Otis said he wanted to send up guys who are real cool – badass cool – and lines just flew out, like ‘Here I am, I’m the man on the scene.’ He got rollin,’ really havin’ a ball.” Author Jonathan Gould, “With its high, bluesy melody, ‘Hard to Handle’ comes off as a swaggering sexual boast worthy of Muddy Waters of James Brown.” Redding’s dismissal of drug store lovin’ became a regular part of the Grateful Dead’s set circa 1970 and was a Top 40 hit for The Black Crowes in 1991.
Songwriter Al Bell, “No one was around in the studio but Allen Jones and I came in and we started bandying around lyrics. Songwriters: Allen Jones, Al Bell, Otis Redding #51 pop/#38 R&B 1968. The pride of Littlefield, Texas was on a roll in 1975, releasing “Are You Sure Hank Done It This Way,” as well as the Austin dissing “Bob Wills is Still the King,” and hitting the pop charts on his own terms, teaming with Willie Nelson on a re-recorded version of “Good Hearted Woman.”ħ46. The message – be real or face Waylon’s wrath. Producer Jack Clement, who thought Waylon’s guitar and voice were co-equals, gave the two chord song a dramatic air of looming threat. Authenticity has always been a touchy subject in country music and while Waylon’s outlaw image was part of a then new tradition, he still staked his claim for genre legitimacy on “Are You Sure Hank Done It This Way,” taking a swipe at crossover glitz. Songwriter: Waylon Jennings #60 pop/#1 country 1975. “Are You Sure Hank Done It This Way,” Waylon Jennings. After that, I began to see the car as the tank of modern society.”ħ47. I swerved up the pavement, scattering pedestrians everywhere. Newman on the lyrical theme of automobiles as a source of isolationist safety, “A couple of blokes started peering in the window and for whatever reason took a dislike to me, so I had to take evasive action. hit in 1979 with “Are ‘Friends’ Electric?” The song “Cars” was a major hit in Canada and U.S., becoming one of the first new wave/ synth-pop singles to reach the mass public. As the leader of the Tubeway Army, he scored in #1 U.K. Gary Numan (nee Gary Webb) started performing in English punk bands in 1976 and eventually merged the sounds of punk and Kraftwerk with science fiction inspired lyrics to create his own musical niche.
#Me and bobby mcgee chords waylon jennings how to
After we were solidly into the recording process, I finally brought in Tony Thompson, who struck the drums so hard that the sound pressure levels dimmed the studio lights with each backbeat.” With invaluable assistance from Rodgers, Bowie learned how to simultaneously swing and rock, under the serious moonlight, on this comeback pop hit.ħ48. The song was going to be a major hit and we all knew it. David described ‘Let’s Dance’ as a postmodern homage to the Isley Brothers. He wanted something that felt like the future but was rooted in rock ‘n’ roll, something soulful, black, and R&B, but morphed and evergreen. Rodgers, “We met at his Manhattan apartment, where he showed me a picture of Little Richard in a red Cadillac and said, ‘I want my album to sound like this.’ He just had to show me a picture, and I completely understood. David Bowie had his eyes clearly on the pop charts when he hired Nile Rodgers to produce his 1983 “Let’s Dance” album. Songwriter: David Bowie #1 pop/#14 R&B 1983. So, that’s why we do a lot of nonsensical stuff that’s just fun.” For George Clinton and his crew, funk wasn’t a diversion, but a necessity – a base level building block on their personally reconstituted vision of Maslow’s hierarchy, sitting comfortably by air and water.ħ49. You have to do it consciously, knowing that you’re opening yourself up and people can program you when you open up like that. At the same time, you have to be careful that somebody doesn’t program you. George Clinton, “The chants are like church grooves that get you in that state where you’re receptive to opening up your mind and coming up with positive things. It isn’t George Clinton’s heaviest hunk of funk, but it is a fine example of his ability to develop infectious crowd participation chants and it was the highest charting single from the P/Funk collective. Confusingly titled, since the song was named “Give Up the Funk (Tear the Roof Off the Sucker)” for the album version, but flipped for the single, this was the moment when Top Forty radio could no longer ignore the inspired insanity of Parliament/Funkadelic. Songwriters: Jerome Brailey, George Clinton, Bootsy Collins #15 pop/#5 R&B 1975. “Tear the Roof Off the Sucker (Give Up the Funk),” Parliament.
0 kommentar(er)
