Tag: Music

Once Upon a Time… in Hollywood – Soundtrack

https://en.wikipedia.org/wiki/Once_Upon_a_Time_in_Hollywood#Soundtrack

Once Upon A Time In Hollywood (Original Motion Picture Soundtrack) – Exclusive Limited Edition Orange Colored Vinyl LP (Includes 2 Posters)

Roy Head & The Traits–Treat Her Right
The Bob Seger System*–Ramblin’ Gamblin’ Man
No Artist–Boss Radio
Featuring – Humble Harve*
Deep Purple–Hush
No Artist–Mug Root Beer Advertisement
The Village Callers–Hector
Buchanan Brothers (2)–Son Of A Lovin’ Man
Chad & Jeremy–Paxton Quigley’s Had The Course
No Artist–Tanya’s Tanning Butter Advertisement
Paul Revere & The Raiders–Good Thing
Paul Revere & The Raiders–Hungry
Box Tops–Choo Choo Train
Mitch Ryder & The Detroit Wheels–Jenny Take A Ride
Deep Purple–Kentucky Woman
Buffy Sainte-Marie–The Circle Game
No Artist–Boss Radio
Featuring – The Real Don Steele*
Simon & Garfunkel–Mrs. Robinson
No Artist–Numero Uno Advertisement
Los Bravos–Bring A Little Lovin’
No Artist–Suddenly / Heaven Sent Advertisement
No Artist–Vagabond High School Reunion
No Artist–KHJ Los Angeles Weather Report
No Artist–The Illustrated Man Advertisement / Ready For Action
Dee Clark–Hey Little Girl
No Artist–Summer Blonde Advertisement
Neil Diamond–Brother Love’s Traveling Salvation Show
Robert Corff–Don’t Chase Me Around
Paul Revere & The Raiders–Mr. Sun, Mr. Moon
José Feliciano–California Dreamin’
I Cantori Moderni di Alessandroni–Dynamite Jim (English Version)
Vanilla Fudge–You Keep Me Hangin’ On (Quentin Tarantino Edit)
Maurice Jarre–Miss Lilly Langtry
No Artist–KHJ Batman Promotion

It’s a Mistake – Men at Work

COLIN HAY, Men at Work: I think “Who Can It Be Now?” cost $5,000. Greg Ham, our sax player, had a theatrical background, and I loved to perform. We first came to the States towards the end of 1982, and toured for about four months. MTV was already playing “Who Can It Be Now?” in heavy rotation and may have been playing “Down Under” by the time we left. It was exciting enough for us to be in New York. But when I arrived, people would walk past me saying, “How you doin’, Colin?” People would hang out of cabs, yelling out stuff. And that was because of MTV.

Tannenbaum, Rob; Marks, Craig. I Want My MTV

Deadbeat Club – The B-52’s

The B-52s (styled as The B-52’s prior to 2008)[8] is an American new wave band formed in Athens, Georgia, in 1976. The original line-up consisted of Fred Schneider (vocals, percussion), Kate Pierson (vocals, keyboards, synth bass), Cindy Wilson (vocals, percussion), Ricky Wilson (guitar), and Keith Strickland (drums, guitar, keyboards). Ricky Wilson died from AIDS-related illness in 1985,[9] and Strickland switched from drums to lead guitar. The band also added various members for albums and live performances.

The group evoked a “thrift shop aesthetic”, in the words of Bernard Gendron,[7] by drawing from 1950s and 1960s pop sources, trash culture, and rock and roll. Schneider, Pierson, and Wilson sometimes use call-and-response-style vocals (Schneider’s often humorous sprechgesang contrasting with the melodic harmonies of Pierson and Wilson), and their guitar- and keyboard-driven instrumentation comprises their trademark sound, which was also set apart from their contemporaries by the unusual guitar tunings used by Ricky Wilson[10] on their earlier albums.

Keith Richards on Charlie Watts’ Drumming

If it hadn’t been for Charlie, I would never have been able to expand and develop. Number one with Charlie is that he’s got great feel. He had it then, from the start. There’s tremendous personality and subtlety in his playing. If you look at the size of his kit, it’s ludicrous compared with what most drummers use these days. They’ve got a fort with them. An incredible barrage of drums. Charlie, with just that one classico setup, can pull it all off. Nothing pretentious, and then you hear him and it don’t half go bang. He plays with humor too. I love to watch his foot through the Perspex. Even if I can’t hear him, I can play to him just by watching. The other thing is Charlie’s trick that he got, I think, from Jim Keltner or Al Jackson. On the hi-hat, most guys would play on all four beats, but on the two and the four, which is the backbeat, which is a very important thing in rock and roll, Charlie doesn’t play, he lifts up. He goes to play and pulls back. It gives the snare drum all of the sound, instead of having some interference behind it. It’ll give you a heart arrhythmia if you look at it. He does some extra motion that’s totally unnecessary. It pulls the time back because he has to make a little extra effort. And so part of the languid feel of Charlie’s drumming comes from this unnecessary motion every two beats. It’s very hard to do—to stop the beat going just for one beat and then come back in. And it also has something to do with the way Charlie’s limbs are constructed, where he feels the beat. Each drummer’s got a signature as to whether the hi-hat’s a little bit ahead of the snare. Charlie’s very far back with the snare and up with the hi-hat. And the way he stretches out the beat and what we do on top of that is a secret of the Stones sound. Charlie’s quintessentially a jazz drummer, which means the rest of the band is a jazz band in a way.

Life
Keith Richards

Alice Cooper vs Marilyn Manson – Two Approaches to Character

ALICE COOPER: I looked around and noticed [that] everyone I was trying to be like was dead. I went, “Okay, I get it. Alice has got to be one thing and I’ve got to be another thing. I can’t coexist with Alice; Alice has to be a character I play onstage.” When the curtain comes down he really doesn’t want to live my life and I don’t want to live his. He lives two hours a night onstage. He doesn’t want to play golf, he doesn’t want to be married, he doesn’t want children. He doesn’t like anything except what he’s doing onstage, and you leave him up there. To this day, we have a great relationship.

MARILYN MANSON: I’m completely unlike a lot of other performers in the past who have been forgiven or come to terms with the real world because they tell everyone their performance is just a show. So people say, “Oh, it’s okay then. We don’t care. He’s not really a bad person.” It’s not just a show for me. It’s my life. I live my art. I’m not just playing a character onstage. Anyone who thinks I’m just trying to be this weird or shocking guy is missing the point. I’ve never tried to be merely shocking because it’s too simple. I could do a lot more shocking things [than I do]. I’ve just always asserted myself as a villain because the villain in any walk of life is the person who refuses to follow blindly and always wants to question things.

Louder Than Hell: The Definitive Oral History of Metal
Jon Wiederhorn, Katherine Turman

This is Radio Clash – The Clash

Interrupting all programs
This is radio clash from pirate satellite
Orbiting your living room,
Cashing in the bill of rights
Cuban army surplus or refusing all third lights
This is radio clash on pirate satellite

This sound does not subscribe
To the international plan
In the psycho shadow of the white right hand
Then that see ghettology as an urban Vietnam
Giving deadly exhibitions of murder by napalm

This is radio clash tearing up the seven veils
This is radio clash please save us, not the whales
This is radio clash underneath a mushroom cloud
This is radio clash
You don’t need that funeral shroud

Forces have been looting
My humanity
Curfews have been curbing
The end of liberty

Hands of law have sorted through
My identity
But now this sound is brave
And wants to be free, anyway to be free

This is radio clash on pirate satellite
This is not free Europe
Noh an armed force network
This is radio clash using audio ammunition
This is radio clash can we get that world to listen?
This is radio clash using aural ammunition
This is radio clash can we get that world to listen?
This is radio clash on pirate satellite
Orbiting your living room,
Cashing in the bill of rights
This is radio clash on pirate satellite
This is radio clash everybody hold on tight

A-riggy diggy dig dang dang
Go back to urban ‘nam

“This Is Radio Clash” is a song by the English punk rock band the Clash. The 1981 single was issued in 7-inch format and also in 12-inch format and cassette tape with additional tracks. The first public performance of the song was on Tom Snyder’s Tomorrow show on 5 June 1981.[3]

The song is not featured on any of the Clash’s original studio albums, but is included in their compilations: The Singles (1991), The Story of the Clash, Volume 1, Sound System, Singles Box, The Singles (2007) and Clash on Broadway.

https://en.wikipedia.org/wiki/This_Is_Radio_Clash

Summer of Soul Playlist – Spotify

PLAYLIST
Playlist inc. The Chambers Brothers, 5th Dimension, Nina Simone, Stevie Wonder, The Staple Singers, and Sly & the Family Stone. Questlove. Includes more tracks from the whole festival, not just the documentary movie. Still some missing from Spotify though!

5,111 likes
102 songs, about 7 hr