“Everlong” is the second single released from Foo Fighters’ second album The Colour and the Shape, released in 1997. “Everlong” was written against the background of the break-up of Dave Grohl’s first marriage to photographer Jennifer Youngblood. Having returned home to Virginia for Christmas 1996, Grohl turned the initial riff into a complete song and wrote the lyrics after falling for a new woman, “That song’s about a girl that I’d fallen in love with and it was basically about being connected to someone so much, that not only do you love them physically and spiritually, but when you sing along with them you harmonize perfectly.”
Dave Grohl’s Isolated Vocals
Pat Smear’s and Dave Grohl’s Isolated Guitar
Dave Grohl’s Isolated Drums
“Getting Better” appeared on the Beatles 1967 masterpiece album Sgt. Pepper’s Lonely Hearts Club Band. Written primarily by Paul McCartney but credited to Lennon-McCartney, the song’s title and music suggest optimism, but some of the song’s lyrics have a more negative tone. In this sense, it reflects the contrasting personas of the two songwriters. In response to McCartney’s line, “It’s getting better all the time”, Lennon replies, “Can’t get no worse!” Referring to the lyric “I used to be cruel to my woman/I beat her and kept her apart from the things that she loved/Man I was mean but I’m changing my scene/And I’m doing the best that I can”, Lennon admitted that he had done things in relationships in the past that he was not proud of.
According to Hunter Davies, the initial idea for the song’s title came from a phrase often spoken by Jimmie Nicol, the group’s stand-in drummer for the Australian leg of a 1964 tour.
The first single and music video from Tool’s third full-length album, Lateralus, “Schism” won the Grammy Award for Best Metal Performance for the song. “Schism” is renowned for its use of uncommon time signatures and the frequency of its meter changes – in one analysis of the song, the song alters meter 47 times. According to Wiki, the song begins with two bars of 5/4, followed by one bar of 4/4, followed by bars of alternating 5/8 and 7/8, until the first interlude, which consists of alternating bars of 6/8 and 7/8.
The following verse exhibits a similar pattern to the first, alternating bars of 5/8 and 7/8. The next section is bars of 6/4 followed by one bar of 11/8. This takes the song back into alternating 5/8 and 7/8. Another 6/8 and 7/8 section follows, and after this the song goes into repeating 7/8 bars.
The middle section is subsequently introduced, consisting of three bars of 6/8, one bar of 3/8, and one bar of 3/4 repeating several times. At one point it interrupts with two bars of 6/8 followed by a bar of 4/8, twice. A bar of 5/8 is played before the meter switches back to 6/8 for two bars and 2/4 for one bar. This repeats, setting up another section: two bars of 9/8 followed by a bar of 10/8, that pattern again, and then a single bar of 9/8 followed by alternating bars of 6/8 and 7/8. The outro has alternating bars of 5/8 and 7/8, ending with alternating 6/8, 2/8 that one could interpret as pulsing with a 4/4 feel.
So, take that.
Rob Hoffmann, a sound engineer who worked with Jackson, describes Michael Jackson’s process in writing “Beat It”:
“One morning Michael came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. ‘Here’s the first chord first note, second note, third note. Here’s the second chord first note, second note, third note,’ etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57.
He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed Michael doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.”
“Still Into You” was released in 2013 on Paramore’s fourth, self-titled album. The track rose to #24 on the Billboard Hot 100 chart, went platinum in the U.S. This video was recorded by lead singer Hayley Williams herself in the studio’s vocal booth while recording the track, giving some insight on the great facial expressions we don’t normally get a chance to see.
The Doors iconic ”L.A. Woman” was released as a single and appeared on the L.A. Woman album in Spring 1971. The album rose to #9 on the Billboard Album chart and the album has sold over 3 million copies. The track and album were produced by The Doors and Bruce Botnick and recorded at The Doors Workshop in Los Angeles. Purportedly, Jim Morrison’s vocal tracks were recorded in the bathroom at the studio to get a more lively, fuller sound.
“The Crystal Ship” from their 1967 debut album The Doors was the B-side of the number-one hit single “Light My Fire”. According to Doors drummer John Densmore it was a love song to Jim Morrison’s former girlfriend, Mary Werbelow.
It has been suggested that the inspiration for the “crystal ship” image refers to Platform Holly, an oil rig off the coast of Santa Barbara, California, which glitters like a crystal ship when lit up at night and Jim Morrison was inspired by it one night on the beach.
Love Spreads” was a single released by The Stone Roses on the album Second Helping in 1994 in the U.K. and 1995 in the U.S.. The track peaked at #2 in the U.K. and at #55 on the Billboard Hot 100, making it the only track by the band to make that chart. That’s right – nothing from their classic debut broke big over in the US.
Here’s John Squire’s isolated guitar track:
…and the awesome Remi on the drums.
In November 1966, on the flight back to England after a holiday, McCartney conceived an idea in which an entire album would be role-played, with each of The Beatles assuming an alter-ego in the “Lonely Hearts Club Band”, which would then perform a concert in front of an audience. The inspiration is said to have come when roadie Mal Evans innocently asked McCartney what the letters “S” and “P” stood for on the pots on their in-flight meal trays, and McCartney explained it was for salt and pepper. This then led to the Sgt. Pepper’s Lonely Hearts Club Band concept, as well as the song.
How great are Macca’s vocals?
Hey! It’s that song from CSI: Crime Scene Investigation!
“Who Are You”, composed by Pete Townshend, is the title track on The Who’s 1978 release, Who Are You, the last album released before drummer Keith Moon’s death in September 1978. Moon died just under a month after its release, and on the cover, he is shown sitting in a chair ironically labelled “Not to be taken away”. Moon had insisted on sitting in the chair with the back to the camera so as to hide his distended stomach, the result of his alcoholism. But I digress…
The lyrics begin with a true incident, courtesy of Pete’s alcoholism. He claims he really did “wake up in a Soho doorway”, and a policeman recognized him and advised him to go home.
Beware of the F-word sung at 2:14 and 4:27 if you’re at work.
The album peaked at #2 on the Billboard Album Charts. The release that blocked it from being their first (and only) #1? The soundtrack to Grease.
Adele became the first female British artist in history to have three consecutive US number ones when “Set Fire To The Rain” did the trick in 2012. With “Rolling in the Deep”, “Someone like You” and “Set Fire to the Rain” Adele logged a total of 14 weeks atop of the Billboard Hot 100, the most number of weeks at number one a British female artist has had from the same album.
This is a ‘vocals only’ version of “Set Fire To The Rain” highlighting the fantastic voice of Adele. This is the ‘official acapella’ studio track set to her live performance on Later…Jools Holland.
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