by John Lennon and Paul McCartney
As Released by the Beatles (1962)
Love, love me do
You know I love you.
I'll always be true
So please love me do
Whoa-ho love me do.
Love, love me do
You know I love you.
I'll always be true
So please love me do
Whoa-ho love me do.
Someone to love, somebody new.
Someone to love, someone like you.
Love, love me do
You know I love you.
I'll always be true
So please love me do
Whoa-ho love me do (hey hey).
Love, love me do
You know I love you.
I'll always be true
So please love me do
Whoa-ho love me do.
Yes, love me do
Whoa-ho love me do
Yes, love me do.
Saturday, October 03, 2009
"All My Loving"
"All My Loving" is a song by The Beatles, written by Paul McCartney (credited to Lennon/McCartney), from the 1963 album With the Beatles. The song was released in the United States in 1964, on the album Meet The Beatles!
Composition
It was the first of only a few occasions where McCartney wrote the lyrics before the music, as it was apparently conceived as a poem while he was shaving. McCartney originally envisioned it as a country & western song, and the music was written on a piano backstage during The Beatles’ Roy Orbison tour, with George Harrison adding his Nashville style guitar solo on the recording. Similarly employing the “letter” song model as used on "P.S. I Love You", "All My Loving" promptly drew much critical acclaim, and also attracted large amounts of radio air-play.
Recording
The Beatles recorded the song on July 30, 1963 in 11 takes with 3 overdubs. The master take was take 14 overdubbed on take 11. It was remixed on August 21 and October 29.
The group also recorded All My Loving three times for BBC radio, once in 1963 and twice in 1964. The final version, which was recorded on 28 February 1964, was included on Live At The BBC.
It was also the band's opening number on its famous US debut performance on The Ed Sullivan Show on 9 February 1964; the recording was included on Anthology 1.
Other releases and covers
It is also included on other Beatles albums: Anthology 1, Live at the BBC, and The Beatles 1962-1966. An instrumental version of this song appears in the movie Magical Mystery Tour.
The song was released as a single in the Nordic Countries, and in Finland it went no. 1.
Connection to Lennon's Death
According to Alan Weiss, a TV producer who happened to be there, "All My Loving" was playing on the sound system at Roosevelt Hospital emergency room when John Lennon was pronounced dead after being shot on 8 December 1980.
Credits
* Paul McCartney – bass, lead and backing vocal
* John Lennon – rhythm guitar, backing vocal
* George Harrison – lead guitar, backing vocal
* Ringo Starr – drums
During live performances, George and Paul sang harmony on the last verse of the song, after the lead guitar solo. In the studio version Paul sang both parts.
Album: With the Beatles
Released: November 22, 1963
Recorded: July 30, 1963
Genre: Rock and roll
Length: 2:04
Label: Parlophone
Writer: Lennon/McCartney
Producer: George Martin
Wikipedia
Composition
It was the first of only a few occasions where McCartney wrote the lyrics before the music, as it was apparently conceived as a poem while he was shaving. McCartney originally envisioned it as a country & western song, and the music was written on a piano backstage during The Beatles’ Roy Orbison tour, with George Harrison adding his Nashville style guitar solo on the recording. Similarly employing the “letter” song model as used on "P.S. I Love You", "All My Loving" promptly drew much critical acclaim, and also attracted large amounts of radio air-play.
Recording
The Beatles recorded the song on July 30, 1963 in 11 takes with 3 overdubs. The master take was take 14 overdubbed on take 11. It was remixed on August 21 and October 29.
The group also recorded All My Loving three times for BBC radio, once in 1963 and twice in 1964. The final version, which was recorded on 28 February 1964, was included on Live At The BBC.
It was also the band's opening number on its famous US debut performance on The Ed Sullivan Show on 9 February 1964; the recording was included on Anthology 1.
Other releases and covers
It is also included on other Beatles albums: Anthology 1, Live at the BBC, and The Beatles 1962-1966. An instrumental version of this song appears in the movie Magical Mystery Tour.
The song was released as a single in the Nordic Countries, and in Finland it went no. 1.
Connection to Lennon's Death
According to Alan Weiss, a TV producer who happened to be there, "All My Loving" was playing on the sound system at Roosevelt Hospital emergency room when John Lennon was pronounced dead after being shot on 8 December 1980.
Credits
* Paul McCartney – bass, lead and backing vocal
* John Lennon – rhythm guitar, backing vocal
* George Harrison – lead guitar, backing vocal
* Ringo Starr – drums
During live performances, George and Paul sang harmony on the last verse of the song, after the lead guitar solo. In the studio version Paul sang both parts.
Album: With the Beatles
Released: November 22, 1963
Recorded: July 30, 1963
Genre: Rock and roll
Length: 2:04
Label: Parlophone
Writer: Lennon/McCartney
Producer: George Martin
Wikipedia
Friday, October 02, 2009
"Heartbreak Hotel"
"Heartbreak Hotel" is a rock and roll song performed by Elvis Presley, with Bill Black (bass), Scotty Moore (guitar), D.J. Fontana (drums), Floyd Cramer (piano) and Elvis on rhythm guitar as the main supporting musicians. Recorded in January 1956 in Nashville, the song introduced Presley to the American national music consciousness. It was released as a single with the b-side song "I Was the One" on January 27, 1956. "Heartbreak Hotel" became the first No.1 pop record by Elvis and was the best selling single of 1956. The Beatles performed the song live in concert from 1957 to 1961.
Song's history
This was the first song recorded by Elvis at RCA Victor. Elvis selected the song. He had earlier promised co-writer Mae Boren Axton that he would want to record it. He arrived at the studio with the song ready to record it without input from RCA. Although producer Steve Sholes was worried, he recorded the song taking it on faith that Elvis knew what he was doing. Most others at RCA Victor believed that it was a mistake, especially after hearing that the finished recording sounded nothing like the prior Elvis recordings at Sun Records.
On February 11, 1956, Presley introduced the song live on the CBS television variety program, Stage Show, starring Tommy and Jimmy Dorsey, on March 11 and March 24, and on his third (and final) appearance at The Ed Sullivan Show, also on CBS, on January 6, 1957. Cumulative viewers for these first television performances are estimated at over 65 million. In 1968, he also sang it on his celebrated Comeback TV Special, in a medley with "Hound Dog" and "All Shook Up."
The song is an example of simple verse form based on the eight-bar blues progression. It was written by Thomas Durden, then a steel-guitarist in Smiling Jack Herring and his Swing Billies, and Mae Boren Axton, a teacher at Dupont Jr.-Sr. High School in Jacksonville, Florida, and the mother of singer/songwriter/actor Hoyt Axton. She was a publicist for Hank Snow, who was managed by Colonel Tom Parker, who also managed Elvis Presley. Elvis Presley received co-songwriting credit for his contributions to the final recorded release. In an interview, Durden conceded that he did not recognize the song after Elvis had made the changes to the song in the studio, including changes to the tempo, phrasing, lyrics, and overall sound.
"Heartbreak Hotel"'s lyrical matter deals with the singer's sadness, implicitly that following the end of a romantic relationship. It uses the metaphor of a hotel to represent this emotional state. Durden read about a suicide in the Miami Herald in 1955. A well-dressed man had removed all labels from his clothing, destroyed his identity papers and left a note saying: "I walk a lonely street."
Steve Sholes used a hallway at the studio to get a noticeably unusual echo for the single. Sholes was attempting to recapture the Sun Records sound however, Sam Phillips had used two tape recorders and a slight time delay to create the echo on prior Elvis recordings, unbeknowst to the RCA personnel.
Because the vocals on the original record featured such a heavy use of reverb, the song was immediately lampooned in radio humorist Stan Freberg's parody of the song, where the lead singer repeatedly asks for "more echo on [his] voice." When Elvis recorded "Hound Dog" a few months later, he had completely taken over the role of producer, using what he learned at Sun Records (although Steve Sholes was still credited) and decided not to use echo.
Song's status on the charts
"Heartbreak Hotel" was no. 1 for 8 weeks on the Billboard Pop Singles Chart when released in 1956 on RCA Records. The record was no. 1 for 17 weeks on the Billboard Country Chart and reached no. 3 on the Billboard Rhythm & Blues Chart. In 2006, more than 50 years after its initial release, "Heartbreak Hotel" returned to no. 1 on the Billboard Hot Singles Sales Chart when re-released.
The song was later ranked #45 on Rolling Stone's list of the 500 Greatest Songs of All Time and was inducted into the Grammy Hall of Fame.
Song's legacy
There is now a real hotel named after the song, and located across from Graceland, in Memphis, Tennessee.
A movie with the same title, based on a mythical incident involving the kidnapping of Elvis Presley, was released theatrically in 1988. It starred David Keith as Elvis Presley, and Tuesday Weld and was directed by Chris Columbus.
Cover versions of the song
During the late-1950s and early 1960s, Johnny Cash and his band (The Tennessee Three) performed a parody of Elvis' stage techniques as a comedy act during concerts. Johnny would have Marshall Grant (his bass player) hand him a comb, so he could re-style his hair in an exaggerated approximation of Elvis' hairstyle. He would then proceed to sing "Heartbreak Hotel" whilst shaking his hips and legs in the manner of Elvis. After his 'song', Johnny would take the comb back and put his hair back to normal, while saying "I walked past a barber shop earlier today, and the barber came out and said 'hey son, I'll give you an estimate'". He'd drop the comb (implying it had come alive from all the wax and such that was in his hair) and Marshall would shoot it with a blank pistol; Johnny and Luther Perkins (his lead guitarist) would jump off the stage in fright, and his drummer (W.S. Holland) would fall off his stool.
There are numerous cover versions of the song, including one by avant garde musician John Cale, although the mood of the song was significantly more unsettling than Elvis's version. This version first appeared in his concert on 1 June 1974 with Kevin Ayers, Brian Eno and Nico, and takes the depressing aspects of the song to its extremes.
Tommy Emmanuel has recently included this song into his repertoire and only involves him on lead guitar and vocals.
Dread Zeppelin, a reggae band fronted by an Elvis impersonator, does a medley of "Heartbreak Hotel" and Led Zeppelin's "Heartbreaker" entitled "Heartbreaker (At the End of Lonely Street)". This tune appears on Un-Led-Ed and De-jah Voodoo.
Three other songs, also entitled "Heartbreak Hotel" were released as singles, one by The Jacksons (later renamed "This Place Hotel"), a second by Whitney Houston, whose mother, gospel singer Cissy Houston performed in several Elvis recordings, both in the studio and live, as a member of the Sweet Inspirations. A third song called "Heartbreak Hotel" was performed by C. C. Catch. None of these songs are connected to Elvis's song.
Paul McCartney recorded "Heartbreak Hotel" using Bill Black's bass at Abbey Road Studios. McCartney said: "It was Elvis who really got me hooked on beat music. When I heard 'Heartbreak Hotel' I thought, this is it... Musically it's perfect."
Merle Haggard included "Heartbreak Hotel" on his 1977 album My Farewell To Elvis.
The Cadets recorded the song in 1957.
Connie Francis recorded a version in 1959.
Ace Cannon recorded the song in 1962.
Chuck Jackson recorded "Heartbreak Hotel" in 1962.
Adam Faith recorded the song in 1965.
Van Halen, featuring David Lee Roth on lead vocals, performed the song on their 1983 Diver Down World Tour. Van Halen also performed the song live in the 1970s.
Jimi Hendrix recorded the song as part of an Elvis Presley medley along with "Blue Suede Shoes" and "Trouble".
Guns N' Roses's original line-up of Axl Rose, Izzy Stradlin, Slash, Duff McKagan and Steven Adler have performed this song live on various shows in the Los Angeles area (mainly on Sunset Strip clubs) in 1986. Around the same time they have also recorded many studio versions of this song, including some demo takes that are available on many bootleg CDs. The band also recorded a final take of the song to be on the EP "Live! Like a Suicide" but this version was never released. Axl Rose and Izzy Stradlin also performed this song with Tom Petty on the 1989 MTV's Video Music Awards. In July 2008, an unheard demo version of the song recorded by Guns n' Roses was released unnoficially by Cleopatra Records on an special LP edition of "Hollywood Rocks".
Bruce Springsteen has performed the song in concert.
Legendary guitarist Chet Atkins covered the song in 1963.
George Harrison of The Beatles remembered in an interview that "Heartbreak Hotel" was the first rock and roll record he ever heard.
"Heartbreak Hotel" was also a favorite of Jim Morrison of The Doors. The Doors performed "Heartbreak Hotel" as part of a medley in 1970 in Detroit in concert with Jim and Ray Manzarek sharing the vocals.
Led Zeppelin performed "Heartbreak Hotel" as part of a medley during their 1972 tour. The recording remains unreleased.
Willie Nelson and Leon Russell had a no. 1 cover version in 1979 on the country charts.
Keith Richards of The Rolling Stones said: "When I heard 'Heartbreak Hotel', I knew what I wanted to do in life."
Oldies group Sha Na Na has recorded "Heartbreak Hotel".
Fats Domino recorded his version of "Heartbreak Hotel".
An instrumental version of "Heartbreak Hotel" was recorded by early Texan rock group Tommy & The Tom Toms in 1960. It was produced by Major Bill Smith (Hey Baby, Hey Paula, Last Kiss) and released on Chess Records (#1773) under the pseudonym of the Bill Smith Combo.
Legendary southern rock band Lynyrd Skynyrd recorded the song.
At The VH1 Divas Live 2002 concert pop icon Cher sang "Heartbreak Hotel" as part of an Elvis Presley tribute medley. She also was dressed up as Elvis whilst performing.
Country legend Roger Miller covered "Heartbreak Hotel" on his 1966 Words and Music album.
In 2007, Justin Timberlake performed "Heartbreak Hotel" in concert.
Fonzie, Henry Winkler, sang the song on Happy Days in the 1970s.
Tanya Tucker recorded the song in the 1970s.
US President Bill Clinton performed a cover of "Heartbreak Hotel" on sax on the Arsenio Hall Show in the 1990s during his campaign.
Tom Jones covered "Heartbreak Hotel". Jones said Elvis inspired him to become a singer: "It was the first time I heard 'Heartbreak Hotel'. It gave me hope that I could become a famous performer, too. I knew I had the voice and the flair for it. Of course, Elvis and I became great friends."
Kanye West refers to Heartbreak Hotel on his 808s and Heartbreak album on the song "Paranoid".
Roger McGuinn of the Byrds recorded a version of "Heartbreak Hotel". He stated that "Heartbreak Hotel" was the first rock record he heard in 1956. Afterwards, he got his parents to buy him a guitar. McGuinn wrote: "Elvis Presley inspired me with his single 'Heartbreak Hotel' to the point that I wanted to get a guitar and do what he was doing."
Al Kooper: "When I first heard this in 1956, I thought it was a little black man with a pork-pie hat hunched over a piano with a cigarette dangling from his mouth as he sang and tickled the ivories. My jaw dropped when I saw the real thing."
Canadian singer Gisele MacKenzie performed "Heartbreak Hotel" on the Your Hit Parade TV show in 1956 in a campy horror movie setting.
The song was also covered by Ann-Margret in 1965, Frijid Pink in 1970, Homer and Jethro, Conway Twitty, Delaney and Bonnie, Katie Melua, Pat Boone in 1963, Suzi Quatro in 1977, Bert Jansch in 1982, Link Wray, Hoyt Axton, Martin Carthy, Lynn Anderson, Buddy Love, James Gang, Nancy King, The Cramps, The Residents, Scooter Lee, Ronnie McDowell, Donna Fargo, The Jordanaires, Albert King, Doc Watson, The Soft Boys, Lawrence Welk, The Flamin' Groovies, The Underdogs, Stan Freberg, Jerry Lee Lewis, Kevin Ayers, Eno and Mike Oldfield, and Helmut Lotti.
In early 2004 Stephanie Butland covered this song, as a new version of the song.
The Vandals covered this song, changing it radically and incorporating comically over-explicit lyrics. It appears on their album Peace Thru Vandalism under the title "H.B. Hotel".
Another version of the song is featured on the game Karaoke Revolution Volume 2.
Dwayne 'The Rock' Johnson has sung this song in Memphis (The birthplace of Elvis) during his WWE match versus Mankind. His version was different: "Well, since Rock's baby left him / He found a new place to dwell / It's down at the end of Jabroni Drive / At Smackdown Hotel!" Dwayne has also admitted to being a huge Elvis fan. He also performed the song live on The Tonight Show with Jay Leno on March 12, 2009.
Song mentioned in other songs
* Patty Loveless's single "Blue Side of Town" from her Honky Tonk Angel album in 1988 had a line in the song's chorus with "And it's Heartbrak Hotel. Yes I know it well. I hang around. The Blue Side of Town."
* U2 wrote a song called "A Room At The Heartbreak Hotel." It is a b-side to their "Angel of Harlem" single, released in 1988.
* "Heartbreak Hotel" is referenced in "Short Fat Fannie" by Larry Williams: "One day while I was visiting the Heartbreak Hotel."
* Dire Straits' song "Calling Elvis" mentions it in the chorus.
* Meryl Streep sings Shel Silverstein's "I'm Checking Out of This Heartbreak Hotel" in the final scene of "Postcards from the Edge."
* Kanye West uses the Heartbreak Hotel in his song, "Paranoid", in the line, "You wanna check into the Heartbreak Hotel, but sorry we're closed."
* The song is featured in Lilo and Stitch with Lilo herself singing "Heartbreak Hotel".
Cultural references
* In 2005, Uncut Magazine ranked the first performance of "Heartbreak Hotel" in 1956 by Elvis Presley as the no.2 greatest and most important cultural event of the rock and roll era.
* Serbian rock musician, journalist and writer Dejan Cukić wrote about "Heartbreak Hotel" as one of the forty-six songs that changed history of popular music in his book 45 obrtaja: Priče o pesmama.
* Heartbreak Hotel is the name of the rebels' hideout in the musical 'We Will Rock You'.
* Several lines from the song are referenced in Margaret Atwood's novel The Handmaid's Tale.
* In Professional Wrestling, Shawn Michaels used to have a interview segment called The Heartbreak Hotel
* The song is performed by Hugh Jackman and Nicole Kidman in the 2006 animated film Happy Feet, as a mash-up with the song "Kiss".
Single by Elvis Presley
B-side: "I Was the One"
Released: January 27, 1956
Format: single
Recorded: January 10, 1956
Genre: Rock and roll
Length: 2:08
Label: RCA Records
Writer(s): Mae Boren Axton, Thomas Durden, and Elvis Presley
Producer: Steve Sholes
Wikipedia
Song's history
This was the first song recorded by Elvis at RCA Victor. Elvis selected the song. He had earlier promised co-writer Mae Boren Axton that he would want to record it. He arrived at the studio with the song ready to record it without input from RCA. Although producer Steve Sholes was worried, he recorded the song taking it on faith that Elvis knew what he was doing. Most others at RCA Victor believed that it was a mistake, especially after hearing that the finished recording sounded nothing like the prior Elvis recordings at Sun Records.
On February 11, 1956, Presley introduced the song live on the CBS television variety program, Stage Show, starring Tommy and Jimmy Dorsey, on March 11 and March 24, and on his third (and final) appearance at The Ed Sullivan Show, also on CBS, on January 6, 1957. Cumulative viewers for these first television performances are estimated at over 65 million. In 1968, he also sang it on his celebrated Comeback TV Special, in a medley with "Hound Dog" and "All Shook Up."
The song is an example of simple verse form based on the eight-bar blues progression. It was written by Thomas Durden, then a steel-guitarist in Smiling Jack Herring and his Swing Billies, and Mae Boren Axton, a teacher at Dupont Jr.-Sr. High School in Jacksonville, Florida, and the mother of singer/songwriter/actor Hoyt Axton. She was a publicist for Hank Snow, who was managed by Colonel Tom Parker, who also managed Elvis Presley. Elvis Presley received co-songwriting credit for his contributions to the final recorded release. In an interview, Durden conceded that he did not recognize the song after Elvis had made the changes to the song in the studio, including changes to the tempo, phrasing, lyrics, and overall sound.
"Heartbreak Hotel"'s lyrical matter deals with the singer's sadness, implicitly that following the end of a romantic relationship. It uses the metaphor of a hotel to represent this emotional state. Durden read about a suicide in the Miami Herald in 1955. A well-dressed man had removed all labels from his clothing, destroyed his identity papers and left a note saying: "I walk a lonely street."
Steve Sholes used a hallway at the studio to get a noticeably unusual echo for the single. Sholes was attempting to recapture the Sun Records sound however, Sam Phillips had used two tape recorders and a slight time delay to create the echo on prior Elvis recordings, unbeknowst to the RCA personnel.
Because the vocals on the original record featured such a heavy use of reverb, the song was immediately lampooned in radio humorist Stan Freberg's parody of the song, where the lead singer repeatedly asks for "more echo on [his] voice." When Elvis recorded "Hound Dog" a few months later, he had completely taken over the role of producer, using what he learned at Sun Records (although Steve Sholes was still credited) and decided not to use echo.
Song's status on the charts
"Heartbreak Hotel" was no. 1 for 8 weeks on the Billboard Pop Singles Chart when released in 1956 on RCA Records. The record was no. 1 for 17 weeks on the Billboard Country Chart and reached no. 3 on the Billboard Rhythm & Blues Chart. In 2006, more than 50 years after its initial release, "Heartbreak Hotel" returned to no. 1 on the Billboard Hot Singles Sales Chart when re-released.
The song was later ranked #45 on Rolling Stone's list of the 500 Greatest Songs of All Time and was inducted into the Grammy Hall of Fame.
Song's legacy
There is now a real hotel named after the song, and located across from Graceland, in Memphis, Tennessee.
A movie with the same title, based on a mythical incident involving the kidnapping of Elvis Presley, was released theatrically in 1988. It starred David Keith as Elvis Presley, and Tuesday Weld and was directed by Chris Columbus.
Cover versions of the song
During the late-1950s and early 1960s, Johnny Cash and his band (The Tennessee Three) performed a parody of Elvis' stage techniques as a comedy act during concerts. Johnny would have Marshall Grant (his bass player) hand him a comb, so he could re-style his hair in an exaggerated approximation of Elvis' hairstyle. He would then proceed to sing "Heartbreak Hotel" whilst shaking his hips and legs in the manner of Elvis. After his 'song', Johnny would take the comb back and put his hair back to normal, while saying "I walked past a barber shop earlier today, and the barber came out and said 'hey son, I'll give you an estimate'". He'd drop the comb (implying it had come alive from all the wax and such that was in his hair) and Marshall would shoot it with a blank pistol; Johnny and Luther Perkins (his lead guitarist) would jump off the stage in fright, and his drummer (W.S. Holland) would fall off his stool.
There are numerous cover versions of the song, including one by avant garde musician John Cale, although the mood of the song was significantly more unsettling than Elvis's version. This version first appeared in his concert on 1 June 1974 with Kevin Ayers, Brian Eno and Nico, and takes the depressing aspects of the song to its extremes.
Tommy Emmanuel has recently included this song into his repertoire and only involves him on lead guitar and vocals.
Dread Zeppelin, a reggae band fronted by an Elvis impersonator, does a medley of "Heartbreak Hotel" and Led Zeppelin's "Heartbreaker" entitled "Heartbreaker (At the End of Lonely Street)". This tune appears on Un-Led-Ed and De-jah Voodoo.
Three other songs, also entitled "Heartbreak Hotel" were released as singles, one by The Jacksons (later renamed "This Place Hotel"), a second by Whitney Houston, whose mother, gospel singer Cissy Houston performed in several Elvis recordings, both in the studio and live, as a member of the Sweet Inspirations. A third song called "Heartbreak Hotel" was performed by C. C. Catch. None of these songs are connected to Elvis's song.
Paul McCartney recorded "Heartbreak Hotel" using Bill Black's bass at Abbey Road Studios. McCartney said: "It was Elvis who really got me hooked on beat music. When I heard 'Heartbreak Hotel' I thought, this is it... Musically it's perfect."
Merle Haggard included "Heartbreak Hotel" on his 1977 album My Farewell To Elvis.
The Cadets recorded the song in 1957.
Connie Francis recorded a version in 1959.
Ace Cannon recorded the song in 1962.
Chuck Jackson recorded "Heartbreak Hotel" in 1962.
Adam Faith recorded the song in 1965.
Van Halen, featuring David Lee Roth on lead vocals, performed the song on their 1983 Diver Down World Tour. Van Halen also performed the song live in the 1970s.
Jimi Hendrix recorded the song as part of an Elvis Presley medley along with "Blue Suede Shoes" and "Trouble".
Guns N' Roses's original line-up of Axl Rose, Izzy Stradlin, Slash, Duff McKagan and Steven Adler have performed this song live on various shows in the Los Angeles area (mainly on Sunset Strip clubs) in 1986. Around the same time they have also recorded many studio versions of this song, including some demo takes that are available on many bootleg CDs. The band also recorded a final take of the song to be on the EP "Live! Like a Suicide" but this version was never released. Axl Rose and Izzy Stradlin also performed this song with Tom Petty on the 1989 MTV's Video Music Awards. In July 2008, an unheard demo version of the song recorded by Guns n' Roses was released unnoficially by Cleopatra Records on an special LP edition of "Hollywood Rocks".
Bruce Springsteen has performed the song in concert.
Legendary guitarist Chet Atkins covered the song in 1963.
George Harrison of The Beatles remembered in an interview that "Heartbreak Hotel" was the first rock and roll record he ever heard.
"Heartbreak Hotel" was also a favorite of Jim Morrison of The Doors. The Doors performed "Heartbreak Hotel" as part of a medley in 1970 in Detroit in concert with Jim and Ray Manzarek sharing the vocals.
Led Zeppelin performed "Heartbreak Hotel" as part of a medley during their 1972 tour. The recording remains unreleased.
Willie Nelson and Leon Russell had a no. 1 cover version in 1979 on the country charts.
Keith Richards of The Rolling Stones said: "When I heard 'Heartbreak Hotel', I knew what I wanted to do in life."
Oldies group Sha Na Na has recorded "Heartbreak Hotel".
Fats Domino recorded his version of "Heartbreak Hotel".
An instrumental version of "Heartbreak Hotel" was recorded by early Texan rock group Tommy & The Tom Toms in 1960. It was produced by Major Bill Smith (Hey Baby, Hey Paula, Last Kiss) and released on Chess Records (#1773) under the pseudonym of the Bill Smith Combo.
Legendary southern rock band Lynyrd Skynyrd recorded the song.
At The VH1 Divas Live 2002 concert pop icon Cher sang "Heartbreak Hotel" as part of an Elvis Presley tribute medley. She also was dressed up as Elvis whilst performing.
Country legend Roger Miller covered "Heartbreak Hotel" on his 1966 Words and Music album.
In 2007, Justin Timberlake performed "Heartbreak Hotel" in concert.
Fonzie, Henry Winkler, sang the song on Happy Days in the 1970s.
Tanya Tucker recorded the song in the 1970s.
US President Bill Clinton performed a cover of "Heartbreak Hotel" on sax on the Arsenio Hall Show in the 1990s during his campaign.
Tom Jones covered "Heartbreak Hotel". Jones said Elvis inspired him to become a singer: "It was the first time I heard 'Heartbreak Hotel'. It gave me hope that I could become a famous performer, too. I knew I had the voice and the flair for it. Of course, Elvis and I became great friends."
Kanye West refers to Heartbreak Hotel on his 808s and Heartbreak album on the song "Paranoid".
Roger McGuinn of the Byrds recorded a version of "Heartbreak Hotel". He stated that "Heartbreak Hotel" was the first rock record he heard in 1956. Afterwards, he got his parents to buy him a guitar. McGuinn wrote: "Elvis Presley inspired me with his single 'Heartbreak Hotel' to the point that I wanted to get a guitar and do what he was doing."
Al Kooper: "When I first heard this in 1956, I thought it was a little black man with a pork-pie hat hunched over a piano with a cigarette dangling from his mouth as he sang and tickled the ivories. My jaw dropped when I saw the real thing."
Canadian singer Gisele MacKenzie performed "Heartbreak Hotel" on the Your Hit Parade TV show in 1956 in a campy horror movie setting.
The song was also covered by Ann-Margret in 1965, Frijid Pink in 1970, Homer and Jethro, Conway Twitty, Delaney and Bonnie, Katie Melua, Pat Boone in 1963, Suzi Quatro in 1977, Bert Jansch in 1982, Link Wray, Hoyt Axton, Martin Carthy, Lynn Anderson, Buddy Love, James Gang, Nancy King, The Cramps, The Residents, Scooter Lee, Ronnie McDowell, Donna Fargo, The Jordanaires, Albert King, Doc Watson, The Soft Boys, Lawrence Welk, The Flamin' Groovies, The Underdogs, Stan Freberg, Jerry Lee Lewis, Kevin Ayers, Eno and Mike Oldfield, and Helmut Lotti.
In early 2004 Stephanie Butland covered this song, as a new version of the song.
The Vandals covered this song, changing it radically and incorporating comically over-explicit lyrics. It appears on their album Peace Thru Vandalism under the title "H.B. Hotel".
Another version of the song is featured on the game Karaoke Revolution Volume 2.
Dwayne 'The Rock' Johnson has sung this song in Memphis (The birthplace of Elvis) during his WWE match versus Mankind. His version was different: "Well, since Rock's baby left him / He found a new place to dwell / It's down at the end of Jabroni Drive / At Smackdown Hotel!" Dwayne has also admitted to being a huge Elvis fan. He also performed the song live on The Tonight Show with Jay Leno on March 12, 2009.
Song mentioned in other songs
* Patty Loveless's single "Blue Side of Town" from her Honky Tonk Angel album in 1988 had a line in the song's chorus with "And it's Heartbrak Hotel. Yes I know it well. I hang around. The Blue Side of Town."
* U2 wrote a song called "A Room At The Heartbreak Hotel." It is a b-side to their "Angel of Harlem" single, released in 1988.
* "Heartbreak Hotel" is referenced in "Short Fat Fannie" by Larry Williams: "One day while I was visiting the Heartbreak Hotel."
* Dire Straits' song "Calling Elvis" mentions it in the chorus.
* Meryl Streep sings Shel Silverstein's "I'm Checking Out of This Heartbreak Hotel" in the final scene of "Postcards from the Edge."
* Kanye West uses the Heartbreak Hotel in his song, "Paranoid", in the line, "You wanna check into the Heartbreak Hotel, but sorry we're closed."
* The song is featured in Lilo and Stitch with Lilo herself singing "Heartbreak Hotel".
Cultural references
* In 2005, Uncut Magazine ranked the first performance of "Heartbreak Hotel" in 1956 by Elvis Presley as the no.2 greatest and most important cultural event of the rock and roll era.
* Serbian rock musician, journalist and writer Dejan Cukić wrote about "Heartbreak Hotel" as one of the forty-six songs that changed history of popular music in his book 45 obrtaja: Priče o pesmama.
* Heartbreak Hotel is the name of the rebels' hideout in the musical 'We Will Rock You'.
* Several lines from the song are referenced in Margaret Atwood's novel The Handmaid's Tale.
* In Professional Wrestling, Shawn Michaels used to have a interview segment called The Heartbreak Hotel
* The song is performed by Hugh Jackman and Nicole Kidman in the 2006 animated film Happy Feet, as a mash-up with the song "Kiss".
Single by Elvis Presley
B-side: "I Was the One"
Released: January 27, 1956
Format: single
Recorded: January 10, 1956
Genre: Rock and roll
Length: 2:08
Label: RCA Records
Writer(s): Mae Boren Axton, Thomas Durden, and Elvis Presley
Producer: Steve Sholes
Wikipedia
"Savoy Truffle" Lyrics
by George Harrison
Original Manuscript (1968)
(1) cream tangerine and montelimar - a ginger sling
with a pineapple heart. A coffee desert [sic]
yes you know it's 'good news' - but you're going
to have them all 'pulled out' after the Savoy Truffle
(2) cool cherry cream and a nice 'apple tart'
I feel your taste all the time we're apart
A coconut fudge really blows down those blues
But you're going to have them all pulled out
after the Savoy Truffle
You may not feel it now but when the pain cuts thru
you're going to know and how
the sweet is going to fill your head
It will become too much [...] shout out loud.
As Released by the Beatles (1968)
Cream tangerine, montelimar
A ginger sling with a pineapple heart.
Coffee dessert - yes you know it's good news
But you'll have to have them all pulled out
After the Savoy truffle.
Cool cherry cream, nice apple tart
I feel your taste all the time we're apart
Coconut fudge really blows down those blues (wuh)
But you'll have to have them all pulled out
After the Savoy truffle.
You might not feel it now
When the pain cuts through
You're gonna know and how.
The sweat it's gonna fill your head
When it becomes too much
You shout aloud.
But you'll have to have them all pulled out
After the Savoy truffle.
You know that what you eat you are
But what is sweet now turns so sour.
We all know ob-la-di 'b-la-da
But can you show me where you are?
Cream tangerine and montelimar
A ginger sling with a pineapple heart
Coffee dessert - yes you know it's good news (wuh)
But you'll have to have them all pulled out
After the Savoy truffle.
Yes, you'll have to have them all pulled out
After the Savoy truffle.
Original Manuscript (1968)(1) cream tangerine and montelimar - a ginger sling
with a pineapple heart. A coffee desert [sic]
yes you know it's 'good news' - but you're going
to have them all 'pulled out' after the Savoy Truffle
(2) cool cherry cream and a nice 'apple tart'
I feel your taste all the time we're apart
A coconut fudge really blows down those blues
But you're going to have them all pulled out
after the Savoy Truffle
You may not feel it now but when the pain cuts thru
you're going to know and how
the sweet is going to fill your head
It will become too much [...] shout out loud.
As Released by the Beatles (1968)
Cream tangerine, montelimar
A ginger sling with a pineapple heart.
Coffee dessert - yes you know it's good news
But you'll have to have them all pulled out
After the Savoy truffle.
Cool cherry cream, nice apple tart
I feel your taste all the time we're apart
Coconut fudge really blows down those blues (wuh)
But you'll have to have them all pulled out
After the Savoy truffle.
You might not feel it now
When the pain cuts through
You're gonna know and how.
The sweat it's gonna fill your head
When it becomes too much
You shout aloud.
But you'll have to have them all pulled out
After the Savoy truffle.
You know that what you eat you are
But what is sweet now turns so sour.
We all know ob-la-di 'b-la-da
But can you show me where you are?
Cream tangerine and montelimar
A ginger sling with a pineapple heart
Coffee dessert - yes you know it's good news (wuh)
But you'll have to have them all pulled out
After the Savoy truffle.
Yes, you'll have to have them all pulled out
After the Savoy truffle.
Thursday, October 01, 2009
"Guitar Boogie"
"Guitar Boogie" is the name of a song written by Arthur "Guitar Boogie" Smith. The Beatles (as the Quarry Men) covered the song in their live act from 1957 to 1959.
Arthur Smith (born April 1, 1921 in Clinton, South Carolina) is an American musician and songwriter.
Arthur Smith was a textile mill worker who became a celebrated and respected country music instrumental composer, guitarist, fiddler, and banjo player who had a major hit with the instrumental, "Guitar Boogie." The song earned him the moniker Arthur "Guitar Boogie" Smith (to differentiate him from Tennessee fiddler and 1930s Grand Ole Opry star Fiddlin' Arthur Smith) and would be recorded by numerous others including as a rock and roll hit by Frank Virtue and The Virtues renamed the "Guitar Boogie Shuffle." Virtue served in the Navy with Smith and counted him as a major influence. Other musicians who have been influenced by Smith include Nashville studio ace Hank "Sugarfoot" Garland, Roy Clark, Glen Campbell and surf music pioneers The Ventures.
Smith was the son of Clayton Seymour Smith, a textile worker and music teacher who also led the town band in Kershaw, South Carolina; Smith's first instrument was the cornet. Arthur Smith, along with his brothers Ralph and Sonny formed a Dixieland combo, the Carolina Crackerjacks, who appeared briefly on radio in Spartanburg, South Carolina; they had limited success with their jazz format, and became a more popular Country Music group before Arthur moved to Charlotte, North Carolina to join the cast of the WBT Carolina Barndance live show and radio program. Before WWII, he was an occasional member of the WBT Briarhoppers band.
After wartime service in the US Navy, Arthur returned to Charlotte; joined by his brothers, his wife Dorothy and vocalist Roy Lear, he continued his recording career and started his own radio show "Carolina Calling" on WBT. Arthur Smith emceed part of the first live television program broadcast in 1951 by the new television station, WBTV, in Charlotte. The Arthur Smith Show was also the first country music television show to be syndicated nationally, and ran for 32 years in 90 markets coast to coast. The band, now renamed Arthur Smith & His Crackerjacks, became an institution in the Southeast area through the new medium; their daily early-morning program, Carolina Calling, was carried on the CBS-TV network as a summer-replacement during the 1950s, increasing Smith's national visibility. The band was unusual for a Country Music band in that it relied on tight arrangements with written "charts" for most of their music.
In 1955, Arthur Smith composed a banjo instrumental he called "Feudin' Banjos" and recorded the song with five-string banjo player Don Reno. Later the composition appeared in the popular 1972 film Deliverance as "Dueling Banjos" played by Eric Weissberg and Steve Mandel. Not given credit, Smith had to proceed with legal action that eventually gave him songwriting credit and back royalties. It was a landmark copyright infringement suit.
As a composer, Arthur Smith has nearly 500 copyrights. Among his copyrights, Smith has over 100 active inspirational and/or gospel music compositions including million sellers "The Fourth Man" and "I Saw A Man." In total, his compositions have been recorded numerous times by artists including Chet Atkins, Glen Campbell, Johnny Cash, The Cathedrals, Al Hirt, Barbara Mandrell, Willie Nelson, The Gatlin Brothers, Oak Ridge Boys, Roy Orbison, Tom Petty, Boots Randolph, George Beverly Shea, The Stamps, The Statler Brothers, Ricky Van Shelton and many more.
Smith built and managed the first commercial recording studio in the Southeast in Charlotte; in addition to recording Smith, the Crackerjacks and its various members, such as vocalist/guitarist/songwriter Tommy Faile, it produced sides from many other acts, including rhythm and blues star James Brown, whose "Papa's Got a Brand New Bag" was cut in Smith's studio. In this facility, Smith also created and produced nationally syndicated radio programs hosted by Johnny Cash, Chet Atkins, Richard Petty, James Brown, and George Beverly Shea. Billy Graham's "Hour of Decision" radio program was first produced in Smith's studio. Smith also produced and hosted his own radio program "Top of the Morning" which was syndicated for an unbroken span of 29 years.
With the advent of video-tape technology in the 1970s, Smith produced a weekly, thirty-minute program which was carried in over 90 TV markets at its peak. He produced radio and television shows for a number of other artists, including Johnny Cash, gospel singer George Beverly Shea, and was for many years associated with evangelist Billy Graham.
The Crackerjacks band employed a number of noted country musicians at various times, including Don Reno, fiddler Jim Buchanan (later with Jim & Jesse's Virginia Boys and Mel Tillis), banjoists David Deese, Carl Hunt and Jeff Whittington, resonator guitarist Ray Atkins (Johnny & Jack, Carl Story) and country singer George Hamilton IV. Other regular cast members included Wayne Haas, Don Ange, and Jackie Schuler, along with Ralph Smith and Tommy Faile.
Arthur Smith is now retired; his extensive publishing interests, production company, and management business are managed by his son, Clay Smith. The younger Smith, a noted recording artist, ran Johnny Cash's businesses in the late 1970s and returned to the family business in 1982. Clay Smith is also an award winning network television producer, and record producer following in Arthur Smith's footsteps. Arthur and Clay Smith have collaborated on 12 major motion picture soundtracks including "Black Sunday" "Death Driver" and "Living Legend." The father-son team received the Grand Prize-First Place Award for Original Music in the International Real Life Adventure Film Festival, Cortina D'Ampezzo, Italy.
Arthur Smith celebrated career includes the following awards: BMI Song of the Year Award 1973; Grammy - Dueling Banjos (1973) (original writer); Council on International Nontheatrical Events - Golden Eagle Award (1980); The Gold Squirrel Award (Grand Prize – First Prize) Festival International Film & Adventura, Cortina D’Ampezzo, Italy (1981); International Real Life Adventure Film Festival, 1st Place Award (1981); State of North Carolina Order of The Long Leaf Pine (1984); Southeast Tourism Society Award (1985); American Advertising Federation Silver Medal Award (1986); Broadcast Music Inc. (BMI) Special Citation of Achievement (over 1 million broadcast performances of original compositions); The Broadcasters Hall of Fame – North Carolina Association of Broadcasters (1990); South Carolina Broadcasters Association (2006); South Carolina Hall of Fame (1998); North Carolina Folk Heritage Award (1998); North Carolina Award (2001); Legends Award – Western Film Festival 2003; Lifetime Achievement Award - South Carolina Broadcasters Association (2006); BMI Legendary Songwriter Award (2006).
Wikipedia
Arthur Smith (born April 1, 1921 in Clinton, South Carolina) is an American musician and songwriter.
Arthur Smith was a textile mill worker who became a celebrated and respected country music instrumental composer, guitarist, fiddler, and banjo player who had a major hit with the instrumental, "Guitar Boogie." The song earned him the moniker Arthur "Guitar Boogie" Smith (to differentiate him from Tennessee fiddler and 1930s Grand Ole Opry star Fiddlin' Arthur Smith) and would be recorded by numerous others including as a rock and roll hit by Frank Virtue and The Virtues renamed the "Guitar Boogie Shuffle." Virtue served in the Navy with Smith and counted him as a major influence. Other musicians who have been influenced by Smith include Nashville studio ace Hank "Sugarfoot" Garland, Roy Clark, Glen Campbell and surf music pioneers The Ventures.
Smith was the son of Clayton Seymour Smith, a textile worker and music teacher who also led the town band in Kershaw, South Carolina; Smith's first instrument was the cornet. Arthur Smith, along with his brothers Ralph and Sonny formed a Dixieland combo, the Carolina Crackerjacks, who appeared briefly on radio in Spartanburg, South Carolina; they had limited success with their jazz format, and became a more popular Country Music group before Arthur moved to Charlotte, North Carolina to join the cast of the WBT Carolina Barndance live show and radio program. Before WWII, he was an occasional member of the WBT Briarhoppers band.
After wartime service in the US Navy, Arthur returned to Charlotte; joined by his brothers, his wife Dorothy and vocalist Roy Lear, he continued his recording career and started his own radio show "Carolina Calling" on WBT. Arthur Smith emceed part of the first live television program broadcast in 1951 by the new television station, WBTV, in Charlotte. The Arthur Smith Show was also the first country music television show to be syndicated nationally, and ran for 32 years in 90 markets coast to coast. The band, now renamed Arthur Smith & His Crackerjacks, became an institution in the Southeast area through the new medium; their daily early-morning program, Carolina Calling, was carried on the CBS-TV network as a summer-replacement during the 1950s, increasing Smith's national visibility. The band was unusual for a Country Music band in that it relied on tight arrangements with written "charts" for most of their music.
In 1955, Arthur Smith composed a banjo instrumental he called "Feudin' Banjos" and recorded the song with five-string banjo player Don Reno. Later the composition appeared in the popular 1972 film Deliverance as "Dueling Banjos" played by Eric Weissberg and Steve Mandel. Not given credit, Smith had to proceed with legal action that eventually gave him songwriting credit and back royalties. It was a landmark copyright infringement suit.
As a composer, Arthur Smith has nearly 500 copyrights. Among his copyrights, Smith has over 100 active inspirational and/or gospel music compositions including million sellers "The Fourth Man" and "I Saw A Man." In total, his compositions have been recorded numerous times by artists including Chet Atkins, Glen Campbell, Johnny Cash, The Cathedrals, Al Hirt, Barbara Mandrell, Willie Nelson, The Gatlin Brothers, Oak Ridge Boys, Roy Orbison, Tom Petty, Boots Randolph, George Beverly Shea, The Stamps, The Statler Brothers, Ricky Van Shelton and many more.
Smith built and managed the first commercial recording studio in the Southeast in Charlotte; in addition to recording Smith, the Crackerjacks and its various members, such as vocalist/guitarist/songwriter Tommy Faile, it produced sides from many other acts, including rhythm and blues star James Brown, whose "Papa's Got a Brand New Bag" was cut in Smith's studio. In this facility, Smith also created and produced nationally syndicated radio programs hosted by Johnny Cash, Chet Atkins, Richard Petty, James Brown, and George Beverly Shea. Billy Graham's "Hour of Decision" radio program was first produced in Smith's studio. Smith also produced and hosted his own radio program "Top of the Morning" which was syndicated for an unbroken span of 29 years.
With the advent of video-tape technology in the 1970s, Smith produced a weekly, thirty-minute program which was carried in over 90 TV markets at its peak. He produced radio and television shows for a number of other artists, including Johnny Cash, gospel singer George Beverly Shea, and was for many years associated with evangelist Billy Graham.
The Crackerjacks band employed a number of noted country musicians at various times, including Don Reno, fiddler Jim Buchanan (later with Jim & Jesse's Virginia Boys and Mel Tillis), banjoists David Deese, Carl Hunt and Jeff Whittington, resonator guitarist Ray Atkins (Johnny & Jack, Carl Story) and country singer George Hamilton IV. Other regular cast members included Wayne Haas, Don Ange, and Jackie Schuler, along with Ralph Smith and Tommy Faile.
Arthur Smith is now retired; his extensive publishing interests, production company, and management business are managed by his son, Clay Smith. The younger Smith, a noted recording artist, ran Johnny Cash's businesses in the late 1970s and returned to the family business in 1982. Clay Smith is also an award winning network television producer, and record producer following in Arthur Smith's footsteps. Arthur and Clay Smith have collaborated on 12 major motion picture soundtracks including "Black Sunday" "Death Driver" and "Living Legend." The father-son team received the Grand Prize-First Place Award for Original Music in the International Real Life Adventure Film Festival, Cortina D'Ampezzo, Italy.
Arthur Smith celebrated career includes the following awards: BMI Song of the Year Award 1973; Grammy - Dueling Banjos (1973) (original writer); Council on International Nontheatrical Events - Golden Eagle Award (1980); The Gold Squirrel Award (Grand Prize – First Prize) Festival International Film & Adventura, Cortina D’Ampezzo, Italy (1981); International Real Life Adventure Film Festival, 1st Place Award (1981); State of North Carolina Order of The Long Leaf Pine (1984); Southeast Tourism Society Award (1985); American Advertising Federation Silver Medal Award (1986); Broadcast Music Inc. (BMI) Special Citation of Achievement (over 1 million broadcast performances of original compositions); The Broadcasters Hall of Fame – North Carolina Association of Broadcasters (1990); South Carolina Broadcasters Association (2006); South Carolina Hall of Fame (1998); North Carolina Folk Heritage Award (1998); North Carolina Award (2001); Legends Award – Western Film Festival 2003; Lifetime Achievement Award - South Carolina Broadcasters Association (2006); BMI Legendary Songwriter Award (2006).
Wikipedia
"The Long and Winding Road" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles (1970)
The long and winding road that leads to your door
Will never disappear, I've seen that road before.
It always leads me here, lead me to your door.
The wild and windy night that the rain washed away
Has left a pool of tears crying for the day.
Why leave me standing here, let me know the way.
Many times I've been alone and many times I've cried
Anyway you'll never know the many ways I've tried
And still they lead me back to the long, winding road.
You left me standing here a long, long time ago
Don't leave me waiting here, lead me to your door.
But still they lead me back to the long, winding road
You left me standing here a long, long time ago
Don't keep me waiting here (don't keep me waiting) lead me to your door.
Yeah, yeah, yeah, yeah.
As Released by the Beatles (1970)
The long and winding road that leads to your door
Will never disappear, I've seen that road before.
It always leads me here, lead me to your door.
The wild and windy night that the rain washed away
Has left a pool of tears crying for the day.
Why leave me standing here, let me know the way.
Many times I've been alone and many times I've cried
Anyway you'll never know the many ways I've tried
And still they lead me back to the long, winding road.
You left me standing here a long, long time ago
Don't leave me waiting here, lead me to your door.
But still they lead me back to the long, winding road
You left me standing here a long, long time ago
Don't keep me waiting here (don't keep me waiting) lead me to your door.
Yeah, yeah, yeah, yeah.
Wednesday, September 30, 2009
"Real Love" Lyrics
by John Lennon
Original Manuscript, "Real Love (Waiting for You)" (Bermuda, July 9, 1980)
all my little plans + schemes
lost in some forgotten dream
seems that all I really was doing
was waiting for you
just like little girls + boys
playing with their little toys
seems that all we really were doing
was waiting for (real) love
no need to be alone
no need to be alone
it's real love - it's real
yes it's real love - it's real
from this moment on I know
exactly where my life will go
seems that all I really was doing
was waiting for (real) love
thought I'd been in love before
but in my heart I wanted more
seems that all I really was doing
was waiting for you
no need to be afraid
no need to be afraid
it's real love - it's real
yes it's real love - it's real.
As Released by the Beatles (1996)
All my little plans and schemes
Lost like some forgotten dream
Seems that all I really was doing
Was waiting for you
Just like little girls and boys
Playing with their little toys
Seems like all we really were doing
Was waiting for love
No need to be alone
No need to be alone
It's real love, it's real
Yes it's real love, it's real
From this moment on I know
Exactly where my life will go
Seems that all I really was doing
Was waiting for love
No need to be afraid
No need to be afraid
It's real love, it's real
Yes it's real love, it's real
Ah, ah
Thought I'd been in love before
But in my heart I wanted more
Seems like all I really was doing
Was waiting for you
No need to be alone
No need to be alone
It's real love, yes it's real
Yes it's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
Original Manuscript, "Real Love (Waiting for You)" (Bermuda, July 9, 1980)all my little plans + schemes
lost in some forgotten dream
seems that all I really was doing
was waiting for you
just like little girls + boys
playing with their little toys
seems that all we really were doing
was waiting for (real) love
no need to be alone
no need to be alone
it's real love - it's real
yes it's real love - it's real
from this moment on I know
exactly where my life will go
seems that all I really was doing
was waiting for (real) love
thought I'd been in love before
but in my heart I wanted more
seems that all I really was doing
was waiting for you
no need to be afraid
no need to be afraid
it's real love - it's real
yes it's real love - it's real.
As Released by the Beatles (1996)
All my little plans and schemes
Lost like some forgotten dream
Seems that all I really was doing
Was waiting for you
Just like little girls and boys
Playing with their little toys
Seems like all we really were doing
Was waiting for love
No need to be alone
No need to be alone
It's real love, it's real
Yes it's real love, it's real
From this moment on I know
Exactly where my life will go
Seems that all I really was doing
Was waiting for love
No need to be afraid
No need to be afraid
It's real love, it's real
Yes it's real love, it's real
Ah, ah
Thought I'd been in love before
But in my heart I wanted more
Seems like all I really was doing
Was waiting for you
No need to be alone
No need to be alone
It's real love, yes it's real
Yes it's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
Beatle People: The Fourmost
The Fourmost were an English Merseybeat band that recorded in the 1960s. Their biggest UK hit single was 1964's "A Little Loving."Biography
Lead guitarist / singer Brian O'Hara and bass guitarist / singer Billy Hatton, friends since grammar school, formed The Blue Jays in 1958. The group changed their name to the Four Jays and made their debut at the Cavern Club on 1 March 1961, nearly three weeks before The Beatles. Rhythm guitarist / singer Mike Millward (ex-The Undertakers) joined the Four Jays in November 1961, followed by the drummer/singer Dave Lovelady in September 1962. In the summer of 1963, the group - now called The Fourmost - signed a management contract with Brian Epstein. This led to their being auditioned by George Martin and signed to EMI's Parlophone record label.
With Epstein as their manager, The Fourmost (like Cilla Black, Billy J. Kramer and The Dakotas, Peter and Gordon, and Tommy Quickly) had access to early Lennon/McCartney compositions felt to be unsuitable for The Beatles to record. The Fourmost's first two singles were written by John Lennon. "Hello Little Girl", one of the earliest Lennon songs (dating from 1957) was released on 30 August 1963. Their follow-up single, "I'm in Love" (Lennon/McCartney), was released on 15 November 1963. It was notable as one of the earliest Beatles' penned songs to be released in the United States but, as with the Fourmost's other singles, it failed to chart there.
Their biggest hit followed. "A Little Loving", written by Russ Alquist, reached Number 6 in the UK Singles Chart in mid 1964. But from this point on, none of their singles would crack the Top 20 in the UK. "How Can I Tell Her" was followed by a cover version of The Four Tops' "Baby I Need Your Loving", "Everything In The Garden", and "Girls, Girls, Girls" (originally recorded by The Coasters and a hit for Elvis Presley).
The group's only album, First and Fourmost, from September 1965, contained a version of Jackie DeShannon's "Till You Say You'll Be Mine". Other tracks included "My Block", a re-make of "The In Crowd", and cover versions of Little Richard's "The Girl Can't Help It" and "Heebie-Jeebies". The band appeared in the 1965 film, Ferry Cross the Mersey and on the soundtrack album of the same name.
In August 1966, the group released a cover of another Beatles' song, "Here, There and Everywhere," followed by a cover of George Formby's "Auntie Maggie's Remedy" in November 1966. The latter song was representative of a comedic element to some of the group's recordings, songs which included "Baby Sittin' Boogie" and Jerry Leiber and Mike Stoller's "Yakety Yak". The country influenced "Turn The Lights Down Low" (the b-side of "Auntie Maggie's Remedy") was a short-lived effort to branch out to less pop oriented fare.
In 1968, now recording for the CBS record label, they recorded "Apple, Peaches, Pumpkin Pie", a R&B hit by Jay & the Techniques, followed by "Rosetta" (suggested by Paul McCartney, who played piano on it), and "Easy Squeezy". The group soon stopped recording, and became popular on the cabaret circuit.
Mike Millward died from leukaemia in 1966. Brian O'Hara took his own life in 1999.
Original band members
* Brian O'Hara - born 12 March 1942, Liverpool - died 27 June 1999 - (suicide) - vocalist / lead guitarist
* Mike Millward - born Michael Millward, 9 May 1942, Bromborough, Cheshire - died 7 March 1966, at Bromborough Hospital, Bromborough, Cheshire - rhythm guitarist / singer
* Billy Hatton - born William Hatton, 9 June 1941, Dingle, Liverpool - bassist / singer
* Dave Lovelady - born David Lovelady, 16 October 1942, Litherland, Liverpool - drummer / singer
* Brian Redman born 21 June 1941, Huyton, Liverpool drummer
UK singles
* "Hello Little Girl" (Lennon/McCartney) / Just In Case - September 1963 - Number 9
* "I'm in Love" (Lennon/McCartney) / "Respectable" - December 1963 - Number 17
* "A Little Loving" / "Waitin' For You" - April 1964 - Number 6
* "How Can I Tell Her" / "You Got That Way" - July 1964 - Number 33
* "Baby I Need Your Loving" / That's Only What They Say - November 1964 - Number 24
* "Everything In The Garden" / "He Could Never" - July 1965
* "Girls, Girls, Girls" / "Why Do Fools Fall in Love" - November 1965 - Number 33
* "Here, There and Everywhere" (Lennon/McCartney) / "You've Changed" - August 1966
* "Auntie Maggie's Remedy" / "Turn The Lights Down" - November 1966
* "Apple, Peaches, Pumpkin Pie" / "I Couldn't Spell !!" 1968
* "Rosetta" / "Just Like Before" - 1968
* "Easy Squeezy" / "Do I Love You?" - 1969
Wikipedia
John Lennon: 1975
By Pete Hamill / June 5, 1975
Walls and Bridges has an undertone of regret to it. Did you sit down consciously to make an album like that?
No, well . . . Let's say this last year has been an extraordinary year for me personally. And I'm almost amazed that I could get anything out. But I enjoyed doing Walls and Bridges and it wasn't hard when I had the whole thing to go into the studio and do it. I'm surprised it wasn't just all bluuuugggghhhh. [pause] I had the most peculiar year. And . . . I'm just glad that something came out. It's describing the year, in a way, but it's not as sort of schizophrenic as the year really was. I think I got such a shock during that year that the impact hasn't come through. It isn't all on Walls and Bridges though. There's a hint of it there. It has to do with age and God knows what else. But only the surface has been touched on Walls and Bridges, you know?
What was it about the year? Do you want to try talking about it?
Well, you can't put your finger on it. It started, somehow, at the end of '73, goin' to do this Rock 'n' Roll album [with Phil Spector]. It had quite a lot to do with Yoko and I, whether I knew it or not, and then, suddenly, I was out on me own. Next thing I'd be waking up, drunk, in strange places or reading about meself in the paper, doin' extraordinary things, half of which I'd done and half of which I hadn't done. But you know the game anyway. And find meself sort of in a mad dream for a year. I'd been in many mad dreams, but this . . . It was pretty wild. And then I tried to recover from that. And [long pause] meanwhile life was going on, the Beatles settlement was going on, other things, life was still going on and it wouldn't let you sit with your hangover, in whatever form that took. It was like something - probably meself - kept hitting me while I was trying to do something. I was still trying to do something. I was still trying to carry on a normal life and the whip never let up - for eight months. So . . . that's what was going on. Incidents: You can put it down to which night with which bottle or which night in which town. It was just sort of a mad year like that . . . And it was just probably fear, and being out on me own, and gettin' old, and are ye gonna make it in the charts? Are ye not gonna make it? All that crap, y'know. All the garbage that y'really know is not the be-all and end-all of your life, but if other things are goin' funny, that's gonna hit you. If you're gonna feel sorry for yourself, you're gonna feel sorry for everything. What it's really to do with is probably the same thing that it's always been to do with all your life: whatever your own personal problems really are, you know? So it was a year that manifested itself [switches to deep actor's voice] in most peculiar fashion. But I'm through it and it's '75 now and I feel better and I'm sittin' here and not lyin' in some weird place with a hangover.
Why do you feel better?
Because I feel like I've been on Sinbad's voyage, you know, and I've battled all those monsters and I've got back. [long pause] Weird.
Tell me about the Rock 'n' Roll album.
It started in '73 with Phil and fell apart. I ended up as part of mad, drunk scenes in Los Angeles and I finally finished it off on me own. And there was still problems with it up to the minute it came out. I can't begin to say, it's just barmy, there's a jinx on that album. And I've just started writing a new one. Got maybe half of it written . . .
What about the stories that Spector's working habits are a little odd? For example, that he either showed off or shot off guns in the studios?
I don't like to tell tales out of school, y'know. But I do know there was an awful loud noise in the toilet of the Record Plant West.
What actually did happen those nights at the Troubadour when you heckled the Smothers Brothers and went walking around with a Kotex on your head asking the waitress, "Do you know who I am"?
Ah, y'want the juice . . . If I'd said, "Do you know who I am?" I'd have said it in a joke. Because I know who I am, and I know she knew, because I musta been wearing a Kotex on me head, right? I picked up a Kotex in a restaurant, in the toilet, and it was clean and just for a gag I came back to the table with it on me head. And 'cause it stuck there with sweat, just stayed there, I didn't have to keep it on. It just stayed there till it fell off. And the waitress said, "Yeah, you're an asshole with a Kotex on," and I think it's a good remark and so what? Tommy Smothers was a completely different night and has been covered a million times. It was my first night on Brandy Alexanders and my last [laughs]. And I was with Harry Nilsson, who was no help at all [laughs].
What's your relationship with Nilsson? Some critics say that he's been heavily influenced, maybe even badly screwed up by you.
Oh, that's bullshit.
. . . and that you've also been influenced by him.
That's bullshit, too. I haven't been influenced by Harry, only that I had a lot of hangovers whenever I was with him [laughs]. I love him. He's a great guy and I count him as one of me friends. He hasn't influenced me musically. And there's an illusion going around about my production of Harry's album. That he was trying to imitate me on his album.
You mean that he'd gone into his primal period . . .
That's it. They're so sheeplike - put this in - and childlike about trying to put a tag on what's going on. They use these expressions like "primal" for anything that's a scream. Brackets: Yoko was screaming before Janov was ever even heard of; that was her stint, usin' her voice like an instrument. She was screamin' when Janov was still jackin' off to Freud. But nowadays, everything that's got a scream in it is called primal. I know what they're talkin' about: The very powerful emotional pitch that Harry reaches at the end of "Many Rivers to Cross" on the album I produced for him [Pussy Cats]. It's there, simply enough, because when you get to a certain point with your vocals, there ain't nowhere else to go. Was Little Richard primaling before each sax solo? That's what I want know. Was my imitation Little Richard screams I used to put on all the Beatles records before the solo - we all used to do it, we'd go aaaarrrrgggghhhh! Was that primaling? Right?
Walls and Bridges has an undertone of regret to it. Did you sit down consciously to make an album like that?
No, well . . . Let's say this last year has been an extraordinary year for me personally. And I'm almost amazed that I could get anything out. But I enjoyed doing Walls and Bridges and it wasn't hard when I had the whole thing to go into the studio and do it. I'm surprised it wasn't just all bluuuugggghhhh. [pause] I had the most peculiar year. And . . . I'm just glad that something came out. It's describing the year, in a way, but it's not as sort of schizophrenic as the year really was. I think I got such a shock during that year that the impact hasn't come through. It isn't all on Walls and Bridges though. There's a hint of it there. It has to do with age and God knows what else. But only the surface has been touched on Walls and Bridges, you know?
What was it about the year? Do you want to try talking about it?
Well, you can't put your finger on it. It started, somehow, at the end of '73, goin' to do this Rock 'n' Roll album [with Phil Spector]. It had quite a lot to do with Yoko and I, whether I knew it or not, and then, suddenly, I was out on me own. Next thing I'd be waking up, drunk, in strange places or reading about meself in the paper, doin' extraordinary things, half of which I'd done and half of which I hadn't done. But you know the game anyway. And find meself sort of in a mad dream for a year. I'd been in many mad dreams, but this . . . It was pretty wild. And then I tried to recover from that. And [long pause] meanwhile life was going on, the Beatles settlement was going on, other things, life was still going on and it wouldn't let you sit with your hangover, in whatever form that took. It was like something - probably meself - kept hitting me while I was trying to do something. I was still trying to do something. I was still trying to carry on a normal life and the whip never let up - for eight months. So . . . that's what was going on. Incidents: You can put it down to which night with which bottle or which night in which town. It was just sort of a mad year like that . . . And it was just probably fear, and being out on me own, and gettin' old, and are ye gonna make it in the charts? Are ye not gonna make it? All that crap, y'know. All the garbage that y'really know is not the be-all and end-all of your life, but if other things are goin' funny, that's gonna hit you. If you're gonna feel sorry for yourself, you're gonna feel sorry for everything. What it's really to do with is probably the same thing that it's always been to do with all your life: whatever your own personal problems really are, you know? So it was a year that manifested itself [switches to deep actor's voice] in most peculiar fashion. But I'm through it and it's '75 now and I feel better and I'm sittin' here and not lyin' in some weird place with a hangover.
Why do you feel better?
Because I feel like I've been on Sinbad's voyage, you know, and I've battled all those monsters and I've got back. [long pause] Weird.
Tell me about the Rock 'n' Roll album.
It started in '73 with Phil and fell apart. I ended up as part of mad, drunk scenes in Los Angeles and I finally finished it off on me own. And there was still problems with it up to the minute it came out. I can't begin to say, it's just barmy, there's a jinx on that album. And I've just started writing a new one. Got maybe half of it written . . .
What about the stories that Spector's working habits are a little odd? For example, that he either showed off or shot off guns in the studios?
I don't like to tell tales out of school, y'know. But I do know there was an awful loud noise in the toilet of the Record Plant West.
What actually did happen those nights at the Troubadour when you heckled the Smothers Brothers and went walking around with a Kotex on your head asking the waitress, "Do you know who I am"?
Ah, y'want the juice . . . If I'd said, "Do you know who I am?" I'd have said it in a joke. Because I know who I am, and I know she knew, because I musta been wearing a Kotex on me head, right? I picked up a Kotex in a restaurant, in the toilet, and it was clean and just for a gag I came back to the table with it on me head. And 'cause it stuck there with sweat, just stayed there, I didn't have to keep it on. It just stayed there till it fell off. And the waitress said, "Yeah, you're an asshole with a Kotex on," and I think it's a good remark and so what? Tommy Smothers was a completely different night and has been covered a million times. It was my first night on Brandy Alexanders and my last [laughs]. And I was with Harry Nilsson, who was no help at all [laughs].
What's your relationship with Nilsson? Some critics say that he's been heavily influenced, maybe even badly screwed up by you.
Oh, that's bullshit.
. . . and that you've also been influenced by him.
That's bullshit, too. I haven't been influenced by Harry, only that I had a lot of hangovers whenever I was with him [laughs]. I love him. He's a great guy and I count him as one of me friends. He hasn't influenced me musically. And there's an illusion going around about my production of Harry's album. That he was trying to imitate me on his album.
You mean that he'd gone into his primal period . . .
That's it. They're so sheeplike - put this in - and childlike about trying to put a tag on what's going on. They use these expressions like "primal" for anything that's a scream. Brackets: Yoko was screaming before Janov was ever even heard of; that was her stint, usin' her voice like an instrument. She was screamin' when Janov was still jackin' off to Freud. But nowadays, everything that's got a scream in it is called primal. I know what they're talkin' about: The very powerful emotional pitch that Harry reaches at the end of "Many Rivers to Cross" on the album I produced for him [Pussy Cats]. It's there, simply enough, because when you get to a certain point with your vocals, there ain't nowhere else to go. Was Little Richard primaling before each sax solo? That's what I want know. Was my imitation Little Richard screams I used to put on all the Beatles records before the solo - we all used to do it, we'd go aaaarrrrgggghhhh! Was that primaling? Right?
Tuesday, September 29, 2009
"All I've Got to Do"
"All I've Got to Do" is a song written by John Lennon (credited to Lennon/McCartney) and performed by The Beatles on their second United Kingdom album, With the Beatles. In the United States, "All I've Got to Do" originally appeared on Meet the Beatles.
Inspiration
Lennon said he was "trying to do Smokey Robinson again," and Ian MacDonald compared it to "You Can Depend on Me" by the Miracles, both musically and lyrically. Richie Unterberger of Allmusic said it sounds like Robinson but also Arthur Alexander. Beatles biographer Bob Spitz said the song is "restlessly dark and moody," and compared it to The Shirelles "Baby It's You" and early Drifters recordings.
It was one of three songs Lennon wrote solo for With the Beatles, with "It Won't Be Long" and "Not a Second Time." Lennon said that it was written specifically for the American market; the idea of calling a girl on the telephone was unthinkable to a British youth in the early 1960s. For instance, Lennon said in an interview regarding “No Reply”: “I had the image of walking down the street and seeing her silhouetted in the window and not answering the 'phone, although I have never called a girl on the 'phone in my life! Because 'phones weren’t part of the English child’s life.”
Recording
The Beatles recorded the song in a single recording session on 11 September 1963 in 14 takes with one overdub, take 15. The master take was take 15. It was mixed for mono on 30 September and for stereo on 29 October.
Although Steve Turner claims the song was written in 1961, MacDonald said the song was never in the Beatles' live repertoire, and that explains why 8 of the 14 takes were incomplete: the band was unfamiliar with the song.
Alan Pollack suggests that the hummed fade-out verse is more than just a convenient way to make the ending different. He says, "[I]t rather effectively drives home the underlying self-satisfied subtext of the lyrics; to the extent that some things in life, such as the comfortable equilibrium of a relationship [defy] adequate expression in words."
Release
In the UK, "All I've Got to Do" was released on With the Beatles which also includes the Beatles' cover of "You Really Got a Hold on Me" by the Miracles, the most direct connection between the album and Robinson's music. In the U.S., Capitol Records pulled "You've Really Got a Hold on Me" off Meet the Beatles, releasing it later on The Beatles' Second Album.
Credits
* John Lennon — lead vocal, rhythm guitar
* Paul McCartney — backing vocal, bass guitar
* George Harrison — backing vocal, lead guitar
* Ringo Starr — drums
Cover versions
* In 2007, the Smithereens covered "All I've Got to Do"—and all the other songs on Meet the Beatles—on their tribute album Meet the Smithereens!
* Toxic Audio covered it on Come Together: An A Cappella Tribute to the Beatles.
Album: With the Beatles
Released: 22 November 1963 (UK), 20 January 1964 (U.S.)
Recorded: 11 September 1963
Genre: Beat
Length: 2:04
Label: Parlophone (UK), Capitol (USA)
Writer: Lennon/McCartney
Producer: George Martin
Wikipedia
Inspiration
Lennon said he was "trying to do Smokey Robinson again," and Ian MacDonald compared it to "You Can Depend on Me" by the Miracles, both musically and lyrically. Richie Unterberger of Allmusic said it sounds like Robinson but also Arthur Alexander. Beatles biographer Bob Spitz said the song is "restlessly dark and moody," and compared it to The Shirelles "Baby It's You" and early Drifters recordings.
It was one of three songs Lennon wrote solo for With the Beatles, with "It Won't Be Long" and "Not a Second Time." Lennon said that it was written specifically for the American market; the idea of calling a girl on the telephone was unthinkable to a British youth in the early 1960s. For instance, Lennon said in an interview regarding “No Reply”: “I had the image of walking down the street and seeing her silhouetted in the window and not answering the 'phone, although I have never called a girl on the 'phone in my life! Because 'phones weren’t part of the English child’s life.”
Recording
The Beatles recorded the song in a single recording session on 11 September 1963 in 14 takes with one overdub, take 15. The master take was take 15. It was mixed for mono on 30 September and for stereo on 29 October.
Although Steve Turner claims the song was written in 1961, MacDonald said the song was never in the Beatles' live repertoire, and that explains why 8 of the 14 takes were incomplete: the band was unfamiliar with the song.
Alan Pollack suggests that the hummed fade-out verse is more than just a convenient way to make the ending different. He says, "[I]t rather effectively drives home the underlying self-satisfied subtext of the lyrics; to the extent that some things in life, such as the comfortable equilibrium of a relationship [defy] adequate expression in words."
Release
In the UK, "All I've Got to Do" was released on With the Beatles which also includes the Beatles' cover of "You Really Got a Hold on Me" by the Miracles, the most direct connection between the album and Robinson's music. In the U.S., Capitol Records pulled "You've Really Got a Hold on Me" off Meet the Beatles, releasing it later on The Beatles' Second Album.
Credits
* John Lennon — lead vocal, rhythm guitar
* Paul McCartney — backing vocal, bass guitar
* George Harrison — backing vocal, lead guitar
* Ringo Starr — drums
Cover versions
* In 2007, the Smithereens covered "All I've Got to Do"—and all the other songs on Meet the Beatles—on their tribute album Meet the Smithereens!
* Toxic Audio covered it on Come Together: An A Cappella Tribute to the Beatles.
Album: With the Beatles
Released: 22 November 1963 (UK), 20 January 1964 (U.S.)
Recorded: 11 September 1963
Genre: Beat
Length: 2:04
Label: Parlophone (UK), Capitol (USA)
Writer: Lennon/McCartney
Producer: George Martin
Wikipedia
"Little Child" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles (1963)
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me.
If you want someone to make you feel so fine
Then we'll have some fun when you're mine, all mine
So come on, come on, come on.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me (wuh yeah).
When you're by my side, you're the only one
Don't you run and hide, just come on, come on
Yeah come on, come on, come on.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah.
As Released by the Beatles (1963)
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me.
If you want someone to make you feel so fine
Then we'll have some fun when you're mine, all mine
So come on, come on, come on.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me (wuh yeah).
When you're by my side, you're the only one
Don't you run and hide, just come on, come on
Yeah come on, come on, come on.
Little child, little child
Little child, won't you dance with me?
I'm so sad and lonely
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah
Baby take a chance with me, oh yeah.
Monday, September 28, 2009
"Freight Train"
The Beatles covered "Freight Train" in their live act from 1957-1959, when they were known under various names. They undoubtedly learned it from the top 5 UK single of The Chas McDevitt Skiffle Group (featuring Nancy Whiskey). Though the songwriting credit on the single was listed as "James/Williams," the song had been written by the American folk musician Elizabeth Cotten. Cotten wrote "Freight Train" at age 11 when she saw a train pass by her house on Lloyd Street in Carrboro, North Carolina.
"Power to the People" Lyrics
by John Lennon
Original Manuscript (1971)
Power to the people
Power to the people
Power to the people
Power to the people right now
(1) say we want a revolution
we better get it on real soon/right now?
well you get off your feet
and we go into the street singing - power to the people
chorus
(2) a million workers work for nothin'
you better give 'em what they really own
we gonna put you down
when we march into town signing - Power
chorus
As Released by John Lennon (1971)
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people, right on
Say we want a revolution
We better get it on right away
Well you get on your feet
And into the street
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
A million workers working for nothing
You better give them what they really own
We got to put you down
When we come into town
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
I got to ask you comrades and brothers
How do you treat your own woman back home
She got to be herself
So she can free herself
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
Now, now, now, now
Oh well, power to the people
Power to the people
Power to the people
Power to the people, right on
Yeah, power to the people
Power to the people
Power to the people
Power to the people, right on
Power to the people
Power to the people
Power to the people
Power to the people, right on
Original Manuscript (1971)Power to the people
Power to the people
Power to the people
Power to the people right now
(1) say we want a revolution
we better get it on real soon/right now?
well you get off your feet
and we go into the street singing - power to the people
chorus
(2) a million workers work for nothin'
you better give 'em what they really own
we gonna put you down
when we march into town signing - Power
chorus
As Released by John Lennon (1971)
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people
Power to the people, right on
Say we want a revolution
We better get it on right away
Well you get on your feet
And into the street
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
A million workers working for nothing
You better give them what they really own
We got to put you down
When we come into town
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
I got to ask you comrades and brothers
How do you treat your own woman back home
She got to be herself
So she can free herself
Singing power to the people
Power to the people
Power to the people
Power to the people, right on
Now, now, now, now
Oh well, power to the people
Power to the people
Power to the people
Power to the people, right on
Yeah, power to the people
Power to the people
Power to the people
Power to the people, right on
Power to the people
Power to the people
Power to the people
Power to the people, right on
Sunday, September 27, 2009
"Ain't She Sweet"
"Ain't She Sweet" is a song composed by Milton Ager (music) and Jack Yellen (lyrics) and published in 1927 by Edwin H. Morris & Co., Inc./Warner Bros., Inc. It became popular in the first half of the twentieth century, one of the smash hit songs that typified the Roaring Twenties. Like "Happy Days Are Here Again" (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were elected to membership in the Songwriters Hall of Fame.
Recorded Versions
* Ben Bernie and his Orchestra - 1927
* Gene Austin - 1927
* Johnny Marvin - 1927
* Lillian Roth -1933
* Mr. Goon-Bones & Mr. Ford - 1949
* Paul Ash and his Orchestra
* Winifred Atwell - Decca Records
* Frank Banta
* Pearl Bailey - 1949 Harmony Records
* Bunny Berigan & His Orchestra - 1940
* Sally Blair - EMI Records Group, N.A.
* Eddie Cantor
* Judy Carmichael - 1985
* Benny Carter - Contemporary Records
* Bill Coleman, Stephane Grappelli - Classic Jazz Records
* Jackie Davis - Capitol Records
* Eric Delaney and his Band - EMI Records Group, N.A.
* Tommy Dorsey - Decca Records
* The Dukes of Dixieland - Audio Fidelity Records
* Erroll Garner
* Ken Griffin - Columbia Records
* Annette Hanshaw - 1927 - PATHÉ Actuelle
* Fletcher Henderson - Disques Swing Records
* Joe "Mr Piano" Henderson- Pye UK Records
* The Milt Herth Trio - Coral Records
* Michael Holliday - EMI Records Group, N.A.
* Ferlin Husky - 1959
* Jack Hylton and his Orchestra - EMI Records Group, N.A.
* Harry James & His Orchestra - 1945
* Sammy Kaye - 1960
* Enoch Light and his Orchestra
* Meade “Lux” Lewis
* Guy Lombardo & His Royal Canadians - 1966
* Jimmie Lunceford and his Orchestra - 1939 - Columbia Records
* Johnny Maddox - Dot Records
* The Johnny Mann Singers - Liberty Records
* Billy May - Capitol Records
* The Modernaires - Coral Records
* The Moms and Dads - Crescendo Records
* Joyce Moody - Sixpence, Inc.
* Russ Morgan and his Orchestra - Capitol Records
* Eddie Peabody
* Mel Powell Trio
* Duffy Power
* Frank Sinatra - 1962
* Jimmy Smith
* Big Joe Turner - Classic Jazz Records
* Gene Vincent & the Blue Caps - 1956 Capitol Records
* Ben Webster, Frank Rosolino - Contemporary Records
* Lawrence Welk and his Orchestra - Ranwood Records Inc.
Other recordings
"Ain't She Sweet" was also performed by The Beatles (with Lennon on lead vocals). It was recorded on June 23, 1961 at the Friedrich-Ebert-Halle, Hamburg, Germany with Pete Best on drums, and Bernard Purdie for drum overdubs, produced by Bert Kaempfert, released in 1964, May 29 on Polydor NH 52-317 (UK). A different rendition, recorded during a jam session in 1969 with Ringo Starr on drums, was released on The Beatles Anthology 3.
Fabian; Hoosier Hot Shots; Ray Anthony; Nat King Cole; Tiny Hill & The Hilltoppers; The Playboys; The Viscounts; Frankie Lymon & The Teenagers: ........ and many others recorded Ain't She Sweet.
Selected Appearances in Film/TV Shows
* Duck Soup (Paramount Pictures, 1933)
* The Eddy Duchin Story (Columbia Pictures, 1955)
* Strangers on a Train (Warner Brothers, 1951) instrumental in background of carnival scenes
* You're My Everything (Twentieth Century Fox, 1949)
* You Were Meant for Me (Twentieth Century Fox, 1948)
* House M.D. Season 2, Episode 9: "Deception"
Music by Milton Ager
Lyrics by Jack Yellen
Written: 1927
Language: English
Original artist: Ben Bernie
Wikipedia
Recorded Versions
* Ben Bernie and his Orchestra - 1927
* Gene Austin - 1927
* Johnny Marvin - 1927
* Lillian Roth -1933
* Mr. Goon-Bones & Mr. Ford - 1949
* Paul Ash and his Orchestra
* Winifred Atwell - Decca Records
* Frank Banta
* Pearl Bailey - 1949 Harmony Records
* Bunny Berigan & His Orchestra - 1940
* Sally Blair - EMI Records Group, N.A.
* Eddie Cantor
* Judy Carmichael - 1985
* Benny Carter - Contemporary Records
* Bill Coleman, Stephane Grappelli - Classic Jazz Records
* Jackie Davis - Capitol Records
* Eric Delaney and his Band - EMI Records Group, N.A.
* Tommy Dorsey - Decca Records
* The Dukes of Dixieland - Audio Fidelity Records
* Erroll Garner
* Ken Griffin - Columbia Records
* Annette Hanshaw - 1927 - PATHÉ Actuelle
* Fletcher Henderson - Disques Swing Records
* Joe "Mr Piano" Henderson- Pye UK Records
* The Milt Herth Trio - Coral Records
* Michael Holliday - EMI Records Group, N.A.
* Ferlin Husky - 1959
* Jack Hylton and his Orchestra - EMI Records Group, N.A.
* Harry James & His Orchestra - 1945
* Sammy Kaye - 1960
* Enoch Light and his Orchestra
* Meade “Lux” Lewis
* Guy Lombardo & His Royal Canadians - 1966
* Jimmie Lunceford and his Orchestra - 1939 - Columbia Records
* Johnny Maddox - Dot Records
* The Johnny Mann Singers - Liberty Records
* Billy May - Capitol Records
* The Modernaires - Coral Records
* The Moms and Dads - Crescendo Records
* Joyce Moody - Sixpence, Inc.
* Russ Morgan and his Orchestra - Capitol Records
* Eddie Peabody
* Mel Powell Trio
* Duffy Power
* Frank Sinatra - 1962
* Jimmy Smith
* Big Joe Turner - Classic Jazz Records
* Gene Vincent & the Blue Caps - 1956 Capitol Records
* Ben Webster, Frank Rosolino - Contemporary Records
* Lawrence Welk and his Orchestra - Ranwood Records Inc.
Other recordings
"Ain't She Sweet" was also performed by The Beatles (with Lennon on lead vocals). It was recorded on June 23, 1961 at the Friedrich-Ebert-Halle, Hamburg, Germany with Pete Best on drums, and Bernard Purdie for drum overdubs, produced by Bert Kaempfert, released in 1964, May 29 on Polydor NH 52-317 (UK). A different rendition, recorded during a jam session in 1969 with Ringo Starr on drums, was released on The Beatles Anthology 3.
Fabian; Hoosier Hot Shots; Ray Anthony; Nat King Cole; Tiny Hill & The Hilltoppers; The Playboys; The Viscounts; Frankie Lymon & The Teenagers: ........ and many others recorded Ain't She Sweet.
Selected Appearances in Film/TV Shows
* Duck Soup (Paramount Pictures, 1933)
* The Eddy Duchin Story (Columbia Pictures, 1955)
* Strangers on a Train (Warner Brothers, 1951) instrumental in background of carnival scenes
* You're My Everything (Twentieth Century Fox, 1949)
* You Were Meant for Me (Twentieth Century Fox, 1948)
* House M.D. Season 2, Episode 9: "Deception"
Music by Milton Ager
Lyrics by Jack Yellen
Written: 1927
Language: English
Original artist: Ben Bernie
Wikipedia
"Let It Be" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles - Single (1970)
When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be.
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
And when the broken-hearted people
Living in the world agree
There will be an answer, let it be.
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Yeah there will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
And when the night is cloudy
There is still a light that shines on me
Shine on till tomorrow, let it be.
I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom, let it be.
Yeah let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
As Released by the Beatles - Album (1970)
When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be.
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
And when the broken-hearted people
Living in the world agree
There will be an answer, let it be.
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Yeah there will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
And when the night is cloudy
There is still a light that shines on me
Shine on till tomorrow, let it be.
I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom, let it be.
Yeah let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
As Released by the Beatles - Single (1970)
When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be.
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
And when the broken-hearted people
Living in the world agree
There will be an answer, let it be.
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Yeah there will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
And when the night is cloudy
There is still a light that shines on me
Shine on till tomorrow, let it be.
I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom, let it be.
Yeah let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
As Released by the Beatles - Album (1970)
When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be.
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
And when the broken-hearted people
Living in the world agree
There will be an answer, let it be.
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Yeah there will be an answer, let it be.
Let it be, let it be, let it be, let it be.
Whisper words of wisdom, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
And when the night is cloudy
There is still a light that shines on me
Shine on till tomorrow, let it be.
I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom, let it be.
Yeah let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Oh there will be an answer, let it be.
Let it be, let it be, let it be, yeah let it be.
Whisper words of wisdom, let it be.
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