Inspiral Carpets The Singles Is a compilation of singles by English band Inspiral Carpets, released 18 September 1995 on Mute Records.
From Wikipedia, the free encyclopedia
From Wikipedia, the free encyclopedia
Εμφάνιση αναρτήσεων με ετικέτα Rock. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Rock. Εμφάνιση όλων των αναρτήσεων
Shocking Blue
"Venus" is a 1969 song by the Dutch band Shocking Blue which the group took to number one in the U.S. and five countries across Europe in 1970. When covered by girl group Bananarama, the song returned to number one in the U.S. and topped the charts in six other countries around the world in 1986. The composition has been featured in numerous films, television shows and commercials, and covered dozens of times by artists around the world.
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U2
"One" is a song by Irish rock band U2. It is the third track from their 1991 album Achtung Baby, and it was released as the record's third single in March 1992. During the album's recording sessions at Hansa Studios
in Berlin, conflict arose between the band members over the direction
of U2's sound and the quality of their material. Tensions almost
prompted the band to break up until they achieved a breakthrough by
improvising "One"; the song was written after the band members found
inspiration from a chord progression that guitarist The Edge composed. The lyrics, written by lead singer Bono, were informed by the band members' fractured relationships and the German reunification. Although the lyrics ostensibly describe "disunity", they have been interpreted in other ways.
"One" was released as a benefit single, with proceeds going towards AIDS research. The song reached number one in the Irish Singles Charts on 5th March 1992. It peaked at number seven in the UK Singles Chart and at number ten on the Billboard Hot 100. It topped the US Billboard Album Rock Tracks and Modern Rock Tracks charts. In promotion of the song, the band had several music videos filmed, although they were not pleased until the third video was created. The song has since been acclaimed as one of the greatest songs of all time, and it is consistently featured in listener and critic polls. The song has been played by U2 at every one of their tour concerts since the song's live debut in 1992, and it has appeared in many of the band's concert films. In a live setting, "One" is often used by the band to promote human rights or social justice causes, and the song lends its namesake to Bono's charitable organization, the ONE Campaign. In 2006, U2 re-recorded the song as part of a duet with contemporary R&B singer Mary J. Blige on her album The Breakthrough.
From Wikipedia, the free encyclopedia
"One" was released as a benefit single, with proceeds going towards AIDS research. The song reached number one in the Irish Singles Charts on 5th March 1992. It peaked at number seven in the UK Singles Chart and at number ten on the Billboard Hot 100. It topped the US Billboard Album Rock Tracks and Modern Rock Tracks charts. In promotion of the song, the band had several music videos filmed, although they were not pleased until the third video was created. The song has since been acclaimed as one of the greatest songs of all time, and it is consistently featured in listener and critic polls. The song has been played by U2 at every one of their tour concerts since the song's live debut in 1992, and it has appeared in many of the band's concert films. In a live setting, "One" is often used by the band to promote human rights or social justice causes, and the song lends its namesake to Bono's charitable organization, the ONE Campaign. In 2006, U2 re-recorded the song as part of a duet with contemporary R&B singer Mary J. Blige on her album The Breakthrough.
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U2
"I Still Haven't Found What I'm Looking For" is a song by Irish rock band U2. It is the second track from their 1987 album The Joshua Tree and was released as the album's second single in May 1987. The song was a hit, becoming the band's second consecutive number-one single on the US Billboard Hot 100 after "With or Without You", while peaking at number six on the UK Singles Chart.
Like much of The Joshua Tree, the song was inspired by the group's interest in American music. "I Still Haven't Found What I'm Looking For" exhibits influences from gospel music and its lyrics describe spiritual yearning. Lead vocalist Bono's vocals are in high register and guitarist The Edge plays a chiming arpeggio. The song originated from a demo the group used to develop a unique drum pattern played by drummer Larry Mullen, Jr.
"I Still Haven't Found What I'm Looking For" was well received by critics. It has subsequently become one of the group's most well-known songs and has been performed on many of their concert tours. The track has appeared on several of their compilations and concert films.
From Wikipedia, the free encyclopedia
Like much of The Joshua Tree, the song was inspired by the group's interest in American music. "I Still Haven't Found What I'm Looking For" exhibits influences from gospel music and its lyrics describe spiritual yearning. Lead vocalist Bono's vocals are in high register and guitarist The Edge plays a chiming arpeggio. The song originated from a demo the group used to develop a unique drum pattern played by drummer Larry Mullen, Jr.
"I Still Haven't Found What I'm Looking For" was well received by critics. It has subsequently become one of the group's most well-known songs and has been performed on many of their concert tours. The track has appeared on several of their compilations and concert films.
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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
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.
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David Bowie
"Blue Jean"
The song is from album "Tonight" (1984), is written by Bowie and was released as a single ahead of the album.
Loosely inspired by Eddie Cochran,[1] the song was an uncomplicated composition, recalling earlier Bowie rockers such as "The Jean Genie," and is generally regarded as one of the better parts of a disappointing album.
Following the huge commercial success of Bowie's previous album, Let's Dance, its singles and the Serious Moonlight Tour, "Blue Jean" was launched with massive promotion. Julien Temple was engaged to direct a 21-minute short film to promote the song, Jazzin' for Blue Jean.[1] The song performance segment from this was also used as a more conventional music video.
"Blue Jean" was a hit in the UK and America, reaching No. 6 and No. 8, respectively.
The song would remain in Bowie's live repertoire for the rest of his career, being performed on tours in 1987, 1990 and 2004.
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The Rolling Stones
"Dirty Work"
The Rolling Stones' 18th British and 20th American studio album. It was released on 24 March 1986 on the Rolling Stones label by CBS Records. Produced by Steve Lillywhite, the album was recorded during a period when relations between Mick Jagger and Keith Richards soured considerably, according to Richards' autobiography[1] Life, which was released October 26, 2010.[2] The album produced a hit for the Rolling Stones, their cover of "Harlem Shuffle", and featured a number of guest appearances, including contributions by Tom Waits, Patti Scialfa, Bobby Womack, and Jimmy Page on "One Hit (To the Body)".
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Dr FeelGood
"Roxette"
The song Recorded in 1974, it was Dr. Feelgood's debut single[1] and appeared on their debut album, Down by the Jetty.[1]
"Roxette" was issued as a single in the UK in November 1974.[1] It failed to reach the UK Singles Chart.[2] It was written by Wilko Johnson and produced by Vic Maile.[3] The b-side of the record was a cover of the Bobby Troup classic, "(Get Your Kicks On) Route 66".[4]
Later, in September 1976, a live recording of the song was issued by the band as a single, with a live recording of "Keep It Out Of Sight" on the b-side. The live recording of the track also appeared on Dr. Feelgood's 1976 live album, Stupidity.
"Roxette" was also later included in Dr. Feelgood's 1997's compilation album, Twenty Five Years of Dr. Feelgood.[1]
In 1984, in order to penetrate the U.S. market, Per Gessle and the other members of Gyllene Tider, which is not easy to pronounce in English, chose their proposed new band name, Roxette, from this song titl
From Wikipedia, the free encyclopedia
The song Recorded in 1974, it was Dr. Feelgood's debut single[1] and appeared on their debut album, Down by the Jetty.[1]
"Roxette" was issued as a single in the UK in November 1974.[1] It failed to reach the UK Singles Chart.[2] It was written by Wilko Johnson and produced by Vic Maile.[3] The b-side of the record was a cover of the Bobby Troup classic, "(Get Your Kicks On) Route 66".[4]
Later, in September 1976, a live recording of the song was issued by the band as a single, with a live recording of "Keep It Out Of Sight" on the b-side. The live recording of the track also appeared on Dr. Feelgood's 1976 live album, Stupidity.
"Roxette" was also later included in Dr. Feelgood's 1997's compilation album, Twenty Five Years of Dr. Feelgood.[1]
In 1984, in order to penetrate the U.S. market, Per Gessle and the other members of Gyllene Tider, which is not easy to pronounce in English, chose their proposed new band name, Roxette, from this song titl
From Wikipedia, the free encyclopedia
Robert Palmer
"Mercy Mercy Me/I Want You"
A cover of two Marvin Gaye's "Mercy Mercy Me" and "I Want You" singles
Song Writers: "Mercy Mercy Me" (Marvin Gaye) / "I Want You" (Arthur "T-Boy" Ross, Leon Ware)
Album : "Don't Explain" (1990)
"Mercy Mercy Me (The Ecology)" was the second single from Marvin Gaye's 1971 album, What's Going On. Following the breakthrough of the title track's success, the song, written solely by Gaye, became one of his most poignant anthems of sorrow regarding the environment. Led by Gaye playing piano, strings conducted by Paul Riser, multi-tracking vocals from Gaye, the instrumentals provided by The Funk Brothers and a leading sax solo by Wild Bill Moore, the song rose to #4 on Billboard's Pop Singles chart and #1 for two weeks on the R&B singles charts on August 14 through to August 27, 1971.[1]
As the single became his second million seller from What's Going On, the album started on the soul album charts in the top five and began charging up the pop rankings. "Mercy Mercy Me (The Ecology)" soon became one of Gaye's most famous songs in his extensive catalogue. In 2002 it was his third single recording to win a "Grammy Hall of Fame" Award. Like "Inner City Blues", Bob Babbitt, not James Jamerson, plays the bass line.
"I Want You" is the thirteenth studio album by American soul musician Marvin Gaye, released March 16, 1976, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place throughout 1975 and 1976 at Motown Recording Studios, also known as Hitsville West, and Gaye's personal studio Marvin's Room in Los Angeles, California. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971).
I Want You consisted of Marvin Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. Following an initial mixed response from critics, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.
A cover of two Marvin Gaye's "Mercy Mercy Me" and "I Want You" singles
Song Writers: "Mercy Mercy Me" (Marvin Gaye) / "I Want You" (Arthur "T-Boy" Ross, Leon Ware)
Album : "Don't Explain" (1990)
"Mercy Mercy Me (The Ecology)" was the second single from Marvin Gaye's 1971 album, What's Going On. Following the breakthrough of the title track's success, the song, written solely by Gaye, became one of his most poignant anthems of sorrow regarding the environment. Led by Gaye playing piano, strings conducted by Paul Riser, multi-tracking vocals from Gaye, the instrumentals provided by The Funk Brothers and a leading sax solo by Wild Bill Moore, the song rose to #4 on Billboard's Pop Singles chart and #1 for two weeks on the R&B singles charts on August 14 through to August 27, 1971.[1]
As the single became his second million seller from What's Going On, the album started on the soul album charts in the top five and began charging up the pop rankings. "Mercy Mercy Me (The Ecology)" soon became one of Gaye's most famous songs in his extensive catalogue. In 2002 it was his third single recording to win a "Grammy Hall of Fame" Award. Like "Inner City Blues", Bob Babbitt, not James Jamerson, plays the bass line.
"I Want You" is the thirteenth studio album by American soul musician Marvin Gaye, released March 16, 1976, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place throughout 1975 and 1976 at Motown Recording Studios, also known as Hitsville West, and Gaye's personal studio Marvin's Room in Los Angeles, California. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971).
I Want You consisted of Marvin Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. Following an initial mixed response from critics, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.
Prince
"Sign o' the Times" (also stylized as "Sign “☮” the Times")
The lead single off Prince's 1987 album of the same name. The song is a holdover from both the Dream Factory and Crystal Ball projects, promoted to the title track of the 1987 release. Prince performs the entire track except for some backing vocals by then-girlfriend Susannah Melvoin. "Sign o' the Times" was written on a Sunday, when Prince usually wrote his most introspective songs. The song proved popular upon release, topping the R&B chart, and reaching number three on the Billboard Hot 100.[1] Rolling Stone ranked "Sign o' the Times" #299 on their list of the 500 Greatest Songs of All Time.
From Wikipedia, the free encyclopedia
The lead single off Prince's 1987 album of the same name. The song is a holdover from both the Dream Factory and Crystal Ball projects, promoted to the title track of the 1987 release. Prince performs the entire track except for some backing vocals by then-girlfriend Susannah Melvoin. "Sign o' the Times" was written on a Sunday, when Prince usually wrote his most introspective songs. The song proved popular upon release, topping the R&B chart, and reaching number three on the Billboard Hot 100.[1] Rolling Stone ranked "Sign o' the Times" #299 on their list of the 500 Greatest Songs of All Time.
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The Rolling Stones
"Miss You"
Album: "Some Girls" (1978)
The song is written by Mick Jagger and Keith Richards.
It was released as a single by The Rolling Stones on Rolling Stones Records one month in advance of their album Some Girls, and peaked at number 1 on the Billboard Hot 100. An extended version, called the "Special Disco Version," was released as the band's first dance remix on a 12-inch single.
From Wikipedia, the free encyclopedia
Album: "Some Girls" (1978)
The song is written by Mick Jagger and Keith Richards.
It was released as a single by The Rolling Stones on Rolling Stones Records one month in advance of their album Some Girls, and peaked at number 1 on the Billboard Hot 100. An extended version, called the "Special Disco Version," was released as the band's first dance remix on a 12-inch single.
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Prince & The Revolution
"Purple Rain"
It is the title track from the 1984 album of the same name, which in turn is the soundtrack album for the 1984 film of the same name, and was released as the third single from that album. The song is a combination of rock, pop, gospel, and orchestral music. It reached #2 in the U.S., and is widely considered one of Prince's signature songs. It was certified gold by the Recording Industry Association of America, shipping 1 million units in the United States.[1]
From Wikipedia, the free encyclopedia
It is the title track from the 1984 album of the same name, which in turn is the soundtrack album for the 1984 film of the same name, and was released as the third single from that album. The song is a combination of rock, pop, gospel, and orchestral music. It reached #2 in the U.S., and is widely considered one of Prince's signature songs. It was certified gold by the Recording Industry Association of America, shipping 1 million units in the United States.[1]
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Oasis
"Supersonic" Live at Wembley (2000)
The debut single released Oasis, written by lead guitarist Noel Gallagher.
The song appears on their debut album Definitely Maybe, released in August 1994. The song appeared on Rock Band on 1 September 2009 as a live version.
The song was released on 11 April 1994 and peaked at number 31 on the UK Singles Charts, Oasis's lowest-peaking single. However, over time it has amassed sales of over 215,000, making it their 13th biggest selling single ever in the UK, even outselling their 2002 number one "The Hindu Times".
"Supersonic" was also the band's first single to chart in the United States, where it peaked at #11 on the US Billboard Modern Rock Tracks chart on 10 December 1994. The song was performed by the band on their debut national TV performance on Channel 4's The Word. It remains a favourite song of both the band and their fans (on the Definitely Maybe DVD, Noel cites it as his favourite Oasis song). The single went silver in the UK in 2006.
In March 2005, Q magazine placed "Supersonic" at number 20 in its list of the 100 Greatest Guitar Tracks. In May 2007, NME magazine placed "Supersonic" at number 25 in its list of the 50 Greatest Indie Anthems Ever.
From Wikipedia, the free encyclopedia
The debut single released Oasis, written by lead guitarist Noel Gallagher.
The song appears on their debut album Definitely Maybe, released in August 1994. The song appeared on Rock Band on 1 September 2009 as a live version.
The song was released on 11 April 1994 and peaked at number 31 on the UK Singles Charts, Oasis's lowest-peaking single. However, over time it has amassed sales of over 215,000, making it their 13th biggest selling single ever in the UK, even outselling their 2002 number one "The Hindu Times".
"Supersonic" was also the band's first single to chart in the United States, where it peaked at #11 on the US Billboard Modern Rock Tracks chart on 10 December 1994. The song was performed by the band on their debut national TV performance on Channel 4's The Word. It remains a favourite song of both the band and their fans (on the Definitely Maybe DVD, Noel cites it as his favourite Oasis song). The single went silver in the UK in 2006.
In March 2005, Q magazine placed "Supersonic" at number 20 in its list of the 100 Greatest Guitar Tracks. In May 2007, NME magazine placed "Supersonic" at number 25 in its list of the 50 Greatest Indie Anthems Ever.
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Freddie Mercury Tribute Concert
"Bohemian Rhapsody"
The Freddie Mercury Tribute Concert for AIDS Awareness was an open-air concert held on Easter Monday, 20 April 1992 at London's Wembley Stadium, for an audience of 72,000.[1] The concert was produced for television by Ray Burdis and broadcast live on television and radio to 76 countries around the world, with an audience of up to one billion.[2][3] The concert was a tribute to the life of the late Queen frontman, Freddie Mercury, with all proceeds going to AIDS research. The show marked bassist John Deacon's final concert with Queen (save one live appearance with Brian May, Roger Taylor and Elton John in 1997). The profits from the concert were used to launch The Mercury Phoenix Trust AIDS charity organisation.
From Wikipedia, the free encyclopedia
The Freddie Mercury Tribute Concert for AIDS Awareness was an open-air concert held on Easter Monday, 20 April 1992 at London's Wembley Stadium, for an audience of 72,000.[1] The concert was produced for television by Ray Burdis and broadcast live on television and radio to 76 countries around the world, with an audience of up to one billion.[2][3] The concert was a tribute to the life of the late Queen frontman, Freddie Mercury, with all proceeds going to AIDS research. The show marked bassist John Deacon's final concert with Queen (save one live appearance with Brian May, Roger Taylor and Elton John in 1997). The profits from the concert were used to launch The Mercury Phoenix Trust AIDS charity organisation.
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Scorpions
"Still Loving You" (Wacken 2006 — concert)
A song of Scorpions from their 1984 album Love at First Sting. It was the second single of the album, reaching #64 on Billboard Hot 100. In France, the single sold 1.7 million copies. The music video was released in July 1984,[1] and was filmed in Dallas, Texas at Reunion Arena.
In an interview with Songfacts, Rudolf Schenker explained "It's a story about a love affair where they recognized it may be over, but let's try again."[2]
The song is also considered a thinly veiled metaphor for a still divided Eastern & Western Germany. "Your pride has built a wall so strong that I can't get through, is there really no chance to start once again?" "only love can break down the walls someday" and "Yes I've hurt your pride and I know what you've been through, you should give me a chance, this can't be the end, I'm still loving you" were clear references to the Berlin Wall and the despair many Germans felt about their divided homeland.
A remixed version of the studio album version was included on the album Still Loving You in 1992. The remixed version was also released as a single in Germany and some other European countries. The band has also re-recorded the song twice, with the Berlin Philharmonic Orchestra in 2000 for the album Moment of Glory and an acoustic re-working for the album Acoustica in 2001.
From Wikipedia, the free encyclopedia
A song of Scorpions from their 1984 album Love at First Sting. It was the second single of the album, reaching #64 on Billboard Hot 100. In France, the single sold 1.7 million copies. The music video was released in July 1984,[1] and was filmed in Dallas, Texas at Reunion Arena.
In an interview with Songfacts, Rudolf Schenker explained "It's a story about a love affair where they recognized it may be over, but let's try again."[2]
The song is also considered a thinly veiled metaphor for a still divided Eastern & Western Germany. "Your pride has built a wall so strong that I can't get through, is there really no chance to start once again?" "only love can break down the walls someday" and "Yes I've hurt your pride and I know what you've been through, you should give me a chance, this can't be the end, I'm still loving you" were clear references to the Berlin Wall and the despair many Germans felt about their divided homeland.
A remixed version of the studio album version was included on the album Still Loving You in 1992. The remixed version was also released as a single in Germany and some other European countries. The band has also re-recorded the song twice, with the Berlin Philharmonic Orchestra in 2000 for the album Moment of Glory and an acoustic re-working for the album Acoustica in 2001.
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Queen
"It's a Hard Life" (live at Japan)
...is a song by the British rock band Queen, written by lead singer Freddie Mercury. It was featured on their 1984 album The Works, and it was the third single from that album. It reached number 6 in the UK Singles Chart and was their third consecutive Top 10 single from the album. It also reached number 2 in ireland and number 20 in the Netherlands
The opening lyric and melody of "It's a Hard Life" is based on the line "Ridi, Pagliaccio, sul tuo amore infranto!" (Laugh, Pagliaccio, at your broken love!) from "Vesti la giubba", an aria from Ruggiero Leoncavallo's opera Pagliacci.
Musically, the song recreates the feel of "Play the Game" in order to update the story,[1] utilising Mercury's piano playing and the band's characteristic technique of layered harmonies. It is recorded very much with the ethos of earlier Queen albums in that it features 'no synthesizers'. By that time the band had been using synths on record since 1980's The Game and the gesture of returning to the traditional Queen sound was comforting to some fans.
From Wikipedia, the free encyclopedia
...is a song by the British rock band Queen, written by lead singer Freddie Mercury. It was featured on their 1984 album The Works, and it was the third single from that album. It reached number 6 in the UK Singles Chart and was their third consecutive Top 10 single from the album. It also reached number 2 in ireland and number 20 in the Netherlands
The opening lyric and melody of "It's a Hard Life" is based on the line "Ridi, Pagliaccio, sul tuo amore infranto!" (Laugh, Pagliaccio, at your broken love!) from "Vesti la giubba", an aria from Ruggiero Leoncavallo's opera Pagliacci.
Musically, the song recreates the feel of "Play the Game" in order to update the story,[1] utilising Mercury's piano playing and the band's characteristic technique of layered harmonies. It is recorded very much with the ethos of earlier Queen albums in that it features 'no synthesizers'. By that time the band had been using synths on record since 1980's The Game and the gesture of returning to the traditional Queen sound was comforting to some fans.
From Wikipedia, the free encyclopedia
Dire Straits
"Your Latest Trick"
...a song by Dire Straits that appeared on the studio album Brothers in Arms, and also on the live album On the Night; the same live version is on Sultans of Swing: The Very Best of Dire Straits. The full-length studio album version was included on the most recent compilation The Best of Dire Straits & Mark Knopfler: Private Investigations.
The saxophone introduction to the song, as Mark Knopfler says on the Sultans of Swing: The Very Best of Dire Straits DVD, is now widely used when people are trying out saxophones at music shops, just as Led Zeppelin's Stairway to Heaven is widely used when trying out guitars. Having one of his songs used in such a way is something that he always dreamt of.[citation needed]
Michael Brecker played the saxophone solo on the original recording, while Chris White played it live on the Brothers in Arms and On Every Street world tours.
The saxophone introduction was also used in the theme music for the TVB series Files of Justice.
From Wikipedia, the free encyclopedia
...a song by Dire Straits that appeared on the studio album Brothers in Arms, and also on the live album On the Night; the same live version is on Sultans of Swing: The Very Best of Dire Straits. The full-length studio album version was included on the most recent compilation The Best of Dire Straits & Mark Knopfler: Private Investigations.
The saxophone introduction to the song, as Mark Knopfler says on the Sultans of Swing: The Very Best of Dire Straits DVD, is now widely used when people are trying out saxophones at music shops, just as Led Zeppelin's Stairway to Heaven is widely used when trying out guitars. Having one of his songs used in such a way is something that he always dreamt of.[citation needed]
Michael Brecker played the saxophone solo on the original recording, while Chris White played it live on the Brothers in Arms and On Every Street world tours.
The saxophone introduction was also used in the theme music for the TVB series Files of Justice.
From Wikipedia, the free encyclopedia
Dire Straits
"Private Investigations" (live at Wembley, 1985)
...is a popular song by Dire Straits from their album Love Over Gold. Although it was not released as a single in the US, it reached the number 2 position in the UK (despite its length), and is one of their biggest chart successes in the United Kingdom, on a par with "Walk of Life". Similarly, the album it came from, Love over Gold, only sold 500,000 copies in the US, though it was well-received elsewhere. The track also appeared on the compilation albums Money for Nothing and Sultans of Swing: The Very Best of Dire Straits, and is the title track to the more recent 2005 compilation, The Best of Dire Straits & Mark Knopfler: Private Investigations.
The song begins with a sinister, deep pitched synthesizer orchestration, leading into a slow piano progression accompanying a classical guitar. Throughout the several spoken verses, Knopfler expresses the disillusionment and bitterness of a betrayed lover, likening his position to that of a private investigator uncovering scandal: "A bottle of whiskey and a new set of lies / Blinds on the windows and a pain behind the eyes.....Scarred for life, no compensation / Private investigations."
After the verses, the song opens up into a slow, bass-driven beat, with strident electric guitar chords at the end, before the gradual diminuendo featuring extended interplay between Mark Knopfler's acoustic guitar and marimba played by Mike Mainieri.
On the Sultans of Swing: The Very Best of Dire Straits DVD, Mark Knopfler said this about the song: "It's just about the Private Investigations... "What have you got at the end of the day" - Nothing more than you started out with..." It is said the song was inspired by author Raymond Chandler.[citation needed]
This song was also modified by Mark Knopfler into a film score for the Bill Forsyth movie Comfort and Joy in 1984, where you can hear the song broken up into portions and used for certain scenes.
The riff from the song was used on a BT advert in 1994.
From Wikipedia, the free encyclopedia
...is a popular song by Dire Straits from their album Love Over Gold. Although it was not released as a single in the US, it reached the number 2 position in the UK (despite its length), and is one of their biggest chart successes in the United Kingdom, on a par with "Walk of Life". Similarly, the album it came from, Love over Gold, only sold 500,000 copies in the US, though it was well-received elsewhere. The track also appeared on the compilation albums Money for Nothing and Sultans of Swing: The Very Best of Dire Straits, and is the title track to the more recent 2005 compilation, The Best of Dire Straits & Mark Knopfler: Private Investigations.
The song begins with a sinister, deep pitched synthesizer orchestration, leading into a slow piano progression accompanying a classical guitar. Throughout the several spoken verses, Knopfler expresses the disillusionment and bitterness of a betrayed lover, likening his position to that of a private investigator uncovering scandal: "A bottle of whiskey and a new set of lies / Blinds on the windows and a pain behind the eyes.....Scarred for life, no compensation / Private investigations."
After the verses, the song opens up into a slow, bass-driven beat, with strident electric guitar chords at the end, before the gradual diminuendo featuring extended interplay between Mark Knopfler's acoustic guitar and marimba played by Mike Mainieri.
On the Sultans of Swing: The Very Best of Dire Straits DVD, Mark Knopfler said this about the song: "It's just about the Private Investigations... "What have you got at the end of the day" - Nothing more than you started out with..." It is said the song was inspired by author Raymond Chandler.[citation needed]
This song was also modified by Mark Knopfler into a film score for the Bill Forsyth movie Comfort and Joy in 1984, where you can hear the song broken up into portions and used for certain scenes.
The riff from the song was used on a BT advert in 1994.
From Wikipedia, the free encyclopedia
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