Jimi Hendrix

"Voodoo Child"
The closing track on Electric Ladyland, the third and final album by The Jimi Hendrix Experience. The song is known for its wah-wah-heavy guitar work. It is #101 on Rolling Stone's list of 500 greatest songs of all time.^[1]
The song was recorded in 1968, and was re-released as a single after Hendrix's death in 1970. It reached Number 1 in the UK, making it the band's only single to top the charts.^[2] It was catalogued as "Voodoo Chile" (Track 2095 001), and that is the title which appears on the single and is the title referred to officially. This obviously confuses it with the 15-minute song "Voodoo Chile" also on Electric Ladyland. The B-side of the single featured two of his previous hits: "Hey Joe" and "All Along the Watchtower".

The genesis of "Voodoo Child (Slight Return)" was essentially in "Voodoo Chile", a long blues jam featuring guest Steve Winwood.^[3] On May 3, 1968 (the day after "Voodoo Chile"'s recording), a crew from ABC filmed the Jimi Hendrix Experience while they played. As Hendrix explained it:

[S]omeone was filming when we started doing [Voodoo Child]. We did that about three times because they wanted to film us in the studio, to make us—"Make it look like you're recording, boys"—one of them scenes, you know, so, "OK, let's play this in E, a-one, a-two, a-three", and then we went into "Voodoo Child".^[4]

The song became one of Hendrix's staples in live performances and would vary in length from 7 to 18 minutes. Notable live performances were at Woodstock and during his 1969 show at the Royal Albert Hall, originally released on the posthumous Hendrix in the West album, later re-released on the Experienced Box Set. On the Band of Gypsys live album Live at the Fillmore East, Hendrix refers to the song as the Black Panthers' national anthem.



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Deep Purple

"You Keep On Moving" (Coverdale, Hughes)
Deep Purple Live at Budokan Tokyo Japan 1975

Το Come Taste the Band είναι ο τίτλος του δέκατου στούντιο δίσκου του χαρντ ροκ συγκροτήματος Deep Purple. Κυκλοφόρησε στις 10 Οκτωβρίου του 1975 από την Purple Records της EMI στην Ευρώπη και από την Warner στην Αμερική. Το Come Taste the Band ήταν ο μοναδικός δίσκος των Deep Purple που κυκλοφόρησε στη δεκαετία του '70 και τα κιθαριστικά μέρη δεν είχαν ηχογραφηθεί από τον Ρίτσι Μπλάκμορ, αλλά από τον Τόμι Μπόλιν.
Αυτός ήταν και ο τελευταίος δίσκος που κυκλοφόρησαν οι Deep Purple μέχρι το 1984, αφού μετά την περιοδεία για την προώθηση του, διαλύθηκαν. Η τελευταία συναυλία τους ήταν στις 15 Μαρτίου του 1976, στο Λίβερπουλ. Λίγους μήνες μετά την διάλυση του συγκροτήματος ο Τόμι Μπόλιν βρέθηκε νεκρός από υπερβολική δόση ηρωίνης.
Οι πωλήσεις του δίσκου κυμάνθηκαν σε μέτρια επίπεδα και αυτός ήταν ο πρώτος στούντιο δίσκος των Deep Purple ο οποίος δεν μπήκε στο αμερικανικό Top-40 από το 1970. Παρ' όλα αυτά, τρεις εβδομάδες μετά την κυκλοφορία του βραβεύθηκε ως ασημένιος δίσκος στη Μεγάλη Βρετανία (60.000 πωλήσεις).

Από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια

Queen

"Another One Bites the Dust" 

...is a song by the English rock band Queen. Written by bass guitarist John Deacon, the song featured on the group's eighth studio album The Game (1980). The song was a worldwide hit, charting number one on the United States Billboard Hot 100, number two on the R&B charts and the Disco Top 100, and number seven in the United Kingdom Singles Chart.^[2][3] The song is credited as Queen's best selling single, with sales of over 7 million copies. This version was ranked at number 34 on Billboard's All Time Top 100.[

The bass line was inspired by the song "Good Times" by the Disco group Chic.^[5][6] In an interview with New Musical Express, Chic co-founder Bernard Edwards stated, "...that Queen record came about because that Queen bass player... spent some time hanging out with us at our studio".^[7]

Recording sessions were produced by Reinhold Mack at Musicland Studios in Munich (West Germany) and consisted of Deacon playing almost all the instruments: bass, piano, rhythm and lead guitars and handclap percussion. Roger Taylor added a drum loop and Brian May contributed some noises with his guitar and an Eventide Harmonizer. There are no synthesisers used in the song: all effects are created with pianos, guitars, and drums, with subsequent tape playback performed in reverse at various speeds. Finally, some sound effects were run through the harmonizer for further processing. The effect of the harmoniser can be heard clearly in the "swirling" nature of the sound immediately before the first lyric. After attending a Queen concert in Los Angeles, Michael Jackson suggested to Freddie Mercury backstage that "Another One Bites the Dust" be released as a single.^[8] The earlier live performances of the song had drummer Roger Taylor on lead vocals during the chorus, as opposed to the album version which was sung by Mercury in its entirety. In later performances, parts of the chorus were sometimes not sung by any member of the band, letting the audience sing it instead.

The song garnered Queen a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal.^[9] The band lost to Bob Seger's album Against the Wind.^[9] The music video for "Another One Bites the Dust" was filmed at Reunion Arena in Dallas, Texas.[

From Wikipedia, the free encyclopedia

Tom Jones

"Kiss"

Live at London's Hammersmith Odeon, 1989

"Kiss" is a 1986 single by Prince and The Revolution, from the album Parade. "Kiss" started as a short acoustic demo, about a minute in length, with one verse and the chorus. Prince gave the song to the funk band Mazarati for their debut album. Mazarati and producer David Z. drastically reworked the song, giving it its stripped-down minimalist sound. When Mazarati delivered the song to Prince, he was amazed at their work and decided to take back the song for himself. He replaced their lead vocal, added the guitar break in the chorus and edited the song to its present form. Mazarati were credited for their backing vocals, which Prince left intact.

Prince added the song at the last minute to Parade. Despite Warner Bros. not wanting to release it as a single, "Kiss" became Prince's third number-one U.S. hit following 1984's highly successful "When Doves Cry" and "Let's Go Crazy". It was also a big hit across the Atlantic, reaching #6 on the UK Singles Chart. The song won Prince another Grammy Award for Best R&B Vocal Performance by a Duo or Group, and was nominated for Best R&B Song.^[2] The song has become a staple at Prince's concerts and is usually sung partially by the audience.

The musicians that recorded "kiss" with Prince raised complaints to the American Federation of Musicians about the period of silence that followed the jangly guitar bridge that is nestled between the lyrics "I just want your extra time" and "Kiss". As is standard industry practice, they were getting paid per second of audio created, and hence were not entitled for anything of that 500 milliseconds of their contribution.

The 12" single of the song is an extension of the album track. The extended section is based on the funky guitar line and contains much fuller instrumentation than the main track, including bass guitar, organ and horns. New lyrics are present from Prince, along with Jill Jones, that end with a humorous dialogue between a wife and her husband watching Prince on television. The B-side of "Kiss" was "♥ or $" ("Love or Money"), sung in a processed, higher-pitched vocal, which Prince would later use for his Camille material. The song relates to the theme in Under the Cherry Moon, and a bit of the song was heard in the film, as was a bit of the extended version of "Kiss". The extended "Kiss" was included on 2006's Ultimate; "♥ or $" was recently re-released as a digital B-side on iTunes.

New Musical Express ranked the song #4 in their list of The 150 Greatest Singles of All Time. "Kiss" was also included in Rolling Stones "500 Greatest Songs Of All Time" at #461. ^[3]

From Wikipedia, the free encyclopedia

Sir Thomas John Woodward,^[1][2] OBE^[3] (born 7 June 1940), known by his stage name Tom Jones, is a Welsh singer, particularly noted for his powerful voice.^[4] Since the mid 1960s, Jones has sung many styles of popular music – pop, rock, R&B, show tunes, country, dance, techno, soul and gospel^[5] – and sold over 100 million records.^[6]

Early life

Tom Jones was born at 57 Kingsland Terrace, Treforest, Pontypridd in South Wales.^[7] His parents were Thomas Woodward (died 5 October 1981), a coal miner, and Freda Jones (died 7 February 2003).^[8] His family was mainly of English descent, with both of his paternal grandparents being born in England and his maternal grandmother born in Wales to English parents. Most of his ancestral roots appear to lie in Gloucestershire, Wiltshire and Somerset.^[9]

Jones began singing at an early age: he would regularly sing at family gatherings, weddings, and in his school choir. Jones is dyslexic and he did not like school or sports; however, he was able to gain confidence through his singing talent.^[10] At age 12, Jones was struck down by tuberculosis. Many years later he said, "I spent two years in bed recovering. It was the worst time of my life." During convalescence, he could do little else but listen to music and draw.^[11]

In March 1957, Jones married his high school girlfriend, Melinda Trenchard. The couple had a son named Mark, who was born the month following their wedding. To support his young family, Jones took a job working in a glove factory and was later employed in construction.^[12]

Jones' bluesy singing style developed out of the sound of American soul music. His early influences included blues and R & B greats like Little Richard, Solomon Burke, Jackie Wilson, and Brook Benton. Jerry Lee Lewis’s music also influenced him from a rock and roll perspective.[13

Rise to fame

Jones became the frontman for Tommy Scott and the Senators, a Welsh beat group, in 1963. They soon gained a local following and reputation in South Wales.

In 1964, Jones recorded several solo tracks with producer Joe Meek, who took them to various labels, but had little success. Later that year, Decca producer Peter Sullivan saw Tommy Scott and The Senators performing in a club and directed them to manager Phil Solomon, but their partnership was short-lived.

The group continued to play gigs at dance halls and working men's clubs in South Wales. One night, at the Top Hat in Cwmtillery, Wales, Jones was spotted by Gordon Mills, a London-based manager originally from South Wales. Mills became Jones' manager, and took the young singer to London. He contrived the stage name, "Tom Jones," which not only linked the singer to the image of the title character in Tony Richardson's hit film, but also emphasised Jones' Welsh nationality.

Many record companies found Jones' stage presence, act, and vocal delivery too raucous and raunchy. Eventually, Mills got Jones a recording contract with Decca. His first single, "Chills and Fever," was released in late 1964. It didn't chart, but the follow-up, "It's Not Unusual" became an international hit. The BBC initially refused to play it, but the offshore pirate radio station Radio Caroline promoted it. The heavily orchestrated pop arrangement perfectly meshed with Jones' swinging, sexy image, and in early 1965, "It's Not Unusual" reached number one in the United Kingdom and the top ten in the United States.

During 1965, Mills secured a number of movie themes for Jones to record, including the themes for the film What's New Pussycat? (written by Burt Bacharach and Hal David) and for the James Bond film Thunderball. Jones was also awarded the Grammy Award for Best New Artist for 1965.

In 1966, Jones' popularity began to slip somewhat, causing Mills to redesign the singer's image into a more respectable and mature crooner. Jones also began to sing material that appealed to a wider audience, such as the big country hit "Green, Green Grass of Home". The strategy worked and Jones returned to the top of the charts in the UK and began hitting the Top 40 again in the USA. For the remainder of the decade, he scored a consistent string of hits on both sides of the Atlantic