Thematic Lesson: Love Songs
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Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
The Fingerprints of the “5” Royales Nearly 65 Years After Forming in Winston-Salem, the “5” Royales’ Impact on Popular Music Is Evident Today
The Fingerprints of the “5” Royales Nearly 65 years after forming in Winston-Salem, the “5” Royales’ impact on popular music is evident today. Start tracing the influences of some of today’s biggest acts, then trace the influence of those acts and, in many cases, the trail winds back to the “5” Royales. — Lisa O’Donnell CLARENCE PAUL SONGS VOCALS LOWMAN “PETE” PAULING An original member of the Royal Sons, the group that became the The Royales made a seamless transition from gospel to R&B, recording The Royales explored new terrain in the 1950s, merging the raw emotion of In the mid-1950s, Pauling took over the band’s guitar duties, adding a new, “5” Royales, Clarence Paul was the younger brother of Lowman Pauling. songs that included elements of doo-wop and pop. The band’s songs, gospel with the smooth R&B harmonies that were popular then. That new explosive dimension to the Royales’ sound. With his guitar slung down to He became an executive in the early days of Motown, serving as a mentor most of which were written by Lowman Pauling, have been recorded by a sound was embraced most prominently within the black community. Some his knees, Pauling electrified crowds with his showmanship and a crackling and friend to some of the top acts in music history. diverse array of artists. Here’s the path a few of their songs took: of those early listeners grew up to put their spin on the Royales’ sound. guitar style that hinted at the instrument’s role in the coming decades. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Sh-Boom« Die Gesangsgruppen
15. »Sh-Boom« Die Gesangsgruppen Martin Pfleiderer In den USA gab es bereits im 19. Jahrhundert professionelle Gesangsgrup- pen. So reisten etwa im Rahmen von Minstrelsy und Vaudeville zahlreiche singende Familiengruppen, insbesondere von Immigranten aus Deutsch- land und Österreich, durchs Land (vgl. Friedman/Gribin 2013: 3–9). Im 20. Jahrhundert veränderten sich die Traditionen des Gruppengesangs aufgrund der fortschreitenden Professionalisierung und der neuen Me- dientechnologien, aber auch aufgrund gesamtkultureller Veränderungen. Im Folgenden sollen einige der stilistischen Entwicklungen des populären Gruppengesangs in den USA zwischen 1900 und 1960 dargestellt werden. Die zentrale Fragestellung richtet sich auf die Art und Weise, wie die ver- schiedenen Gesangsstimmen einer Vokalgruppe zusammenwirken. Diese Gestaltungsweisen, ihr Auftreten in verschiedenen Musikgenres und ihre historischen Veränderungen sollen exemplarisch anhand von einflussrei- chen Aufnahmen und Vokalgruppen dargestellt werden. Gegenstand sind Vokalgruppen mit einer Besetzung von drei bis sechs Sängerinnen oder Sängern mit oder ohne zusätzliche Instrumental begleitung, die unter ei- nem gemeinsamen Gruppennamen aufgetreten sind. Vokalensembles, die als Background-Bands für einen Gesangsstar fungieren, werden dagegen nur am Rande thematisiert, ebenso wie größere Vokalensembles und Chö- re. Historischer Ausgangspunkt sind Praktiken und Gestaltungsweisen des Gruppengesangs, wie sie in frühen Aufnahmen des Hillbilly bezie- hungsweise Folk und Country und der afroamerikanischen -
1 Hey Jude the Beatles 1968 2 Stairway to Heaven Led Zeppelin 1971 3 Stayin' Alive Bee Gees 1978 4 YMCA Village People 1979 5
1 Hey Jude The Beatles 1968 2 Stairway To Heaven Led Zeppelin 1971 3 Stayin' Alive Bee Gees 1978 4 YMCA Village People 1979 5 (We're Gonna) Rock Around The Clock Bill Haley & His Comets 1955 6 Da Ya Think I'm Sexy? Rod Stewart 1979 7 Jailhouse Rock Elvis Presley 1957 8 (I Can't Get No) Satisfaction Rolling Stones 1965 9 Tragedy Bee Gees 1979 10 Le Freak Chic 1978 11 Macho Man Village People 1978 12 I Will Survive Gloria Gaynor 1979 13 Yesterday The Beatles 1965 14 Night Fever Bee Gees 1978 15 Fire Pointer Sisters 1979 16 I Want To Hold Your Hand The Beatles 1964 17 Shake Your Groove Thing Peaches & Herb 1979 18 Hound Dog Elvis Presley 1956 19 Heartbreak Hotel Elvis Presley 1956 20 The Twist Chubby Checker 1960 21 Johnny B. Goode Chuck Berry 1958 22 Too Much Heaven Bee Gees 1979 23 Last Dance Donna Summer 1978 24 American Pie Don McLean 1972 25 Heaven Knows Donna Summer & Brooklyn Dreams 1979 26 Mack The Knife Bobby Darin 1959 27 Peggy Sue Buddy Holly 1957 28 Grease Frankie Valli 1978 29 Love Me Tender Elvis Presley 1956 30 Soul Man Blues Brothers 1979 31 You Really Got Me The Kinks 1964 32 Hot Blooded Foreigner 1978 33 She Loves You The Beatles 1964 34 Layla Derek & The Dominos 1972 35 September Earth, Wind & Fire 1979 36 Don't Be Cruel Elvis Presley 1956 37 Blueberry Hill Fats Domino 1956 38 Jumpin' Jack Flash Rolling Stones 1968 39 Copacabana (At The Copa) Barry Manilow 1978 40 Shadow Dancing Andy Gibb 1978 41 Evergreen (Love Theme From "A Star Is Born") Barbra Streisand 1977 42 Miss You Rolling Stones 1978 43 Mandy Barry Manilow 1975 -
Doo-Wop (That Thing)”
“Respect is just a minimum”: Self-empowerment in Lauryn Hill’s “Doo-Wop (That Thing)” Maisie Hulbert University of Cambridge 3,995 words Maisie Hulbert Self-empowerment in Lauryn Hill In his 2016 Man Booker Prize winning satirical novel The Sellout, Paul Beatty’s narrator states that “the black experience used to come with lots of bullshit, but at least there was some fucking privacy” (p. 230). The global hip-hop industry admittedly circulates images of blackness that were once silenced, but on the terms of an economically and socially dominant order. The resulting fascination with stereotypes of blackness, essentialised by those in positions of corporate power, means hip-hop becomes an increasingly complex identity- forming tool for young people worldwide. From a series of case studies exploring young black women’s relationship to hip-hop, Lauren Leigh Kelly argues that many “construct their identities in relation to media representations of blackness and femininity in hip-hop music and culture” (2015, p. 530). However, the stereotypical images of blackness which are encouraged ignore elements of choice, empowerment and re-contextualisation in hip-hop whilst meeting the widespread demand for imagery of a racial “Other”. The often negative associations with such images denies individuals the opportunity to identify their own relationship towards them, independent of media scrutiny and judgement. Lauryn Hill’s “Doo Wop (That Thing)” “sounds gender” (Bradley, 2015) through lyrics, flow, and multimedia, working to empower black femininities with self-respect. I argue that Hill’s track voices specifically black female concerns, prioritising notions of community central to black feminist thought (Collins, 2009). -
Billboard's Top 50 Singles, May 31, 1958
Billboard’s Top 50 Singles, May 31, 1958 1. The Purple People Eater Sheb Wooley 2. All I Have to Do Is Dream The Everly Brothers 3. Witch Doctor David Seville 4. Return to Me Dean Martin 5. Do You Wanna Dance? Bobby Freeman 6. Secretly Jimmie Rodgers 7. Big Man Four Preps 8. Johnny B. Goode Chuck Berry 9. Looking Back Nat King Cole 10. Wear My Ring Around Your Neck Elvis Presley 11. Twilight Time The Platters 12. Jeannie Lee Jan and Arnie 13. Chanson D’Amour Jan and Arnie 14. He’s Got the Whole World In His Hands Laurie London 15. Book of Love The Monotones 16. Sugar Moon Pat Boone 17. Oh Lonesome Me Don Gibson 18. Kewpie Doll Perry Como 19. Torero Renato Carosone 20. For Your Love Ed Townsend 21. Rumble Link Wray 22. What Am I Living For Chuck Willis 23. Endless Sleep Jody Reynolds 24. Yakety Yak The Coasters 25. Zorro The Chordettes 26. High School Confidential Jerry Lee Lewis 27. To Be Loved Jackie Wilson 28. Talk to Me Talk to Me Little Willie John 28 (tie). You The Aquatones 30. El Rancho Rock The Champs 31. Let the Bells Keep Ringing Paul Anka 32. Padre Toni Arden 33. I Wonder Why Dion and the Belmonts 34. Pretty Baby Gino and Gina 34 (tie). Cha-hua-hua The Pets 36. I’m Sorry I Made You Cry Connie Francis 37. Rave On Buddy Holly 38. Guess Things Happen That Way Johnny Cash 38 (tie). You Need Hands Eydie Gorme 40. -
Clyde Mcphatter 1987.Pdf
Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great. -
Band Song-List
SONG LIST Modern Rock, Pop & Hip-Hop Adele Bruno Mars Love Song Just The Way You Are Rolling In The Deep Locked Out Of Heaven Someone Like You Treasure Make You Feel My Love Uptown Funk 24K Magic Alicia Keys Leave The Door Open Empire State of Mind Part II Finesse Feat. Cardi B Fallin' If I Ain't Got You BTS No One Dynamite This Girl Is On Fire Capital Cities Ariana Grande Safe and Sound No Tears Left To Cry Bang, Bang Cardi B I like it like that Amy Winhouse Valerie Calvin Harris Rehab Feel So Close Back To Black This is What You Came For Avicii Carly Rae Jepsen Wake Me Up Call Me Maybe Beyonce Cee-lo Green 1 Plus 1 Forget You Crazy In Love Drunk In Love Chainsmokers If I Were a Boy Closer Love On Top Single Ladies Christina Aguilera Lady Marmalade Billie Eilish Bad Guy Christina Perri 1000 Years Black-Eyed Peas I Gotta Feeling Clean Bandit A Little Party Never Killed Nobody Rather Be Bow Wow Wow Corinne Bailey Rae I Want Candy Put your Records On Daft Punk Get Lucky Lose Yourself To Dance Justin Timberlake Darius Rucker Suit & Tie Wagon Wheel Can’t Stop The Feeling Cry Me A River David Guetta Love You Like I Love You Titanium Feat. Sia Sexy Back Drake Jay-Z and Alicia Keys Hotline Bling Empire State of Mind One Dance In My Feelings Jess Glynne Hold One We’re Going Home Hold My Hand Too Good Controlla Jessie J Bang, Bang DNCE Domino Cake By The Ocean Kygo Disclosure Higher Love Latch Katy Perry Dua Lipa Chained To the Rhythm Don’t Start Now California Gurls Levitating Firework Teenage Dream Duffy Mercy Lady Gaga Bad Romance Ed Sheeran Just Dance Shape Of You Poker Face Thinking Out loud Perfect Duet Feat. -
Review: Dion – Blues with Friends (2020) by Andy Thorley June 13, 2020
REVIEW: DION – BLUES WITH FRIENDS (2020) BY ANDY THORLEY JUNE 13, 2020 With no disrespect meant to Dion, it’s the “With Friends” bit of this that you almost have to start with. There’s no need to list all his mates, either. They are front and centre on the cover. Right there. And he’s got a Nobel Prize winner doing the sleeve notes too. Robert Zimmerman no less, says this about Dion: “Dion knows how to sing, and he knows just the right way to craft these songs, these blues songs…… in the end, it’s Dion by himself alone, and that masterful voice of his that will keep you returning to share these Blues songs with him.” As he so often does, there, Mr. Dylan has nailed it, because bluntly – and call me a philistine if you like – when I listen to a record, I don’t care who is playing what, I only care about the songs. On this collection those are, for the most part, top class. Dion DiMucci has had a career that many – even including some of the legends that are on this record – would be envious of. A quick scan of his discography reveals some of the all time great singles. The ones that the world and their dogs have heard of. These days Dion (like Cher) he goes by one name only, plays the blues. And this, as he explained, is his dream: “I wanted an album of songs that were strong and memorable and told stories that were worth telling.” The first one, has got Joe Bonamassa sprinkling his kind of gold dust on “Blues Coming On” and it’s a cracker. -
Van Halen – a Different Kind of Truth
Van Halen – A Different Kind Of Truth A Different Kind Of Truth is Van Halen’s twelfth studio album, and their first in fourteen years. This album marks the recording reunion of Eddie and Alex Van Halen with original singer/front man David Lee Roth. Roth was the singer in Van Halen from 1974‐1985, and was replaced by Sammy Hagar when the band softened their hard rock sound into a more commercial pop rock sound in the mid‐1980s. Roth recorded two songs with Van Halen in 1996 for a greatest hits album released when Hagar left the band, and expectations were high that he would return for a new album, but it didn’t work out that way. Instead, Extreme singer Gary Cherone joined Van Halen, and they recorded one weak album together. Touring reunions with both Hagar and Roth followed the departure of Cherone in 1999, but there was no new music recorded. There was much debate whether there would ever be another Van Halen album, as Eddie Van Halen was often seen drunk in public during his separation and after his divorce from actress Valerie Bertinelli. Furthermore, a YouTube video surfaced of Eddie, appearing to be near death, sitting in with a party band playing a Tommy Bolin song, and his guitar playing was pathetic. Eddie appeared unhealthy due to suspected drug use, and the second half of a tour was cancelled in 2008 due to Eddie’s poor health. This is the much abbreviated “CliffsNotes” version of the Van Halen soap opera, which effectively reduced one of the most popular rock bands in history to a joke.