Due to heavy rotation on commercials and trailers, Imagine Dragon’s “Radioactive” the song became known in the industry as a sleeper hit, peaking at number three on the US Billboard Hot 100 chart, and has so far spent more than a year and a half on that chart. It became their first top 10 single, and also broke the record for slowest ascension to the Top 5 in chart history. The faster you go up on the charts, the faster you usually go back down again, and because this took so long to get into the Top 5, it currently holds the record for most weeks spent on the Billboard Hot 100 at 87 weeks.
It was the third best selling song of 2013, and was also the No. 3 song on the Billboard Hot 100 in 2013, ending the year behind “Thrift Shop” and “Blurred Lines.”
Listen to Sting’s isolated bass track from The Police’s “Message In A Bottle.” The single was The Police’s first number one hit in the UK Singles Chart, but only reached number 74 in the United States. This is Sting’s favourite song, he admits.
Inducted into the Rock and Roll Hall of Fame twice, 13 Grammy Awards as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award, 26 American Music Awards, more than any other artist, including the “Artist of the Century” and “Artist of the 1980s”; 13 number-one singles in the United States in his solo career, more than any other male artist in the Hot 100 era; and the estimated sale of over 400 million records worldwide. Michael Jackson’s legendary status in music is set for a long, long time.
All of that aside, check out these isolated vocals from him. Mind. Blown.
Love IS like a bomb, baby, come and get it on. Classic 80s rock anthem “Pour Some Sugar On Me” appeared on Def Leppard’s 1987 Hysteria album. The tune hit #2 on the Billboard Hot 100, and it also helped the album sell over 20 million copies.
But it wasn’t an easy sell. Near the end of recording the album Hysteria, singer Joe Elliott was jamming with a riff he had come up with recently on an acoustic guitar. Producer Mutt Lange, expressing great liking of it, suggested that it be developed into another song. Although already behind schedule Lange felt that the album was still missing a strong crossover hit and that this last song had the potential to be one. Within two weeks the song was completed, smoothed out and included as the twelfth track on Hysteria.
By the spring of 1988, Hysteria had sold 3 million copies, but it still was not enough to cover the album’s production costs (the most expensive ever at the time). Thus, the band edited footage from an upcoming concert film to make a new promo clip for “Pour Some Sugar on Me” and finally released it as the fourth single in North America. THEN the album exploded.
Here are Steve Clark’s isolated guitars and Phil Collen and Joe Elliot’s backing vocals.
Bassist Berry Oakley and drummer Butch Trucks’ isolated parts to The Allman Brothers Band song “Ramblin’ Man” off the 1973 album “Brothers and Sisters”. Despite being the band’s biggest chart hit, since the mid-seventies it has only rarely been performed live by the band. Lead vocalist Dickey Betts has said the song’s structure doesn’t lend itself well to improvisation, a key aspect of the band’s concert performances. Since Betts’ departure from The Allman Brothers Band, the remaining members have never performed it.
Fun Fact: Geffen Records was having such a hard time getting Guns ‘N Roses video “Welcome To The Jungle” on MTV that David Geffen personally made a deal with the network, and the video was aired only one time around 5:00AM on a Sunday morning. As soon as the video was aired, the networks received numerous calls from people wanting to see the video again.
That deal Geffen made was a good one. Appetite for Destruction went on to sell 18 million copies in the US.
VOCALS (Axl Rose) and DRUMS (Steven Adler):
GUITAR/LEAD GUITAR (Slash) Note there are short cuts at :12-:22 mark :
“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.”
“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.