DOCSLIB.ORG

Genesis Invisible Touch Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Genesis Invisible Touch Mp3, Flac, Wma Genesis Invisible Touch mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Invisible Touch Country: Italy Released: 1986 Style: Soft Rock MP3 version RAR size: 1157 mb FLAC version RAR size: 1582 mb WMA version RAR size: 1630 mb Rating: 4.4 Votes: 309 Other Formats: DXD DMF AIFF AAC VOX MPC AUD Tracklist 1 Invisible Touch 3:26 2 Tonight, Tonight, Tonight 8:49 3 Land Of Confusion 4:45 4 In Too Deep 4:59 5 Anything She Does 4:06 Domino (10:42) 6.1 Part One - In The Glow Of The Night 6.2 Part Two - The Last Domino 7 Throwing It All Away 4:41 8 The Brazilian 4:49 Companies, etc. Record Company – Atlantic Recording Corporation Recorded At – The Farm Mixed At – The Farm Mastered At – Masterdisk Made By – WEA Manufacturing Inc. Pressed By – Specialty Records Corporation Copyright (c) – Gelring Ltd. Phonographic Copyright (p) – Philip Collins Ltd. Phonographic Copyright (p) – Michael Rutherford Ltd. Phonographic Copyright (p) – Anthony Banks Ltd. Designed At – Assorted iMaGes Credits Arranged By – Genesis Artwork – Baker Dave Drums, Vocals, Percussion – Phil Collins Engineer [Assistant] – Paul Gomersall Guitar, Bass – Mike Rutherford Keyboards, Bass [Synth Bass] – Tony Banks Mastered By – Bob Ludwig Photography By – John Swannell Producer – Genesis Producer, Engineer – Hugh Padgham Technician – Geoff Callingham Written-By – Genesis Notes Written, recorded and mixed at The Farm Surrey, 85/86. Mastered at Masterdisc N.Y.C. Art produced at Assorted iMaGes. Includes 12 page colour booklet. Catalog number 7 81641-2 on spine; catalog number 81641-2 on booklet, rear cover and disc face. Atlantic Recording Corporation, a Warner Communications Company. ℗ 1986 Phil Collins Ltd., Mike Rutherford Ltd. and Tony Banks Ltd. © 1986 Gelring Ltd. Printed in U.S.A. Made in U.S.A. by WEA Manufacturing, Inc. Barcode and Other Identifiers Barcode: 0 7567-81641-2 5 Matrix / Runout (Variant 1): 3 81641-2 SRC+09 M1S3 Matrix / Runout (Variant 2): 81641-2 SRC-04 Matrix / Runout (Variant 3): 3 81641-2 SRC+09 M1 S6 Matrix / Runout (Variant 4): 3 81641-2 SRC=12 M2S4 Matrix / Runout (Variant 5): 3 81641-2 SRC+13 M2S2 Other (SPARS Code): ADD Mould SID Code: none Other versions Category Artist Title (Format) Label Category Country Year Invisible Touch (LP, GEN LP2 Genesis Virgin GEN LP2 UK 1986 Album, Tex) Virgin, Virgin, 207 750, Virgin, 207 750, Invisible Touch (LP, GENLP2, Genesis Charisma, GENLP2, UK & Europe 1986 Album) GENLP 2 Charisma, GENLP 2 Charisma Invisible Touch (LP, none Genesis Virgin none UK 1986 Album, TP, W/Lbl) Toque Invisible (Cass, TMS 90005 Genesis Virgin TMS 90005 Argentina 1986 Album) Invisible Touch (Cass, TC-VG 50186 Genesis Virgin TC-VG 50186 Greece 1986 Album) Related Music albums to Invisible Touch by Genesis 1. Genesis - Live - Herning, DK 14.06.07 2. Genesis - R-Kive 3. Genesis - Live - Ottawa, ON 09.15.07 4. Genesis - Live - Hartford, CT 09.16.07 5. Genesis - Land Of Confusion 6. Genesis - 1983 - 1998 7. Genesis - MP3 Collection. CD3 8. Genesis - Tonight, Tonight, Tonight (Remix Long Version) 9. Genesis - Paperlate 10. Genesis - Live At Wembley Stadium.
Load more

Recommended publications
  • Scanned Image
    INSIDE Singleschart, 6-7;Album chart,17; New Singles, 18; NewAlbums, 13; Airplay guide, 14-15; lndpendent Labels, 8; Retailing 5. June 28, 1982 VOLUME FIVE Number 12 65p RCA sets price Industry puts brave rises on both face on plunging LPs & singles RCAis implementing itsfirst wide- ranging increase in prices since January Summer disc sales 1981. Then its new 77p dealer price for singles sparked trade controversy but ALL THE efforts of the record industryfor the £s that records appear to be old the rest of the industry followed in due to hold down prices and generate excite-hat. People who are renting a VCR are course. ment in recorded music are meeting amaking monthly payment equivalent to With the new prices coming into stubbornly flat market. purchasing one LP a week," he said. effect on July 1, RCA claims now to be Brave faces are being worn around the Among the major companies howev- merely coming into line with other major companies but itis becominger, there is steadfast resistance to gloom. companies. clear that the business is in the middle of Paul Russell, md of CBS, puts the New dealer price for singles will be an even worse early Summer depressionproblem down to weak releases and is 85p (ex VAT) with 12 -inch releases than that of 1981. happy to be having success with Joan costing £1.49, a rise of 16p. On tapes The volume of sales mentioned by theJett, The Clash, Neil Diamond andWHETHER IT likes it or not, Polydorand albums the 3000 series goes from RB chart department shows a decline ofAltered Images with the prospect of bigis now heavy metal outfit Samson's£2.76 to £2.95, the 6000 series from between 20 and 30 percent over the samereleases from Judas Priest and REOrecord company.
    [Show full text]
  • June 1984 Kansas City's Free Music and Entertainment Newspaper Issue 42 Modern English: from Punk to Classical
    All the Bulk rate news US Postage that's fH paid permit to pitch no. 2419 C PITCtI KCMO June 1984 Kansas City's free music and entertainment newspaper Issue 42 Modern English: From punk to classical is time and is at Worlds of Fun on June 8. Bassist Conroy talked with KC Pitch about the band. how it began and the hard-to-define Modern sound. all met in Culchester, England, 50 miles outside London. We thought it would be a real good to be in a band, so we all went out and thought we After two That British band Modern English performs at Worlds of Fun on music. It's something we've always wanted to do and we really got the chance on this his own words, "Ever- record." changing. Very hard to I wouldn't really are quite con­ These distinct of touring on the mind like to what we are like because tomorrow way we write our songs. We English and and loss of love ("Heart") I'd we were absolutely like it." don't want to do two songs the same, describe, and last year's "I Melt Listen to their new album and for sound like a young man struck with yourself. Modern English. with all of it's diver­ of fever. Lead vocalist sify and different dimensions. is a band that lyrics "He's the deserves to heard Trivial pursuits with Rhino Records Annette, the Monkees and "the world's only senior citizen Jewish rock band" words are the By Steve Walker the soundtracks to Blood Feast and 2000 surmise, platinum records do not crowd the eccentric in­ Maniacs with music by Herschell Gordon walls of Rhino's Santa Monica offices.
    [Show full text]
  • November 1983
    VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T.
    [Show full text]
  • Genesis 3 X 3 Mp3, Flac, Wma
    Genesis 3 X 3 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: 3 X 3 Country: UK Released: 1982 Style: Pop Rock MP3 version RAR size: 1545 mb FLAC version RAR size: 1721 mb WMA version RAR size: 1333 mb Rating: 4.5 Votes: 267 Other Formats: VOX AIFF ADX MPC MP4 MOD AC3 Tracklist A1 Paperlate A2 You Might Recall B Me And Virgil Companies, etc. Phonographic Copyright (p) – Charisma Records Ltd. Published By – Hit & Run Music (Publishing) Ltd. Mastered At – The Town House Pressed By – Orlake Records Credits Producer – Genesis Written-By – Rutherford*, Collins*, Banks* Notes Also released as black vinyl disc with the same catalogue number. Image is a parody of Beatles' EP "Twist And Shout" ℗1963. Some copies have sticker on PVC jacket "Record No. Is GENPD 1" - see images Hit & Run Music (Publishing) Ltd. ℗ 1982 Charisma Records Ltd. Barcode and Other Identifiers Matrix / Runout (Runout side A, etched): GEN+1+A4 B Matrix / Runout (Runout side B, etched): GEN+1+B4 B ORLAKE Matrix / Runout (Runout both sides, stamped): TOWN HOUSE Other versions Category Artist Title (Format) Label Category Country Year Charisma, GEN 1, GEN1 Genesis 3 X 3 (7", EP) GEN 1, GEN1 UK 1982 Charisma Charisma, GEN 1, GEN1, GEN 1, GEN1, Genesis 3 X 3 (7", EP) Charisma, UK 1982 6205 059 6205 059 Charisma GEN-1 Genesis 3 X 3 (7", MP, Pic) Charisma GEN-1 UK 1982 Charisma, GEN 1, GEN1 Genesis 3 X 3 (7", EP) GEN 1, GEN1 UK 1982 Charisma Related Music albums to 3 X 3 by Genesis Genesis - Keep It Dark Genesis - Off The Record Specials With Mary Turner (OTR # 87-12) Genesis - Live Genesis - Turn It On Again Genesis - Invisible Touch Genesis - Mama Genesis - Paperlate Genesis - Abacab Genesis - Duke Genesis - A Trick Of The Tail Genesis - ..
    [Show full text]
  • Newark Grand Jury Indicts 21 in Cutout Dealings
    I N S E: Stiker Named VP/GM FIRST SUMMER BIRCHES At WHDH & WZOU Chicago: WGCI-FM soars to 5 -share lead Detroit: WJR roars back into first WCBM /Baltimore VP /GM for four and a half years. Boston: WXKS -FM gains 4 for top spot Bud Stiker has left Metromedia San Diego: KGB hits double figures to become VP/GM at Blair's "(Metromedia Radio Divi- Washington: WKYS holds edge over Boston AC-CHR combo WHDH sion President) Carl Brazell WHUR & WZOU. The 28 -year broad- really went out of his way to Cleveland: WMMS lead cut to 11 caster fills the vacancy created help me," Stiker told R&R. Page 24 earlier this month when Al "This is a dream come true, Brady Law joined KTKS /Dal- and I'm very proud of it. The CHR TODAY: A las as VP /GM. competition is terrific, and I'm CREATIVE VACUUM? Stiker spent a year at WCBM excited about working with overseeing the format conver- (Owned Stations Division Presi- All over America, CHR stations may well sion from News /Talk to Tran- dent) Jim Hilliard, (Blair Pro- be diluting the format's formula and RADIO & RECORDS star's Format 41. He transfer- gram Consultant) George Wil- deluding themselves that they'll gain.Joel red to Baltimore from the GM liams, (WHDH PD) Jim Mur- Denver provides an in -depth analysis. post at KHOW /Denver, and phy, and (WZOU PD) Harry Page 42 earlier managed KTXQ /Dallas Nelson." FAIRNESS DOCTRINE NOT A LAW? LEVY INDICTED The U.S. Court of Appeals ruled that the Fairness Doctrine has never been voted into federal law.
    [Show full text]
  • Toto's Shannon Forrest
    WORTH WIN A TAMA/MEINL PACKAGE MORE THAN $6,000 THE WORLD’S #1 DRUM MAGAZINE 25 GR E AT ’80s DRUM TRACKS Toto’s Shannon ForrestThe Quest For Excellence NEW GEAR REVIEWED! BOSPHORUS • ROLAND • TURKISH OCTOBER 2016 + PLUS + STEVEN WOLF • CHARLES HAYNES • NAVENE KOPERWEIS WILL KENNEDY • BUN E. CARLOS • TERENCE HIGGINS PURE PURPLEHEARTTM 12 Modern Drummer June 2014 CALIFORNIA CUSTOM SHOP Purpleheart Snare Ad - 6-2016 (MD).indd 1 7/22/16 2:33 PM ILL SURPRISE YOU & ILITY W THE F SAT UN VER WIL HE L IN T SP IR E Y OU 18" AA SICK HATS New Big & Ugly Big & Ugly is all about sonic Thin and very dry overall, 18" AA Sick Hats are 18" AA Sick Hats versatility, tonal complexity − surprisingly controllable. 28 holes allow them 14" XSR Monarch Hats and huge fun. Learn more. to breathe in ways other Hats simply cannot. 18" XSR Monarch With virtually no airlock, you’ll hear everything. 20" XSR Monarch 14" AA Apollo Hats Want more body, less air in your face, and 16" AA Apollo Hats the ability to play patterns without the holes 18" AA Apollo getting in your way? Just flip ‘em over! 20" AA Apollo SABIAN.COM/BIGUGLY Advertisement: New Big & Ugly Ad · Publication: Modern Drummer · Trim Size: 7.875" x 10.75" · Date: 2015 Contact: Luis Cardoso · Tel: (506) 272.1238 · Fax: (506) 272.1265 · Email: [email protected] SABIAN Ltd., 219 Main St., Meductic, NB, CANADA, E6H 2L5 YOUR BEST PERFORMANCE STARTS AT THE CORE At the core of every great performance is Carl Palmer's confidence—Confidence in your ability, your SIGNATURE 20" DUO RIDE preparation & your equipment.
    [Show full text]
  • English Song Booklet
    English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Large-Scale Strategy and Compositional Design in the Early Music of Genesis
    Copyrighted Material 12 Large-Scale Strategy and Compositional Design in the Early Music of Genesis MARK SPICER Th e title of this chapter might remind some readers of an article by Andrew Mead that appeared in Perspectives of New Music more than two decades ago (Mead 1985), in which the author used sophisticated set-theoretic analytical techniques to dig beneath the surface of Arnold Schoenberg’s music, disclos- ing a “large-scale strategy” at work within several of the twelve-tone composi- tions. Mead had the advantage of writing for a scholarly community already well convinced of Schoenberg’s genius. I suspect the idea of placing the music of the British rock group Genesis in the same league as Schoenberg would be greeted with considerable skepticism—if not downright horror—by many musicologists, and this is certainly not my intent in the present essay. (Alas, it will probably require some drastic revolutions in taste before such early- Genesis classics as “Th e Return of the Giant Hogweed” are admitted into the canon of twentieth-century masterworks.) But I do hope to show that despite being several musical worlds removed from Schoenberg, Genesis’ music is rich, diverse, and equally worthy of our analytical attention. One of the most infl uential and long-lasting of the so-called “progressive rock” bands that emerged in Britain around 1970 in the wake of the Beatles, Genesis is probably better known to most pop-rock fans as the supergroup who made frequent appearances on the Billboard charts during the 1980s and early 1990s, with
    [Show full text]
  • Billboard R C Copyright 1981 Billboard Publications
    FOR WEEK ENDING DEC. 5 1981 74 * Chart Bound Billboard R c Copyright 1981 Billboard Publications. Inc. No part FEEL LIKE A NUMBER -Bob Seger & The Silver Bullet Band of t is pub ication may be reproduced. stored in a re- Capitol 5077 trieval system. transmitted. in or any form or by any THOSE GOOD OLD DREAMS- Carpenters means electronic. mechanical, photocopying. record- ing. or otherwise. without the prior written permission A &M 2386 of tie pubi Sher. SEE TOP SINGLE PICKS REVIEWS, Page 72 TITLE- Artist HOT TIRE-Artist TITLE- Artist (Producer) Writer & Number (Distributine Label) (Producer) Writer label & Number (Distribuhnp 1A label) (Prndurerl Writer I abel & Number (Distributing I abel) 10 PHYSICAL - Olivia Newton John 36 8 POOR MAN'S survivor 3 IF I WERE YOU -Lulu (John Farrar), S. Kipner. T. Shaddick, MCA 51182 ABP /CLM ittr SON- (Jim Peterk 8 Frankie Sullivan), 1. Peterik, F. Sullivan, (Mark London), 1. Fuller, 1. Hobbs, Alla 7011 2 9 WAITING FOR A GIRL LIKE YOU- Foreigner Scotti Brothers 5 -02560 (Epic) WBMCLM 3 (Robert John "Mutt" Lange 8 Mid Jones), M. Jones, BLAZE OF GLORY -Kenny Rogers Gramm, Atlantic 3868 WBM 35 13 16 THE NIGHT OWLS -little River Band (Lionel B. Richie 1r.), 1. Slate, D. Morison, L. Keith, Liberty (George Martin), G. Goble, Capitol 5033 WBM 1441 CPP 4 11 EVERY LITTLE THING SHE DOES IS 2 YOU HAVE 40 7 I WOULDN'T HAVE MISSED IT FOR THE COULD BEEN MAGIC -The Police N WITH Sheens Easton (The Police 8 Hugh Padgham), Sting, ALM 2371 CHA -HL WORLD - Ronnie Milsap ME- (Christopher Neil), L Maalfrid, EMI -America (Ronnie Milsap, Tom Collins), K.
    [Show full text]
  • View Song List
    Piano Bar Song List 1 100 Years - Five For Fighting 2 1999 - Prince 3 3am - Matchbox 20 4 500 Miles - The Proclaimers 5 59th Street Bridge Song (Feelin' Groovy) - Simon & Garfunkel 6 867-5309 (Jenny) - Tommy Tutone 7 A Groovy Kind Of Love - Phil Collins 8 A Whiter Shade Of Pale - Procol Harum 9 Absolutely (Story Of A Girl) - Nine Days 10 Africa - Toto 11 Afterglow - Genesis 12 Against All Odds - Phil Collins 13 Ain't That A Shame - Fats Domino 14 Ain't Too Proud To Beg - The Temptations 15 All About That Bass - Meghan Trainor 16 All Apologies - Nirvana 17 All For You - Sister Hazel 18 All I Need Is A Miracle - Mike & The Mechanics 19 All I Want - Toad The Wet Sprocket 20 All Of Me - John Legend 21 All Shook Up - Elvis Presley 22 All Star - Smash Mouth 23 All Summer Long - Kid Rock 24 All The Small Things - Blink 182 25 Allentown - Billy Joel 26 Already Gone - Eagles 27 Always Something There To Remind Me - Naked Eyes 28 America - Neil Diamond 29 American Pie - Don McLean 30 Amie - Pure Prairie League 31 Angel Eyes - Jeff Healey Band 32 Another Brick In The Wall - Pink Floyd 33 Another Day In Paradise - Phil Collins 34 Another Saturday Night - Sam Cooke 35 Ants Marching - Dave Matthews Band 36 Any Way You Want It - Journey 37 Are You Gonna Be My Girl? - Jet 38 At Last - Etta James 39 At The Hop - Danny & The Juniors 40 At This Moment - Billy Vera & The Beaters 41 Authority Song - John Mellencamp 42 Baba O'Riley - The Who 43 Back In The High Life - Steve Winwood 44 Back In The U.S.S.R.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 71 EVERY BREATH YOU TAKE, The Police Produced by Hugh Padgham and the Police; written by Sting A&M 2542 1983 Billboard: #1 (8 weeks] "Every Breath You Take" belongs in that category of singles that announce themselves as classics from the first time you hear them. In my case, that was in heightened circumstances: driving home on a Sunday evening, listening to a black-oriented radio station. You didn't need to hear the singing long to know that this was no black group (the accent is too flattened, the phrasing too free of melisma), and not having a clue to who it might be, T took a guess. Jackson Browne, I decided, had finally come up with the grand psycho-political metaphor, an image that pointed the barrel at Reagan, Thatcher, Mondale, Botha, D'Aubisson, Pol Pot - every traitor of the day. Though I felt like an idiot a day later when I learned who was really singing, once you hear the political dimension of "Every Breath You Take," that part of its meaning is undeniable, no matter how frequently Sting speaks of its psychological and spiritual connotations. If he really believes in Jungian synchronicity. Sting must understand that he could never have composed such a song without the presence of such monstrous public figures at the very center of current events. This is the record that makes sense of Sting's work with Amnesty International (even if he doesn't know it). It's not simply as metaphor, of course, that "Every Breath You Take" establishes itself as a permanent fixture in the pop pantheon.
    [Show full text]