Uploaded November 2025 | Updated September 2026, 2 weeks ago
From '' Curtain Call ''
Released: December 4, 2014
Tracklist
1. All You Need (Is Right Here)
2. Boom Boom Boom
3. Don't You (Forget About Me)
Notes
This is their final EP.
It includes two songs they debuted in 2011, as well as their only recorded cover, Don't You (Forget About Me).
🎵 [SONG INFO]
"Don't You (Forget About Me)" is a song by the Scottish rock band Simple Minds, released as a single in 1985. It was written and composed by the record producer Keith Forsey and the guitarist Steve Schiff for the film The Breakfast Club (1985). Simple Minds initially declined to record it, preferring to record their own material, but accepted after several other acts also declined.
"Don't You (Forget About Me)" became a breakout hit for Simple Minds, an iconic song and a 1980s anthem. The single became Simple Minds' biggest hit in North America, reaching No. 1 in both the United States and Canada. It also reached No. 7 on the UK singles chart and reached the top ten in charts around the world.
Recording
"Don't You (Forget About Me)" was written by Steve Schiff and Keith Forsey for the film The Breakfast Club (1985). Forsey and Schiff were inspired by a scene in which an introvert and a school bully bond while no one else is watching. Forsey said, "It was: don't forget, when we're back in the classroom, you're not just a bad guy and we've got other things in common."
Simple Minds initially declined to record "Don't You (Forget About Me)", as they felt they should only record their own material. Their guitarist, Charlie Burchill, said they felt it did not suit them as "we had delusions of being ultra-hip". Their manager, Bruce Findlay, believed it would be successful in the United States. He arranged a private screening of The Breakfast Club in an effort to change their minds, but they still declined. Their lead vocalist, Jim Kerr, later said: "We couldn't give a toss about teenage American schoolkids."
Forsey offered "Don't You (Forget About Me)" to Bryan Ferry of Roxy Music, who declined as he was working on his album Boys and Girls (1985). Ferry later said: "It was just bad timing ... Keith Forsey sent me a demo of the song and it sounded like a hit to me." The record label, A&M, suggested Corey Hart, who had a hit at the time with "Sunglasses at Night", but Forsey did not think he was the right singer. Forsey's frequent collaborator Billy Idol also declined.
Kerr's wife, Chrissie Hynde of the Pretenders, liked the song and urged him to record it. Simple Minds agreed to try it after spending a few days with Forsey and becoming friends. They were impressed by Forsey's work in German experimental music, such as Amon Düül II, and his work with Giorgio Moroder, including "I Feel Love" by Donna Summer.
Kerr added the "hey hey hey" to the introduction and the "la la la" to the ending, intending to write new lyrics, but Forsey insisted on keeping them. Burchill added power chords, and said later: "It was almost a caricature – I associated powerchords with American AOR. But it worked." The Financial Times wrote that the chords "[helped] turn Forsey's sweet paean to teenage longing into a rousing, stadium-sized anthem".
Simple Minds did not anticipate the song's success. In 2016, Burchill said: "When I listen to it now, it’s obviously a brilliant, well-crafted pop song. I’m embarrassed we dissed it so much."
Release and critical reception
"Don't You (Forget About Me)" was played during the opening and closing credits of The Breakfast Club (1985).
It was included on the film's soundtrack. "Don't You (Forget About Me)" was released as a single in February 1985 in the United States and reached No. 1 on the Billboard Hot 100 in May 1985. The song reached No. 1 in Canada in June 1985. It is the band's only number-one hit on the US Top Rock Tracks chart, staying atop that chart for three weeks. The song became Simple Minds' breakout hit, as well as their biggest American hit.
Cashbox said that "though the lyric theme is a simple enough declaration, the lead vocals and vivid orchestration make the tune complex and moving". The song was included on the band's greatest hits compilation album, Glittering Prize 81/92 (1992). It soon became a fixture of the band's live sets, with an extended audience participation section during its inclusion on the 2015 tour to promote the band's Big Music album.
John Leland of Spin described the song as "a romantic and melancholy dance track" that "cuts ice both in the living room and on the dance floor". The song has become iconic, and has been described by American Songwriter as "an ‘80s masterpiece" and "an American teen anthem".
🔗 [LINKS]
facebook.com/thehotcakes
https://x.com/thehotcakes
Available on bandcamp:
thehotcakes.bandcamp.com/album/curtain-call
#simpleminds
#alternativerock
#dontyouforgetaboutme
#thehotcakes
From '' Curtain Call ''
Released: December 4, 2014
Tracklist
1. All You Need (Is Right Here)
2. Boom Boom Boom
3. Don't You (Forget About Me)
Notes
This is their final EP.
It includes two songs they debuted in 2011, as well as their only recorded cover, Don't You (Forget About Me).
🎵 [SONG INFO]
"Don't You (Forget About Me)" is a song by the Scottish rock band Simple Minds, released as a single in 1985. It was written and composed by the record producer Keith Forsey and the guitarist Steve Schiff for the film The Breakfast Club (1985). Simple Minds initially declined to record it, preferring to record their own material, but accepted after several other acts also declined.
"Don't You (Forget About Me)" became a breakout hit for Simple Minds, an iconic song and a 1980s anthem. The single became Simple Minds' biggest hit in North America, reaching No. 1 in both the United States and Canada. It also reached No. 7 on the UK singles chart and reached the top ten in charts around the world.
Recording
"Don't You (Forget About Me)" was written by Steve Schiff and Keith Forsey for the film The Breakfast Club (1985). Forsey and Schiff were inspired by a scene in which an introvert and a school bully bond while no one else is watching. Forsey said, "It was: don't forget, when we're back in the classroom, you're not just a bad guy and we've got other things in common."
Simple Minds initially declined to record "Don't You (Forget About Me)", as they felt they should only record their own material. Their guitarist, Charlie Burchill, said they felt it did not suit them as "we had delusions of being ultra-hip". Their manager, Bruce Findlay, believed it would be successful in the United States. He arranged a private screening of The Breakfast Club in an effort to change their minds, but they still declined. Their lead vocalist, Jim Kerr, later said: "We couldn't give a toss about teenage American schoolkids."
Forsey offered "Don't You (Forget About Me)" to Bryan Ferry of Roxy Music, who declined as he was working on his album Boys and Girls (1985). Ferry later said: "It was just bad timing ... Keith Forsey sent me a demo of the song and it sounded like a hit to me." The record label, A&M, suggested Corey Hart, who had a hit at the time with "Sunglasses at Night", but Forsey did not think he was the right singer. Forsey's frequent collaborator Billy Idol also declined.
Kerr's wife, Chrissie Hynde of the Pretenders, liked the song and urged him to record it. Simple Minds agreed to try it after spending a few days with Forsey and becoming friends. They were impressed by Forsey's work in German experimental music, such as Amon Düül II, and his work with Giorgio Moroder, including "I Feel Love" by Donna Summer.
Kerr added the "hey hey hey" to the introduction and the "la la la" to the ending, intending to write new lyrics, but Forsey insisted on keeping them. Burchill added power chords, and said later: "It was almost a caricature – I associated powerchords with American AOR. But it worked." The Financial Times wrote that the chords "[helped] turn Forsey's sweet paean to teenage longing into a rousing, stadium-sized anthem".
Simple Minds did not anticipate the song's success. In 2016, Burchill said: "When I listen to it now, it’s obviously a brilliant, well-crafted pop song. I’m embarrassed we dissed it so much."
Release and critical reception
"Don't You (Forget About Me)" was played during the opening and closing credits of The Breakfast Club (1985).
It was included on the film's soundtrack. "Don't You (Forget About Me)" was released as a single in February 1985 in the United States and reached No. 1 on the Billboard Hot 100 in May 1985. The song reached No. 1 in Canada in June 1985. It is the band's only number-one hit on the US Top Rock Tracks chart, staying atop that chart for three weeks. The song became Simple Minds' breakout hit, as well as their biggest American hit.
Cashbox said that "though the lyric theme is a simple enough declaration, the lead vocals and vivid orchestration make the tune complex and moving". The song was included on the band's greatest hits compilation album, Glittering Prize 81/92 (1992). It soon became a fixture of the band's live sets, with an extended audience participation section during its inclusion on the 2015 tour to promote the band's Big Music album.
John Leland of Spin described the song as "a romantic and melancholy dance track" that "cuts ice both in the living room and on the dance floor". The song has become iconic, and has been described by American Songwriter as "an ‘80s masterpiece" and "an American teen anthem".
🔗 [LINKS]
facebook.com/thehotcakes
https://x.com/thehotcakes
Available on bandcamp:
thehotcakes.bandcamp.com/album/curtain-call
#simpleminds
#alternativerock
#dontyouforgetaboutme
#thehotcakes
![Lite Frost - Dancing In The Street (Funk, Martha and the Vandellas Cover)
From Lite Frost
Label: Lite Frost Records – No. 333
Format: Vinyl, LP, Album
Country: US
Released: 1976
Tracklist
A1 Four Seasons Medley
A2 I Write The Songs
A3 Boogie With The Beat
A4 Till I Can Make It On My Own
A5 Dancin In The Streets
B1 Boogie Fever
B2 Sunshine
B3 Ive Got A Feeling
B4 Best Thing That Happened To Me
B5 My Way
Performer – Dean Middleton, Merry Herbert, Rita Beach
Design [Cover] – Fran Ritchie
Engineer – Wes Owens
Producer – Lite Frost
Notes
Manufactured By – Nashville Record Productions – NR7514
🎵 [SONG INFO]
Dancing in the Street is a song written by Marvin Gaye, William Stevenson, and Ivy Jo Hunter for Martha and the Vandellas in 1964, whose version reached No. 2 on the Billboard Hot 100 chart for two weeks, behind Do Wah Diddy Diddy by Manfred Mann. It also peaked at No. 4 on the UK Singles Chart following a rerelease in 1969. It is one of Motowns signature songs and is the groups premier signature song.
A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100, reaching No. 73. In 1982, the rock group Van Halen took their cover of Dancing in the Street to No. 38 on the Hot 100 chart and No. 15 in Canada on the RPM chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song has been covered by many other artists, including the Kinks, Tages, Grateful Dead, Myra and Black Oak Arkansas.
Background
Reeves recounted that she initially regarded the song as too repetitive. Gaye and Stevenson agreed and including new Motown songwriter Ivy Jo Hunter added in musical composition. Martha Reeves remembered Marvin Gaye recorded the song first and sang it as though singing to a lover. Reeves, envisioning block parties and Mardi Gras, asked the producers to let her sing it her way. The song was recorded in two takes. The songs writers made sure to include Detroit as one of the cities mentioned with the lyric: Cant forget the Motor City.
Civil rights anthem
Motown records had a distinct role to play in the citys black community, and that community—as diverse as it was—articulated and promoted its own social, cultural, and political agendas. These local agendas, which reflected the unique concerns of African Americans living in the urban north, both responded to and reconfigured the national civil rights campaign (Smith 227). The movement lent the song its secondary meaning and the song with its second meaning fanned the flames of unrest. This song (and others like it) and its associated political meanings did not exist in a vacuum. It was a partner with its social environment and they both played upon each other, creating meaning that could not have been brought on by one or the other alone. The song therefore became a call to reject peace for the chance that unified unrest could bring about the freedom that suppressed minorities all across the United States so craved.
Reception
Dancing in the Street peaked at No. 2 on the US Billboard Hot 100 chart when it was originally released as the groups third album Dance Partys first single in 1964 (see 1964 in music), with There He Is (At My Door) included as a B-side. Dancing in the Street also reached the Top 5 on the UK Singles Chart peaking at No. 4 in a 1969 release after initially peaking at No. 28 on the chart and helped to revive the Vandellas success in the UK.
Cash Box described it as an infectious romp that drops names of various locales as it declares that dancing is sweeping the country, stating that it is one of those sure-fire sock-rock productions.
Martha and the Vandellas version of Dancing in the Street was inducted into the Grammy Hall of Fame in 1999. In 2006, this version was inducted into the National Recording Registry by the Library of Congress. Lead singer Martha Reeves said she was thrilled about the songs perseverance, saying Its a song that just makes you want to get up and dance.
In 2013, the original Motown recording was remixed for club and summer celebration airplay by Minneapolis Billboard charting producer/remixer Joel Dickinson as well as Danny Shaffer.
Billboard named the song No. 29 on their list of 100 Greatest Girl Group Songs of All Time.
Notable cover versions
The Kinks - 1965
The Mamas and the Papas - 1966
Tages - 1966
Grateful Dead
Van Halen
David Bowie and Mick Jagger - 1985
Myra - 2001(for the Disney film Recess: Schools Out)
~ more info here: https://en.wikipedia.org/wiki/Dancing_in_the_Street
🎵 [SONG INFO]
Dance with Me is a hit single by American soft rock band Orleans from their second studio album, Orleans II (1974).
The song was issued as a single on July 19, 1975, to become Orleans first Top 40 hit, peaking at No. 6 on the Billboard Hot 100 the week of October 18, 1975.
#litefrost
#dancinginthestreet
#funk
#marthaandthevandellascover
Chapters
0:00 Dancing In The Street
1:59 Dance With Me Lite Frost - Dancing In The Street (Funk, Martha and the Vandellas Cover)](https://i.ytimg.com/vi/eNeniY5VhEY/mqdefault.jpg)
![Arson - Weve Gotta Get Out Of This Place (The Animals Cover)
From No Pedestrians
Label: Chameleon Records – CR-535
Format: Vinyl, LP, Compilation
Country: Canada
Released: 1980
Tracklist
A1 The Sharks - Get Off The Radio
A2 Winston Hancock - Girls, Girls
A3 The Secrets - All The Words
A4 Arson - Weve Gotta Get Out Of This Place
A5 S.S. - Working Girl
B1 Winston Hancock - Leavin Tonite
B2 Tyranna - Back Off Baby
B3 Zro4 - Blood
B4 True Confessions - Fourth Base
B5 The Secrets - Ill Cry Tomorrow
Engineer – Ken Doidge
Producer, Engineer – Tom Atom
🎵 [SONG INFO]
We Gotta Get out of This Place, occasionally written Weve Gotta Get out of This Place, is a rock song written by Barry Mann and Cynthia Weil and recorded as a 1965 hit single by The Animals.
It has become an iconic song of its type and was immensely popular with United States Armed Forces GIs during the Vietnam War.
In 2004 it was ranked number 233 on Rolling Stones The 500 Greatest Songs of All Time list; it is also in The Rock and Roll Hall of Fames 500 Songs that Shaped Rock and Roll list.
History
Barry Mann and Cynthia Weil were husband and wife (and future Hall of Fame) songwriters associated with the 1960s Brill Building scene in New York City.
Mann and Weil wrote and recorded We Gotta Get out of This Place as a demo, with Mann singing and playing piano.
It was intended for The Righteous Brothers, for whom they had written the number one hit Youve Lost That Lovin Feelin but then Mann gained a recording contract for himself, and his label Redbird Records wanted him to release it instead.
Meanwhile, record executive Allen Klein had heard it and given the demo to Mickie Most, The Animals producer. Most already had a call out to Brill Building songwriters for material for the groups next recording session (The Animals hits Its My Life and Dont Bring Me Down came from the same call), and The Animals recorded it before Mann could.
In The Animals rendition, the lyrics were slightly reordered and reworded from the demo and opened with a locational allusion.
The two versions
The UK and US single releases were different versions from the same recording sessions.
The take that EMI, The Animals parent record company, sent to MGM Records, the groups American label, was mistakenly one that had not been selected for release elsewhere.
The two versions are most easily differentiated by the lyric at the beginning of the second verse: in the US version the lyric is, See my daddy in bed a-dyin, while the UK version uses, Watch my daddy in bed a-dyin (as a result of an error by the music labels, certain online retailers sell the UK version but incorrectly identify it as the US version).
In the US the song (in its mistaken take) was included on the album Animal Tracks, released in the fall 1965, and again on the popular compilation The Best of The Animals released in 1966 and re-released with an expanded track list on the ABKCO label in 1973. The song was not on any British Animals album during the groups lifetime.
Other versions
We Gotta Get out of This Place has been recorded or performed in concert by numerous artists, including:
The American Breed (1967),
The Frost (1970),
The Partridge Family (1972),
Bruce Springsteen,
Udo Lindenberg (in a German language adaption),
Blue Öyster Cult (1978),
Steve Bender (1978),
Gilla (1979),
Angelic Upstarts (1980),
Gardens & Villa,
Grand Funk Railroad (1981),
David Johansen (1982, as part of an Animals medley),
Fear (1982),
The Angels (1986),
Richard Thompson (1988),
Jello Biafra and D.O.A. (1989),
Randy Stonehill (1990),
Bon Jovi (1992, as part of an Animals medley),
Midnight Oil (1993, for MTV Unplugged),
Space (1998),
Southside Johnny (concerts in the 2000s),
Overkill (2000),
Widespread Panic (2005),
Ann Wilson with Wynonna Judd (2007),
Alice Cooper (2011)
and many others.
In 1990 Eric Burdon joined Katrina and the Waves for a recording of it for use on China Beach.
In 2000 Barry Mann revisited the song, performing it with Bryan Adams on Manns retrospective solo album Soul & Inspiration.
When Suzi Quatro was on a German tour in 2008 she came on stage and played bass on the song during an Eric Burdon concert at the Porsche Arena in Stuttgart.
Burdon also performed it in 2010 at the Rock and Roll Hall of Fame Induction Ceremony, when songwriters Mann and Weil were inducted.
Later in 2010, Mann and Weil were at The Grammy Museum in Los Angeles – to open a gallery for the Songwriters Hall of Fame – and performed their original version of the song, including previously-unheard lyrics like What are we waiting for? Arson - Weve Gotta Get Out Of This Place (The Animals Cover)](https://i.ytimg.com/vi/edXnw2g7qhc/mqdefault.jpg)
![Anglo Saxton - Ruby (Mel Tillis)
From Ruby / You Better Leave Me Alone
Label: Lucky Eleven – LE-009
Format: Vinyl, 7, 45 RPM, Single, Promo
Country: US
Released: 1966
Tracklist
A Ruby
Written-By – Mel Tillis
B You Better Leave Me Alone
Written-By – Dan Hoffman
Supervised By – Chuck Slaughter
Producer – D. J. Dan St. Jude
Notes
Mastered At – Frankford/Wayne Mastering Labs
D. J. Copy - Not For Sale
🎵 [SONG INFO]
Ruby, Dont Take Your Love to Town is a song written by Mel Tillis about a paralyzed veteran who lies helplessly as his wife paints up to go out for the evening without him; he believes that she is going in search of a lover. As he hears the door slam behind her, he claims that he would murder her if he could move to get his gun, and pleads for her to reconsider. The line in the song about a crazy Asian war and the time of the songs release led to the interpretation that the song was about a veteran of the Vietnam War, although Tillis has said that he wrote the song about a veteran of World War II.
Ruby was first recorded by Waylon Jennings in 1966.
Waylon Jennings recorded Ruby first on September 8, 1966, at RCA Victor Studio in Nashville. However his version sat in the vault for nearly a year and wasnt released until mid-1967 on his Love of the Common People album. During that gap, other artists recorded and put out their versions.
Johnny Darrell reached number nine on the country charts with the song in 1967, and Kenny Rogers and the First Edition released it in 1969.
Tilliss own version appeared on his 1967 album Lifes That Way (re-released as Life Turned Her That Way).
The First Edition version
Kenny Rogers and the First Edition enjoyed success with the hits Just Dropped In (To See What Condition My Condition Was In) and But You Know I Love You, and Rogers wanted to take his group more into a country music direction in 1969. They recorded their version of the song in a single take in June 1968, with Kenny Rogers singing the lead. Rogers version ends with his spoken plea: For Gods sake(s), turn around. The record became an international hit for them in 1969, reaching number two in the UK Singles Chart and staying in the top ten for 12 weeks. In the United States, it reached number six on the Billboard Hot 100 and number 39 on the country chart.
In 1977 Rogers was performing solo after the First Edition disbanded in early 1976. He made re-recordings of this and a number of other First Edition hits for his greatest hits package Ten Years of Gold. It was later issued in the UK as The Kenny Rogers Singles Album. Ten Years of Gold topped the US country charts under that title, and it was just as successful in the United Kingdom.
Other versions
The song has been recorded many times by various artists.
The Statler Brothers covered it on their 1967 album, Big Country Hits.
Other artists who have recorded versions include Bobby Bare, Walter Brennan, Dale Hawkins, George Jones, Jerry Reed, Roger Miller, Cake, The Killers, Sort Sol, Leonard Nimoy, Ralph Stanley II, and the German band Wolfsheim.
Several foreign-language versions have been recorded: Greek singer Nana Mouskouri recorded a French version entitled Ruby, garde ton cœur ici for her 1970 album Dans le soleil et dans le vent; Gerhard Wendland recorded a German version Ruby, schau einmal übern Zaun in 1970; Pavel Bobek, Czech country singer, recorded Oh Ruby, nechtěj mi lásku brát in 1970; Gary Holton and Casino Steels English-language version was a number one hit in Norway at the beginning of 1982. French singer Eddy Mitchell recorded a French version entitled Ruby tu reviens au pays for his 1974 album Rocking in Nashville. In Sweden the country group Rank Strangers placed a version at place 9 (Tio i Topp) in 1970.
Answer songs
Geraldine Stevens released an answer song entitled Billy, Ive Got to Go to Town in 1969. She had previously recorded successfully under the name Dodie Stevens. It is sung to the same melody with an arrangement quite similar to the First Edition version. Billy peaked at number 117 pop, number 57 country. It reached number 83 in Canada. In Stevenss song, Ruby affirms her love for her disabled husband. She pleads in turn for her man to have faith in her fidelity and her commitment to him even in his paralyzed condition.
In 1972, Bobby Womack released the album Understanding, which included the song Ruby Dean. The lyrics and melody are similar to Ruby, Dont Take Your Love to Town but the story is told from the perspective of Rubys son. The son urges his mother to respect his father and to stop seeing other men.
#anglosaxton
#theanglosaxons
#ruby
#meltillis Anglo Saxton - Ruby (Mel Tillis)](https://i.ytimg.com/vi/epwRz9dfAOw/mqdefault.jpg)
![Los Stop - Extiende Tus Brazos (Reach Out Ill Be There in Spanish, Four Tops)
From El Hombrecito / La Moto / Soy Como Quieres Tú / Extiende Tus Brazos
Label: Belter – 51.792
Format: Vinyl, 7, EP
Country: Spain
Released: 1967
Tracklist
A1 El Hombrecito (Little Man)
Written-By – Sonny Bono
A2 Extiende Tus Brazos (Reach Out Ill Be There)
Written-By – Holland-Dozier-Holland
B1 Soy Como Quieres Tú (Sono Come Tu Mi Vuoi)
Written-By – Antonio Amurri, Bruno Canfora, Maurizio Jurgens
B2 La Moto
Written-By – M. Diaz
© 2013 RockBeat Records
â„— 2013 RockBeat Records
© 2023 Distrolux, SL
â„— 2011 Distrolux, SL
💿 [SONG INFO]
Reach Out Ill Be There (also formatted as Reach Out (Ill Be There)) is a 1966 hit song recorded by the Four Tops for the Motown label.
Written and produced by Motowns main production team Holland Dozier Holland, the song is one of the most well-known Motown tunes of the 1960s and is today considered The Tops signature song.
It was the number one song on the R&B charts for two weeks, and on the Billboard Hot 100 for two weeks, from September 24, 1966 to October 15.
It replaced Cherish by The Association, and was itself replaced by 96 Tears by Question Mark & the Mysterians.
Rolling Stone later ranked this version No.206 on their list of The 500 Greatest Songs of All Time.
The track also reached No.1 in the UK Singles Chart, becoming Motowns second UK chart-topper after The Supremes hit No.1 with Baby Love in late 1964.
The song is featured prominently in the final scene and the closing credits of the 1975 motion picture Cooley High, a coming-of-age film starring Glynn Turman and Lawrence Hilton-Jacobs.
PWL remixed the song in 1988.
The remix was done by Phil Harding & Ian Curnow. The 12 Remix runs 6:05 and the Radio Edit runs 3:10.
Covers
Only weeks after the original release Derrick Harriott recorded and released a version on his own Crystal label in Kingston, Jamaica.
Petula Clark
Gene Pierson
Merrilee Rush recorded a psychedelic version of the song in 1968.
There were three Italian language versions, made by local artists Peppino Di Capri and Rita Pavone, and - most of all - by the same Four Tops, with the title Gira gira.
Diana Ross scored a Top 40 remake of the Four Tops classic taking it to number twenty-nine on the Hot 100 in 1971. It was the second release from Ross third solo album, Surrender, in just a year.
Gloria Gaynor
Claude François recorded a version in French that was titled Jattendrai (Ill Be Waiting).
Famed drummer/producer/singer Narada Michael Walden performed a version of the tune on his 1983 album Looking at You, Looking at Me, and it became a moderate R&B hit.
Punk rock band Snuff released a version of the song on their covers album Flibbidydibbidydob.
Elton Johns 1989 single Healing Hands was directly inspired by this song. Its chorus starts with the line And reach out / for her healing hands.
Michael Bolton covered this song from his 1992 compilation album Timeless: The Classics.
The song inspired the 2003 film Ill Be There featuring Charlotte Church.
Michael McDonald also recorded a version for his album, Motown Two (2004), the follow-up to his album Motown (2003). His version reached No.12 on Billboards Adult Contemporary chart.
Bill Cosby recorded a humorous interpretation of the song for his album Bill Cosby Sings Hooray for the Salvation Army Band!: Ill be there/But first I have to take out the trash/Ill be there/But then theres the potatoes have to be mashed!
Boyz II Men covered this song during a live medley on UK reality talent show The X Factor in October 2007.
Clare Teal also covered this song on her 2007 album Paradisi Carousel.
Chris Farlowe recorded a cover of the song.
Meat Puppets were known to cover this song live in the early 1980s.
The Human League did an instrumental version of this song which was released on a demo compact cassette.
Serbian 1980s group, Oktobar 1864, covered this song in Serbian and had a hit with it.
Efrat Gosh covered this song in 2007 alongside local Israeli group Red Band.
Richie Kotzen covered this song from his 1994 studio album Mother Heads Family Reunion.
Use in other music
Michael Jackson alludes to the song in The Jackson 5 song Ill Be There, singing just look over your shoulders, honey.
🔗 [LINKS]
Available on Spotify:
https://open.spotify.com/track/1JG7JccmxxrLt5EwwyAXAY
Apple Music:
https://music.apple.com/us/song/extende-tus-brazos/1213668929
and Deezer:
https://www.deezer.com/us/track/143721418 Los Stop - Extiende Tus Brazos (Reach Out Ill Be There in Spanish, Four Tops)](https://i.ytimg.com/vi/fgGzEeWgDSQ/mqdefault.jpg)
![Baker Street Irregulars - Im A Man (Garage Psych, Bo Diddley Cover)
From I’m A Man / It Don’t Mean Nothing
Label: Largo Records – 5002
Format: Vinyl, 7, 45 RPM, Single, Mono
Country: US
Released: 1967
Tracklist
A I’m A Man
Arranged By [Electrical Arrangement By] – Steve Thornburg
Written-By – Bo Diddley
B It Don’t Mean Nothing
Written-By – Jim Hohenstein, Miles Harriger
🎵 [SONG INFO]
Im a Man is a rhythm and blues song written and recorded by Bo Diddley in 1955.
Inspired by an earlier blues song, it was one of his first hits.
Im a Man has been recorded by a variety of artists, including the Yardbirds, who adapted it in an upbeat rock style.
Bo Diddley song
Im a Man was one of the first songs Bo Diddley recorded for Checker Records.
Unlike his self-titled Bo Diddley that was recorded the same day (March 2, 1955 in Chicago), Im a Man does not use the Bo Diddley beat.
Rather, it was inspired by Muddy Waters 1954 song Hoochie Coochie Man, written by Willie Dixon.
After the release of Im a Man, Waters recorded an answer song in May 1955, titled Mannish Boy, referring to Diddleys younger age.
In a Rolling Stone magazine interview, Diddley recounts that the song took a long time to record because of confusion regarding the timing of the M ... A ... N vocal chorus. There are conflicting accounts regarding the instrumental backing musicians for the song. Reissues of Diddleys first album, Bo Diddley, list them as Diddley on vocals and guitar, Frank Kirkland on drums, Jerome Green on maracas, Lester Davenport on harmonica, and either Otis Spann or Henry Gray on piano. However, the song has also been identified as Chicago harmonica player Billy Boy Arnolds first contribution to a Checker recording. Arnold later played harmonica on several Bo Diddley songs.
Im a Man was released as the B-side of Bo Diddleys first single in April 1955. The single became a two-sided hit and reached number one on the Billboard R&B chart. The song is included on several of his compilation albums, including Bo Diddley (1958) and His Best (1997). He also recorded it with Muddy Waters and Little Walter for the 1967 Super Blues album.
The Yardbirds versions
The English rock band the Yardbirds recorded a live version of Im a Man for their first UK album Five Live Yardbirds with Eric Clapton in 1964, that was later included on their second American album Having a Rave Up with The Yardbirds. In 1965 during their first American tour, the Yardbirds with Jeff Beck on guitar, recorded a studio version of Im a Man, that is also included on Having a Rave Up. Their versions feature their signature rave-up arrangement, when the beat shifts into double time and the instrumentation builds to a crescendo. Beck added a scratch-picking technique to produce a percussive effect during the songs instrumental section, which critic Cub Koda notes provides the climax on the studio version of Im a Man, perhaps the most famous Yardbirds rave-up of all.
The Yardbirds recorded the backing track at Chess Studios in Chicago on September 19, 1965. They overdubbed further elements on the 21st and 22nd at Columbia Studios in New York. On October 11, Epic Records released Im a Man as a single in the US, with Still Im Sad as the B-side. It peaked at number 17 on the Billboard Hot 100. In Canada, the single was released by Capitol and reached number 4 on the RPM singles chart. The song was included on their 1965 Epic Records album Having a Rave Up and was later released in the UK in 1976.
Diddley praised their cover as beautiful and it has been called a defining moment for the band.
In addition to the 1964 live version with Clapton, other live versions include those with Jeff Beck (1965 Yardbirds ...On Air, released 1991) and Jimmy Page (1968 Live Yardbirds: Featuring Jimmy Page, released 1971 and Yardbirds 68, released 2017).
Recognition
Bo Diddleys original Im a Man is ranked number 369 on Rolling Stone magazines list of The 500 Greatest Songs of All Time.
In 2012, the song along with the self-named A-side song Bo Diddley was added to the Library of Congresss National Recording Registry list of culturally, historically, or aesthetically important American sound recordings.
In 2018, Im a Man was inducted into the Blues Foundation Blues Hall of Fame as a Classic of Blues Recording.
In 2020, the 1955 recording of Im a Man by Bo Diddley on Checker Records was inducted into the Grammy Hall of Fame.
#bakerstreetirregulars
#imaman
#garagepsych
#psychedelicblues
#bodiddleycover Baker Street Irregulars - Im A Man (Garage Psych, Bo Diddley Cover)](https://i.ytimg.com/vi/glNClVJH1d4/mqdefault.jpg)
![Eddie Cantor - Aint She Sweet (Music Hall/Dixieland, Milton Ager - Jack Yellen)
From Eddie Cantor With Henri René And His Orchestra And The Bill Thompson Singers – Original Recordings Eddie Cantor Sings, Ida, Sweet As Apple Cider And His Other Hits
Label: RCA Camden – CAS 870
Format: Vinyl, LP, Compilation, Reissue, Stereo
Country: US
Released: 1964
Tracklist
A1 Eddie Cantor With The Bill Thompson Singers - Ida, Sweet As Apple Cider
Written-By – Eddie Leonard, Eddie Munson
A2 Eddie Cantor With Henri René And His Orchestra - Margie
Written-By – Benny Davis, Con Conrad, J. Russel Robinson
A3 Eddie Cantor With Henri René And His Orchestra - If You Knew Susie (Like I Know Susie)
Written-By – Buddy G. De Sylva, Joseph Meyer
A4 Eddie Cantor With The Bill Thompson Singers - Ma (Hes Making Eyes At Me)
Written-By – Con Conrad, Sidney Clare
A5 Eddie Cantor With The Bill Thompson Singers - Yes Sir, Thats My Baby
Written-By – Gus Kahn, Walter Donaldson
A6 Eddie Cantor With Henri René And His Orchestra - Waiting For The Robert E. Lee
Written-By – Lewis F. Muir, Wolfe Gilbert
B1 Eddie Cantor With Henri René And His Orchestra - Makin Whoopee
Written-By – Gus Kahn, Walter Donaldson
B2 Eddie Cantor With Henri René And His Orchestra - How Ya Gonna Keep Em Down On The Farm (After Theyve Seen Paree)
Written-By – Joe Young, Sam Lewis, Walter Donaldson
B3 Eddie Cantor With Henri René And His Orchestra - Ballin The Jack
Written-By – Chris Smith, Jim Burris
B4 Eddie Cantor With The Bill Thompson Singers - Baby Face
Written-By – Benny Davis, Harry Akst
B5 Eddie Cantor With Henri René And His Orchestra - Josephine, Please No Lean On The Bell
Written-By – Duke Leonard, Ed Nelson, Harry Pease
B6 Eddie Cantor With Henri René And His Orchestra - Aint She Sweet
Written-By – Jack Yellen, Milton Ager
🎵 [SONG INFO]
Aint She Sweet is a song composed by Milton Ager, with lyrics by Jack Yellen.
It was published in 1927 by Ager, Yellen & Bornstein, Inc.
It became popular in the first half of the 20th century and typified the Roaring Twenties.
Like Happy Days Are Here Again (1929), it became a Tin Pan Alley standard.
Both Ager and Yellen were elected to the Songwriters Hall of Fame.
Milton Ager wrote Aint She Sweet for his daughter Shana Ager, who in her adult life was known as the political commentator Shana Alexander.
Recorded versions
1927
Lou Gold and The Melody Man
Ben Bernie and his Orchestra
Gene Austin
Roy Butler
Lillie Derek Christian
Dixie Stompers
Jack Pettis & His Band
Nat Shillkret & The Victor Orchestra
Harry Richman
Regent Dance Orchestra
Bobby Leecan & Robert Cooksey
Ted Wallace & His Hotel Roosevelt Orchestra
Piccadilly Revels Band
Harry Bidgood & His Broadcasters
Blue Diamond Orchestra
Varsity Eight
Johnny Marvin
Annette Hanshaw
Paul Whitemans Rhythm Boys – recorded June 20, 1927
1933
Lillian Roth
1935
Brian Lawrence & His Quartet
Dixie Demons
1936
Hoosier Hot-Shots
1939
Jimmie Lunceford & His Orchestra, vocal chorus by Sy Oliver, Trummy Young, & the Lunceford Trio
1940
Bunny Berigan & His Orchestra
1945
Harry James & His Orchestra
1949
Bob Hannon & John Ryan
Mr. Goon-Bones & Mr. Ford
Pearl Bailey
1955
Billy May
1956
Gene Vincent & the Blue Caps
1959
Ferlin Husky
1960
Sammy Kaye
1962
Frank Sinatra – recorded April 10, 1962.
Michael Holliday
1966
Guy Lombardo & His Royal Canadians
1982
Lena Zavaroni
1985
Judy Carmichael
1992
Raul Seixas and his Band
Paul Ash and his Orchestra
Winifred Atwell
Frank Banta
Sally Blair
Eddie Cantor
Benny Carter
Bill Coleman, Stephane Grappelli
Jackie Davis
Eric Delaney and his Band
Tommy Dorsey
The Dukes of Dixieland
Erroll Garner
Ken Griffin
Fletcher Henderson
Joe Mr Piano Henderson
The Milt Herth Trio
Jack Hylton and his Orchestra
Enoch Light and his Orchestra
Meade Lewis
Johnny Maddox
The Johnny Mann Singers
The Modernaires
The Moms and Dads
Joyce Moody and Earl Wentz
Russ Morgan and his Orchestra
Eddie Peabody
Mel Powell Trio
Duffy Power
Johnny Douglas Band and the Johnston Brothers
The Embassy Singers and Players
Ada Moore, Jimmy Rushing, & Buck Clayton and his Orchestra
Geordie Hormel with Bill Hitchcock and His Band
The Sensations feat. Yvonne Mills
Bob Scobey
Georgies Varsity 5
Dig Richards and the RJays
Russ Conway
The Crew-Cuts
The Doowackadoolers
Johnathan & Darlene Edwards
Billy Cotton, Kathy Kay, and Alan Breeze
Pete Drake
Bob Hammer Band
The Lords
Jimmy Smith
Big Joe Turner
Ben Webster, Frank Rosolino
Lawrence Welk and his Orchestra
Coco Briaval
The Beatles
The Beatles regularly performed the song live from 1957 to 1962.
On June 22 or 24, 1961, during their first professional recording session, the Beatles recorded a cover of Aint She Sweet.
Film appearances
Hazel Green & Company
In January 1928, a short film of Aint She Sweet sung by Chili Bouchier was filmed.
Duck Soup
Margie
You Were Meant for Me
Youre My Everything
Force of Arms
Strangers on a Train
Feed the Kitty
East of Eden
The Eddy Duchin Story
Picnic
Miss Mary
Midnight in Paris
#eddiecantor
#aintshesweet
#musichall
#dixieland Eddie Cantor - Aint She Sweet (Music Hall/Dixieland, Milton Ager - Jack Yellen)](https://i.ytimg.com/vi/hVoO1MGJ1bc/mqdefault.jpg)

![The Bombay Ducks - Sympathy For The Devil (Minimal/Synthwave, The Rolling Stones Cover)
From Sympathy For The Devil
Label: Complete Control – CON 1
Format: Vinyl, 7
Country: UK
Released: 1980
Tracklist
A Sympathy For The Devil
B 1-0-6-9
Notes
The duo of recording engineers Nicky Rogers and Vic Ball.
Aliases: Paul Hamilton & Joseph Duarte
🎵 [SONG INFO]
Sympathy for the Devil is a song by The Rolling Stones which first appeared as the opening track on the bands 1968 album Beggars Banquet.
It was written by Mick Jagger credited to Jagger/Richards.
Rolling Stone magazine placed it at No.32 in their list of The 500 Greatest Songs of All Time.
The recording of Sympathy for the Devil began at Londons Olympic Sound Studios on 4 June 1968 and continued into the next day; overdubs were done on 8, 9 and 10 June.
Personnel included on the recording include Nicky Hopkins on piano; Rocky Dijon on congas; Bill Wyman on maracas.
In Tropic Thunder, the song is played during the scene following Tugg Speedmans departure from the group.
Notable cover versions
The song has been widely covered since its release, including renditions by:
Sandie Shaw, on her album Reviewing the Situation (1969)
Blood, Sweat & Tears, whose version entitled Symphony for the Devil appeared on their third album (1970)
Bryan Ferry, on his solo album These Foolish Things (1973)
Weird Al Yankovic on his Rolling Stones polka medley The Hot Rocks Polka (1989)
and Janes Addiction, on their 1987 self-titled live debut album (1987).
The Janes Addiction version was also featured on the soundtrack to the 1988 film Alien Nation.
In 1989, the Slovenian band Laibach released an EP of seven different versions of the song, interpreted as everything from a Wagnerian symphony to a light techno number.
In 1990, Brazilian actress Claudia Ohana recorded the song as the main theme for her character Natasha in soap opera Vamp.
The song went on to become one of the biggest hits of the year in that country.
Guns N Roses recorded a cover in 1994 which reached No.55 on the Billboard Hot 100; it was featured in the closing credits of Neil Jordans film adaptation of Anne Rices Interview with the Vampire and was included on their Greatest Hits album.
This cover is notable for causing an incident within the group that was partially responsible for guitarist Slash departing from the band in 1996.
In 1996 Natalie Merchant released the song as a bonus track on the commercial CD single of her single Jealousy.
At their 2000 Halloween Concert at UNO arena in New Orleans, Louisiana, Widespread Panic covered Sympathy for the Devil as their show opener.
Pearl Jams concert renditions of The Water Pouring Song included an instrumental section of Sympathy for the Devil.
Bon Jovi often covers it during the piano break in their concert performances of Keep the Faith.
A snippet of the song is often sung by Bono along with Ruby Tuesday during performances of Bad at U2 concerts, for example at Live Aid in London and in the concert film Rattle and Hum.
In 2005, Ozzy Osbourne released a cover on his box set Prince of Darkness and the related Under Cover release.
The Swedish metal band Tiamat covered the song on their album Skeleton Skeletron, released in 1999.
Indie rock bands Band of Skulls and John & Jehn covered the song for the French TV show Taratata broadcasted in March 2010.
In 2005, Cuban drummer and percussionist Horacio Hernandez (El Negro) recorded a Latin Jazz version of the song, sung by Latin great Rubén Blades.
Freedom Dub recorded a Bossa n Stones version of Sympathy for the Devil that enjoyed much success in Italy thanks to airplay on Radio Monte Carlos Nick the Nightfly program in the late 2000s.
The song was also sampled by My Life with the Thrill Kill Kult in the track The Devil Does Drugs on their WaxTrax! EP release Some Have to Dance, Some Have to Kill (Wax 055).
The Film
Sympathy for the Devil is also the title of a producers edit of a 1968 film by Jean-Luc Godard whose own original version is called One Plus One.
The film, a depiction of the late 1960s American counterculture, also featured the Rolling Stones in the process of recording the song in the studio.
#therollingstonescover
#minimal
#sympathyforthedevil
#minimalsynth
#synthwave The Bombay Ducks - Sympathy For The Devil (Minimal/Synthwave, The Rolling Stones Cover)](https://i.ytimg.com/vi/iHCez5x_imc/mqdefault.jpg)
![Tsunamish - Sunday Girl (Surf, Blondie Cover)
From Tsunamish Vs Los Fantasmas
Released: April 23, 2015
Tracklist
1. Tsunamish Vs Los Fantasmas
2. Sunday Girl
3. La Culpa
4. Más Alla De La Cortina
Notes
Recorded 3/14/2015 by Nico and Tsunamish
Art: Paula Carrizo
© 2015 Tsunamish
â„— 2015 Tsunamish
💿 [SONG INFO]
Sunday Girl is a song recorded by the American new wave band Blondie, from the bands 1978 album Parallel Lines.
Written by guitarist Chris Stein, the song was inspired by Debbie Harrys cat, who was named Sunday Man—the cat had recently run away, inspiring the songs plaintive nature.
Sunday Girl was released as the follow-up single to the bands number one hit single, Heart of Glass, in the UK and Europe (though not in the US).
The single was a number 1 hit in the UK and Ireland and reached the top ten in several European countries.
It has since seen critical acclaim and has been included on several compilation albums.
Background
Sunday Girl was written solely by Blondie guitarist Chris Stein.
Stein recalled, I wrote that one all by myself, but I was so nervous about having my own song, I asked [Debbie Harry] to put her name on it. ... We left [the credit] to me in the long run.
Stein wrote the song for Harrys cat, who was named Sunday Man.
Stein explained, The cat ran away we were very sad. It was just a sort of plaintive, evocative number.
The early demo of the song had impressed producer Mike Chapman, who was initially wary of the bands sloppy performing.
This early demo featured a Latin-influenced arrangement, which would transform into a more pop-inspired performance on the final album.
Like Blondies earlier single, Hanging on the Telephone, the drumming pattern of Sunday Girl employs a double backbeat rhythm.
Blondie recorded a French-language version of the track.
This version was released in the UK on the Sunday Girl 12 single; in France and the Netherlands, it was the B-side of the 7.
It also appears on the cassette release of Eat to the Beat.
For Blondies first greatest hits album The Best of Blondie in 1981, producer Mike Chapman created a special mix which incorporated one verse sung in French. The bilingual version appears on the 2002 compilation Greatest Hits.
Release
Sunday Girl was released as the follow-up single to Heart of Glass in the UK and much of Europe.
The single reached number one in the UK, topping the charts for three weeks in May 1979.
Sunday Girl was the bands second consecutive number one hit in the country and would later rank number eight on the year-end UK charts of 1979.
The single also reached number one in Ireland and was a top ten hit across Europe. Despite the commercial success abroad, the song was not released as a single in the bands home country of the US, where One Way or Another was picked as the next single instead.
Sunday Girl was initially released in Australia as the lead single from Parallel Lines, but failed to chart; however, it was later re-released as a double A-side with Heart of Glass, on the back of its UK success, resulting in the song reaching number five in the country.
In 2013, Blondie themselves re-recorded the song and offered it to be included in the CBGBs film soundtrack.
This version was included on their 2014 compilation album Greatest Hits Deluxe Redux. The compilation was part of a 2-disc set called Blondie 4(0) Ever which included their 10th studio album Ghosts of Download and marked the 40th anniversary of the forming of the band.
In 2022, UMC/Numero Group released a 2x7 pack for Record Store Day. Limited to 3000 copies, it included 4 versions of Sunday Girl over two 7 singles. One of the singles was pressed on yellow vinyl, while the other was pressed on red vinyl.
🔗 [LINKS]
https://tsunamish.bandcamp.com/
https://open.spotify.com/artist/3q2L2jNVdp6Gmz5tZKJnnN
https://music.apple.com/us/artist/tsunamish/1200029095
https://www.deezer.com/en/artist/11831453
https://www.amazon.com/music/player/artists/B01MRAM19O/tsunamish
https://soundcloud.com/tsunamish
https://www.facebook.com/tsunamishsurf
Available on bandcamp:
https://tsunamish.bandcamp.com/album/tsunamish-vs-los-fantasmas
Spotify:
https://open.spotify.com/album/6HojodKbQLvgW036KNV7HG
Apple Music:
https://music.apple.com/us/album/tsunamish-vs-los-fantasmas-ep/1200029065
Deezer:
https://www.deezer.com/en/album/15205299
Amazon Music:
https://www.amazon.com/music/player/albums/B01MTE4KYH
and SoundCloud:
https://soundcloud.com/tsunamish/sets/tsunamish-vs-los-fantasmas
#surfcover
#surfinstrumental
#instrumentalsurf Tsunamish - Sunday Girl (Surf, Blondie Cover)](https://i.ytimg.com/vi/iTFvks8fBNQ/mqdefault.jpg)

![Exdream - Let the Sunshine In (The 5th Dimension Cover)
From Neil
Label: Proart – P-66083
Format: Vinyl, LP, Album
Country: Germany
Released: 1983
Tracklist
A1 Let The Sunshine In
Written-By – Galt MacDermot, Gerome Ragni, James Rado
A2 Salouse
Written-By – Jürgen Wynant, Markus Raffelt
A3 Träumen Ist Einfach
Written-By – Jens Jacobs, Schorsch Elsner
A4 Gimme Some Lovin
Written-By – Spencer Davis, Steve Winwood
B1 Lost Reggae
Written-By – Markus Raffelt
B2 To A Friend
Written-By – Jens Jacobs
B3 Break
Written-By – Exdream
Vocals, Electric Piano, Electric Organ [Hammond], Acoustic Guitar – Jens Jacobs
Vocals – Renate Uhlenkamp
Guitar, Electric Piano – Markus Raffelt
Saxophone, Flute, Vocals – Christoph Hansen
Percussion – August Meyer
Drums – Teddy Hansen
Bass – Jürgen Wynant
Engineer – Peter Pausewang
Photography By – Anette Greten
Artwork [Collage] – Anette Greten, August Meyer, Dieter Grieshop, Jens Jacobs, Jürgen Wynant, Markus Raffelt
Medley: Aquarius/Let the Sunshine In (commonly called Aquarius/Let the Sunshine In, The Age of Aquarius or Let the Sunshine In) is a medley of two songs written for the 1967 musical Hair by James Rado and Gerome Ragni (lyrics), and Galt MacDermot (music), released as a single by American R&B group the 5th Dimension.
The song spent six weeks at number one on the US Billboard Hot 100 pop singles chart in the spring of 1969 and was eventually certified platinum in the US by the RIAA.
Instrumental backing was written by Bill Holman and provided by a group of session musicians commonly known as the Wrecking Crew.
The song is listed at number 66 on Billboards Greatest Songs of All Time.
Background
The medley was constructed of two songs from the musical Hair. The first song was Aquarius, and the second was The Flesh Failures: Let the Sunshine In.
The 5th Dimensions lead singer Billy Davis Jr. left his wallet in a New York City cab; the man who found the wallet was involved in the production of Hair and invited the group to see the show. The group called their producer Bones Howe in California: After theyd seen it I received a phone call in which they were all talking over one another, saying Weve got to cut this song Aquarius. Its the best thing ever.
Howe was skeptical (This isnt a complete song. Its an introduction.), but after seeing the show on stage he got the idea to combine Aquarius with another musical moment from the show, the last few bars from the song The Flesh Failures: Let the Sunshine In that consist of the repeated words let the sunshine in. Although the two song fragments are in different keys and tempos, Howe resolved to jam them together like two trains.
Returning to California, Howe supervised the first recording session. The instrumental track was set to tape at Wally Heiders Studio 3 in Hollywood by Wrecking Crew members Hal Blaine on drums, Joe Osborn on bass, Larry Knechtel on keyboards, Tommy Tedesco and Dennis Budimir on guitars and Tony Terran on trumpet. It also featured strings, winds, and brass instrumentations. However, the vocals were recorded separately in Las Vegas, where the 5th Dimension was performing at the time, using only two microphones for the five singers. Davis solo during Let the Sunshine In was improvised during the session; songwriter Jimmy Webb, who happened into the studio during the recording, remarked to Howe: My God, thats a number one record.
This song was one of the most popular songs of 1969 worldwide, and in the United States it reached the number one position on both the Billboard Hot 100 (for six weeks in April and May) and the Billboard Easy Listening chart. It also reached the top of the sales charts in Canada and elsewhere. Billboard ranked it as the No. 2 Hot 100 single for 1969, although Aquarius (Let the Sunshine In) would go on to outsell the No. 1 Hot 100 single for 1969, Sugar Sugar by the Archies, and consistently ranks several positions above it in the all-time chart.
The recording won both the Grammy Award for Record of the Year and Best Pop Vocal Performance by a Group for the Grammy Awards of 1970, after being published on the album The Age of Aquarius by the 5th Dimension, and also being released as a 7-inch vinyl single record. The popularity of the song prompted the Apollo 13 crew to name their Apollo Lunar Module Aquarius, in part to send a message that astronauts were also hip. In 2004, the song was inducted into the Grammy Hall of Fame.
The American Film Institutes 100 Years...100 Songs list, published in 2004, ranked Medley: Aquarius/Let the Sunshine In as number 33.
#krautrock
#progrock Exdream - Let the Sunshine In (The 5th Dimension Cover)](https://i.ytimg.com/vi/ibG9Za4QGqo/mqdefault.jpg)