Mark Tanner
Moonlight in Vermont Tanner/Vanzinni Producion
updated
More to come.
Having Fun in the US.
Released on October 5, 2007, by Universal Republic. It was nearly eight minutes long and was the band's longest song until overtaken by "Fable of the Silent Son" 15 years later.
It has received critical acclaim since its release, often cited as the crowning point of both the album and the band's career by critics, fans, and the band members themselves.
In March 2011, Guitarist magazine listed the song's guitar solo, which is performed by both Myles Kennedy and Mark Tremonti, as the greatest guitar solo of all time.
This stream is created with #PRISMLiveStudio
This stream is created with #PRISMLiveStudio
I was in love with this girl, and she was just a broken person. She kept turning to everyone except me for love and acceptance, and I wanted so much to help her. I wanted to be the one to give her everything she wanted, but I couldn't. She just couldn't accept it from me, and it was that pain, that led me to creating the song.
Scannell later elaborated on its meaning in a 2024 interview, stating that it was also about being stuck in a friend zone:
"Everything You Want" is really about a woman. We were young and trying to figure out what love meant. And she was continually looking at what I thought and continued to think were the wrong people. She would come and sort of cry on my shoulder when they inevitably treated her poorly. And the whole time, I was pining for her. I just loved her. I wanted to be there for her, to be with her, to be more than a friend for her, and it just wasn't in the cards. I could see it in her eyes every time we would talk. I was very much in the friend zone with her. So the only way that I could talk about it was by writing a song about it. I actually believe that she doesn't know that that song was written about her. I'm perfectly happy with that.
She Knows Now ❤️
"The Reason" was first released as part of the band's second studio album The Reason on December 9, 2003. Robb noted how "Out of Control" was chosen as the album's first single due to its more heavy sound, despite their record label's insistence that "The Reason" be released. However, the band eventually decided to release the song as a single, and it was serviced to radio stations starting January 26, 2004.
According to Jennings, Clapton wrote the lyrics for the first verse, and asked him to write the rest. Jennings urged Clapton to write the entire song due to the personal subject matter, but eventually agreed. He said it was "a song so personal and so sad that it is unique in my experience of writing songs".
In an interview in 1992, Clapton said the song "was in the back of my head but it didn't really have a reason for being until I was scoring this movie ... And it is a little ambiguous because it could be taken to be about Conor but it also is meant to be part of the film."[5] In another interview, he said: "I almost subconsciously used music for myself as a healing agent, and lo and behold, it worked... I have got a great deal of happiness and a great deal of healing from music."
Please Respect the Silence at the end.
Time to think?
This is the first country love song released by Garth Brooks.
A man lies awake at night, thinking what would happen in his love's mind if he were to die the next day.
The first line in the chorus reads: "If tomorrow never comes, will she know how much I love her?"
He goes on to compare this situation with his own lost loved ones, and how he made a promise to say each day how much she means to him.
The song begins with a soft guitar solo and gradually builds up to a more orchestrated accompaniment.
Garth has written many love songs since.
This song is about the love of a father to his daughter, not to his lover.
Garth said that on stage at Belmont University to Britt Todd and in his music video he has his daughter playing next to him while he sings.
Writing and inspiration
Dishwalla lead singer J. R. Richards wrote 'Counting Blue Cars' "rather quickly", telling the "story of a young boy's spiritual journey". He said the lyrics are about a conversation with the child within himself, but was inspired by an actual chat with his 10-year-old neighbor.[3] Richards said:
From that younger perspective, I think we take things in a much more honest way because we are not being biased by how we're supposed to all think the same. So this idea of God, being an omnipotent being, could be a male or female. We always refer to God as a male, so why not make it a female? I started creating imagery to describe this journey, trying to think about what it was like to be a kid and the things that you would do. It quickly came together—I didn't think too much about it. But it did end up being one of the songs that really affected people both positively and negatively. I never thought I'd ever have a song I'd get death threats for writing.[4]
As quoted, Richards received death threats after the single's release from listeners who were upset about God's depiction as a female in the song.
@violandotocao4794
youtube.com/@violandotocao4794/featured
Vocals Production and Engineering
Me ;)
youtube.com/channel/UCMcdY7QGdOPtzfnqEZSZArw
"45" is a song by American rock band Shinedown. The song was released on July 13, 2003, on the album Leave a Whisper. Following the album's release, "45" became a popular single. An acoustic cover of "45" was featured on the album's re-release on June 15, 2004.
"45" placed twelfth among U.S. Modern Rock and third among U.S. Mainstream Rock songs after its release.
Brent Smith (the lead singer and songwriter) has stated in an interview:
The inspiration from the song really came from – I think a lot of people kinda take a literal sense because of the lyrics – but the song is basically about the day that you wake up and you look at yourself in the mirror and you finally decide that you want to try to become comfortable in your own skin, and realize that you’re gonna have to make yourself happy before you’re going to make anyone else happy. And basically, the 45 isn’t an actual literal term for a gun, I used it as a metaphor for the world, the .45 is actually the world and what it hands you every day of your life. When you get up, it’s a gift to be alive to begin with. A lot of different people, when I’ve talked about it, they said, “Do you really honestly mean that?” And I’m like, “Well, yeah.” Because I’ve been in that situation where I didn’t know if I wanted to continue going on and I didn’t know how to necessarily make myself comfortable with who I was, trying to find a way of learning more about myself. And you come from a dark place sometimes, and that’s really the reality of the song. It’s about overcoming and about moving forward. And it’s basically about understanding that it’s not always going to be good, but you really have no one to blame for yourself if you don’t move forward. That’s where the whole, “Nobody knows what I believe,” [comes from] because we’re all individuals. So that’s really where it comes from, it’s about moving on, really.
Background and writing
"If You're Not the One" is written as a love ballad. Bedingfield claims to have been inspired by the band Westlife, when writing and recording the song.Bedingfield himself believes that the song is "cheesy." Bedingfield admitted he began writing the song because he realized that material he considered more "complex" was unlikely to get him a record deal. "Commercialism, sappy lyrics and meek tunes are the things I hate most in the universe, but I'm not sure even Bob Dylan could get record company interest without hooks these days", Bedingfield recalled in an interview with The Daily Telegraph. "It's a different age. You need to go some kind of populist route. So, about three years ago, I sat down with a Westlife song and tried to write something similar."
Bedingfield also admitted that he did not even want to put the song on his album. He said, "I didn't want to put "If You're Not the One" on the album as I thought it was too cheesy. I thought it sounded like Westlife. But she (Natasha Bedingfield, his sister) loved it. Women that hear it go all soft and think it's lovely".
The song was written by lead singer Rob Thomas, and is about a girl who leaves her hometown to pursue an unspecified career of some fame, possibly Broadway. Throughout the song, he pleads with the girl to let her know that she is encouraged to return home if things don't work out. According to Thomas, "Bright Lights" may be his favorite song he has recorded.
I was in love with this girl, and she was just a broken person. She kept turning to everyone except me for love and acceptance, and I wanted so much to help her. I wanted to be the one to give her everything she wanted, but I couldn't. She just couldn't accept it from me, and it was that pain, that led me to creating the song.
Scannell later elaborated on its meaning in a 2024 interview, stating that it was also about being stuck in a friend zone:
"Everything You Want" is really about a woman. We were young and trying to figure out what love meant. And she was continually looking at what I thought and continued to think were the wrong people. She would come and sort of cry on my shoulder when they inevitably treated her poorly. And the whole time, I was pining for her. I just loved her. I wanted to be there for her, to be with her, to be more than a friend for her, and it just wasn't in the cards. I could see it in her eyes every time we would talk. I was very much in the friend zone with her. So the only way that I could talk about it was by writing a song about it. I actually believe that she doesn't know that that song was written about her. I'm perfectly happy with that.
During an interview with WRAT radio station, lead vocalist Chad Kroeger spoke about the lyrical inspiration for “San Quentin”, saying: “I met the San Quentin prison warden at a party. And I couldn’t believe how young he was. I was, like, ‘There’s just no way that you’re the warden of San Quentin,’ and everyone was, like, ‘Yup. He is.’ Guy Fieri’s a buddy of mine, and I was at his birthday party a few years back. And the entire time we were talking, I’m speaking to this guy, but in my head all I could think about was, ‘I’m gonna write a song called 'San Quentin’. That’s it.‘ And I stuck it in my notes in my phone. And then once the riff was down, I think I screamed out this line, 'Can somebody please keep me the hell out of San Quentin?’ And we just took it from there.”
The song charted at No. 49 on the Canadian Hot 100 before eventually being released as a single. It later re-entered at No. 92. The song charted at No. 11 on the Billboard Mainstream Rock chart and No. 24 on the Billboard Rock Songs chart.
Time invested recording? 30 minutes.
Time invested understanding that track
Truly?
60 years 🤟
Quote from Don Mclean
"In the autumn of 1970 I had a job singing in the school system, playing my guitar in classrooms. I was sitting on the veranda one morning, reading a biography of Van Gogh, and suddenly I knew I had to write a song arguing that he wasn't crazy. He had an illness and so did his brother Theo. This makes it different, in my mind, to the garden variety of 'crazy' – because he was rejected by a woman [as was commonly thought]. So I sat down with a print of Starry Night and wrote the lyrics out on a paper bag."
The song was serviced to US modern rock radio on February 18, 2008.
'Lyrically, the song focuses on "being resilient, going against the grain and going against the world when the world's trying to push you down, or take you out," lead singer Brad Arnold said.
The song topped the US Billboard Mainstream Rock Tracks chart for three weeks.
A tribute from our fold that could not be there
youtube.com/watch?v=U_JFRR9rgYA
In the vein of freinds thoughts.
We have lost many good friends over recent years
Love to all.
👊💪❤️@therealjustinekasprick
Happy New Year.
May 2025 be kinder to us all 🤟
Here we go
Inspiration, care of Alan Arnson
Ode" is a poem written by the English poet Arthur O'Shaughnessy and first published in 1873. It is the first poem in O'Shaughnessy's collection Music and Moonlight (1874).
We are the ones who make music, and the ones who dream dreams. We wander along remote shorelines and sit by lonely streams. We are people who renounce the world, people on whom the moon shines. But we also always seem to be the people who shake the world to its foundations.
We construct the world's great cities with our awe-inspiring, immortal songs. From magical stories, we create the glories of empires. A single artist with a dream can overthrow a monarch, and three artists with a new song can overthrow a whole kingdom.
Those of us who are long dead and buried built the ancient city of Nineveh with our laments, and the ancient city of Babel with our laughter. Then we destroyed those cities with prophecies of a new and better world, because every era is a dream that is either dying or being born.
A hint of our vision gives life to every new generation. Our astonishing, seemingly impossible dreams give soldiers, kings, and peasants alike a shared vision, until our dreams become reality and everyone works together to make them come true.
Normal people don't know that they're building this new world; they have no advance knowledge of the new place they're going. But the solitary artist's soul can perceive an eternal light, and the way he looks and the words he says light fires in other people's hearts.
Therefore, the present is charged with the energy of past prophecies, and today's people enact the beliefs that earlier generations didn't accept. And while the people of the present reject tomorrow's new ideas, they still live out the joyful or sorrowful dreams of artists who came before them.
But we, dreaming and singing, never stop and are not sad. We feel the glory of the future all around us, and our souls hear divine music. Oh, normal people! We must always, because of our dreams and songs, live separately from you.
For we live in the dawns of future days, and from our place in these infinite mornings, you hear us bravely shout that, in spite of your scorn for new ideas, God's future is coming closer anyway, and it's already clear that you, too, will die, as the past must.
We shout grand greetings to the visitors from the bright, unexplored shores of the future, and ask them to bring us their light and their summers, and to renew the world once again. They will teach us new songs, and new dreams, in spite of a dreamer who sleeps, and a singer who no longer sings.
litcharts.com/poetry/arthur-o-shaughnessy/ode-we-are-the-music-makers
We are the ones who make music, and the ones who dream dreams. We wander along remote shorelines and sit by lonely streams. We are people who renounce the world, people on whom the moon shines. But we also always seem to be the people who shake the world to its foundations.
We construct the world's great cities with our awe-inspiring, immortal songs. From magical stories, we create the glories of empires. A single artist with a dream can overthrow a monarch, and three artists with a new song can overthrow a whole kingdom.
Those of us who are long dead and buried built the ancient city of Nineveh with our laments, and the ancient city of Babel with our laughter. Then we destroyed those cities with prophecies of a new and better world, because every era is a dream that is either dying or being born.
A hint of our vision gives life to every new generation. Our astonishing, seemingly impossible dreams give soldiers, kings, and peasants alike a shared vision, until our dreams become reality and everyone works together to make them come true.
Normal people don't know that they're building this new world; they have no advance knowledge of the new place they're going. But the solitary artist's soul can perceive an eternal light, and the way he looks and the words he says light fires in other people's hearts.
Therefore, the present is charged with the energy of past prophecies, and today's people enact the beliefs that earlier generations didn't accept. And while the people of the present reject tomorrow's new ideas, they still live out the joyful or sorrowful dreams of artists who came before them.
But we, dreaming and singing, never stop and are not sad. We feel the glory of the future all around us, and our souls hear divine music. Oh, normal people! We must always, because of our dreams and songs, live separately from you.
For we live in the dawns of future days, and from our place in these infinite mornings, you hear us bravely shout that, in spite of your scorn for new ideas, God's future is coming closer anyway, and it's already clear that you, too, will die, as the past must.
We shout grand greetings to the visitors from the bright, unexplored shores of the future, and ask them to bring us their light and their summers, and to renew the world once again. They will teach us new songs, and new dreams, in spite of a dreamer who sleeps, and a singer who no longer sings.
It was announced that 100% of all digital sales for the song will be donated to the charities of Amnesty International, and the International Children's Awareness Canada.
No Reason just fun
👍✌️😎
youtube.com/channel/UCNwiSJirjVh0lc0BqE1hWVQ
Enjoy.


