This was written by Allan Clarke, Roger Cook, and Roger Greenaway. The Distant Light album was out for a year before this song was released as a single. Before the single was released, lead singer Allan Clarke left the group, replaced by Swedish singer Michael Rickfors. After "Long Cool Woman" became a hit in the US, Clarke rethought his solo career and came back.
This is the only Hollies single without any backing vocals. The reason why Clarke is the only singer on this record is that he didn't intended the song to be released on a Hollies album, but as a record of his own. When the band learned that he intended to do a solo recording, Clarke was issued an ultimatum - he could either remain with The Hollies or pursue a solo career, but not both. Clarke told Rolling Stone in 1973: "I think with me the band feared that if I got a hit I'd leave. How can you stop destiny? Now, if they originally agreed, I might not even have left. 'Long Cool Woman' would have been released a year earlier, and we'd have done a few tours of the States and maybe would have been really big."
From an interview with Roger Cook:
?: Was there ever a bigger hit in history where people don't understand the words?
[Yes, as a matter of fact, how about "Louie, Louie"?]
RC: That is wild, isn't it? Allan loved all that slapback echo on his voice.
?: This is the Hollies.
RC: Yeah. And that's the reason you can hardly understand the words. And, of course, the words are a kind of a little English-y. We wrote it in England about the bootlegging days in the '30s in America. … We’d just gone out and had a skinful ourselves, you know? We came back to the office and thought it was fun to write a song about — What did they call it when they banned drinking?
?: Prohibition.
RC: Prohibition! So, we wrote a song about Prohibition and all the bad people surrounding it. The FBI raiding and this (woman) singing at the bar. (The narrator) doesn't want her to get in trouble. So he kind of saves her.
YYZ is the IATA airport identification code of Toronto Pearson International Airport, near Rush's hometown. The band was introduced to the rhythm as Alex Lifeson flew them into the airport. ... Peart and Geddy Lee have both said "It's always a happy day when YYZ appears on our luggage tags."
This was written by singer Jon Anderson and guitarist Steve Howe and produced by the band and Eddy Offord. The song originated when the band were on tour and travelled from Aberdeen to Glasgow, and went through many roundabouts on the way.
The song originated in March 1971 when the band were on tour promoting The Yes Album , travelling from Aberdeen to Glasgow after a gig in Aviemore, Scotland. They encountered many roundabouts on the way; Anderson claimed "maybe 40 or so", which inspired Anderson and Howe to write a song about the journey as they sat in the back of the band's transit van, and include the roundabouts and the surrounding mountains into the lyrics. Anderson had smoked marijuana during the trip, "so everything was vivid and mystical" Anderson added: "It was a cloudy day, we couldn't see the top of the mountains. We could only see the clouds because it was sheer straight up ... I remember saying, "Oh, the mountains–look! They're coming out of the sky!", and began to write the song's lyrics in his notebook in a free-form style with minimal edits. "I just loved how words sounded when I put them together". Within 24 hours, the band had arrived back home in London where Anderson reunited with his then wife Jennifer, which inspired the song's lyric "Twenty-four before my love, you'll see, I'll be there with you". A lake they passed as they neared Glasgow became the idea behind the line "In and around the lake". Upon their arrival at their hotel in Glasgow, Anderson and Howe began to put down song ideas on their recorder.
Howe recalled the track was originally "a guitar instrumental suite" and had a basic outline worked out when he first developed it. "All the ingredients are there—all that's missing is the song. "Roundabout" was a bit like that; there was a structure, a melody and a few lines." The song was recorded in sections in a series of tape edits, a method of recording that was still relatively new to the group. They had played it through in rehearsal several times, but Squire recalled the group would make sure to "get the first two verses really good" and record from there.
In its original form, the song began with the acoustic guitar, which Howe played on a 1953 Martin 00-18, but the group soon thought a more dramatic opening was needed. This led to Wakeman playing a note on the piano that was recorded and played backwards, creating an effect that Howe described "as if it's rushing towards you". Wakeman played the lowest E note on his grand piano with the E an octave higher which gave it "a fatter feel". Offord recalled a considerable amount of time was spent to get it right in the studio because it involved a lengthy process of picking the right note to use, and editing it correctly. Howe thought the piano added a sense of drama, intensity, and colour to the song. An early idea had the song start with what Anderson described as "something of a Scottish jig" on Howe's acoustic guitar, which he had played to Anderson in their Glasgow hotel room.
Squire played his bass guitar parts with an overdub that was one octave higher using Howe's Gibson ES-150 electric guitar and mixed with his bass track. To complement Squire's playing, Wakeman played arpeggios on his Hammond C3 organ on his right hand while playing Squire's bass parts with his left. For the song's slower section, he plays a Minimoog synthesiser and flute sounds on a Mellotron which he said gave the section a "Strawberry Fields mood". Apart from his acoustic guitar, Howe plays a 1961 electric Gibson ES-5 Switchmaster throughout the song. Anderson noted the music has a "Scottish feel" to it and described the solo part as like a reel, a traditional Scottish country dance.
Once the music tracks had been put down, Anderson entered the studio early one morning and recorded his lead vocals. When the rest of the group arrived, they recorded the vocal harmonies. At the end of the song Anderson, Squire and Howe perform three-part harmonies that is repeated eight times, during which they also sing a second harmony part that Anderson said resembles the main melody to the nursery rhyme "Three Blind Mice". He later revealed Wakeman is singing the notes to the rhyme which was placed "against the grain of what we were doing" to make it sound more intriguing. To close, Howe repeated his acoustic guitar introduction but ended on an E major chord.
I was playing both of those for my daughter yesterday and decided to share this one. Memories of being at my grandparents and watching his TV show. They both had one, simpler times.
I try hard to disconnect the personality from the talent. Most people, especially Rock Stars", tend to use their fame to do a lot of horrible things and just be shitty people. But the contributions the Stones have made to music are undeniable, for what it's worth.
I'm sure he, like so many other "Rock Stars", did horrible things in their life. I certainly don't defend or condone actions of his personal life. But it is undeniable his musical talent was outstanding and progressed music a great deal.
I think many share that sentiment. Croce seemed to have that ability to write songs that touched people. Here's some background on the song:
Jim Croce wrote this song the night that he found out his wife, Ingrid, was pregnant. The couple had been married for five years, and Ingrid found out she was pregnant when she went to a fertility specialist. She recalls a mix of terror and delight in Jim's reaction when she told him the news. The child was a boy named Adrian, who grew up to become the singer-songwriter A.J. Croce. This hit #1 14 weeks after Croce was killed in a plane crash. Croce started touring after he completed I Got A Name. On September 30, 1973 a plane carrying Croce and five other people crashed upon takeoff as he was leaving one college venue to another 70 miles away. No one survived the accident, and among those killed was Maury Muehleisen, who played guitar on Croce's albums. Terry Cashman, who produced Croce, said, "Jim and Maury got together and all of the sudden Jim started writing these great songs, and Maury came up with these really wonderful guitar parts - the two guitars were like an orchestra."
The arrangement features a harpsichord that producer Tommy West discovered had been left in the mixing studio:
"The night before we were going to mix, I was watching a horror movie on TV, and something must have lodged in my brain because when I walked into the studio the next day, I saw this harpsichord sitting in a corner and got an idea. A jingle company had used it on a session and in walked a couple of guys from SIR [Studio Instruments Rental] to haul it away. I asked them to take a lunch break and told Bruce to put a couple of mics on it. He was whining that it was out of tune, but I asked him to let me try something. I added two tracks of harpsichord, told the movers they could remove it, walked into Jerry's office and asked if I could borrow the electric bass that was sitting on his couch, played that on just the second verse and the outro, and that was that! Radio compression worked in our favor on that record. It made the harpsichord blend with the two guitars in an unusual way. But we thought this record would only be an album cut."
I would question how much he actually "wrote" of the song versus producing and crafting the sound of it. He was well known for putting his name on anything he could. But I agree, he was as influential in the direction of popular music as Sir George Martin was in crafting the Beatles sound and Brian Wilson with the Beach Boys. Spector and The Wrecking Crew played on the vast majority of '60's hits.
The music was written by Brian Wilson with the lyric by local radio station DJ Roger Christian. Its main melody is a twelve-bar blues. The song typified the Beach Boys' car songs which along with surfing, glamorized the teenage 1960s Californian lifestyle later called the California Myth.
The car referred to is the Ford Model 18; the 1932 coupe model was referred to as a "deuce coupe". The deuce coup was a favorite car to heavily modify into a "hot-rod".
Brian Wilson commented on the song in the liner notes of the 1990 CD re-release of the original Surfer Girl album: "We loved doing 'Little Deuce Coupe'. It was a good 'shuffle' rhythm, which was not like most of the rhythms of the records on the radio in those days. It had a bouncy feel to it. Like most of our records, it had a competitive lyric. This record was my favorite Beach Boys car song." According to author Jon Stebbins while the group was on tour in July 1963 Mike Love hit on the idea to use short instrumental segments of the song in the Beach Boys' live set as a way to introduce the bandmembers to the audience, starting with Dennis Wilson on drums, then adding David Marks (and later Al Jardine) on rhythm guitar, Carl Wilson on lead guitar, and finally Brian on the bass, before launching the song from the top.
"You've Lost That Lovin' Feelin'" was written by Phil Spector, Barry Mann, and Cynthia Weil (husband and wife). Bill Medley recalled, "We had no idea if it would be a hit. It was too slow, too long, and right in the middle of The Beatles and the British Invasion." The following is from the Rolling Stone's Top 500 songs: "Spector was conducting the musicians for a Ronettes show in San Francisco when he decided to sign the Righteous Brothers, who were on the bill. He then asked Mann and Weil to come up with a hit for them. Bill Medley's impossibly deep intro was the first thing that grabbed listeners. 'When Phil played it for me over the phone,' Mann recalled, 'I said, "Phil, you have it on the wrong speed!"'
It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector. Their recording is considered by some music critics to be the ultimate expression and illustration of Spector's "Wall of Sound" recording technique. It has also been described by various music writers as "one of the best records ever made" and "the ultimate pop record". Phil Spector was determined to make this his finest production to date, and wanted it to be better than anything released by current top producers like Berry Gordy, George Martin, Andrew Loog Oldham and Brian Wilson. He chose the Righteous Brothers for their tremendous vocal talents, and enlisted his old Jazz guitar idol Barney Kessel to play on the song. Other musicians to play on the track included Los Angeles session pros Carol Kaye (acoustic guitar), Earl Palmer (drums) and Ray Pohlman (bass). Cher, who did a lot of work with Spector early in her career, can also be heard on background vocals near the end of the song. Spector was the first major West Coast producer to make the musicians wear headphones, so when they heard the song, they heard it with all the processing he added, which in this case meant a lot of echo. This got the musicians out of their comfort zones and made them work together to get a sound that gelled. It took more time to record this way, but Spector didn't mind: while a typical 3-hour session would produce about four songs, Spector would spend an entire session working on one track, leaving a few minutes at the end to record a throwaway B-side jam. Phil Spector put a tremendous amount of effort (and about $35,000) into this production, but the final product was so unusual that he began to wonder if he had a hit. Seeking a second, third and fourth opinion, he played the song for the following people:
1) The song's co-writer Barry Mann, who was convinced the song was recorded at the wrong speed. Spector called his engineer Larry Levine to confirm that it was supposed to sound that way.
2) His publisher Don Kirshner, who Spector respected for his musical opinion. Kirshner thought it was great, but suggested changing the title to "Bring Back That Lovin' Feelin'."
3) The popular New York disc jockey Murray the K. Spector confided in Murray that the song was almost four minutes long (despite the label saying it was 3:05), and wanted to make sure he would play it. Murray thought the song was fantastic, but suggested moving the bass line in the middle to the beginning. Spector put the time on the single as 3:05 so that radio stations would play it. The actual length is 3:50, but stations at the time rarely played songs much longer than 3 minutes. It took radio station program directors a while to figure out why their playlists were running long, but by then the song was a hit. Billy Joel, who inducted The Righteous Brothers into the Rock and Roll Hall of Fame, makes a sly reference to this in his song "The Entertainer" when he sings, "If you're gonna have a hit you gotta make it fit, so they cut it down to 3:05."
Spector heard all three opinions as criticism, and got very nervous. "The co-writer, the co-publisher and the number-one disc jockey in America all killed me," Spector said in a 2003 interview with Telegraph Magazine. "I didn't sleep for a week when that record came out. I was so sick, I got a spastic colon; I had an ulcer." In December 1999, the performing-rights organization Broadcast Music, Inc. (BMI) ranked the song as the most-played song on American radio and television in the 20th century, having accumulated more than 8 million airplays by 1999, and nearly 15 million by 2011. Additionally, the song was chosen as one of the Songs of the Century by RIAA and ranked No. 34 on the list of the 500 Greatest Songs of All Time by Rolling Stone. In 2015, the single was inducted into the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant"
Words and music were composed by the group's members, Eric Burdon, Vic Briggs, John Weider, Barry Jenkins, and Danny McCulloch. A paean to San Francisco, it was the biggest hit that the new band — as opposed to the first-incarnation Animals of the mid-1960s — would have.
The band wrote "San Franciscan Nights" themselves as a protest song against the Vietnam War. Looking back on the tune, Burdon said: "The 'Love Generation' helped the anti-war stance in the States. It certainly turned a lot of soldiers' heads around, making them wonder why they had to be out fighting a war when back home their girlfriends were frolicking around and it caused a lot of anguish on that level. Maybe it helped politically with the so-called enemy. I'm not sure."
The song opens with a brief parody of the Dragnet theme. This is followed by a spoken word dedication by Burdon "to the city and people of San Francisco, who may not know it but they are beautiful and so is their city," with Burdon urging European residents to "save up all your bread and fly Trans Love Airways to San Francisco, U.S.A.," to enable them to "understand the song," and "for the sake of your own peace of mind."
The melody then begins with lyrics about a warm 1967 San Franciscan night, with hallucinogenic images of a "strobe light's beam" creating dreams, walls and minds moving, angels singing, "jeans of blue," and "Harley Davidsons too," contrasted with a "cop's face is filled with hate" (on a street called "Love") and an appeal to the "old cop" and the "young cop" to just "feel all right." Pulling in as many 1960s themes as possible, the song then concludes with a plea that the American dream include "Indians too."
Burdon's notion that San Francisco's nights are warm drew some derision from Americans more familiar with the city's climate – best exemplified by the apocryphal Mark Twain saying "The coldest winter I ever spent was a summer in San Francisco". But in fact, Burdon and his group had recently played in San Francisco during a rare 10-day stretch of exceptionally warm spring weather, which left a strong, if erroneous impression on them.
At a concert in Naperville, Illinois in 2010, Burdon said the song was written about an evening with Janis Joplin in San Francisco.
If you'll look in the center of the pic at the hillside, you can see faint slanted lines through the trees. Those are the jeep trails. They zig-zag down the hill. Believe me, they're there, I've jeeped them many times.
COF 0 points 2.5 years ago
This was written by Allan Clarke, Roger Cook, and Roger Greenaway. The Distant Light album was out for a year before this song was released as a single. Before the single was released, lead singer Allan Clarke left the group, replaced by Swedish singer Michael Rickfors. After "Long Cool Woman" became a hit in the US, Clarke rethought his solo career and came back.
This is the only Hollies single without any backing vocals. The reason why Clarke is the only singer on this record is that he didn't intended the song to be released on a Hollies album, but as a record of his own. When the band learned that he intended to do a solo recording, Clarke was issued an ultimatum - he could either remain with The Hollies or pursue a solo career, but not both. Clarke told Rolling Stone in 1973: "I think with me the band feared that if I got a hit I'd leave. How can you stop destiny? Now, if they originally agreed, I might not even have left. 'Long Cool Woman' would have been released a year earlier, and we'd have done a few tours of the States and maybe would have been really big."
From an interview with Roger Cook:
?: Was there ever a bigger hit in history where people don't understand the words?
[Yes, as a matter of fact, how about "Louie, Louie"?]
RC: That is wild, isn't it? Allan loved all that slapback echo on his voice.
?: This is the Hollies.
RC: Yeah. And that's the reason you can hardly understand the words. And, of course, the words are a kind of a little English-y. We wrote it in England about the bootlegging days in the '30s in America. … We’d just gone out and had a skinful ourselves, you know? We came back to the office and thought it was fun to write a song about — What did they call it when they banned drinking?
?: Prohibition.
RC: Prohibition! So, we wrote a song about Prohibition and all the bad people surrounding it. The FBI raiding and this (woman) singing at the bar. (The narrator) doesn't want her to get in trouble. So he kind of saves her.
/v/PaddysPub viewpost?postid=6186e1e50a493
COF 1 point 2.5 years ago
Thought it was fitting. The days are getting colder and windy, the sun is a little fainter. Winter's coming, baby.
/v/PaddysPub viewpost?postid=61805a6c3fa2e
COF 1 point 2.5 years ago
Play it to the end.
/v/PaddysPub viewpost?postid=617f0571b23d7
COF 1 point 2.5 years ago
Fun Factiod:
YYZ is the IATA airport identification code of Toronto Pearson International Airport, near Rush's hometown. The band was introduced to the rhythm as Alex Lifeson flew them into the airport. ... Peart and Geddy Lee have both said "It's always a happy day when YYZ appears on our luggage tags."
/v/music viewpost?postid=6177b98e5cd46
COF 3 points 2.5 years ago
This was written by singer Jon Anderson and guitarist Steve Howe and produced by the band and Eddy Offord. The song originated when the band were on tour and travelled from Aberdeen to Glasgow, and went through many roundabouts on the way.
The song originated in March 1971 when the band were on tour promoting The Yes Album , travelling from Aberdeen to Glasgow after a gig in Aviemore, Scotland. They encountered many roundabouts on the way; Anderson claimed "maybe 40 or so", which inspired Anderson and Howe to write a song about the journey as they sat in the back of the band's transit van, and include the roundabouts and the surrounding mountains into the lyrics. Anderson had smoked marijuana during the trip, "so everything was vivid and mystical" Anderson added: "It was a cloudy day, we couldn't see the top of the mountains. We could only see the clouds because it was sheer straight up ... I remember saying, "Oh, the mountains–look! They're coming out of the sky!", and began to write the song's lyrics in his notebook in a free-form style with minimal edits. "I just loved how words sounded when I put them together". Within 24 hours, the band had arrived back home in London where Anderson reunited with his then wife Jennifer, which inspired the song's lyric "Twenty-four before my love, you'll see, I'll be there with you". A lake they passed as they neared Glasgow became the idea behind the line "In and around the lake". Upon their arrival at their hotel in Glasgow, Anderson and Howe began to put down song ideas on their recorder.
Howe recalled the track was originally "a guitar instrumental suite" and had a basic outline worked out when he first developed it. "All the ingredients are there—all that's missing is the song. "Roundabout" was a bit like that; there was a structure, a melody and a few lines." The song was recorded in sections in a series of tape edits, a method of recording that was still relatively new to the group. They had played it through in rehearsal several times, but Squire recalled the group would make sure to "get the first two verses really good" and record from there.
In its original form, the song began with the acoustic guitar, which Howe played on a 1953 Martin 00-18, but the group soon thought a more dramatic opening was needed. This led to Wakeman playing a note on the piano that was recorded and played backwards, creating an effect that Howe described "as if it's rushing towards you". Wakeman played the lowest E note on his grand piano with the E an octave higher which gave it "a fatter feel". Offord recalled a considerable amount of time was spent to get it right in the studio because it involved a lengthy process of picking the right note to use, and editing it correctly. Howe thought the piano added a sense of drama, intensity, and colour to the song. An early idea had the song start with what Anderson described as "something of a Scottish jig" on Howe's acoustic guitar, which he had played to Anderson in their Glasgow hotel room.
Squire played his bass guitar parts with an overdub that was one octave higher using Howe's Gibson ES-150 electric guitar and mixed with his bass track. To complement Squire's playing, Wakeman played arpeggios on his Hammond C3 organ on his right hand while playing Squire's bass parts with his left. For the song's slower section, he plays a Minimoog synthesiser and flute sounds on a Mellotron which he said gave the section a "Strawberry Fields mood". Apart from his acoustic guitar, Howe plays a 1961 electric Gibson ES-5 Switchmaster throughout the song. Anderson noted the music has a "Scottish feel" to it and described the solo part as like a reel, a traditional Scottish country dance.
Once the music tracks had been put down, Anderson entered the studio early one morning and recorded his lead vocals. When the rest of the group arrived, they recorded the vocal harmonies. At the end of the song Anderson, Squire and Howe perform three-part harmonies that is repeated eight times, during which they also sing a second harmony part that Anderson said resembles the main melody to the nursery rhyme "Three Blind Mice". He later revealed Wakeman is singing the notes to the rhyme which was placed "against the grain of what we were doing" to make it sound more intriguing. To close, Howe repeated his acoustic guitar introduction but ended on an E major chord.
/v/music viewpost?postid=6173f1c9afc7a
COF 0 points 2.5 years ago
Lol. Yeah, factory production jobs suck. Good going getting everyone to sing along.
I'll post 16 tons and it's background tomorrow.
/v/PaddysPub viewpost?postid=6172d9b1b5c6a
COF 1 point 2.5 years ago
I was playing both of those for my daughter yesterday and decided to share this one. Memories of being at my grandparents and watching his TV show. They both had one, simpler times.
/v/PaddysPub viewpost?postid=6172d9b1b5c6a
COF 2 points 2.5 years ago
@cynabuns, I'm getting replies meant for you. Check thread.
/v/whatever viewpost?postid=6170454dd3032
COF 2 points 2.5 years ago
I try hard to disconnect the personality from the talent. Most people, especially Rock Stars", tend to use their fame to do a lot of horrible things and just be shitty people. But the contributions the Stones have made to music are undeniable, for what it's worth.
/v/PaddysPub viewpost?postid=617083e889399
COF 6 points 2.5 years ago
She said today was the day in chat.
/v/whatever viewpost?postid=6170454dd3032
COF 1 point 2.5 years ago
I'm sure he, like so many other "Rock Stars", did horrible things in their life. I certainly don't defend or condone actions of his personal life. But it is undeniable his musical talent was outstanding and progressed music a great deal.
/v/PaddysPub viewpost?postid=61701c828460a
COF 1 point 2.5 years ago
Not Rage Against The Machine. Guess their rage is for sale.
https://www.coreentertainment.ca/events/detail/rage-against-the-machine
/v/Covid1984 viewpost?postid=616ef12174b2c
COF 0 points 2.5 years ago
I think many share that sentiment. Croce seemed to have that ability to write songs that touched people. Here's some background on the song:
Jim Croce wrote this song the night that he found out his wife, Ingrid, was pregnant. The couple had been married for five years, and Ingrid found out she was pregnant when she went to a fertility specialist. She recalls a mix of terror and delight in Jim's reaction when she told him the news. The child was a boy named Adrian, who grew up to become the singer-songwriter A.J. Croce. This hit #1 14 weeks after Croce was killed in a plane crash. Croce started touring after he completed I Got A Name. On September 30, 1973 a plane carrying Croce and five other people crashed upon takeoff as he was leaving one college venue to another 70 miles away. No one survived the accident, and among those killed was Maury Muehleisen, who played guitar on Croce's albums. Terry Cashman, who produced Croce, said, "Jim and Maury got together and all of the sudden Jim started writing these great songs, and Maury came up with these really wonderful guitar parts - the two guitars were like an orchestra."
The arrangement features a harpsichord that producer Tommy West discovered had been left in the mixing studio:
"The night before we were going to mix, I was watching a horror movie on TV, and something must have lodged in my brain because when I walked into the studio the next day, I saw this harpsichord sitting in a corner and got an idea. A jingle company had used it on a session and in walked a couple of guys from SIR [Studio Instruments Rental] to haul it away. I asked them to take a lunch break and told Bruce to put a couple of mics on it. He was whining that it was out of tune, but I asked him to let me try something. I added two tracks of harpsichord, told the movers they could remove it, walked into Jerry's office and asked if I could borrow the electric bass that was sitting on his couch, played that on just the second verse and the outro, and that was that! Radio compression worked in our favor on that record. It made the harpsichord blend with the two guitars in an unusual way. But we thought this record would only be an album cut."
/v/PaddysPub viewpost?postid=616c9a28d91e9
COF 1 point 2.5 years ago
You don't yank on Superman's cape, 'cause now he'll slap you with his purse!
/v/PaddysPub viewpost?postid=616c9a28d91e9
COF 1 point 2.5 years ago
I would question how much he actually "wrote" of the song versus producing and crafting the sound of it. He was well known for putting his name on anything he could. But I agree, he was as influential in the direction of popular music as Sir George Martin was in crafting the Beatles sound and Brian Wilson with the Beach Boys. Spector and The Wrecking Crew played on the vast majority of '60's hits.
/v/EasyLikeSundayMorning viewpost?postid=616c2f641a2d4
COF 0 points 2.5 years ago
The music was written by Brian Wilson with the lyric by local radio station DJ Roger Christian. Its main melody is a twelve-bar blues. The song typified the Beach Boys' car songs which along with surfing, glamorized the teenage 1960s Californian lifestyle later called the California Myth.
The car referred to is the Ford Model 18; the 1932 coupe model was referred to as a "deuce coupe". The deuce coup was a favorite car to heavily modify into a "hot-rod".
Brian Wilson commented on the song in the liner notes of the 1990 CD re-release of the original Surfer Girl album: "We loved doing 'Little Deuce Coupe'. It was a good 'shuffle' rhythm, which was not like most of the rhythms of the records on the radio in those days. It had a bouncy feel to it. Like most of our records, it had a competitive lyric. This record was my favorite Beach Boys car song." According to author Jon Stebbins while the group was on tour in July 1963 Mike Love hit on the idea to use short instrumental segments of the song in the Beach Boys' live set as a way to introduce the bandmembers to the audience, starting with Dennis Wilson on drums, then adding David Marks (and later Al Jardine) on rhythm guitar, Carl Wilson on lead guitar, and finally Brian on the bass, before launching the song from the top.
/v/EasyLikeSundayMorning viewpost?postid=616c274ee712e
COF 0 points 2.5 years ago
"You've Lost That Lovin' Feelin'" was written by Phil Spector, Barry Mann, and Cynthia Weil (husband and wife). Bill Medley recalled, "We had no idea if it would be a hit. It was too slow, too long, and right in the middle of The Beatles and the British Invasion." The following is from the Rolling Stone's Top 500 songs: "Spector was conducting the musicians for a Ronettes show in San Francisco when he decided to sign the Righteous Brothers, who were on the bill. He then asked Mann and Weil to come up with a hit for them. Bill Medley's impossibly deep intro was the first thing that grabbed listeners. 'When Phil played it for me over the phone,' Mann recalled, 'I said, "Phil, you have it on the wrong speed!"'
It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector. Their recording is considered by some music critics to be the ultimate expression and illustration of Spector's "Wall of Sound" recording technique. It has also been described by various music writers as "one of the best records ever made" and "the ultimate pop record". Phil Spector was determined to make this his finest production to date, and wanted it to be better than anything released by current top producers like Berry Gordy, George Martin, Andrew Loog Oldham and Brian Wilson. He chose the Righteous Brothers for their tremendous vocal talents, and enlisted his old Jazz guitar idol Barney Kessel to play on the song. Other musicians to play on the track included Los Angeles session pros Carol Kaye (acoustic guitar), Earl Palmer (drums) and Ray Pohlman (bass). Cher, who did a lot of work with Spector early in her career, can also be heard on background vocals near the end of the song. Spector was the first major West Coast producer to make the musicians wear headphones, so when they heard the song, they heard it with all the processing he added, which in this case meant a lot of echo. This got the musicians out of their comfort zones and made them work together to get a sound that gelled. It took more time to record this way, but Spector didn't mind: while a typical 3-hour session would produce about four songs, Spector would spend an entire session working on one track, leaving a few minutes at the end to record a throwaway B-side jam. Phil Spector put a tremendous amount of effort (and about $35,000) into this production, but the final product was so unusual that he began to wonder if he had a hit. Seeking a second, third and fourth opinion, he played the song for the following people:
1) The song's co-writer Barry Mann, who was convinced the song was recorded at the wrong speed. Spector called his engineer Larry Levine to confirm that it was supposed to sound that way.
2) His publisher Don Kirshner, who Spector respected for his musical opinion. Kirshner thought it was great, but suggested changing the title to "Bring Back That Lovin' Feelin'."
3) The popular New York disc jockey Murray the K. Spector confided in Murray that the song was almost four minutes long (despite the label saying it was 3:05), and wanted to make sure he would play it. Murray thought the song was fantastic, but suggested moving the bass line in the middle to the beginning. Spector put the time on the single as 3:05 so that radio stations would play it. The actual length is 3:50, but stations at the time rarely played songs much longer than 3 minutes. It took radio station program directors a while to figure out why their playlists were running long, but by then the song was a hit. Billy Joel, who inducted The Righteous Brothers into the Rock and Roll Hall of Fame, makes a sly reference to this in his song "The Entertainer" when he sings, "If you're gonna have a hit you gotta make it fit, so they cut it down to 3:05."
Spector heard all three opinions as criticism, and got very nervous. "The co-writer, the co-publisher and the number-one disc jockey in America all killed me," Spector said in a 2003 interview with Telegraph Magazine. "I didn't sleep for a week when that record came out. I was so sick, I got a spastic colon; I had an ulcer." In December 1999, the performing-rights organization Broadcast Music, Inc. (BMI) ranked the song as the most-played song on American radio and television in the 20th century, having accumulated more than 8 million airplays by 1999, and nearly 15 million by 2011. Additionally, the song was chosen as one of the Songs of the Century by RIAA and ranked No. 34 on the list of the 500 Greatest Songs of All Time by Rolling Stone. In 2015, the single was inducted into the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant"
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COF 2 points 2.5 years ago
Words and music were composed by the group's members, Eric Burdon, Vic Briggs, John Weider, Barry Jenkins, and Danny McCulloch. A paean to San Francisco, it was the biggest hit that the new band — as opposed to the first-incarnation Animals of the mid-1960s — would have.
The band wrote "San Franciscan Nights" themselves as a protest song against the Vietnam War. Looking back on the tune, Burdon said: "The 'Love Generation' helped the anti-war stance in the States. It certainly turned a lot of soldiers' heads around, making them wonder why they had to be out fighting a war when back home their girlfriends were frolicking around and it caused a lot of anguish on that level. Maybe it helped politically with the so-called enemy. I'm not sure."
The song opens with a brief parody of the Dragnet theme. This is followed by a spoken word dedication by Burdon "to the city and people of San Francisco, who may not know it but they are beautiful and so is their city," with Burdon urging European residents to "save up all your bread and fly Trans Love Airways to San Francisco, U.S.A.," to enable them to "understand the song," and "for the sake of your own peace of mind."
The melody then begins with lyrics about a warm 1967 San Franciscan night, with hallucinogenic images of a "strobe light's beam" creating dreams, walls and minds moving, angels singing, "jeans of blue," and "Harley Davidsons too," contrasted with a "cop's face is filled with hate" (on a street called "Love") and an appeal to the "old cop" and the "young cop" to just "feel all right." Pulling in as many 1960s themes as possible, the song then concludes with a plea that the American dream include "Indians too."
Burdon's notion that San Francisco's nights are warm drew some derision from Americans more familiar with the city's climate – best exemplified by the apocryphal Mark Twain saying "The coldest winter I ever spent was a summer in San Francisco". But in fact, Burdon and his group had recently played in San Francisco during a rare 10-day stretch of exceptionally warm spring weather, which left a strong, if erroneous impression on them.
At a concert in Naperville, Illinois in 2010, Burdon said the song was written about an evening with Janis Joplin in San Francisco.
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COF 1 point 2.5 years ago
Excellent.
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COF 0 points 2.5 years ago
If you'll look in the center of the pic at the hillside, you can see faint slanted lines through the trees. Those are the jeep trails. They zig-zag down the hill. Believe me, they're there, I've jeeped them many times.
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COF 2 points 2.5 years ago*
It's a parking area to view the waterfall and for day hikers.
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COF 2 points 2.5 years ago
Yep, me too. The one that changed music forever.
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COF 2 points 2.5 years ago
@v0atmage
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COF 0 points 2.5 years ago
Thanks.
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COF 2 points 2.5 years ago
They estimate $150K. I'll bet it goes for much more. Cobain got $6 million for his and Gilmour got $3 million for his Black Beauty.
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