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“Talking Heads – Once In A Lifetime” 

“Talking Heads – Once In A Lifetime” 

Once in a Lifetime” is a song by new wave band Talking Heads, released in 1981 as the first single from their fourth studio album, 1980’s Remain in Light. The song was written by David Byrne, Brian Eno, Chris Frantz, Jerry Harrison, and Tina Weymouth, and produced by Brian Eno. It was named one of the 100 most important American musical works of the 20th century by National Public Radio and is also included in The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll.

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“Soul Survivors – Expressway To Your Heart”

“Soul Survivors – Expressway To Your Heart”

The Soul Survivors were an American, Philadelphia-based R&B group, founded by New York natives Richie and Charlie Ingui and Kenny Jeremiah, known for their 1967 hit single “Expressway to Your Heart“, which was the first hit by Philadelphia soul record producers and songwriters Kenny Gamble and Leon Huff.[1]

History

The Soul Survivors first played together in New York under the name The Dedications, founded by member Kenny Jeremiah, who released several singles under this name in 1962 and 1964. They adopted the name Soul Survivors in 1965. They signed to Philadelphia label Crimson Records, who put them in touch with Gamble & Huff. “Expressway to Your Heart” was a #1 hit regionally in Philadelphia and New York in the fall of 1967, and the tune reached #4 on the Billboard Hot 100 nationally. “Expressway to Your Heart” spent 15 weeks in the charts and sold over one million copies.[1]

The follow-up was “Explosion in Your Soul,”[2] which was not as successful (U.S. #33); a third release, “Impossible Mission”, also was a minor hit in 1969 (U.S. #68). They quit playing for a few years, but re-formed with a different lineup in 1972. They had one more hit, “City of Brotherly Love” in 1974.[2] In the 1970s, the group lost its record contract and its manager and eventually disbanded.[3] Charlie Ingui became a landscaper, Richie Ingui became a house painter, Paul Venturini became a restaurateur, and drummer Joe Forgione owned an auto body shop.[3] In 1987, the Inqui brothers began playing occasional gigs as the original Soul Survivors and signed a five-record contract in 1991 with Society Hill Records.[3] As of 2006, they were playing occasional dates in the Eastern United States.

Chuck Trois also went on to release a solo 45 rpm single on A&M Records in August 1969, with “Mr. Holmes” on one side, and “A National Band” on the other.

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“Blinded by the Light ~ Manfred Mann’s Earth Band with lyrics”

“Blinded by the Light ~ Manfred Mann’s Earth Band with lyrics”

Manfred Mann were an English beat, rhythm and blues and pop band (with a strong jazz foundation) of the 1960s, named after their keyboardist, Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band.[1] Manfred Mann were chart regulars in the 1960s, and the first south-of-England-based group to top the US Billboard Hot 100 during the British invasion.[2] Three of the band’s most successful singles, “Do Wah Diddy Diddy”, “Pretty Flamingo” and “Mighty Quinn”, topped the UK Singles Chart.[2]

History

Beginnings (1962–1963) Edit
The Mann-Hugg Blues Brothers were formed in London[3] by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg,[1] who formed a house band in Clacton-on-Sea that also featured Graham Bond.[4] Bringing a shared love of jazz to the British blues boom, then sweeping London’s clubs (which also spawned Alexis Korner, the Rolling Stones and the Yardbirds), the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist.[1] By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963 the band soon attracted attention for their distinctive sound.

After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, bluesy instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show.[5] It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop.”[1] The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound and demonstrated the jazz-inspired technical prowess in which they took pride.[4]

Early success (1964–1965) Edit
In 1964 the group was asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go!.[3] They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart.[2] Shortly after “5-4-3-2-1” was recorded, Richmond left the band,[6] though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble),” the band struck gold with “Do Wah Diddy Diddy”, a cover of the Exciters’ minor hit earlier that year.[3] The track reached the top of each of the UK, Canadian and US charts (The Exciters’ version had only charted No. 78 in the US).

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover “Sha La La”,[2] (originally by the Shirelles) which also reached No. 12 in the US and Canada and followed with the sentimental “Come Tomorrow” but both were of a noticeably lighter texture than their earliest output. Meanwhile “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning”[3] while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”.[2] The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo” produced by John Burgess

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“The Beatles – Long and Winding Road (1970)”

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The Long and Winding Road” is a ballad written by Paul McCartney (credited to Lennon–McCartney) from the Beatles’ album Let It Be. It became the group’s 20th and last number-one song in the United States in June 1970,[2] and was the last single released by the quartet.

While the released version of the song was very successful, the post-production modifications by producer Phil Spector angered McCartney to the point that when he made his case in court for breaking up the Beatles as a legal entity, he cited the treatment of “The Long and Winding Road” as one of six reasons for doing so. New versions of the song with simpler instrumentation were subsequently released by both the Beatles and McCartney.

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“Earth, Wind & Fire – Reasons”

Reasons” is a love ballad by Earth, Wind & Fire from their sixth album, That’s the Way of the World. The song features the falsetto singing of Philip Bailey. Although it never charted, “Reasons” has endured. The song, which was written by Bailey, Charles Stepney, Maurice White has appeared on dozens of albums, including almost all of Earth, Wind & Fire’s greatest hits and compilation albums.

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“The Intruders – Together”

“The Intruders – Together”

The Intruders were an American soul music group most popular in the 1960s and 1970s. As one of the first groups to have hit songs under the direction of Kenny Gamble and Leon Huff, they had a major influence on the development of Philadelphia soul.

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