Second-Hand-Soul-Ban

Total Page:16

File Type:pdf, Size:1020Kb

Second-Hand-Soul-Ban Second Hand Soul Band Song List Song Title Artist Boogie Oogie Oogie A Taste of Honey Let's Stay Together Al Green Love and Happiness Al Green Take Me to the River Al Green Chain of Fools Aretha Franklin Dr. Feelgood Aretha Franklin Rock Steady Aretha Franklin Birthday Song Beatles Them Changes Buddy Miles Love Will Keep Us Together Captain & Tenille I Feel the Earth Move Carole King Mustang Sally Commitments Brick House Commodores Crossroads Cream Someone Else Was Slippin In Denise LaSalle Long Train Runnin' Doobie Brothers Son of a Preacher Man Dusty Springfield Let's Groove Tonight Earth Wind & Fire September Earth Wind & Fire December of '63 (Oh What a Night) Frankie Valli Povo Freddie Hubbard I Heard It Through the Grapevine Gladys Knight & The Pips Proud Mary Ike and Tina Turner That Lady, Part 1 & 2 Isley Brothers Your Love is Lifting Me Higher Jackie Wilson I Feel Good James Brown Sex Machine James Brown Somebody to Love Jefferson Airplane Get Down Tonight K.C. & The Sunshine Band Hey Bartender Koko Taylor Get Down On It Kool & the Gang Ladies Night Kool & the Gang Lady Marmalade LaBelle You're No Good Linda Ronstadt Sweet Home Chicago Lonnie Brooks Dancing in the Streets Martha Reeves & the Vandellas Got to Give It Up Marvin Gaye Let's Get It On Marvin Gaye What's Goin' On Marvin Gaye Ain't No Mountain High Enough Marvin Gaye & Tammi Terrell Right Back Where We Started From Maxine Nightingale Billie Jean Michael Jackson Shake Your Body Down to the Ground Michael Jackson Fire PS Pointer Sisters Shake Your Tailfeather Ray Charles What'd I Say Ray Charles Car Wash Rose Royce Thank You (Falletin Me Be Mice Elf Agin) Sly and the Family Stone I Love You More Today Than Yesterday Spiral Staircase I Wish Stevie Wonder Sir Duke Stevie Wonder Superstition Stevie Wonder Ain't Too Proud to Beg Temptations Get Ready Temptations My Girl Temptations Vehicle The Ides of March Love Train The O'Jays Good Lovin' The Rascals Disco Inferno Trampps Play That Funky Music Wild Cherry In the Midnight Hour Wilson Pickett Knock On Wood Wilson Pickett Page 1 of 1.
Recommended publications
  • Steve Cropper | Primary Wave Music
    STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band.
    [Show full text]
  • 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.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Gert Bach, Torben Christensen Soul
    Soul Torben Christensen 2001 Soul T O R B E N C HR IS T E NS E N & G E R T BA C H 2001 1 Soul Torben Christensen 2001 INDLEDNING:........................................................................................3 Fra southern soul til Commitments ........................................................3 Hvad er Soul?......................................................................................5 Rhythm & Blues ..................................................................................5 Soul ...................................................................................................6 Motown ..............................................................................................6 Soul som udtryk for en ny selvbevidsthed ..............................................9 Southern Soul ................................................................................... 10 Efter 1970 ........................................................................................ 12 MUSIKANALYSER ................................................................................ 16 Indledning til musikanalyser............................................................... 16 Elbas................................................................................................ 17 Guitar .............................................................................................. 20 Trommer (Gert Bach)......................................................................... 25 Piano ..............................................................................................
    [Show full text]
  • W DFHFM 90.3 Airshift Playlist Rob Nico Saturday, January 21, 2006 2
    W DFHFM 90.3 Airshift Playlist Rob Nico Saturday, January 21, 2006 2 – 6pm Song Title Artist Album (The show begins with a solo song by A.C. Newman who is the leader of New Pornographers.) Miracle Drug A.C. Newman The Slow Wonder Sing Me Spanish Techno New Pornographers Twin Cinema Boom Like That Mark Knopfler Shangri-La Stand By Me John Lennon Rock ‘N’ Roll So It Goes Nick Lowe Pure Pop For Now People (How about a Belle and Sebastion song? By the way they’re going to be in NYC in March at the Nokia Theater and New Pornographers are opening for them. ) Step Into My Office, Baby Belle & Sebastion Dear Catastrophe Waitress Married With Children Oasis Definitely Maybe Christian St. Marah Kids In Philly Riding With The King BB King & Eric Clapton Riding With The King (The movie Elizabethtown’s soundtrack includes a deep cut from Elton John’s Tumbleweed Connection, My Father’s Gun, which is on deck.) My Father’s Gun Elton John Elizabethtown: Original Soundtrack Daniel Elton John To Be Continued… Whatever Gets You Through the John Lennon & Elton John Shaved Fish Night I Saw Her Standing There Elton John & John Lennon To Be Continued… (The story goes that John Lennon asked Elton John to guest on Whatever Gets You Through the Night. Elton agreed with the stipulation that if the song went to Number 1, John would have to appear on stage at one of Elton’s shows. Well, Whatever Gets You Through the Night reached the top of the charts on November 16, 1974 and John Lennon appeared with Elton John in concert at Madison Square Garden on Thanksgiving, November 28, 1974 and together sang the new #1 hit, Lucy in The Sky with Diamonds and I Saw Her Standing There (a number by his estranged fiancé, Paul).
    [Show full text]
  • In the Midnight Hour (1965) Wilson Pickett
    MUSC-21600: The Art of Rock Music Prof. Freeze In the Midnight Hour (1965) Wilson Pickett LISTEN FOR • Uncluttered, classic Stax arrangement • Spontaneous vocal styling • Blues feeling • Textural development in horns • Delayed backbeat groove CREATION Songwriters Wilson Pickett, Steve Cropper Label, Record Atlantic 2289 Musicians Wilson Pickett (voice), Donald “Duck” Dunn (bass), Steve Cropper (guitar), Al Jackson, Jr. (drums), Wayne Jackson (trumpet), Andrew Love and Charles “Packy” Axton (tenor saxophone), Floyd Newman (baritone saxophone) Producer Jerry Wexler Engineer Jim Stewart Recording Stax studio (Memphis); May 1965; mono Charts Pop 21, R&B 1 MUSIC Genre Southern soul Form Simple verse Key E major Meter 4/4, with Stax’s signature delayed backbeat MUSC-21600 Listening Guide Freeze “In the Midnight Hour” (Wilson Pickett, 1965) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro (4+2) • Measured drum roll; bluesy horn fanfare. 0:09 • 2-bar vamp • Snare/guitar backbeat accents are slightly delayed • Bass plays arpeggios reinforced with a pickup riff on the baritone saxophone. 0:13 Verse 1 (8+7) “I’m gonna wait” • Vocal accompanied by vamp. 0:31 “I’m gonna take you” • Sustained horn chords. 0:39 • Vamp with horn riff. 0:46 Turnaround (2) • Flat VII chord (D). 0:50 Verse 2 (8+7) “I’m gonna wait” • Vocal accompanied by vamp with added horn riffs. 1:07 “You’re the only” • Sustained horn chords. 1:16 • Vamp with horn riff. 1:23 Turnaround (2) • As before. 1:27 Instr. Break (8) • Horns in unison • Groove feel shifts slightly as snare plays on every quarter note.
    [Show full text]
  • TTC Interview
    TAPE: A1210705 [SHOW: 1 A ] [AIRDTE: 0 7 / 0 5 / 2 1 ] [AIRTME: 10:00 - 12:00] [HOST: JENN WHITE] [STORY: RED, WHITE AND THE BLUES ] [CONTENT: EMILY ATKIN, DANIEL SWAIN, SAMANTHA MONTANO] 12:00:00 DISCLAIMER Transcripts of WAMU programs are available for personal use. Transcripts are provided "As Is" without warranties of any kind, either express or implied. WAMU does not warrant that the transcript is error-free. For all WAMU programs, the broadcast audio should be considered the authoritative version. Transcripts are owned by WAMU 88.5 FM American University Radio and are protected by laws in both the United States and international law. You may not sell or modify transcripts or reproduce, display, distribute, or otherwise use the transcript, in whole or in part, in any way for any public or commercial purpose without the express written permission of WAMU. All requests for uses beyond personal and noncommercial use should be referred to (202)885-1200. 00:00:08 JENN WHITE This is 1A. I'm Jenn White in Washington and today we celebrate Independence Day with a one hour tribute to an original American art form. We call it Red, White and The Blues. Blues music arose from the African American experience in the South. On the farms and in fields, enslaved Black people sang to keep their spirits up, spread the news and sometimes to relay secret messages. In church, they sang gospel music. At work, the blues. Blues music went on to become the basic DNA for jazz, R&B, rock and roll, rap and most every manner of modern music.
    [Show full text]
  • Download This PDF File
    Empirical Musicology Review Vol. 10, No. 3, 2015 “The Times They Were A-Changin’”: A Database-Driven Approach to the Evolution of Harmonic Syntax in Popular Music from the 1960s HUBERT LÉVEILLÉ GAUVIN [1] Schulich School of Music, McGill University ABSTRACT: The goal of this research is to investigate the pitch structures of popular music in the 1960s through a large corpus study in order to identify any consistent changes in harmonic and tonal syntax. More specifically, two studies based on the Billboard DataSet (Burgoyne, Wild & Fujinaga, 2011; Burgoyne, 2011), a new corpus presenting transcriptions for more than 700 songs, are presented. The first study looks at the incidence of multi-tonic songs throughout the decade, while the second study focuses on the incidence of flat-side harmonies (e.g. bIII, bVI, and bVII) over the same period of time. While no difference was observed in the frequency of multi-tonic songs, the study showed a significant increase in the incidence of flat-side harmonies during the second half of the decade. Submitted 2014 September 16; accepted 2015 April 9. KEYWORDS: popular music, corpus, Billboard, harmony, modulation IN January 1964 Bob Dylan released “The Times They Are A-Changin,” a politically-charged protest song encouraging changes in American society. Indeed the 1960s were a time of great political, but also sociological and cultural changes, accompanied by equally important developments in popular music. Many music scholars have addressed the attitudinal shift associated with this period, noting that “[r]ock musicians no longer aspire[d] so much to be professionals and craftspeople” but “artists” (Covach, 2006, p.
    [Show full text]
  • Download Song List
    PURPLE RAIN PRINCE BLISTER IN THE SUN VIOLENT FEMMES 3AM MATCHBOX 20 BLUE SUEDE SHOES CARL PERKINS 500 MILES THE PROCLAIMERS BLUEBERRY HILL FATS DOMINO CECILIA SIMON & GARFUNKEL BOOT SCOOTIN’ BOOGIE BROOKS & DUNN 867-5309 (JENNY) TOMMY TUTONE BORN TO BE WILD STEPPENWOLF IN THE AIR TONIGHT PHIL COLLINS BORN TO RUN BRUCE SPRINGSTEEN YOU CAN’T HURRY LOVE PHIL COLLINS BRANDY LOOKING GLASS AFRICA TOTO BREAKFAST AT TIFFANY’S DEEP BLUE SOMETHING ROSANNA TOTO BRICK HOUSE THE COMMODORES AIN’T TOO PROUD TO BEG THE TEMPTATIONS BRIDGE OVER TROUBLED WATERS SIMON & MY GIRL THE TEMPTATIONS GARFUNKEL ALL ABOUT THE BASS MEGHAN TRAINOR BROWN EYED GIRL VAN MORRISON ALL APOLOGIES NIRVANA BUILD ME UP BUTTERCUP THE FOUNDATIONS ALL FOR YOU SISTER HAZEL BYE BYE LOVE THE EVERLY BROTHERS ALL I WANT TOAD THE WET SPROCKET CALIFORNIA DREAMIN’ THE MAMAS & THE PAPAS ALL OF ME JOHN LEGEND CANDLE IN THE WIND ELTON JOHN ALL SHOOK UP ELVIS PRESLEY CAN’T BUY ME LOVE THE BEATLES ALL SUMMER LONG KID ROCK CAN’T FIGHT THIS FEELING REO SPEEDWAGON ALLENTOWN BILLY JOEL CAN’T GET ENOUGH BAD COMPANY ALREADY GONE EAGLES CAN’T SMILE WITHOUT YOU BARRY MANILOW ALWAYS SOMETHING THERE TO REMIND ME CAN’T TAKE MY EYES OFF OF YOU FRANKIE VALLI NAKED EYES CAN’T YOU SEE MARSHALL TUCKER BAND AMERICA NEIL DIAMOND CAPTAIN JACK BILLY JOEL AMERICAN PIE DON MCLEAN CECILIA SIMON & GARFUNKEL AMIE PURE PRAIRIE LEAGUE CELEBRATION KOOL & THE GANG ANGEL EYES JEFF HEALEY BAND CENTERFIELD JOHN FOGERTY ANOTHER BRICK IN THE WALL PINK FLOYD CENTERFOLD J. GILES BAND ANOTHER SATURDAY NIGHT SAM COOKE CHAMPAGNE
    [Show full text]
  • Blair's IPOD List
    Blair’s IPOD list USAFA Class of 68 Music 1. Stranger on the Shore Ackerbilt 2. Boy From New York City Ad Libs 3. Magnificent Seven Theme Al Caiola 4. Alley Cat Al Hirt 5. Mary in the Morning Al Martino 6. Theme from Love Story Andy Williams 7. Moon River Andy Williams 8. Charade Andy Williams 9. We Gotta Get Out Of This Place Animals 10. House of the Rising Sun Animals 11. It's My Life Animals 12. Don’t Let Me be Misunderstood Animals 13. Teach Me Tiger April Stevens 14. Deep Purple April Stevens/N. Tempo 15. Respect Aretha Franklin 16. Think Aretha Franklin 17. Chain of Fools Aretha Franklin 18. Tighten Up Archie Bell & the Drells 19. You Better Move On Arthur Alexander 20. Sweet Soul Music Arthur Conley 21. Along Comes Mary Association 22. Never My Love Association 23. Cherish Association 24. Baja The Astronauts 25. Soul Finger Bar-Kays 26. I Know Barbara George 27. Baby I’m Yours Barbara Lewis 28. Eve of Destruction Barry McGuire 29. The Ballad of the Green Berets Barry Sadler 30. Little Deuce Coupe Beach Boys 31. God Only Knows Beach Boys 32. Wouldn't It Be Nice Beach Boys 33. That's Not Me Beach Boys 34. Be True to Your School Beach Boys 35. California Girls Beach Boys 36. Dance,Dance,Dance Beach Boys 37. Don't Worry Baby Beach Boys file:///E|/Webmaster/usafa/USAFAsonglist2.htm (1 of 15) [2/10/2007 2:12:55 PM] Blair’s IPOD list 38. Fun Fun Fun Beach Boys 39.
    [Show full text]
  • The Harmonic Language of the Beatles
    The Harmonic Language of the Beatles KG Johansson Luleå University of Technology; School of Music in Piteå [1] Introduction What kind of knowledge makes it possible to play a song by ear? How can a musician play a song that he or she has never played before, and maybe never even heard before? What happens in the moment of playing? These questions, delimited to harmony and to the field of rock music, will be addressed in a study consisting of two parts: a) a description of rock harmony, and b) an interview study with rock musicians.The description of rock harmony in itself consists of two parts: this study of Beatles harmony, and a later study of rock harmony in the 1990s. From literature about rock harmony, my primary sources have been Allan Moore’s Rock: The Primary Text (1993), Richard Middleton’s Studying Popular Music (1990) and Lars Lilliestam’s Gehörsmusik (1995), and Svensk rock. Musik, lyrik, historik (1998). Moore (1993) divides rock harmony into “open-ended repetitive patterns” and, citing Ar- nold Schoenberg, different pairings of harmonic phrases: open-closed, open-open, and closed-closed—a closed phrase being one that ends on the tonic. Middleton (1990), in the chapter “Change gonna come?” Popular music and musicology” (pp. 123–26) treats methods for musicological analysis of popular music. Lilliestam (1995) submits a catalogue over com- mon chord progressions in rock music (pp. 195–200), while his Svensk rock (1998) has a section about modality in rock. Among the vast literature on the Beatles, I’ve mainly used Wilfrid Mellers’s Twilight Of The Gods (1973); Ian MacDonald’s En revolution i huvudet: The Beatles inspelningar och 1960-talet (1994; original title Revolution in the Head); Terence O’Grady’s The Beatles: A Musical Evolu- tion (1983); and finally Allan Moore’s Sgt.
    [Show full text]
  • Notes on the Text
    Contents Notes on the text Introduction ....................................................................... 3 As with any book of this nature there are mistakes inside its pages. I The History Of The UK Album Chart ................................... 4 would be stupid to think that there were none. So, if you spot a mistake and let me know, I’ll correct it and you’ll get your name in the The Artist Section ............................................................. 10 book. Drop me an email at [email protected] and I’ll check Analysis Section .............................................................. 168 out the error, though I also welcome praise and criticism, both for the book and the layout of the book. Most Weeks On Chart .................................................. 168 Most Weeks On Chart By Disc In Total ......................... 172 Various publication errors, including incorrect positions, have been identified and corrected by reference to the original chart issues. Most Hits By Artist ....................................................... 173 Corrections to titles, label details and other information by reference The Number 1’s .............................................................. 174 to internet searchers and copies of the original records Album Title Listing ....................................................... 177 As far as can be tested this book is virus free, though it may contain The Artist Section - Version 2 ......................................... 381 traces of nuts. Selected Scans ................................................................ 474 I’d also like to thank my wife for encouragement in this project. This book is © Lonnie Readioff 2017, though the original charts that this book is derived from were first produced in Record Mirror (1956- 1958), Melody Maker (1958-1960) and Record Retailer (1960-1969). The book is presented on an as-is basis. While every effort has been made to make sure it is free from defects I will not be held responsible if it does nasty things to your computer.
    [Show full text]