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“SLY AND THE FAMILY STONE – EVERYDAY PEOPLE”

Sly and the Family Stone was an American band from San Francisco. Active from 1966 to 1983, it was pivotal in the development of funk, soul, rock, and psychedelic music.
Everyday People” is a 1968 song by Sly and the Family Stone. It was the first single by the band to go to number one on the Soul singles chart and the U.S. Billboard Hot 100 chart.
It held that position, on the Hot 100, for four weeks from February 15 to March 14, 1969, and is remembered as a popular song of the 1960s. Billboard ranked it as the No. 5 song of 1969. As with most of Sly and the Family Stone’s songs, Sly Stone was credited as the sole songwriter.https://youtu.be/3JvkaUvB-ec

 

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“War – Low Rider”

“War – Low Rider”

Featured image: Cheech and Chong (Low Rider song used as a movie theme)

“Low Rider” is a song written by American funk band War and producer Jerry Goldstein, which appeared on their album Why Can’t We Be Friends?, released in 1975. It reached number one on the Billboard R&B chart and peaked at number 7 on the Pop Singles chart.

According to the All Music Guide review of the song, “the lyric takes the cool image of the low rider — the Chicanoculture practice of hydraulically hot-rodding classic cars — and using innuendo, extends the image to a lifestyle”. The song’s most distinguishable feature is its driving bass line, which is present for nearly all of the song. It also ends with a siren-like noise that then becomes a saxophonesolo.

​In popular culture

The song has been featured in eighteen movies, including Cheech and Chong‘s Up In Smoke, Colors, Blood in Blood Out, Friday, A Gnome Named Gnorm, Robots, 21 Grams, Dazed and Confused, Paulie, Beverly Hills Ninja, A Knight’s Tale, the 2000 remake of Gone in 60 Seconds, The Young Poisoner’s Handbook, Love Potion No. 9, The Odd Life of Timothy Green, The Internship and Beverly Hills Chihuahua.

“Low Rider” is the theme song for George LopezLopez Tonight, and for its titular star‘s stand up comedy appearances. At the 2007 ALMA AwardsGeorge Lopez called this song, “The Chicano National Anthem”, and performed it live.

“Low Rider” is featured in the video games Grand Theft Auto: San Andreas(playing on Master Sounds 98.3), Skate 2Skate ItDriver: Parallel LinesMLB 08: The ShowRock Band 3 and George Lopez: Driveway Bowling.

“Low Rider” is mentioned in That ’70s Show in the episode “Sparks”, when the lyrics are inscribed on Eric’s wedding ring to Donna.

“Low Rider” is featured in the Misfits“Episode Six” of the first series, when Nathan uses it to protect himself from Rachel.

“Low Rider” is featured briefly in a cutaway in the Family Guy spoof of Return of the Jedi called “It’s A Trap” when Peter Griffin as Han Solo pulls up at some traffic lights driving the Millennium Falcon.

“Low Rider” is featured in The Simpsonsepisode “A Midsummer’s Nice Dream” when Homer goes on tour with Cheech.

“Low Rider” is featured in a 2014 advertisement for the drug Crestor, as well as in older ads for both the Canadian bank CIBC and the British food Marmite.

The song ran on the 7 December 2016 episode of The Late Show with Stephen Colbert, while Pilobolus performed acts in the form of silhouettes.

The song appears in a 2016 TV commercial for ESPN‘s SportsCenter.

Wikipedia.org


https://youtu.be/F_iJ28iXwo0

 
 

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“True” By Spandau Ballet

“True” By Spandau Ballet

True” is a song by the English band Spandau Ballet. It was released on 14 April 1983 as the third single from their third studio album of the same name. The song was written by band member Gary Kemp.

The song was a huge worldwide hit, peaking at number one in the UK Singles Chart on 30 April 1983 for four weeks, becoming the sixth biggest selling single of the year, and charting highly in 20 other countries. It is Spandau Ballet’s biggest hit and their only major hit in the U.S., reaching number four on the Billboard Hot 100 in the autumn of 1983 and topping the adult contemporary chart for one week.

In 1985, the band performed the song during Live Aid. A new mix by Tony Swain and Gary Kemp was released in 2002 on the compilation album Reformation.

On 30 April 2008, the single celebrated its 25th anniversary, and in honour, EMI released a brand new True EP on 5 May 2008, which included the original single, the new mix found on Reformation and the remastered album version, plus a live recordings of “True” and “Gold” from the last show of the group’s 1983 tour at Sadlers Wells.

A notable omission is that Spandau Ballet bassist Martin Kemp did not perform on the track, rather a bass synthesizer was used instead. However, Kemp would play in his capacity for future live performances.

Wikipedia.org

 
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Posted by on 04/10 in other, pop music, uk

 

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Maria Muldaur – (bluegrass) Don’t You Feel My Leg

Maria Muldaur – (bluegrass) Don’t You Feel My Leg

From her early 1960s jug band recordings to the present day, Maria Muldaur stands unique in her ability to transcend categorization. For over forty years, Muldaur has shared her deep love of roots music. By carefully selecting her repertoire from the best North American songwriters, she has encompassed the blues of the Mississippi Delta, New Orleans gospel and jazz, Western Swing, Appalachian bluegrass/country and everything in between. Best known for her 1973 hit, “Midnight At The Oasis,” Muldaur has always been much more than a sexy one-hit wonder. Blessed with a voice that remains convincing regardless of the genre she chooses to tackle, her performances are a study in American musicology.

This performance, recorded at the legendary Trobadour in Los Angeles, followed the release of Maria Muldaur’s second solo album, Waitress In A Donut Shop. Unlike the majority of her live performances from this classic era, it captures one of the handful of concerts where she was not backed by her usual band of hippie renegades. Instead, this rare performance features Muldaur accompanied by seasoned jazz musicians, who provide an infectious big band feel that swings in all the right places.

None other than the legendary Benny Carter directed Muldaur’s band on this run. Admired as virtually any jazz musician ever, Carter was a contemporary of Duke Ellington (who he played with early in his career) and Count Basie and was universally respected for his abilities as a composer, musician and bandleader. Muldaur’s ensemble on this night featured the likes of Harry “Sweets” Edison and Snooky Young on trumpets and trombonist extraordinaire, J. J. Johnson. This set also captures Muldaur at her commercial peak, performing genre-breaking music with a stellar big band before a very appreciative audience.

Right from the start, Muldaur sets a swinging mood, opening with her take on Fats Waller’s “Squeeze Me,” followed by Jimmy Rogers’ classic “Any Old Time,” a song she recorded on her self-titled first album. The bluesy “Gee Baby, Ain’t I Good To You,” follows. Here Muldaur finds the perfect balance between sweet and sexy, with the musicians providing the perfect backdrop. Up next is “Sweetheart,” the song that contained the lyric that provided the title of her album, Waitress In A Donut Shop. This was one of two songs that Benny Carter and his band actually recorded on that album. Hearing a live rendition, featuring virtually the same musicians as the studio session, is quite the treat. Following this, Muldaur takes a break and encourages the band to do their own thing on Benny Carter’s original composition, “Doozy.”

By this point, everyone is well warmed up and the set kicks into high gear. The classic “It Don’t Mean A Thing (If It Ain’t Got That Swing)” is a perfect vehicle for Muldaur, taking the performance to the next level. This is such an obvious match, that one can only wonder why she didn’t record it for the album. Her smoldering take on Billy Holliday’s “Lover Man (Where Can You Be)” slows things down, while digging deeper into the emotional nuances of her voice. Her charm is undeniable and the performance is thoroughly engaging. Muldaur wouldn’t get around to releasing this song until almost a decade later. This performance easily stands up to her finest material from this era.

https://tinyurl.com/y98kz8eq



 

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“Bob Marley No Women, No Cry” 

No Woman, No Cry” is a reggae song by Bob Marley and the Wailers. The song first became known in 1974 through the studio album Natty Dread. The live version from the 1975 album Live! was released as a single and is the best known version — it was included on the greatest hits compilation Legend and was recorded at the Lyceum Theatre in London on July 19, 1975 as part of hisNatty Dread Tour.

The live version of the song ranked No. 37 on Rolling Stone’s 500 Greatest Songs of All Time.

 

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 “Spirit in the Sky” Norman Greenbaum

 “Spirit in the Sky” Norman Greenbaum

Norman Joel Greenbaum (born November 20, 1942) is an American singer-songwriter. He is best known for writing and performing the 1969 song “Spirit in the Sky“.
Greenbaum was born in Malden, Massachusetts. He was raised in an Orthodox Jewish household and attended Hebrew school at Congregation Beth Israel.[1] His initial interest in music was sparked by southern blues music and the folk music that was popular in the late 1950s and early 1960s. He performed with various bands in high school and studied musicat Boston University for two years. In college he performed at local coffeehouses but eventually dropped out and moved to Los Angeles in 1965.

Greenbaum is best known for his song “Spirit in the Sky“. The song, with its combination of ‘heavy’ guitar, hand-clapping, and spiritual lyrics, was released by Warner Bros. Records in 1969. It sold two million copies in 1969 and 1970,[3] and received a gold discfrom the R.I.A.A. It has subsequently been used in many films, advertisements, and television shows.[3]

Although “Spirit in the Sky” has a clear Christian theme, Greenbaum was and remains an observant Jew.[4][5]Greenbaum says he was inspired to write the song after watching country singers singing a song on television. In an interview Greenbaum stated that western movies were the real inspiration for “Spirit in the Sky”:[6]

Norman Greenbaum: If you ask me what I based “Spirit In The Sky” on … what did we grow up watching? Westerns! These mean and nasty varmints get shot and they wanted to die with their boots on. So to me that was spiritual, they wanted to die with their boots on.

Ray Shasho: So that was the trigger that got you to write the song?

Norman Greenbaum: Yes. The song itself was simple, when you’re writing a song you keep it simple of course. It wasn’t like a Christian song of praise it was just a simple song. I had to use Christianity because I had to use something. But more important it wasn’t the Jesus part, it was the spirit in the sky. Funny enough … I wanted to die with my boots on.

Though Greenbaum is generally regarded as a one-hit wonder,[4][5]several of his records placed prominently in the charts, including “Canned Ham” in 1970, which reached number 46 on the Billboard pop chart. In 1966,[7] under the name Dr. West’s Medicine Show and Junk Band, he recorded the novelty hit “The Eggplant That Ate Chicago“.[7] In the 1960s Greenbaum also performed under the name Bruno Wolf with the Jim Kweskin Jug Band.[

Wikipedia.org

 
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Posted by on 04/10 in 1960s, music, other, r&b

 

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Chandelier – Sia

Chandelier – Sia

“Chandelier” is a song by Australian singer Siafrom her sixth studio album, 1000 Forms of Fear (2014). Written by Sia and Jesse Shatkinand produced by Shatkin and Greg Kurstin, the song was released on 17 March 2014 as the lead single from the album. It is an electropopsong, featuring electronica, R&B and reggaeinfluences. Lyrically, the song has a melancholic theme, detailing the demoralisation and rationalisation of alcoholism through the typical thought process of a “party girl”. source

 

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