Uploaded December 2025 | Updated September 2026, 2 weeks ago
From '' Songs That Brought Sunshine Into The Depression! ''
Label: Somerset – P-6300
Format: Vinyl, LP
Country: US
Released: 1958
Tracklist
A1 Brother Can You Spare A Dime
A2 Just Let A Smile Be Your Umbrella
A3 Let's Have Another Cup Of Coffee And Let's Have Another Piece Of Pie
A4 The Object Of My Affection
A5 On The Sunny Side Of The Street
B1 Now's The Time To Fall In Love
B2 Shuffle Off To Buffalo
B3 I Found A Million Dollar Baby
B4 A Shanty In Old Shanty Town
B5 Happy Days Medley
🎵 [SONG INFO]
"Brother, Can You Spare a Dime?" is one of the best-known American songs of the Great Depression.
Written by lyricist Yip Harburg and composer Jay Gorney, it was part of the 1932 musical revue Americana; the melody is based on a Russian-Jewish lullaby.
The song tells the story of the universal everyman, whose honest work towards achieving the American dream has been foiled by the economic collapse.
Unusual for a Broadway song, it was composed largely in a minor key.
The song became best known through recordings by Bing Crosby and Rudy Vallée that were released in late 1932.
The song received positive reviews and was one of the most popular songs of 1932.
As one of the few popular songs during the era to discuss the darker aspects of the collapse, it came to be viewed as an anthem of the Great Depression.
Background
The Great Depression in the United States, which started with the 1929 Wall Street crash, had a severe impact on the country.
In 1932, 25 percent of American men were unemployed.
After his appliance business went bankrupt, Yip Harburg had gone into the music business, working as a lyricist.
The melody derives from a Jewish lullaby that the composer Jay Gorney, who emigrated to the United States in 1906, heard in his native Russia. Initially, it had other lyrics which discussed a romantic breakup.
Gorney recalled that the pair came up with the title "Brother, Can You Spare a Dime?" after walking in the Central Park where they heard unemployed men asking "Can you spare a dime?"
Harburg recalled that he was working on a song for the musical Americana: "We had to have a title... Not to say, my wife is sick, I've got six children, the Crash put me out of business, hand me a dime. I hate songs of that kind."
Harburg's worksheets show that he went through several drafts of the lyrics, which included a satirical version attacking John D. Rockefeller and other tycoons. However, over time Harburg moved towards more concrete imagery, resulting in the final version.
Both Gorney and Harburg were socialists.
Composition and lyrical interpretation
The song is about a man who has sought the American dream, but was foiled by the Great Depression. He is the universal everyman who holds various professions, being a farmer and a construction worker as well as a veteran of World War I: it is intended to embrace all listeners.
The man is someone "who kept faith in America, and now America has betrayed him". After three years of the Depression, the man has lost his job and is reduced to begging for charity. He recognizes the man whose dime (equivalent to $1.88 in 2024) he is asking for.
The lyrics refer to "Yankee Doodle Dum", a reference to patriotism, and the evocation of veterans also recalls the mid-1932 Bonus Army protests about military bonuses payable only after 21 years.
Harburg said in an interview: "the man is really saying: I made an investment in this country. Where the hell are my dividends? ... [The song] doesn't reduce him to a beggar. It makes him a dignified human being, asking questions—and a bit outraged, too, as he should be."
"Brother, Can You Spare a Dime?" has an unusual structure for a Broadway song.
First, rather than starting in a major key, as most Broadway songs do, it begins in a minor key, which is darker and more appropriate for the Depression. When discussing the prosperous past, the melody jumps an octave on the words "building a dream", emphasizing the dream, and moves briefly into a major key, evoking energy and optimism. This is placed in baffling and poignant contrast with the reality ("standing in line, / Just waiting for bread"). The song then reverts to the augmented dominant of the minor key in the word "time" in the line "Once I built a railroad, made it run / Made it race against time," marking the end of prosperous times, and changing to a wistful mood. Each of the three main stanzas end in a direct appeal to the listener, "Brother, Can You Spare a Dime?" The bridge deals with the singer's experiences as a veteran of the Great War, falling from patriotism "looked swell" to the discordant harmonies of "slogging through hell". The song then ends, not on a note of resignation, but with anger – repeating the beginning an octave higher but with a significant change: the friendly "Brother, can you spare a dime?" is replaced with the more assertive "Buddy, can you spare a dime?"
~ en.wikipedia.org/wiki/Brother,_Can_You_Spare_a_Dime%3F
#anthem
From '' Songs That Brought Sunshine Into The Depression! ''
Label: Somerset – P-6300
Format: Vinyl, LP
Country: US
Released: 1958
Tracklist
A1 Brother Can You Spare A Dime
A2 Just Let A Smile Be Your Umbrella
A3 Let's Have Another Cup Of Coffee And Let's Have Another Piece Of Pie
A4 The Object Of My Affection
A5 On The Sunny Side Of The Street
B1 Now's The Time To Fall In Love
B2 Shuffle Off To Buffalo
B3 I Found A Million Dollar Baby
B4 A Shanty In Old Shanty Town
B5 Happy Days Medley
🎵 [SONG INFO]
"Brother, Can You Spare a Dime?" is one of the best-known American songs of the Great Depression.
Written by lyricist Yip Harburg and composer Jay Gorney, it was part of the 1932 musical revue Americana; the melody is based on a Russian-Jewish lullaby.
The song tells the story of the universal everyman, whose honest work towards achieving the American dream has been foiled by the economic collapse.
Unusual for a Broadway song, it was composed largely in a minor key.
The song became best known through recordings by Bing Crosby and Rudy Vallée that were released in late 1932.
The song received positive reviews and was one of the most popular songs of 1932.
As one of the few popular songs during the era to discuss the darker aspects of the collapse, it came to be viewed as an anthem of the Great Depression.
Background
The Great Depression in the United States, which started with the 1929 Wall Street crash, had a severe impact on the country.
In 1932, 25 percent of American men were unemployed.
After his appliance business went bankrupt, Yip Harburg had gone into the music business, working as a lyricist.
The melody derives from a Jewish lullaby that the composer Jay Gorney, who emigrated to the United States in 1906, heard in his native Russia. Initially, it had other lyrics which discussed a romantic breakup.
Gorney recalled that the pair came up with the title "Brother, Can You Spare a Dime?" after walking in the Central Park where they heard unemployed men asking "Can you spare a dime?"
Harburg recalled that he was working on a song for the musical Americana: "We had to have a title... Not to say, my wife is sick, I've got six children, the Crash put me out of business, hand me a dime. I hate songs of that kind."
Harburg's worksheets show that he went through several drafts of the lyrics, which included a satirical version attacking John D. Rockefeller and other tycoons. However, over time Harburg moved towards more concrete imagery, resulting in the final version.
Both Gorney and Harburg were socialists.
Composition and lyrical interpretation
The song is about a man who has sought the American dream, but was foiled by the Great Depression. He is the universal everyman who holds various professions, being a farmer and a construction worker as well as a veteran of World War I: it is intended to embrace all listeners.
The man is someone "who kept faith in America, and now America has betrayed him". After three years of the Depression, the man has lost his job and is reduced to begging for charity. He recognizes the man whose dime (equivalent to $1.88 in 2024) he is asking for.
The lyrics refer to "Yankee Doodle Dum", a reference to patriotism, and the evocation of veterans also recalls the mid-1932 Bonus Army protests about military bonuses payable only after 21 years.
Harburg said in an interview: "the man is really saying: I made an investment in this country. Where the hell are my dividends? ... [The song] doesn't reduce him to a beggar. It makes him a dignified human being, asking questions—and a bit outraged, too, as he should be."
"Brother, Can You Spare a Dime?" has an unusual structure for a Broadway song.
First, rather than starting in a major key, as most Broadway songs do, it begins in a minor key, which is darker and more appropriate for the Depression. When discussing the prosperous past, the melody jumps an octave on the words "building a dream", emphasizing the dream, and moves briefly into a major key, evoking energy and optimism. This is placed in baffling and poignant contrast with the reality ("standing in line, / Just waiting for bread"). The song then reverts to the augmented dominant of the minor key in the word "time" in the line "Once I built a railroad, made it run / Made it race against time," marking the end of prosperous times, and changing to a wistful mood. Each of the three main stanzas end in a direct appeal to the listener, "Brother, Can You Spare a Dime?" The bridge deals with the singer's experiences as a veteran of the Great War, falling from patriotism "looked swell" to the discordant harmonies of "slogging through hell". The song then ends, not on a note of resignation, but with anger – repeating the beginning an octave higher but with a significant change: the friendly "Brother, can you spare a dime?" is replaced with the more assertive "Buddy, can you spare a dime?"
~ en.wikipedia.org/wiki/Brother,_Can_You_Spare_a_Dime%3F
#anthem
![The SoDa Poppers - Suffragette City (David Bowie Cover)
From Testing A Theory - The Shape Of Things To Come
Released: April 30, 2025
Tracklist
1. Livin Doll
2. Suffragette City
3. Bad Girls Go To Hell
4. I Think Were Alone Now (Clean Version)
5. The Only Way Is All The Way
6. F. T. W
The Soda Poppers are:
Frida The Bleeder on Vocals, Guitar, Bass and a slippery slope
Silent Sonia on Drums and double Vodkas
Additional contributions from:
Sticky Vikki on a Big Organ, backing vocals and stolen drugs
Johny Vincent on Guitar, backing vocals and knob twiddling
Recoded, mixed and mastered by JSK at Millionaire Mansions studio Manchester during 2024/25.
Notes
Its Loud n Lewd, lucious and loosh. Hard and fast dirty fuckin Rock n Roll. It started off life as a 5 track EP which grew quickly to a collection of 17 original songs and 6 cover versions the first 6 of these appear here in this lovingly crafted slab of leather n studs and glam n glitter. Presented here as CD or download with the possibility of a vinyl single in the coming weeks.
🎵 [SONG INFO]
Suffragette City is a song by the English singer-songwriter David Bowie. It was originally released in April 1972 as the B-side of the single Starman and subsequently appeared on his fifth studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972). The song was later reissued as a single in 1976, with the US single edit of Stay as the B-side, to promote the compilation album Changesonebowie in the UK. Co-produced by Bowie and Ken Scott, it was recorded by Bowie at Trident Studios in London with his backing band the Spiders from Mars, consisting of Mick Ronson, Trevor Bolder and Mick Woodmansey, at a late stage of the albums sessions. The song was originally offered to English band Mott the Hoople, who declined it and recorded Bowies All the Young Dudes instead. It is a glam rock song that is influenced by the music of Little Richard and the Velvet Underground. The lyrics include a reference to Anthony Burgess novel A Clockwork Orange and the lyric Oooohh wham bam, thank you, maam.
Suffragette City received acclaim from music critics, with many praising the guitar work, the bands performance, the false ending, the lyric and the songs power. It has subsequently been called one of Bowies greatest songs by multiple publications, including NME. Bowie performed the song frequently during his concert tours and it has appeared on multiple compilation albums. It has been remastered several times, including 2012 for the 40th anniversary of the album; this version was included as part of the 2015 box set Five Years (1969–1973).
Release and reception
Suffragette City was originally released on 28 April 1972 by RCA Records as the B-side of Bowies single Starman (as RCA 2199). It was subsequently released as the 10th and penultimate track on his fifth studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, on 16 June of that year. RCA reissued the track as the A-side of a single (RCA 2726) on 9 July 1976, to promote the compilation album Changesonebowie in the UK, with the US single edit of the Station to Station track Stay as the B-side. The single failed to chart.
Since its release, Suffragette City has received critical acclaim, with many writers praising the guitar work. In a review of Ziggy Stardust on its release, Richard Cromelin of Rolling Stone called Suffragette City Bowies supreme moment as a rock & roller. Noting the Velvet Underground influence, he praised the guitar work in the second half and the false ending, writing that the lyric Oooohh Wham Bam Thank you Maam! brings you back into it and would make you want to do somersaults. Cromlin concluded by saying that theres only one thing left for the Star, quoting the lyric Theres only room for one and here she comes, here she comes.
In 2015, Ultimate Classic Rock placed the track on their list of the top 200 songs of the 1970s, writing, this song underscored Bowies broad interests – he pulled in references from Charles Mingus and A Clockwork Orange – even as it showcased his willingness to experiment with things like the ARP synth.
Ian Fortnam of Louder, in a review ranking every song on The Rise and Fall of Ziggy Stardust and the Spiders from Mars from worst to best, placed Suffragette City at number five, calling it Ziggys most reconstructed rocker. Also praising the false ending and famous hook, he ends his review by describing the track as glam rock in excelsis.
🔗 [LINKS]
https://www.facebook.com/the.soda.poppers/
https://www.facebook.com/johny.skullknuckles/
https://www.facebook.com/The.Kopek.Millionaires/
Available on bandcamp:
https://johnymusic.bandcamp.com/album/testing-a-theory-the-shape-of-things-to-come
#davidbowiecover
#suffregettecity The SoDa Poppers - Suffragette City (David Bowie Cover)](https://i.ytimg.com/vi/LbTIrSrZl6k/mqdefault.jpg)
![Jim Kweskin - Java Jive (Folk Acoustic, Ben Oakland - Milton Drake)
From Lives Again
Label: Mountain Railroad Records – MR 52782
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1977
Tracklist
A1 Java Jive
A2 The Mermaid Song
Songwriter – Shel Silverstein
A3 Shell Be Comin Round The Mountain
A4 You Are My Sunshine
Songwriter – Jimmie Davis
A5 With Her Head Tucked Underneath Her Arm
B1 Fishin Blues
B2 The Days Of 49
B3 Blue Skies
Songwriter – Irving Berlin
B4 Rangers Command
Songwriter – Woody Guthrie
B5 What Does The Deep Sea Say?
Songwriter – Marilyn Kweskin
Photography By – Marc PoKempner
Artwork [Mountain Railroad Label Art] – Gil Reid
Graphic Design – Gene Mihleisen
Lacquer Cut By – Bob Berglund
Mastered By – Bob Berglund
Mixed By – Paul Martinson
Producer, Recorded By – Stephen Powers
Recorded At – Somebody Elses Troubles
Recorded At – Great Hall, University of Wisconsin
Recorded At – The Blue River Cafe
Recorded At – Juicy John Pinks Cooperative
Recorded At – Cambridge Conservatory Of Music
Mixed At – Sound 80 Studios
Mastered At – Sound 80 Studios
Phonographic Copyright ℗ – Mountain Railroad Records, Inc.
Copyright © – Mountain Railroad Records, Inc.
Distributed By – Flying Fish Records, Inc.
💿 [SONG INFO]
Java Jive is a song written by Ben Oakland and Milton Drake in 1940 and most famously recorded that year by The Ink Spots, whose recording reached no.17 on the U.S. Pop charts and is considered by many to be the definitive version.
The song is also heard in the 1942 movie In This Our Life.
The lyrics speak of the singers love for coffee and tea, and also reflect the slang of that time, including a reference to Mr. Moto, a Japanese film spy. The song originally featured the couplet Im not keen about a bean / Unless it is a cheery beery bean, as a pun on the song Ciribiribin, but the Ink Spots lead singer, Deek Watson, inadvertently sang it as cheery cheery bean, and recordings by subsequent artists have generally either followed suit or changed it to chili chili bean.
Other versions
1940
The King Sisters
1941
Maurice Rocco And His Rockin Rhythm
Al Donahue And His Orchestra
1955
Jackie Paris
1956
The Mascots
Johnny Mercer With The Paul Smith Trio And The Notables
1957
The Modernaires
1963
Tammy Grimes
1964
The Platters
1969
Do Re Mi Childrens Chorus
1973
Fats Pickins Banjo Pickers
1974
Chris Darrow
1975
The Manhattan Transfer
Liberty
1976
The Kings Singers
The All Night Strut! Cast
The Cliff Adams Singers
1977
Edward, Harding & McLean
Beth And Cinde
The Whims
1978
Don Estelle, Windsor Davies
The Tradition Hall Jazz Band
The Whiffenpoofs
1979
Tuxedo Junction
1980
Miami University Mens Glee Club, John C. Wabrick
Jitka Molavcová in Czech titled Káva A Čaj
1981
Bluegrass Student Union
The Tufts Beelzebubs
1982
The Friars
Kårspexet 82 titled Lägereldsång
Edina High School Concert Choir
1983
George Street
Deep River Quartet
Judi Sheppard Missett
The Trinity Pipes
Southern Comfort
Jack Emblow With The French Collection
Elk Grove High School Jazz Band
1984
The Yandall Sisters
1985
Perilhettes
La Cappella
The Tigressions
1986
Sydney Thompson And His Orchestra
Lundaspexarna titled Bankruttkupletten
1987
The Soliman Brothers
Jack Emblow And His Riverboat Collection
Jazzgossarna in Swedish titled Kaffekokarens Mödor
University Of Rochester Yellowjackets
1988
Happy Nite Quartet
1989
Torvill & Dean
Cantabile
Vokalensemble Pro Cantare, Burgenland Leitung: Eduard Kutrowatz
1990
Big Band Hötting & Vocal Affair
Werner Bros. in Finnish titled Minä Juon Nyt Kahvia
1991
Körfamiljen Diss Skövde (DISSbrothers)
1992
Salvation Jane
1993
Things To Come
Stupendams
Cutt Glas
Back Corner
1994
Joel McNeely
Brother
Table For 4
1995
Peter Skellern
Trillergirls
1996
Na Leo
The Casablanca Steps
Hoboes
Kvart I Fire
1997
Consuelo-Jon Quintet
Sweet, Red, Hot & Sassy!
1998
Cotton Club Singers
Hearts & Roses - Die 3 Jungen Tenöre
The Big Band Trio
ManSound
The Square Pegs
1999
Komorni Zbor Gaudeamus / Perpetuum Jazzile
2000
The Swings
Tietzes titled Schoko Shake
The Song Company
The Four Tunes
2003
The NightOwls
2005
Sânman & Sikke
2006
The Puppini Sisters
2009
Giana Viscardi & Michi Ruzitschka
2012
Pat Boone
The K Sisters
2013
Erin Dickins
Emily Barker
Vox Singers & Positive Vibrations
2014
Talon
2015
Wishful Singing
Apollo5
2018
The Blind Rats
2019
The Perky Pollyvocs
2021
Teresa Bright
Whitney Brothers Trio
Supertonics
Richard Österreicher Big Band, Mainstreet
Blandin Male Chorus
Tex Beneke And His Orchestra
The Crescent Clan
🔗 [LINKS]
https://jimkweskin.com/
Jim Kweskin on bandcamp:
https://jimkweskin.bandcamp.com/music
Apple Music:
https://music.apple.com/us/artist/jim-kweskin/2430032
Spotify:
https://open.spotify.com/artist/3b5nT2xx5jbjaYuQJWhZG7
Deezer:
https://www.deezer.com/us/artist/194699
Amazon:
https://www.amazon.com/CDs-Vinyl-Jim-Kweskin/s?rh=n%3A5174%2Cp_32%3AJim%2BKweskin
and Facebook:
https://www.facebook.com/JimKweskinMusic/
#folksong
#acoustic
#acousticguitar Jim Kweskin - Java Jive (Folk Acoustic, Ben Oakland - Milton Drake)](https://i.ytimg.com/vi/MD8qu9NpSeQ/mqdefault.jpg)
![Controllers - Jezebel (Frankie Laine Cover)
From Tooth And Nail
Label: Upsetter Records – UP WR 1&2
Format: Vinyl, LP, Compilation
Country: US
Released: 1979
Tracklist
A1 Controllers - Another Day
A2 Controllers - Electric Church
A3 Controllers - Jezebel
A4 The Flesh Eaters - The Word Goes Flesh
A5 The Flesh Eaters - Pony Dress
A6 The Flesh Eaters - Version Nation
A7 U.X.A. - Social Circle
B1 U.X.A. - U.X.A.
B2 Negative Trend - I Got Power
B3 Negative Trend - Mercenaries
B4 The Middle Class - Love Is Just A Tool
B5 The Middle Class - Above Suspicion
B6 Germs - Manimal
B7 Germs - Dragon Lady
B8 Germs - Strange Notes
Photography By [Baby Head Photo] – Steve Samiof
Cover [Cover Design], Graphics – Chris D., Exene Cervenka, Judith Bell
Design [Label Design] – Exene Cervenka, Judith Bell
Graphics [3d Lettering Front Cover] – Tim Norman
Graphics [Graphics Adviser] – Mick Toohig
Lacquer Cut At – MCA Whitney Recording Studios
Lacquer Cut By – Larry Boden
Producer – Chris D., Judith Bell
Executive Producer – Randolph J. Stephens
Notes
The album was repressed in 1989. (Same label and catalog number)
Differences to original pressing are additional etchings in the runout groove on side one (L 32481), plus it doesnt have a printed inner sleeve but a generic white one.
℗ 1979 Upsetter Records
© 1978, 1979 Upsetter Records
Jezebel is a 1951 popular song written by American songwriter Wayne Shanklin.
It was recorded by Frankie Laine with the Norman Luboff Choir and Mitch Miller and his orchestra on April 4, 1951 and released by Columbia Records as catalog number 39367. The record reached number 2 on the Billboard chart and was a million seller. The B-side, Rose, Rose, I Love You, was a hit too and reached number 3.
Background
The title refers to the biblical woman Jezebel, a wicked, Baal-worshipping Phoenician princess who ruled Israel as queen consort to King Ahab. Jezebels story is recounted in 1 Kings 16-20 and 2 Kings 9, books of the Old Testament.
Covers
In November of the same year, Edith Piaf recorded the French-language version, with lyrics by Charles Aznavour.
In 1951 Winifred Atwell charted in the UK with an instrumental version.
In 1956 Gene Vincent and his Blue Caps performed their version of the song on their debut album.
In 1961 The Everly Brothers performed the song on their seventh album Instant Party.
In 1962, Marty Wilde had a UK Top 20 hit with his version of the song.
In 1963, Rob E. G. (Australian steel slide guitarist), took his instrumental version into the Australian top 5.
In the same year, Charles Aznavour also recorded the version with his lyrics previously sung by Piaf.
In 1965, Johnny Kendall & the Heralds released a version which reached No. 29 on the Dutch chart.
In 1967, Hermans Hermits included their version on the LP Theres a Kind of Hush All Over the World.
In 1990 Luxuria included their version on the CD titled Beast Box (was not included on the LP).
In 1992, The Mummies included their version on the LP Never Been Caught.
In 1994, The Reverend Horton Heat included his version on the LP Liquor in the Front.
In 1995, Dave Vanian of The Damned included his version on the LP Dave Vanian and the Phantom Chords.
In 2011, English singer-songwriter Anna Calvi recorded a cover which blends both Laines English and Piafs French iterations, released as a single. Controllers - Jezebel (Frankie Laine Cover)](https://i.ytimg.com/vi/MF2T7Mv4ksU/mqdefault.jpg)
![Baja Marimba Band - Ghost Riders In The Sky (Stan Jones Cover)
From Watch Out!
Label: A&M Records – SP-4118, A&M SP 4118
Format: Vinyl, LP, Album, Stereo, Pitman Pressing
Country: US
Released: 1966
Tracklist
A1 Portuguese Washerwoman
Written-By – André Popp, Roger Lucchesi
A2 The More I See You
Written-By – Harry Warren, Mack Gordon
A3 Sabor A Mi (Be True To Me)
Written-By – Mel Mitchell
Written-By [Spanish Music & Lyric] – Alvaro Carrillo
A4 Yours
Written-By – Albert Gamse, Gonzalo Roig, Jack Sherr
A5 Cast Your Fate To The Wind
Written-By – Carel Werber, Vince Guaraldi
A6 Somewhere My Love
Written-By – Maurice Jarre
B1 Gay Ranchero
Written-By – Abe Tuvim, Francia Luban, Juan José Espinosa
B2 Spanish Moss
Written-By – Julius Wechter
B3 Telephone Song
Written-By – Gerald Devine
B4 Tomorrow Will Be Better
Written-By – Herb Alpert
B5 Ghost Riders In The Sky
Written-By – Stan Jones
Arranged By – Herb Alpert, Julius Wechter
Design [Album Designed By] – Peter Whorf Graphics
Engineer – Bruce Botnickat at Sunset Sound, Hollywood
Producer – Herb Alpert, Jerry Moss
© A&M Records
℗ A&M Records
(Ghost) Riders in the Sky: A Cowboy Legend is a country and cowboy-style song.
It was written on June 5, 1948 by Stan Jones.
A number of versions were crossover hits on the pop charts in 1949.
More than 50 performers have recorded versions of the song.
Charting versions were recorded by The Outlaws, Vaughn Monroe, by Bing Crosby (with the Ken Darby Singers), Frankie Laine, Burl Ives (two different versions), Marty Robbins, The Ramrods and Johnny Cash.
Other recordings were made by Peggy Lee (with the Jud Conlon Singers) and Spike Jones and his City Slickers.
Gene Autry sang it in the 1949 movie, Riders in the Sky. Jones himself recorded it for his 1957 album Creakin Leather.
Children of Bodom, Impaled Nazarene and Die Apokalyptischen Reiter have also made covers.
The melody is based on the song When Johnny Comes Marching Home.
According to Robby Krieger, it inspired the classic Doors song Riders on the Storm.
The song was also the inspiration for the Marvel Comics Western character Ghost Rider later renamed Phantom Rider.
Recordings
The original version by Stan Jones was recorded in 1948
The version, by Burl Ives, was recorded on February 17, 1949
Vaughn Monroe and His Orchestra. Vocalists: Vaughn Monroe and The Moon Men
The Bing Crosby version was recorded on March 22, 1949
The Peggy Lee version was recorded on April 18, 1949
The Spike Jones version was recorded on May 24, 1949
Another popular early version was recorded by the Sons of the Pioneers
By the Norman Luboff Choir in their album, Songs of the Cowboy in 1960
The Brothers Four recorded a driven, up-tempo version in 1961.
A twangy guitar instrumental version by The Ramrods in 1961. This was covered by UK band The Scorpions.
Bob James Trio in 1962
Frankie Laine in 1963
Daniel Amos
Dick Dale recorded a version in the surf style and released it on his second album, King of the Surf Guitar, in 1963
Duane Eddy brought his electrified twangy guitar sound along with a sax edition by Jim Horn to a 1996 version on an Curb Album Ghost Rider.
Recorded by Elvis Presley in June 1970.
Recorded by Susan Christie in 1970
Riders in the Sky in 1979
Johnny Cash in 1979. He also recorded it live with Willie Nelson for 1998s VH1 Storytellers.
Outlaws in 1980
The Shadows in 1980
Milton Nascimento in Portuguese as Cavaleiros Do Céu in 1981
There is also a Sesame Street version called The Dirtiest Town in The West with alternated lyrics. It was first aired in 1982
Impaled Nazarene recorded in 1993 (black metal version)
Captain Tractor in 1994
Ned Sublette in 1999
The Blues Brothers in Blues Brothers 2000 movie
Dolan Ellis in 2000
Die Apokalyptischen Reiter in 2006 Friede Sei Mit Dir
Me First and the Gimme Gimmes in 2006
Deborah Harry
The Ventures
Terry Scott Taylor and Daniel Amos in 1990
Gill Dougherty in 1990
Pedro Vargas Jinetes en el Cielo in Spanish.
Raphael a Spanish singer
Buckethead during his tour as Giant Robot (bub version)
Spiderbait , during the credits of the 2007 movie Ghost Rider
Concrete Blonde in 2004
Los Babys Jinetes en el Cielo
Gary Richrath
Dezperadoz in 2000
Ghoultown
The Spotnicks
Children of Bodom in 2008
The Fabulaires
Baja Marimba Band in 1966
Art Greenhaw in 2006
Judy Collins in 2010
The Space Lady
Recordings have also been made by Mary McCaslin, The Tubes, Roy Clark, Marty Robbins, Dean Martin, Boston Pops, Lawrence Welk, R.E.M., Dixie Chicks, Kaleidoscope, (Guy Vanderhoof), and Scary Bitches.
There is a German language version of the song called Geisterreiter which, as early as 1949, was recorded by Rita Paul & her Cornel-Trio.
In the same year, a version was released by Gerhard Wendland.
More than 20 versions of the German version are known.
Most notably by Howard Carpendale and Karel Gott.
There is a cover by the surf-punk-electro-band Mikrowelle as well as in 2008 by German TV-entertainer Götz Alsmann feat. Bela B (from Die Ärzte).
#latinjazz Baja Marimba Band - Ghost Riders In The Sky (Stan Jones Cover)](https://i.ytimg.com/vi/MXOt1n2xZlI/mqdefault.jpg)
![Dusty Cowshit - Eye Of The Tiger (Country Rock, Survivor Cover)
From Coventry & West Ham
Label: NorDisc – 528 201-2
Format: CD, Album
Country: Norway
Released: 1995
Tracklist
01. Intro
02. Run Runaway
03. Cottoneye Joe
04. Gimme! Gimme! Gimme! (A Man After Midnight)
5-1 Wanted Dead Or Alive
5-2 Living On A Prayer
06. Bohemian Rapsody
07. I Was Made For Loving You
08. Eye Of The Tiger
09. The Final Countdown
10. Duelling Ghandis
11. Houndog
12. Smoke On The Water
13. Stairway To Heaven
14. Run Run Away (Remix)
15. Smells Like Teen Spirit
16. Saturday Night
17-1 You Shook Me All Night Long
17-2 We Are The Cowboys
Døsti Cowshit
© 1995 Universal Music A/S
℗ 1995 Universal Music A/S
🎵 [SONG INFO]
Eye of the Tiger is a song by the American rock band Survivor. It was written as the theme song for the 1982 film Rocky III and released that year as a single from Survivors third album, Eye of the Tiger.
Sylvester Stallone, the director and star of Rocky III, enlisted Survivor after Queen denied him permission to use their song Another One Bites the Dust. Survivor derived lyrics, including the title, from dialogue in the film, and conceived a riff with chord changes to match the punches in the boxing scenes.
Eye of the Tiger reached number one on the charts of many countries. In the US, it was number one on the Billboard Hot 100 chart for six weeks, spent 15 consecutive weeks in the top 10, and was the second-bestselling single of 1982. It was certified platinum in August 1982, for sales of two million copies. In the UK, Eye of the Tiger sold 956,000 copies and was number one on the UK singles chart for four consecutive weeks.
At the 25th Annual Grammy Awards, Eye of the Tiger won Best Rock Performance by Duo or Group with Vocal and was nominated for Song of the Year. At the 55th Academy Awards, it was nominated for Best Original Song. It has been used without authorization in several political campaigns, which Survivor has opposed.
Writing
By 1982, the American band Survivor had released two unsuccessful albums and were concerned they would be dropped by their record label. That year, the director and actor Sylvester Stallone enlisted them to write a song for his film Rocky III, after Queen denied him permission to use Another One Bites the Dust. Stallone asked for something street with a pulse to match the punches of the boxing scenes. He sent them a copy of the montage used in the films introduction, depicting the boxer Rocky Balboa and the ascent of his rival, Clubber Lang.
Eye of the Tiger was written by guitarist Frankie Sullivan and keyboardist Jim Peterik. They conceived a riff based on chord changes to mirror the timing of punches. The title was taken from a line spoken by the Rocky character Apollo Creed: You had that eye of the tiger, man, the edge ... You gotta get it back. Stallone took the phrase from the 1969 film A Dream of Kings.
Survivor initially planned to title the song Survival, and had the chorus: Rising up to the spirit of our rival / And the last known survivor stalks his prey in the night / And it all comes down to survival, with survival rhyming with rival. Peterik said: That [eye of the tiger] hook is so strong, and rival doesnt have to be a perfect rhyme with the word tiger. We made the right choice and went with Eye of the Tiger.
Survivor recorded a demonstration tape at the Chicago Recording Company on February 1, 1982. Sullivan was so destitute that he used a guitar with a broken headstock he had glued back together. The band attempted to capture a drum sound similar to that of the Led Zeppelin drummer John Bonham. Stallone loved the demo and insisted on using it in the film. Survivor rerecorded it for the album and single releases. The music video was filmed in San Francisco.
Release and reception
Eye of the Tiger was played extensively on MTV and radio, and topped charts worldwide during 1982. In the United States, it held number one on the Billboard Hot 100 chart for six weeks. In August 1982, it was certified double platinum in the US for sales of two million copies. Eye of the Tiger sold 956,000 copies in the UK and was number one on the UK singles chart for four weeks. It was the UKs third best-selling single in 1982. By February 2015, It had sold more than 4.1 million in downloads in the US. Sullivan felt people related to the message of self-empowerment: Its about getting your ass out of bed. Its about saying: Im not going to try to go to the gym Monday – I am going to go to the gym Monday.
more info here~ https://en.wikipedia.org/wiki/Eye_of_the_Tiger
🔗 [LINKS]
https://www.facebook.com/profile.php?id=100063615398939
Available on Spotify:
https://open.spotify.com/album/6YrZbv5Vxt6gXPiJww515g
Apple Music:
https://music.apple.com/us/album/coventry-westham/1442212094
and Deezer:
https://www.deezer.com/us/album/950609
#dustycowshit
#eyeofthetiger
#countryrock
#survivor Dusty Cowshit - Eye Of The Tiger (Country Rock, Survivor Cover)](https://i.ytimg.com/vi/MvWjDNljLHU/mqdefault.jpg)


![Mr Joe English - Lay Lady Lay (Bob Dylan Cover)
From Lay Lady Lay
Label: Fontana – TF 1034 / 267 951 TF
Format: Vinyl, 7, 45 RPM, Single, Mono
Country: UK
Released: May 30, 1969
Tracklist
A Lay Lady Lay
Written-By – Bob Dylan
B Two Minute Silence
Written-By – Paul Korda
Producer – Paul Korda
Lay Lady Lay, sometimes rendered Lay, Lady, Lay, is a song written by Bob Dylan and originally released in 1969 on his Nashville Skyline album.
Like many of the tracks on the album, Dylan sings the song in a low croon, rather than in the high nasal singing style associated with his earlier (and eventually later) recordings.
The song has become a standard and has been covered by numerous bands and artists over the years.
The song, Dylans final top 10 hit, peaked at No. 7 on the Billboard Hot 100.
Bob Dylans version
Lay Lady Lay was originally written for the soundtrack of the film Midnight Cowboy but wasnt submitted in time to be included in the finished film.
Joel Whitburn said instead that the song was written for his wife Sarah Lowndes.
In a 1971 interview for which transcripts were auctioned in 2020, Dylan said the song was written for Barbra Streisand, with Streisand later adding that Dylan wanted to sing a duet with her.
Dylans recording was released as a single in July 1969 and quickly became his fourth and last top 10 U.S. hit, peaking at no.7 on the Billboard Hot 100 for the consecutive weeks of September 6 and 13.
The single did even better in the United Kingdom where it reached no.5 on the UK Singles Chart.
Covers
Phil Everly of the Everly Brothers stated in an interview that Dylan offered the song to them backstage after an appearance by the duo in New York.
Everly asked Dylan if he had any new songs that they might record, and answering Yes, Dylan picked up a guitar and proceeded to sing them the song.
But he sang so softly, the Everlys thought they heard Dylan sing, Lay lady lay, lay across my big breasts, babe.
Thinking it was a song about lesbians, Don Everly declined the song.
Months later, when they heard Dylans version on the radio and realized theyd misheard the lyrics, the Everlys felt theyd missed a big opportunity and later recorded the song on their EB 84 album.
The Byrds recording of Lay Lady Lay was released as a single on May 2, 1969 and reached No.132 on the Billboard chart but failed to break into the UK Singles Chart.
The Byrds recorded Lay Lady Lay on March 27, 1969 but producer Bob Johnston overdubbed a female choir on to the recording on April 18, 1969 without The Byrds consent.
The group were incensed, feeling that the choral overdub was incongruous and an embarrassment.
Duran Duran recorded an ethereal wave version of the song, appearing as track five on their 1995 covers album, Thank You.
The American band Ministry released a version of the song as a single and as part of their 1996 album, Filth Pig.
Made in Sweden, on the 1969 album Snakes in a Hole
Mike Melvoin, on the 1969 album The Plastic Cow Goes Moooooog
Cher, on the 1969 album 3614 Jackson Highway
Keith Jarrett, in a 1969 performance in Aarhus, Denmark.
Ben E. King, on the 1970 album Rough Edges
The Isley Brothers, on the 1971 album Givin it Back
Melanie, on the 1972 album Garden in the City
Della Reese, on the 1973 album Let Me in Your Life
Hoyt Axton, on the 1976 album Fearless
Neil Diamond, on the 1978 album Stages: Performances 1970-2002
David Kitt recorded the song during the sessions for his 2004 covers album The Black And Red Notebook; it eventually surfaced on Misfits Vol 1 (2007).
Kevin Ayers covered the song on his 1983 album Diamond Jack and the Queen of Pain and his 1984 album Deià...Vu.
The Everly Brothers, on the 1984 album EB 84
Richie Havens, on the 1986 album Sings Beatles and Dylan
Booker T. & the MGs, on the 1992 album Time is Tight
Isaac Hayes, on the 1999 album Tangled Up in Blues: Songs of Bob Dylan
Steve Howe, on the 1999 album Portraits of Bob Dylan
Eddie & Ernie
Cassandra Wilson
US Maple
Magnet and Gemma Hayes, on the 2003 album On Your Side, also featured in the 2005 film Mr. & Mrs. Smith.
Buddy Guy (featuring Anthony Hamilton)
The Stands
Maria Muldaur
Jim Ward
Deana Carter
Roch Voisine
📜 [PUBLISHING & PERMISSIONS]
Copyright music and lyrics reproduced by kind permission of Special Rider – for original, exclusive performances by Bob Dylan, check-out the official channel at https://www.youtube.com/BobDylan Mr Joe English - Lay Lady Lay (Bob Dylan Cover)](https://i.ytimg.com/vi/NUvKECgU4D8/mqdefault.jpg)
![Adrian Fuller - Everlasting Love (Robert Knight Cover)
From Everlasting Love / Love Hurts
Label: Dry Records – DRY 001
Format: Vinyl, 7, 45 RPM
Country: UK
Released: 1980
Tracklist
A Everlasting Love
AA Love Hurts
Lead Vocals – Adrian Fuller
Lead Guitar, Rhythm Guitar [Non-Lead Guitar], Backing Vocals – Greg Ainsworth
Keyboards, Backing Vocals, Producer, Arranged By – Lindsay Frost
Drums, Snare [Nuclear Snare] – Dave Albone
Bass Guitar – Simon Albone
Recorded At – September Sound Studios
Engineer – Bob Whiteley
Published By – Peter Maurice Ltd.
Published By – Acuff-Rose
🎵 [SONG INFO]
Everlasting Love is a song written by Buzz Cason and Mac Gayden, originally a 1967 hit for Robert Knight and since covered numerous times.
The most successful version in the UK was performed by Love Affair and the highest-charting version in the US was performed by Carl Carlton.
Other cover versions were performed by Town Criers, Rex Smith & Rachel Sweet, Sandra Cretu, U2 and Gloria Estefan.
The original version of Everlasting Love was recorded by Knight in Nashville, with Cason and Gayden aiming to produce it in a Motown style reminiscent of the Four Tops and the Temptations. When released as a single in the US, the song reached No. 13 on the Billboard Hot 100 in 1967. Subsequently, the song has reached the US top 40 three times, most successfully as performed by Carl Carlton, peaking at No. 6 in 1974, with more moderate success by the duo Rex Smith and Rachel Sweet (No. 32 in 1981) and Gloria Estefan (No. 27 in 1995). Robert Knights and Carl Carltons versions both peaked during the last two weeks of November, 1967 for Knight, 1974 for Carlton.
In the UK, Everlasting Love was covered by the Love Affair: it achieved No. 1 status in January 1968, eclipsing the Robert Knight original. Also in 1968, a cover by the Australian group Town Criers reached No. 2 in the Australian charts. In the 1990s Everlasting Love reached the UK top 20 three times via remakes by Worlds Apart (No. 20 in 1993), Gloria Estefan (No. 19 in 1995) and, most successfully, a charity single by the cast from Casualty that reached No. 5 in 1998. In 2004, Jamie Cullums version peaked at No. 20. Thus, Everlasting Love is one of two songs to become a Billboard Hot 100 top 40 hit in the 1960s, 1970s, 1980s, and 1990s (the other being The Way You Do the Things You Do) and the only song to become a UK top 40 hit in the 1960s, 1970s, 1980s, 1990s, and 2000s.
Robert Knight version
The original version of Everlasting Love was recorded at the Fred Foster Sound Studio in Nashville. According to Cason, the track had some different sounds on it that, for the time period, were kind of innovative. The string sound is actually a Farfisa organ that Mac came up with, and we used a lot of echo.
Robert Knight recalls: Buzz was into country [music] but Mac was R&B... so we made it more of an R&B song like the rhythm and melody Mac had. I practiced and practiced on with Mac, as he had written the song for my voice and made it mine. Mac used his bandmates: [drummer] Kenny Buttrey, [bassist] Norbert Putnam, Charlie McCoy and himself on guitar.
The background vocals on the song were performed by Buzz Cason and Carol Montgomery. Robert Knight recalls that he heard Everlasting Love for the first time at the actual recording session: I didnt sing it the [as] written[:] I made some changes to fit my voice, and I didnt do it note for note. They had the melody going too fast, and it was jamming, it wasnt doing right, it wasnt sounding right. So I started what you call a steady step. I start singing a beat and a half: hearts-go-a-stray – like that. It wasnt like that in the beginning, and I think thats what got Everlasting Love off the ground.
Debuting on the Billboard Hot 100 dated September 30, 1967, Everlasting Love had already reached No. 1 in Philadelphia and Detroit by the time of its top 40 debut on October 21, 1967. Cason admitted that the single drove ... the promotion guys nuts since it hit in one market then several weeks later pop up somewhere else. The track spent its second week at its Hot 100 peak of No. 13 on the chart dated November 25, 1967 then dropped off the Hot 100 over the next three weeks. The R&B chart peak of Everlasting Love was No. 14. In its original release, Knights Everlasting Love lost out in the UK to a cover by Love Affair, although Knights version did spend two weeks at No. 40 UK in January 1968. In the spring of 1974, Knights Everlasting Love had a second UK release to follow up the Top Ten success of the reissue of Knights Love on a Mountain Top; this time the first-named track reached No. 19.
An airplay staple on American oldies radio stations (though less so than the 1974 Carl Carlton version), Knights Everlasting Love has become a cult favorite of the beach music scene.
~more info here: https://en.wikipedia.org/wiki/Everlasting_Love
#powerpop Adrian Fuller - Everlasting Love (Robert Knight Cover)](https://i.ytimg.com/vi/Nu2ASx3tfEk/mqdefault.jpg)
![Thee Muffins - I Feel Good (Garage Rock, James Brown Cover)
From Pop Up!
Label: Not On Label – none
Format: Vinyl, LP, Album
Country: US
Released: 1966
Tracklist
A1 I Feel Good
A2 Calija
A3 Not Fade Away
A4 Crying Over You
A5 Oh Poppa Do
B1 Surpise Surpise
B2 You Got Love
B3 Dont Let The Sun Catch You Crying
B4 Do You Love Me
B5 Im Comin Home
Lead Vocals – Russ Eden
Lead Guitar, Organ – Walter Condi
Rhythm Guitar – Al Dawn
Drums, Percussion – Danny Lee
Bass – Skitch
Notes
Lake George NY ’66.
🎵 [SONG INFO]
I Got You (I Feel Good) is a song by the American singer James Brown.
First recorded for the 1964 album Out of Sight and then released in an alternate take as a single in 1965 and included on the compilation album of the same name, it was his highest-charting song on the Billboard Hot 100 and is arguably his best-known recording.
In 2013, the 1965 recording was inducted into the Grammy Hall of Fame.
Description
I Got You (I Feel Good) is a twelve-bar blues with a brass-heavy instrumental arrangement similar to James Browns previous hit, Papas Got a Brand New Bag.
It also features the same emphasis on the one (i.e. the first beat of the measure) that characterizes Browns developing funk style.
The lyrics have Brown exulting in how good he feels (nice, like sugar and spice) now that he has the one he loves, his vocals punctuated by screams and shouts.
The song includes an alto sax solo by Maceo Parker.
Precursors
I Got You (I Feel Good) developed from an earlier Brown-penned song, I Found You, with a nearly identical melody and lyrics. I Found You had been recorded by Browns back-up singer Yvonne Fair and released as a single (King 5594) in 1962, with little success.
In 1964, Brown recorded an early version of I Got You (I Feel Good) with a different arrangement, including a stuttering rhythm and prominent baritone sax line, under the title I Got You. This version appeared on the Smash Records album Out of Sight and in the 1965 film Ski Party, in which Brown and the Famous Flames appear and lip sync a performance of the song. The film was released on June 30, 1965. It was intended for a single release but was withdrawn due to a court order from King Records, with whom Brown was involved in a contract dispute.
Recording
In 1965, after visiting Criteria Studios in Miami and being impressed by the sound of the studios custom recording console, King Records owner Syd Nathan booked a recording session for Brown, during which he recorded the version of I Got You (I Feel Good) released by the label as a single.
Reception
The song entered the Billboard charts on November 13, 1965 following an October release, and reached number three on December 18.
Of Browns 91 hits to reach the Billboard Hot 100, I Got You (I Feel Good) is Browns highest-charting song.
The song remained at the top of the Billboard Rhythm and Blues Singles chart for six non-consecutive weeks, after his previous single, Papas Got a Brand New Bag, held the number-one spot for eight weeks.
Browns screams at the beginning and end of the song have been sampled a number of times for hip hop and dance songs.
The song has also been covered many times by other performers, and is frequently played at sporting events.
The song is played at the Zentralstadion whenever RB Leipzig scores a goal.
Cash Box described it as a rhythmic, funky ode about a real lucky guy who wants nothing more than to be near his gal.
In 2000, I Got You (I Feel Good) reached No. 21 on VH1s 100 Greatest Songs in Rock and Roll and No. 75 on VH1s 100 Greatest Dance Songs, one of only seven songs to make both lists.
In 2004, I Got You (I Feel Good) was ranked No. 78 on Rolling Stone magazines list of the 500 Greatest Songs of All Time.
Chart positions
Year / Chart / Peak position
1965 / US Billboard Hot 100 / 3
1965 / US Billboard Rhythm and Blues Singles / 1
1965 / UK Singles (OCC) / 29
1992 / Belgium (Ultratop 50 Flanders) / 49
Legacy
During the late 1980s through the mid 1990s, the San Francisco Giants used the song in their publicity campaigns.
The song was used in an animation test for the 2001 film Shrek in 1996, though the clip was considered lost media until 2023.
The song is featured in the 2010 video game Just Dance 2.
The song was sampled by American rapper Yung Gravy in the song Supa Good!!!, featuring Brown, for the DreamWorks film, Dog Man.
#jamesbrowncover
#garagerock
#ifeelgood
#theemuffins Thee Muffins - I Feel Good (Garage Rock, James Brown Cover)](https://i.ytimg.com/vi/Nw-LwJxWPMo/mqdefault.jpg)
![Los Grimm - Hoja De Trebol (Crimson And Clover in Spanish, Tommy James And The Shondells)
From Para Lograr Que Me Quieras
Label: Philips – 360 246 PF
Format: Vinyl, 7
Country: Spain
Released: 1969
Tracklist
A Para Lograr Que Me Quieras
B Hoja De Trebol
Notes
This single includes spanish cover versions of big 60s hits.
Side A is a version of Im gonna make you love me (performed by The Supremes). Side B covers Tommy James & the Shondells Crimson and Clover.
🎵 [SONG INFO]
Crimson and Clover is a 1968 song by American rock band Tommy James and the Shondells. Written by the duo of Tommy James and drummer Peter Lucia Jr., it was intended as a change in direction of the groups sound and composition.
Crimson and Clover was released in late 1968 as a rough mix after a radio station leaked it.
It spent 16 weeks on the U.S. charts, reaching number one in the United States (in February 1969) and at least five other countries.
The single has sold 5 million copies, making it Tommy James and the Shondells best-selling song. (The RIAA did not award a gold record, so the 5 million sales number is not officially acknowledged.) It has been covered by many artists, most notably by Joan Jett.
In 2006, Pitchfork Media named it the 57th best song of the 1960s.
Composition and recording
Following the release of Mony Mony, Tommy James wanted to change direction of the groups sound, and began producing his own material. At the time, James said this was out of necessity and ambition, wanting to move from singles into albums. He departed from the groups principal songwriters Bo Gentry and Ritchie Cordell, and was given complete artistic control by Roulette Records.
The title, Crimson and Clover, was decided before a song had been written for it. The combination of unknown meaning came to James as he was waking up, comprising his favorite color – crimson – and his favorite flower – clover. (There is also a species of clover native to Europe called the crimson clover.) A song to fit the phrase was written by Tommy James and bassist Mike Vale, but was scrapped. His following collaboration with drummer Peter Lucia, Jr. was more successful. Lucia has said that he himself came up with the Crimson and Clover phrase while watching a high school football game between his hometown Morristown, New Jersey Crimson and Hopatcong, New Jersey (green, or clover). During the songs production, Roulette Records wanted a new single, so the group agreed to release Do Something to Me to gain time to complete the song.
Crimson and Clover was recorded in late 1968 in about five hours and is one of the earliest songs recorded on 16-track equipment, which resulted in clearer vocal and instrumental audio quality that would pave the way for future music recording. Tommy James played the rhythm guitar on his 1967 Fender Jazzmaster through an Ampeg Gemini 1, while Eddie Gray played lead guitar on his 1968 Gibson Les Paul Custom through an Ampeg Gemini 2 GV-22 with tremolo effect on, Mike Vale played bass and Peter Lucia, Jr. played drums. The song contains a tremolo effect on the guitar, set so that it vibrated in time with the songs rhythm. Near the end of the recording, the band had an idea of utilizing the tremolo effect with vocals. To achieve this, the voice microphone was plugged into an Ampeg guitar amplifier with tremolo turned on, and the output from the amplifier was recorded while James sang Crimson and clover, over and over.
Single release
Tommy James made a rough mix of Crimson and Clover to show to Roulette Records executive Morris Levy for evaluation. The band was still intending to improve on the mix with ambient sound and echo. A few days later, James stopped at Chicago radio station WLS, where he had previously had a positive experience, to get their reaction. After an interview discussing the single, he was persuaded to play his copy of the rough mix off-air for WLS. Unbeknownst to James, the station recorded the song which they aired with little delay – in November 1968 – as a world exclusive.
Crimson and Clover entered the U.S. charts on December 14, where it stayed for 16 weeks on Billboard Hot 100 and 15 weeks on Cash Box Top 100. Following a performance of the song on The Ed Sullivan Show on January 26, it became number one on February 1, 1969, a position held for one week on Cash Box Top 100 and two weeks on both Billboard Hot 100 and Record World 100 Top Pops. Internationally, the song reached number one in Canada, Germany, New Zealand, Singapore, South Africa, and Switzerland. It also charted in Austria, Brazil, France, The Netherlands, Italy, Israel, Malaysia, Mexico, Philippines, and Puerto Rico. Despite this, the song did not chart in the United Kingdom.
In popular culture
The song is featured in The Bad Guys 2. Mr. Snake tells a story of how he first meets Doom before becoming his girlfriend.
Joan Jett and the Blackhearts covered Crimson and Clover on their debut LP in 1981.
#tommyjames
#spanishcover
#musicaenespañol
#crimsonandclover
#losgrimm Los Grimm - Hoja De Trebol (Crimson And Clover in Spanish, Tommy James And The Shondells)](https://i.ytimg.com/vi/OJ2ZoCOvIlA/mqdefault.jpg)