Songs People Should Hear

[Music Head]

YouTube - The Association - Never My Love

from wikipedia

"Never My Love" is a song written by American siblings Donald and Richard Addrisi, who recorded under the name the Addrisi Brothers and had two Top 40 hits as singers. They are best known as the songwriters of "Never My Love", which has been recorded by many artists and was picked by Broadcast Music Incorporated as the second most-played song, on radio and television, of the 20th century.

The first recording of "Never My Love" that achieved chart success was by the Association, an American pop-rock band from California. Their version of the song peaked at #2 on the Billboard Hot 100 chart in late 1967, one of the band's five Top 10 hits in the late 1960s. It was featured on the band's album, Insight Out, and is played frequently on radio stations with an "oldies" format.

The song was also recorded by the American R&B vocal group The 5th Dimension in 1971. Their version of "Never My Love" reached #12 on the Hot 100 chart in October of that year. In addition, this recording hit #1 on the Billboard adult contemporary chart, becoming the group's fourth single to top this chart (following "Aquarius/Let the Sunshine In", "Wedding Bell Blues", and "One Less Bell to Answer"). It also reached #45 on the Billboard R&B chart.

In addition, "Never My Love" was released by the Swedish rock band Blue Swede in 1974. This version of the song peaked at #7 on the Hot 100 chart, marking the song's third appearance on this chart, and the second to hit the Top 10. Blue Swede's version of the song remained in the Top 40 for eight weeks.

The Addrisi Brothers recorded their own version of the song they wrote on the Buddah label in late 1977, and it peaked at #80 on the Hot 100 chart and #28 on the adult contemporary chart. Other versions of the song that reached the Billboard charts in the U.S. include: The Sandpebbles (#98 pop, 1968); Vern Gosdin and Janie Fricke (#9 country, 1978); and Chill Factor (#62 R&B, 1988). Serbian punk rock band Pekinška Patka released a cover version on their debut album Plitka poezija in 1980. American singer Kathy Troccoli covered this song in 1995, this is only a single in the Philippines.

You ask me if there'll come a time
When I grow tired of you
Never my love
Never my love
You wonder if this heart of mine
Will lose its desire for you
Never my love
Never my love
What makes you think love will end
When you know that my whole life depends
On you (on you)
Never my love
Never my love
You say you fear I'll change my mind
And I won't require you
Never my love
Never my love
How can you think love will end
When I've asked you to spend your whole life
With me (with me, with me)

[gryphon]

A great track , love the style in particular the vocal harmonies , did nothing on this side of he water but, I found it as a deleted single and loved it !

[Music Head]

A great track , love the style in particular the vocal harmonies , did nothing on this side of he water but, I found it as a deleted single and loved it !

What does the term "deleted single" mean?

thanks

[gryphon]

In Europe we had the following system in records shops :

Chart singles in the top 50 sold at full price.

When the single fell out of the top 50, retailers would put it in a box and sell it at a reduced price...........These were called "deleted singles" as they had been deleted from the top 50

[Music Head]

In Europe we had the following system in records shops :

Chart singles in the top 50 sold at full price.

When the single fell out of the top 50, retailers would put it in a box and sell it at a reduced price...........These were called "deleted singles" as they had been deleted from the top 50

aha
smart marketing tool that attracts buyers like me.

I've never been one that has to have something as soon as it hits the shelves, no matter the product. Whenever I purchase it, it's new to me.

[Music Head]

YouTube - Goldfinger

from wikipedia

"Goldfinger" was the title song from the 1964 James Bond film Goldfinger. Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, the song was performed by Shirley Bassey for the film's opening and closing title sequences, as well as the soundtrack album release. The single release of the song gave Bassey her only Billboard Hot 100 top ten hit, peaking at number eight; in the United Kingdom, the single reached #21. In 2008, the single was inducted into the Grammy Hall of Fame.

Upon being asked to create a theme song for the film-in-progress, Bricusse and Newley looked at each other instantly and sang out, "Goldfinger . . . wider than a mile," reprising "Moon River," the successful theme song from Breakfast at Tiffany's. Originally, Newley recorded the song, but it was re-recorded by Bassey with George Martin. Newley's version was later released in 1992 to mark the 30th Anniversary of James Bond on film, in a compilation collector's edition.

The release on vinyl of Bassey's version sold more than a million copies in the United States (Guinness Book of Records), and it also reached number one on the Japanese charts and the top ten of many european countries. The song has become Bassey's theme song and she has performed it in most of her concerts since the 1960's, often as an opening number.

In 1980 Shirley Bassey performed the song on The Muppet Show.

After the release of the later James Bond theme song "Licence To Kill", from the 1989 film of the same name, it was felt to significantly reuse important elements of "Goldfinger", and so the songwriting credits for the former were adapted for all subsequent releases.

The song was to feature prominently in another film: Little Voice, appearing in the film in much the manner of its first use – but with Michael Caine slamming the door that becomes the song's first chord blast, rather than, of course, Sean Connery.

Tom Petty and the Heartbreakers covered the song in concert in 1997, and it is featured on their career-spanning live set, The Live Anthology.

The song was remixed by Propellerheads for the 2000 album Diamonds are Forever: The Shirley Bassey Remix Album. It was also sampled by reggaeton artist Tego Calderón on his song "Alegría", off of his 2007 album El Abayarde Contraataca. It has also been covered in a heavy metal fashion by Finnish rock group Leningrad Cowboys on their album Zombie's Paradise

Goldfinger.
He's the man, the man with the midas touch.
A spider's touch.
Such a cold finger.
Beckons you to enter his web of sin
But don't go in.
Golden words he will pour in your ear,
But his lies can't disguise what you fear,
For a golden girl knows when he's kissed her,
It's the kiss of death from
Mister Goldfinger.
Pretty girl beware of this heart of gold
This heart is cold.
Golden words he will pour in your ear,
But his lies can't disguise what you fear,
For a golden girl knows when he's kissed her,
It's the kiss of death from
Mister Goldfinger.
Pretty girl beware of this heart of gold
This heart is cold.
He loves only gold,
Only gold.
He loves gold.
He loves only gold,
Only gold.
He loves gold.

[Music Head]

http://www.youtube.com/watch?v=45Ts4mGIVW4

from wikipedia

"Dead Man's Curve" is a 1964 hit song by Jan and Dean detailing a teen drag race gone awry. It reached number eight on the Billboard Hot 100 singles chart.

According to the song, the race starts at Sunset and Vine between a Corvette Sting Ray and a Jaguar XKE, traveling on W. Sunset Blvd. going west. Passing the streets, N. La Brea Ave., N. Crescent Heights Blvd. and N. Doheny Dr. The original Schwab's Drug Store was located just east of Crescent Heights on Sunset. Deadman's curve could be after N. Whittier Drive or the next curve after Delfem Drive, or even at the intersection of Sunset and Doheny, but likely artistic license is used to place the events within surroundings having names familiar to listeners outside of California.

Co-songwriter Roger Christian wanted the song to end with the racers finishing in a tie but Jan Berry insisted it end in a fiery crash. It's regarded as a teenage tragedy, one of the most popular of all time.

Although Jan Berry would later have a tragic near-fatal auto accident in his own Sting Ray in 1966, it was not on Sunset Boulevard but on a side street in Beverly Hills. Deadman's Curve was used as the title for the 1978 biographical nationally televised movie about Jan and Dean.

Three versions of "Dead Man's Curve" were released:

Version #1: Original version from the 1963 Drag City album
Version #2: Single "hit" version with added horns, strings, additional backing vocals and sounds of a car skidding and crashing; from the 1964 Dead Man's Curve/The New Girl In School" LP.
Version #3: An earlier rejected studio mix from the 1966 Filet Of Soul album.
Live versions appear on the 1965 Command Performance and 1971 Anthology albums

There are a few minor lyrical differences between the versions #1 and #2 listed above:

Version #1 - "my frenched taillights," "the strip was deserted" and "pulled her out and there I was"

Version #2 - "my six taillights," "the street was deserted" and "pulled her out and there we were"

The song was covered by The Carpenters as part of their oldies sequence on their album Now & Then. This song has also been covered by the bands Blink-182, Nash the Slash, and the Belljars, whose version plays over the closing credits of the 1998 film, The Curve.

The b-side "New Girl in School" was covered by Alex Chilton on his 1995 album, A Man Called Destruction.

I was cruisin' in my Stingray late one night
When an XKE pulled up on the right
And rolled down the window of his shiny new Jag
And challenged me then and there to a drag
I said, "you're on, buddy, my mill's runnin' fine
Let's come off the line, now, at Sunset and Vine
But I'll go you one better if you've got the nerve
Let's race all the way
To Dead Man's Curve"
Dead Man's Curve, it's no place to play
Dead Man's Curve, you must keep away
Dead Man's Curve, I can hear 'em say:
"Won't come back from Dead Man's Curve"
The street was deserted late Friday night
We were buggin' each other while we sat out the light
We both popped the clutch when the light turned green
You shoulda heard the whine from my screamin' machine
I flew past LaBrea, Schwab's, and Crescent Heights
And all the Jag could see were my six taillights
He passed me at Doheny then I started to swerve
But I pulled her out and there we were
At Dead Man's Curve
Dead Man's Curve, it's no place to play
Dead Man's Curve
Well - the last thing I remember, Doc, I started to swerve
And then I saw the Jag slide into the curve
I know I'll never forget that horrible sight
I guess I found out for myself that everyone was right
"Won't come back from Dead Man's Curve"

[Music Head]

YouTube - Little Red Riding Hood - Sam The Sham & The Pharaohs

from wikipedia

"Li'l Red Riding Hood" (aka "Little Red Riding Hood") was a 1966 song by Sam the Sham and the Pharaohs. It was the group's second top-10 hit, reaching #2 on the Billboard Hot 100 in August 1966. It was certified gold by the RIAA on August 11, 1966.
It also featured in the films Striking Distance with Bruce Willis in 1993, and Wild Country (film) in 2005.

The song is built around the Grimm Brothers' "Little Red Riding Hood" folk tale, adapted by ending before the grandmother makes her entrance, and explicitly using the ambiguity of modern English between "wolf", the carnivore, and "wolf", a man with concealed sexual intentions. The singer remarks on "what big eyes" and "what full lips" Red has, and eventually on "what a big heart" he himself has. An added element is that he says (presumably aside, to the song's audience) that he is disguised in a "sheep suit" until he can demonstrate his good intentions, but he seems to be having a hard time suppressing his wolf call in favor of the baa-ing of a sheep. One of its signature lines is "you're ev'rything that a big bad wolf could want".

The song whose lyrics are described just above is widely attributed to Ronald Blackwell. There seems to be no controversy (although various titles are occasionally used) that one with a similar title was earlier written and recorded by the Big Bopper, and released as "Little Red Riding Hood" (N.b: with "little" spelled out) late in 1958 as the B-side of his second hit. The searchable sites with its complete lyrics as text seem to constitute no more than a handful, but a recording, purported to be of his voice and thus presumably as being authoritative as to lyrics, exists online.

Though related in concept to the later Blackwell song, these differ in

1.conflating into one the wolves of Red Riding Hood and The Three Little Pigs (and implying he is on good terms with the pigs)
2.having the singer call himself both the Big Bopper and the Big Bad Wolf
3.encountering Red from outside her locked door, where he knocks seeking entrance
4.being apparently franker, in saying "you're the swingin'est and that's no lie", and insisting on being let in promptly lest the rest of the household return first
5.foregoing mentioning any fairy-tale-wolfish characteristics or behavior except a Three-Pigs-wolfish threat to blow the house down (unless one regards cackling laughter as counting).

However, at least one site, which ignores the Bopper-recorded lyrics in listing his work, attributes the Blackwell/Pharoahs lyrics to the Big Bopper.

Subsequent recordings of the Blackwell composition include a version by punk rock band Bowling for Soup on their 2005 album Bowling for Soup Goes to the Movies. The Smashing Pumpkins also released a cover of the song in their Live Smashing Pumpkins album series. ApologetiX parodied this in their 2004 album, "Adam Up". Their version is called, "Little-Read Bible Book". A cover was also done by punk pioneers 999.

Owoooooooo
Who's that I see walkin' in these woods
Why, it's Little Red Riding Hood
Hey there Little Red Riding Hood
You sure are looking good
You're everything a big bad wolf could want
Listen to me
Little Red Riding Hood
I don't think little big girls should
Go walking in these spooky old woods alone
Owoooooooo
What big eyes you have
The kind of eyes that drive wolves mad
So just to see that you don't get chased
I think I ought to walk with you for a ways
What full lips you have
They're sure to lure someone bad
So until you get to grandma's place
I think you ought to walk with me and be safe
I'm gonna keep my sheep suit on
Until I'm sure that you've been shown
That I can be trusted walking with you alone
Owoooooooo
Little Red Riding Hood
I'd like to hold you if I could
But you might think I'm a big bad wolf so I won't
Owoooooooo!
What a big heart I have-the better to love you with
Little Red Riding Hood
Even bad wolves can be good
I'll try to be satisfied just to walk close by your side
Maybe you'll see things my way before we get to grandma's place
Hey there Little Red Riding Hood
You sure are looking good
You're everything that a big bad wolf could want
Owoooooooo
I mean baaaaaa
Baaa

[Music Head]

http://www.youtube.com/watch?v=-336qHRGv1M

from wikipedia

"Everyday People" is a 1968 song by Sly & 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.[1] It held that position, on the Hot 100, for four weeks from February 15, 1969, until March 14, 1969, and is remembered as a popular song of the 1960s. Like nearly all of Sly & the Family Stone's songs, Sly Stone was credited as the sole songwriter.

The song is one of Sly Stone's pleas for peace and equality between differing races and social groups, a major theme and focus for the band. The Family Stone featured caucasians Greg Errico and Jerry Martini in its lineup, as well as females Rose Stone and Cynthia Robinson; making it the first major integrated band in rock history. Sly & the Family Stone's message was about peace and equality through music, and this song reflects the same.

Unlike the band's more typically funky and psychedelic records, "Everyday People" is a mid-tempo number with a more mainstream pop feel. Sly, singing the main verses for the song, explains that he is "no better / and neither are you / we are the same / whatever we do."

Sly's sister Rose Stone sings bridging sections that mock the futility of people hating each other for being tall, short, fat, skinny, white, black, or anything else. The bridges of the song contain the line "different strokes for different folks," which became a popular catchphrase in 1969.

For the chorus, all of the singing members of the band (Sly, Rosie, Larry Graham, and Sly's brother Freddie Stone) proclaim that "I am everyday people," meaning that each of them (and each listener as well) should consider himself or herself as parts of one whole, not of smaller, specialized factions.

Bassist Larry Graham contends that the track featured the first instance of the "slap bass" technique, which would become a staple of funk and other genres. The technique involves striking a string with the thumb of the right hand (or left hand, for a left-handed player) so that the string collides with the frets, producing a metallic "clunk" at the beginning of the note. Later slap bass songs – for example, Graham's performance on "Thank You (Falettinme Be Mice Elf Again)" – expanded on the technique, incorporating a complementary "pull" or "pop" component.

"Everyday People" was included on the band's classic album Stand! (1969), which sold over three million copies. It is one of the most covered songs in the band's repertoire, with versions by Aretha Franklin, The Staple Singers, Joan Jett (a modest hit in the year of 1983), The Supremes & The Four Tops, Peggy Lee, Belle & Sebastian, and Pearl Jam, among many others. Hip-hop group Arrested Development used the song as the basis of their 1992 hit, "People Everyday," which reached #2 on the UK Singles Chart and #8 on the Hot 100. Dolly Parton's previously unreleased 1980 cover of the song was included as a bonus track on the 2009 reissue of her 9 to 5 and Odd Jobs album. it was also prominently featured in a series of television commercials for Toyota automobiles in the late 1990s and most recently for Smarties candy in 2008. Rolling Stone ranked "Everyday People" as #145 on their list of the 500 Greatest Songs of All Time.

On the 2005 Sly & the Family Stone tribute album Different Strokes by Different Folks, Maroon 5 performs a cover of "Everyday People", accompanied by samples from the original.

"Everyday People" is prominently featured in the opening sequence of the 2008 romantic comedy film Definitely, Maybe. The lead character, Will Hayes (played by Ryan Reynolds), calls it his "perfect song" for that particular day. It can also be heard in the film Purple Haze.

Sometimes I'm right and I can be wrong
My own beliefs are in my song
The butcher, the banker, the drummer and then
Makes no difference what group I'm in
I am everyday people, yeah yeah
There is a blue one who can't accept the green one
For living with a fat one trying to be a skinny one
And different strokes for different folks
And so on and so on and scooby dooby doo-bee
Oh sha sha - we got to live together
I am no better and neither are you
We are the same whatever we do
You love me you hate me you know me and then
You can't figure out the bag l'm in
I am everyday people, yeah yeah
There is a long hair that doesn't like the short hair
For bein' such a rich one that will not help the poor one
And different strokes for different folks
And so on and so on and scooby dooby doo-bee
Oh sha sha-we got to live together
There is a yellow one that won't accept the black one
That won't accept the red one that won't accept the white one
And different strokes for different folks
And so on and so on and scooby dooby doo-bee
I am everyday people

[Music Head]

YouTube - Keep on Dancing

from wikipedia

The Gentrys were an American band of the 1960s and early 1970s best known for their 1965 hit "Keep on Dancing" (in 1971 also a #9 hit for the Bay City Rollers). Follow-up singles charted outside of the top 40: "Every Day I Have To Cry" (1966), "Spread It On Thick" (1966), "Cinnamon Girl" (1970), "Why Should I Cry" (1970), "Wild World" (1971), and a 'Bubbling Under' Billboard chart entry "Brown Paper Sack" (#101, 1966).

The seven-member group of Treadwell High School (Memphis, Tennessee), alumni included Bruce Bowles (vocals), Bobby Fisher (saxophone, keyboards), Jimmy Hart (vocals), Jimmy Johnson (trumpet, keyboards), Pat Neal (bass guitar), Larry Raspberry (guitar, lead vocalist), and drummer Larry Wall. The youths formed the Gentrys in May 1963.

The Gentrys' million-selling "Keep on Dancing" reached #4 on the Billboard Hot 100 in 1965, and they appeared on "Hullabaloo," Shindig!, and "Where the Action Is" and toured with The Beach Boys and Sonny and Cher, as well as playing on Dick Clark bills. However, two follow-up singles failed to break into the Top 40, and the group disbanded in 1966 after appearing in the movie It's a Bikini World. Other notable band members during the 1963–1966 years were Claude Wayne Whitehead (rhythm guitar), Larry Butler (keyboards), Ronnie Moore (bass), and very briefly, studio heavyweight engineer/producer and member of the cult band Big Star Terry Manning (keyboards).

"Keep on Dancing" is notable for the fact that it is actually one short recording repeated, to stretch the record out to the length of the typical pop single of its day. The second half of the song -- after the false fade, beginning with Wall's famous drum fill -- is the same as the first. Though the group had Jimmy Hart and Bruce Bowles as singers, their biggest hit was sung by guitarist Larry Raspberry.

Original member Hart reformed The Gentrys in 1969, with himself as lead singer, but three attempts at singles again fell short of the Top 40.[citation needed] They recorded at this time for the Bell Records label. The 1969–1971 Gentrys included Hart, Steve Speers (bass), Davey Beaver (keyboards), Jimmy Tarbutton (guitar), and Mike Gardner (drums).

The 1971 through 1972 line-up of The Gentrys included Hart on Vocals along with Wesley Stafford on Lead Guitar & Vocals, Alan Heidelberg on Drums and Bobby Liles on Bass. Marty Lacker (Member of Elvis' "Memphis Mafia") helped to land this version of The Gentrys a contract with Capitol Records that produced the single written by Hart & Stafford entitled "Let Me Put This Ring Upon Your Finger." Knox Phillips (Sam Phillips Recording Services-Memphis,Tn) was Producer and Mentor for all recording endeavors of this period.

Hart subsequently found much greater fame and success in professional wrestling as a manager and composer, nicknamed "The Mouth of the South." During this time, he returned to music at least once, as a member of The Wrestling Boot Band, a group fronted by Hulk Hogan. The story of the Gentrys is described in the book The Mouth of the South by Jimmy Hart, Hulk Hogan, Bret Hart, Jerry Lawler.

Raspberry formed a band in the 1970s, Larry Raspberry and the Highsteppers. This band continues to play gigs around the country each year. He currently serves as Minister of Music for The First Baptist Church of Beverly Hills in California.

I keep on dancin' (keep on)
Keep on doin' the jerk right now
Shake it, shake it, baby
Come on & show me how you work
Yellin' in motion
Keep on doin' the locomotion, yeah
Don't worry, little babe
Shake it, shake it, shake it, shake it, yes!
[Chorus:]
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
[Organ Solo]
I keep on dancin' (keep on)
Keep on doin' the jerk
Shake it, shake it, baby
Come on & show me how you work
Yellin' in motion
Keep on doin' the locomotion, yeah
Don't worry, little babe
Shake it, shake it, shake it, shake it, yes!
[Chorus:]
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
[Organ solo, temporarily fadin]
I keep on dancin' (keep on)
Keep on doin' the jerk right now
Shake it, shake it, baby
Come on & show me how you work
[Chorus:]
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
Keep on dancin' & a-prancin' (ah)
[Fade]