“Spinning Wheel” is the title of a popular song from 1969 by the band Blood, Sweat & Tears. The song was written by the band’s Canadian lead vocalist David Clayton-Thomas and appears on their self-titled album.
Released as a single in 1969, “Spinning Wheel” peaked at number two on the Billboard Hot 100 chart in July of that year, remaining in the runner-up position for three weeks. In August of that year, the song topped the Billboard easy listening chart for two weeks. It was also a crossover hit, reaching #45 on the US R&B chart.
“Spinning Wheel” was nominated for three Grammy Awards at the 1970 ceremony, winning in the category Best Instrumental Arrangement. The arranger for the song was the band’s saxophonist, Fred Lipsius. It was nominated for Record of the Year and Song of the Year; the album won the Grammy for Album of the Year.
Clayton-Thomas was quoted as describing the song as being “written in an age when psychedelic imagery was all over lyrics…it was my way of saying, ‘Don’t get too caught up, because everything comes full circle’.”
The song ends with the 1815 Austrian tune “O Du Lieber Augustin” (“The More We Get Together” or “Did You Ever See a Lassie?”) and drummer Bobby Colomby’s comment: “That wasn’t too good”, followed by laughter from the rest of the group. According to producer James William Guercio this section was added in at the last minute after the end of the master tape was recorded over accidentally by an engineer at the studio. Most of this section and the trumpet solo were edited out for the single version. The eight-bar piano solo which precedes the trumpet solo on the album version is overlapped with guitar on the single version before the last verse.
Among artists who have covered “Spinning Wheel” are Shirley Bassey, who included the song on her 1970 album Something, and Nancy Wilson, who covered it in the Hawaii Five-O episode “Trouble in Mind,” which originally aired September 23, 1970. In 1970 Marianne Mendt released a version of the tune in Austria, as “A g’scheckert’s Hutschpferd” and Barbara Eden performed a live version  that aired in the U.S. Jazz organist Dr. Lonnie Smith recorded an extended instrumental version for his 1970 Blue Note album Drives. James Brown scored a minor hit in 1971 with an instrumental version of the song, reaching #90 on the Billboard Hot 100. The Canadian a cappella music group, Cadence also covered this song. In 1970 P.P. Arnold recorded a version produced by Barry Gibb but it was not released. An instrumental rendition of this song was used as a cue on the first Wheel of Fortune pilot titled Shopper’s Bazaar.
Sir George Ivan “Van” Morrison, OBE (born 31 August 1945) is a Northern Irish singer-songwriter and musician. Some of his recordings, such as the studio albums Astral Weeks and Moondance and the live album It’s Too Late to Stop Now, are critically acclaimed. He has received six Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2015 he was knighted for his services to popular music.
Known as “Van the Man” to his fans, Morrison started his professional career when, as a teenager in the late 1950s, he played a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands covering the popular hits of the day. He rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria”. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’ death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks in 1968. Even though this album would gradually garner high praise, it was initially a poor seller; however, the next one, Moondance, established Morrison as a major artist, and throughout the 1970s he built on his reputation with a series of critically acclaimed albums and live performances. Morrison continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and the Chieftains. In 2008 he performed Astral Weeks live for the first time since 1968.
Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness narrative, such as Astral Weeks and lesser-known works such as Veedon Fleece and Common One. The two strains together are sometimes referred to as “Celtic Soul”.
D’Arby’s debut solo album, Introducing the Hardline According to Terence Trent D’Arby, released in July 1987, is his best-known commercial work. The album produced hits including “If You Let Me Stay”, “Wishing Well”, “Dance Little Sister”, and “Sign Your Name”.
He expressed a high opinion of his debut album, brashly claiming that it was the most important album since the Beatles’ Sgt. Pepper. The album earned him a Grammy Award in March 1988 in the category Best R&B Vocal Performance, Male. In that same year, he earned a Soul Train Award nomination for Best New Artist.
His follow-up was the album Neither Fish Nor Flesh (1989).
It took four more years and a move to Los Angeles until his next album, Symphony or Damn (1993) was released. The record contained the singles “Delicate” and “She Kissed Me”. It peaked at No. 4 on the UK Albums Chart.
In 1995, D’Arby released Vibrator which was followed by a world tour.
During the 1990s, his relations with his record label Columbia Records became strained, eventually leading to his departure in 1996. He moved to Java Records for one year, during which he recorded Terence Trent D’Arby’s Solar Return, which was not released. In 2000, he bought back the rights to his unreleased album and left the record company as well as his management team, Lippman Entertainment.
In 1999, D’Arby collaborated with INXS to replace his friend, the late vocalist Michael Hutchence, so the band could play at the opening of facilities for the Sydney Olympics.
busking talent, street performance, voice, lyrics, music …oh wow!
When this amazing Barefoot Street Performer started singing, no one expected that! Sammie Jay blew away online audience with her busking talent, street performance, voice, lyrics, music and her original song Killing Me Slowly, However, audience were too busy shopping to stop and properly enjoy her beautiful voice and Amazing song from one of the top street performers in London. Many compare her style to Janis Joplin or Joss Stone. Some conspiracy theorists even believe that was shot against a Green Screen! :-)
Enjoy this amazing busking talent, original song and beautiful music. Where is Simon Cowell when he is needed !! or The Voice. YouTube.com
Captain & Tennille were American recording artists whose primary success occurred in the 1970s. The husband-and-wife duo were “Captain” Daryl Dragon (born August 27, 1942) and Cathryn Antoinette “Toni” Tennille (born May 8, 1940). They have five albums certified gold or platinum and scored numerous hits on the US singles charts, the most enduring of which included “Love Will Keep Us Together”, “Do That to Me One More Time”, and “Muskrat Love”. They hosted their own television variety series on ABC in 1976–77.
Early history and collaboration
In 1972, Toni Tennille was the co-writer of an ecology-themed musical called Mother Earth. At that time, Daryl Dragon (son of composer Carmen Dragon) was the keyboardist for The Beach Boys. When Tennille’s show was getting ready to move from San Francisco’s Marines Memorial Theatre to Southern California’s South Coast Repertory, a call was put out for a replacement keyboardist. Dragon was in between tours when he heard about the opening, met Tennille in San Francisco to audition, and landed the gig.
Reciprocating in kind, Dragon later suggested Tennille to The Beach Boys when the band needed an additional keyboardist, and they hired her. She toured with them for a year, and Toni Tennille has since been known as The Beach Boys’ one and only “Beach Girl”.
When the tour was over, and realizing their collaborative potential, they began performing as a duo at the now-defunct Smokehouse Restaurant in Encino, California, and started to make a name for themselves in the Los Angeles area. During this time, an early version of a Tennille-penned tune they had recorded, “The Way I Want to Touch You”, became a hit on a local radio station and led to a recording contract with A&M Records.
Their first hit single was a cover of Neil Sedaka’s and Howard Greenfield’s “Love Will Keep Us Together”. The song went to #1 on the Billboard Hot 100 singles chart nine weeks after its debut in 1975 and went on to win the Grammy Award for Record of the Year. It sold over one million copies, and was awarded a gold disc by the RIAA on July 1, 1975. Tennille paid tribute to Sedaka in the recording when she overdubbed her own voice during the outro of the single, singing “Sedaka is back.” They successfully mined the Sedaka songbook a number of times over their chartmaking career as two other hit singles were Sedaka co-writes, “Lonely Night (Angel Face)” and “You Never Done It Like That”, as well as several other album tracks. Their Spanish recording of “Love Will Keep Us Together”, “Por Amor Viviremos”, also charted in 1975 — it was the first time two versions of the same single charted at the same time.
Tennille and Dragon married on Veteran’s Day (November 11), 1975, not Valentine’s Day as is often erroneously reported.