All Shook up As Sung by Elvis Presley
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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. -
A Hard Days Night Angie About a Girl Acky Breaky Heart All Along the Watchtowers Angels All the Small Things Ain`T No Sunshine A
A hard days night Angie About a girl Acky breaky heart All along the watchtowers Angels All the small things Ain`t no sunshine All shook up Alberta Alive And I love her Anna (go to him) 500 miles 7 nation army Back to you Bad moon rising Be bop a lula Beds are burnng Big monkey man Bitter sweet symphony Big yellow taxi Blue suede shoes Born to be wild Breakfast at Tiffany`s Bonasera Brown eyed girl Can`t take my eyes off of you Californication Change the world Cigarettes and alcohol Cocain blues Baby,Come back Chasing cars Come together Creep Come as you are Cocain Cotton fields Crazy Country roads Crazy little thing called love Dont look back in anger Don't worry be happy Dancing in the moonlight Don`t stop belivin` Dance the night away Dead or alive Englishman in NY Every breath you take Easy Faith Feel like making love Fortunate son Fields of gold Further on up the road Free falling Gimme all your lovin' Gimme love Gimme all your love Great balls of fire Green grass of home Happy Hello Heart-shaped box Have you ever seen the rain Hello Mary Lou Highway to hell High and dry Hey jude Hotel california Human touch Hurt Hound dog (ISun Can't is shining Get No) Satisfaction I'm yours I don't wanna miss a thing I saw her staning there I got stripes I walk the line Imagine I`m a believer It`s my life (D) Impossible Jamming Johny be goode Keep on rockin` in a free world Knockin` on the heavens door Kingston town La bamba (E) Lay down Sally Learn to fly Light my fire Let her go Let it be Love is all around Layla Learning to fly Living next door -
Otis Blackwell: Songwriter to “The King”
Country Music Hall of Fame® and Museum • Words & Music • Grades 3-6 Otis Blackwell: Songwriter to “The King” As the songwriter of two of Elvis Presley’s career-making hits, Otis Blackwell will always be linked to the man known as the King of Rock & Roll. But so many artists have recorded Blackwell’s songs that his work reaches far beyond Presley’s shadow. The many hits Blackwell wrote made him one of rock & roll’s most influential songwriters. Born February 16, 1932, in Brooklyn, New York, Blackwell grew up next to a movie theater and developed a passion for Hollywood’s singing cowboys and their western music. “Like the blues, it told a story,” he once said. “But it didn’t have the same restrictive construction. A cowboy song could do anything.” Blackwell began writing songs in his teens, but turned his attention to performing after winning a local talent show. He soon tired of the road, however, choosing instead to focus on songwriting while working a day job pressing clothes at a New York tailor shop. Presley soon followed this success with “All Shook Up,” which Blackwell penned after his publisher shook a bottle of soda and Blackwell’s demo tape of “Don’t Be Cruel” caught the ear of jokingly challenged him to write a song about it. Presley, who was then looking to expand his popularity from the South to the nation as a whole. Taking cues from Blackwell’s vocal Building on his early success, Blackwell continued to write phrasing, Presley turned the song into a 1956 sensation that topped for Presley, and he created a string of hit songs for other the country, R&B, and pop charts alike. -
EMR 12467A Don't Be Cruel (B = Big Band) MS = 8M
Don’t Be Cruel As sung by Elvis Presley Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare 6 Arr.: Jirka Kadlec Elvis Presley / Otis Blackwell EMR 12467A st 1 Score 2 1 Trombone + nd 8 Flute 2 2 Trombone + rd 1 Oboe (optional) 1 3 Trombone + th 1 Bassoon (optional) 1 4 Trombone + 1 E Clarinet (optional) 2 Baritone + st 5 1 B Clarinet 2 E Bass nd 4 2 B Clarinet 2 B Bass rd 4 3 B Clarinet 1 Tuba 1 B Bass Clarinet (optional) 1 Piano / Keyboard (optional) 1 B Soprano Saxophone (optional) 1 Bass Guitar / String Bass (optional) 2 1st E Alto Saxophone 1 Electric Guitar (optional) 1 2nd E Alto Saxophone 1 Tambourine 2 1st B Tenor Saxophone 1 Congas 1 2nd B Tenor Saxophone 1 Drum Set 1 E Baritone Saxophone (optional) 1 E Trumpet / Cornet (optional) Special Parts Fanfare Parts st 2 1 B Trumpet / Cornet st 2 1st Flugelhorn nd 1 1 B Trombone 2 2 B Trumpet / Cornet nd nd 2 2 Flugelhorn rd 1 2 B Trombone 2 3 B Trumpet / Cornet rd 1 3rd B Trombone 2 3 Flugelhorn 2 4th B Trumpet / Cornet 1 4th B Trombone 2 1st F & E Horn 1 B Baritone 2 2nd F & E Horn 1 E Tuba 1 B Tuba Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Streets Of San Francisco Track Titel / Title Time N° EMR N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Big Band Concert Band 1 Streets Of San Francisco (Williams) 2’56 EMR 12381A EMR 32038 EMR 12381B 2 Whose Side Are -
Contemporary IdiomsTM Voice Level 6
Contemporary IdiomsTM Voice Level 6 Length of examination: 30 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the Theory 2 written examination is required for the awarding of the Level 6 certificate. REQUIREMENTS & MARKING Requirements Total Marks Piece 1 12 Repertoire Piece 2 12 4 pieces of contrasting styles Piece 3 12 Piece 4 12 Technique Listed exercises 16 Sight Reading Rhythm (3) Singing (7) 10 Aural Tests Sing back (4) Chords (3) Intervals (3) 10 Improvisation Improv Exercise or Own Choice Piece 8 Background Information 8 Total Possible Marks 100 *One bonus mark will be awarded for including a repertoire piece by a Canadian composer CONSERVATORY CANADA ™ Level 6 July 2020 1 REPERTOIRE ● Candidates are required to perform FOUR pieces from the Repertoire List, contrasting in key, tempo, mood and subject. Your choices must include at least two different composers. All pieces must be sung from memory and may be transposed to suit the compass of the candidate's voice. ● One of the repertoire pieces may be chosen from any level higher. ● The Repertoire List is updated regularly to include newer music, and is available for download on the CI Voice page. ● Due to time and space constraints, Musical Theatre selections may not be performed with elaborate choreography, costumes, props, or dance breaks. ● The use of a microphone is optional at this level, and must be provided by the student, along with appropriate sound equipment (speaker, amplifier) if used. ● Repertoire that is currently not on our lists can be used as Repertoire pieces with prior approval. -
Quality Hill Be-Bops Into 1950S Doo-Wop Era
Quality Hill be-bops into 1950s Doo-wop Era By Bob Evans Larry Levenson & Quality Hill Playhouse Quality Hill Playhouse, the only venue of its kind in the Kansas City metro generally builds shows around the Broadway music of the Great American Songbook, but in a radical, fun, spirited departure from the norm, “Unchained Melody” brings the focus to the AM radio top 40 charts of the 1950s as that era ushered in the Doo-Wop sounds of the younger generation. T Larry Levenson and Quality Hill Playhouse he music people listened to changed from the Big Bands of the 1940s and the solo performers that survived the WWII aftermath of the Big Bands to a new, fresh sound that featured younger singers and songwriters. Coupled with “Hillbilly” music, and “Rhythm and Blues” the new popular music became known as do- wop. According to J. Kent Barnhart, artistic director of QHP, the music contains distinguished cords, melodies, and syncopations far from the sounds of the Big Bands. The Bobby Soxers who swooned to Frank Sinatra were replaced by the screaming fans that adored the gyrations of a new king, Elvis Presley. Doo-Wop had arrived. Larry Levenson & Quality Hill Playhouse The Billboard Top 40 charts ruled the USA as the new sounds exploded over the airways. Songs like “Rock Around the Clock,” “Sha-boom,” “Cry,” “Hound Dog,” and many more filled the airways. “Take a romantic trip down memory lane in this cabaret revue featuring the unique American sound known as “doo-wop,” Quality Hill advertising said. “Doo-wop groups dominated the radio airwaves for over a decade, thanks to their songs’ simple melodies, tight harmonies, and frequent themes of love and relationships. -
THE ROCKIN' RAVERS SONG LIST C/O Jerry Bruno Productions
THE ROCKIN' RAVERS SONG LIST C/O Jerry Bruno Productions MUSIC FROM 2000 TO PRESENT Here It Goes Again--OK GO Vertigo--U2 Are You Gonna Be My Girl—Jet Dirty Little Secret--All-American Rejects Heaven—Los Lonely Boys Can't Get Enough Of You Baby--Smash Mouth Times Like These—Foo Fighters The First Cut Is The Deepest—Sheryl Crow The Middle—Jimmy Eat World I’m A Believer—Smash Mouth Have Love Will Travel--The Black Keys Kryptonite--Three Doors Down Absolutely (Story of a Girl)—Ninedays MUSIC FROM 1990s I'll Be -- Edwin McCain Slide – Goo Goo Dolls The Way – Fastball All The Small Things – Blink 182 Mr. Jones – Counting Crows All For You – Sister Hazel Little Miss Can’t Be Wrong – Spin Doctors Good – Better Than Ezra Found Out About You – Gin Blossoms Again Tonight – John Cougar Mellencamp Wicked Game – Chris Isaak Have I Told You Lately That I Love You – Van Morrison Lay-heed – James Save Tonight – Eagle-eye Cherry There She Goes – The La’s/Sixpence None The Richer Breakfast At Tiffany’s – Deep Blue Something Wild Night – John Cougar Mellencamp/Van Morrison All Shook Up – Paul McCartney/Elvis Presley MUSIC FROM 1980s Jessie's Girl -- Rick Springfield Summer of '69 -- Bryan Adams What I Like About You -- Romantics I Got You -- Split Enz I Won't Back Down -- Tom Petty Sweet Child O' Mine -- Guns n' Roses Authority Song – John Cougar Mellencamp Start Me Up – Rolling Stones 500 Miles – Proclaimers Old Time Rock And Roll – Bob Seger Melt With You – Modern English The One I Love – R.E.M. -
Music Sampling and Copyright Law
CACPS UNDERGRADUATE THESIS #1, SPRING 1999 MUSIC SAMPLING AND COPYRIGHT LAW by John Lindenbaum April 8, 1999 A Senior Thesis presented to the Faculty of the Woodrow Wilson School of Public and International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts. ACKNOWLEDGMENTS My parents and grandparents for their support. My advisor Stan Katz for all the help. My research team: Tyler Doggett, Andy Goldman, Tom Pilla, Arthur Purvis, Abe Crystal, Max Abrams, Saran Chari, Will Jeffrion, Mike Wendschuh, Will DeVries, Mike Akins, Carole Lee, Chuck Monroe, Tommy Carr. Clockwork Orange and my carrelmates for not missing me too much. Don Joyce and Bob Boster for their suggestions. The Woodrow Wilson School Undergraduate Office for everything. All the people I’ve made music with: Yamato Spear, Kesu, CNU, Scott, Russian Smack, Marcus, the Setbacks, Scavacados, Web, Duchamp’s Fountain, and of course, Muffcake. David Lefkowitz and Figurehead Management in San Francisco. Edmund White, Tom Keenan, Bill Little, and Glenn Gass for getting me started. My friends, for being my friends. TABLE OF CONTENTS Introduction.....................................................................................……………………...1 History of Musical Appropriation........................................................…………………6 History of Music Copyright in the United States..................................………………17 Case Studies....................................................................................……………………..32 New Media......................................................................................……………………..50 -
Interview Innerworld
w interview innerWORLD What drives artists like Ray Char- les with Nathalie Cole or Celine Dion (both in 2004) or Bette Mid- dler (2005) to record their versions of Fever - a song that was already covered by just about everybo- dy in the music business - from Kari Nevalainen Elvis Presley, Peggy Lee, James “Never know how much I love you Brown, Buddy Guy, The Doors, El- vis Costello, Burt Bacharach, Nina Never know how much I care Hagen, Madonna, Bill Wyman, Shirley Horn, Chaka Khan, Greatful When you put your arms around me Dead, The Jam, The Neville Brot- hers, Tom Jones, Amanda Lear, I get a fever that’s so hard to bear Tina Turner, Isaac Hayes, Boney m., Suzy Quatro, Eno, T-bone Wal- You give me …” ker, David Cassidy, Quincy Jones, Bobby blue bland, Sonny Stitt, Sa- rah Vaughan, Herbie Mann, Ken- ny Burrell or Jimmy Smith - just to name a few? Did they all think that Christian Rintelen: the fi nal, the ultimate version of fever has not yet been recorded? And why does a plethora of les- ser-known musicians believe they IWA: Fever’s been subject to count- CR: What an easy question to start with could actually really improve the less cover songs, but it’s not in Top 10, … ! Believe me, if I knew how to make a work of the great artists named many Beatles songs e.g. being cove- hit out of a song — I’d certainly not tell above - and risk to fail miserably? red even more frequently. Would you you, or anybody else! It’s well known, FEVER specialist Christian say that the popularity of Fever is of that today, hits are made. -
Otis Blackwell: Songwriter to “The King”
Country Music Hall of Fame® and Museum • Words & Music • Grades 7-12 Otis Blackwell: Songwriter to “The King” As the songwriter of two of Elvis Presley’s career-making hits, Otis Blackwell will always be linked to the man known as the King of Rock & Roll. But many other artists gave voice to Blackwell’s work, leaving behind a legacy that reaches far beyond Presley’s shadow. Indeed, Blackwell is considered one of rock & roll’s most influential songwriters. According to the Songwriters Hall of Fame, “Blackwell is without question one of the select songwriters whose songs literally helped redefine America’s popular music in the early and mid-1950s.” Born February 16, 1932, in Brooklyn, New York, Blackwell grew up next to a movie theater and developed a passion for Hollywood’s singing cowboys and their western music. “Like the blues, it told a story,” he once said. “But it didn’t have the same restrictive construction. A cowboy song could do anything.” Blackwell began writing songs in his teens, but turned his attention to performing after winning a local talent show. He soon tired of the road, choosing instead to focus on songwriting while working a day job pressing clothes at a New York tailor shop. Blackwell’s demo tape of “Don’t Be Cruel” caught the ear of Presley, who had just signed with RCA Records in November 1955 and was looking to Presley’s manager, Colonel Tom Parker, insisted that Blackwell share expand his southern regional popularity to national stardom. Taking cues writing credit with Presley to increase the artist’s profit—a common from Blackwell’s distinctive vocal phrasing, Presley turned the song into a practice at the time among stars. -
All Shook Up: the Shakespeare Connection
English/Language Arts Info Sheet All Shook Up: The Shakespeare Connection "Gosh, running away is so romantic, we’re just like Romeo and Juliet except we’re not dead." —Lorraine, from All Shook Up "The course of true love never did run smooth…" —- from A Midsummer Night’s Dream, by William Shakespeare Let yourself go! ike a play by Shakespeare seen Shakespeare’s day was going Lthrough a fun-house mirror, All through extreme changes. In Shook Up tips its hat to the Bard, Shakespeare Alive!, his book on especially his magical comedies the Elizabethan era, Joseph Papp such as Twelfth Night and A wrote, "Anxiety gripped individu- Midsummer Night’s Dream. Again als, families and the entire socie- and again, All Shook Up’s dialogue ty…The more things seemed to be refers to Shakespeare, whether it's teetering on the brink of chaos, the Lorraine's longing for the forbidden more Elizabethan society empha- love of Romeo and Juliet, Miss sized old concepts of order." In Sandra quoting Romeo’s, "O! I terms of marriage, that meant am fortune’s fool!" or Dennis establishing a hierarchy that winning Sandra’s heart with a looked a lot like the English Shakespearean sonnet. But beyond simple references monarchy: one ruler (the man) and his "subjects" (the or quotations, All Shook Up is inspired by the magical woman and children). But in plays such as A atmosphere of Shakespeare’s romantic comedies, the Midsummer Night’s Dream, As You Like It, and Twelfth idea of getting "letting yourself go" as Chad says, or Night, Shakespeare tests the idea of order by removing losing control in the midst of love. -
Contemporary 90'S to Present Ain't No Other Man All About That Bass Bad
Contemporary 90’s to present Ain't No Other Man All About That Bass Bad Romance Bang Bang Beautiful Day Believe Blurred Lines Born This Way Call Me Maybe Clarity Crazy Crazy In Love Clocks DJ's Got Us Falling In Love Again Domino Don't Stop The Music Dynamite Edge Of Glory Elevation Empire State Of Mind Feel This Moment Firework Forget U Get Lucky Happy Heaven Hips Don't Lie How Far Is Heaven Home Hot N Cole I Love It I Need To Know I've Got A Feeling Just Dance Let's Get Loud Life is a Highway Locked Out of Heaven Makes Me Wonder Moves Like Jagger No One No Place I'd Rather Be O.P.P. Party Rocker Pokerface Raise Your Glass Rehab Royals Shake It Off Single Ladies Smooth Stay With Me Sweet Thing Sweet Dreams Teenage Dream The First Cut Is The Deepest Thinking Out Loud Time Of Our Lives This Is How We Do it Treasure Umbrella Uptown Funk Use Somebody We Found Love (In a Hopeless Place) Yeah Classic Rock 70’s & 80’s All Right Now Bell Bottom Blues Brown Eyed Girl Centerfold China Grove Communication Breakdown Day After Day Domino Do It Again Glory Days Honky Tonk Woman It Keeps You Runnin' Josie Little Wing Livin' On A Prayer Long Train Running Message In The Bottle Minute By Minute Misty Mountain Hop On The Edge of Seventeen White Winged Dove Peg Purple Haze Reelin' In the Years Rock n Roll Roxanne Satisfaction Sweet Home Alabama Takin' Care of Business Tempted By The Fruit of Another Tenth Ave Freezeout You Shook Me All Night Long Walk This Way You Can Call Me Al Classic Disco/Dance & R&B Ain't Nobody Ain't No Stoppin' Us Now Another Star