in a bar in South London. The inspiration came from a jazz band playing in the corner of an otherwise deserted pub.[citatio
"Hey Joe" is an American popular song from the 1960s that has become a rockstandard and as such has been performed in a multitude of musical styles by hundreds of different artists since it was first written.[2][3][4] "Hey Joe" tells the story of a man who is on the run and planning to head to Mexico after shooting his wife.[5] However, diverse credits and claims have led to confusion as to the song's true authorship and genesis.[4][5] The earliest known commercial recording of the song is the late-1965 single by the Los Angeles garage band, The Leaves; the band then re-recorded the track and released it in 1966 as a follow-up single which became a hit.[6] Currently, the best-known version is The Jimi Hendrix Experience's 1966 recording, their debut single.[7] The song title is sometimes given as "Hey Joe, Where You Gonna Go?" or similar variations.
Album: The Rare Tunes Collection "From Latin... To Jazz Dance" - Vol. 2 Guajira (Spanish: música guajira[ˈmusika ɣwaˈxiɾa],
meaning "country music" in Cuban Spanish) is a musical form which
evokes a rural ambience in its texts, instrumentation and style.
In the years around 1900 a style of guajira emerged in association with Cuban music theater, especially as composed by Jorge Anckermann.
This genre had some similarity to the criolla[1] and, to a lesser extent, the punto.[2] It contains bucolic countryside lyrics, rhyming, similar to décima poetry. The music is a mixture of 3/4 and 6/8 rhythms. According to Sánchez de Fuentes, its first section is in a minor key, its second section in a major key.[3]
In general, the songs in this repertoire are no longer well known in
Cuba. Hence, for most Cubans, "guajira" connotes a quite different genre
that emerged in the 1930s, as a sort of fusion of the son
and the guajira, the "guajira-son," in 4/4 time. It resembled the son
in rhythm, but presented a rural ethos by foregrounding the guitar (or
tres) more than horns, percussion, or piano.
The guajira could be sung by a single musician accompanying himself on guitar (Orovio 1981:227); see trova. The lyrics of the guajira typically extol the beauty of the Cuban countryside and the lifestyle of the guajiros (countryside peasants). (Alén 1994:64).
"Boléro" is a one-movement orchestral piece by Maurice Ravel (1875–1937). Originally composed as a ballet commissioned by Russian ballerina Ida Rubinstein, the piece, which premiered in 1928, is Ravel's most famous musical composition.[2] Before Boléro, Ravel had composed large scale ballets (such as Daphnis et Chloé, composed for the Ballets Russes 1909–1912), suites for the ballet (such as the second orchestral version of Ma Mère l'Oye, 1912), and one-movement dance pieces (such as La Valse, 1906–1920). Apart from such compositions intended for a staged dance performance, Ravel had demonstrated an interest in composing re-styled dances, from his earliest successes (the 1895 Menuet and the 1899 Pavane) to his more mature works like Le tombeau de Couperin (which takes the format of a dance suite). Boléro epitomises Ravel's preoccupation with restyling and reinventing dance movements. It was also one of the last pieces he composed before illness forced him into retirement: the two piano concertos and the Don Quichotte à Dulcinée song cycle were the only compositions that followed Boléro.
It is thought that Monk originally composed the song sometime in 1940 or 1941. However, Harry Colomby claims that Monk may have written an early version around 1936 (at the age of 19) with the title "Grand Finale". "'Round Midnight" is the most-recorded jazz standard composed by a jazz musician.[1] In allmusic.com it appears in over 1000 albums. The song is also called "'Round About Midnight", as Miles Davis used this title for his Columbia Records album 'Round About Midnight (1957) that included a cover of the song based on Dizzy Gillespie's interpretation. The song became a signature song for Miles Davis, as his performance of the song with Monk at the 1955 Newport Jazz Festival is said to have gotten him a record deal at Columbia Records.[2] He recorded the song in the studio two other times, once for Prestige in 1953 and again in 1956 as released on Miles Davis and the Modern Jazz Giants.
Monk recorded the song several times throughout his career; it appears on the albums Genius of Modern Music: Volume 1 (first recording of the song by Monk), Thelonious Himself, Mulligan Meets Monk, Misterioso, Thelonious Monk at the Blackhawk, and Monk's Blues (bonus track).
Composition by Bill Evans and Miles Davis from the album Kind of Blue
"Blue in Green" is the third track on Miles Davis' 1959 album, Kind of Blue. One of two ballads on the LP (the other being "Flamenco Sketches"), "Blue in Green"'s melody is very modal, incorporating the presence of the dorian, mixolydian, and lydian modes. The first measure is a G minor chord with an added natural 13 (Gm13), which contains an F natural but the modal tonality of the piece is already evident as the opening note of the melody is an E natural, which is the leading tone of the F major scale. The natural 13 of the chord is E natural.
It has long been speculated[by whom?] that pianist Bill Evans wrote "Blue in Green",[1] even though the LP and most jazz fakebooks credit only Davis with its composition. In his autobiography, Davis maintains that he alone composed the songs on Kind of Blue. The version on Evans' trio album Portrait in Jazz, recorded in 1959, credits the tune to 'Davis-Evans'. Earl Zindars, in an interview conducted by Win Hinkle, said that "Blue in Green" was 100-percent written by Bill Evans.[2] In a 1978 radio interview, Evans said that he himself had written the song.[3]
In a recording made in December 1958 or January 1959 for Chet Baker's album Chet (prior to the Kind of Blue sessions), Evans' introduction on the jazz standard "Alone Together" has been directly compared to his playing on "Blue in Green".[4] Jazz fusion guitarist Lee Ritenour covered the song from his 2005 album "Overtime."[5
