Uploaded May 2025 | Updated September 2026, 2 weeks ago
From '' Plays Instrumental Versions Of Bob Dylan Favorites ''
Label: Metro Records – MS-597
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1966
Tracklist
A1 Like A Rolling Stone
A2 It Ain't Me Babe
A3 It's All Over Now Baby Blue
A4 She Belongs To Me
A5 Don't Think Twice, It's All Right
B1 One Too Many Mornings
B2 Positively 4th Street
B3 All I Really Want To Do
B4 Mr. Tambourine Man
B5 The Times They Are A-Changin'
Written-By – Bob Dylan
Artwork – Peter Max
Engineer – Val Valentin
Producer, Arranged By – Alan Lorber
------------------------
"Like a Rolling Stone" is a 1965 song by American singer-songwriter Bob Dylan.
Its confrontational lyrics originate in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England.
After the lyrics were heavily edited, "Like a Rolling Stone" was recorded a few weeks later as part of the sessions for the forthcoming album Highway 61 Revisited.
During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in 3/4 time.
A breakthrough was made when it was tried in a rock music format, and rookie session musician Al Kooper improvised the organ riff for which the track is known.
However, Columbia Records was unhappy with both the song's length at over six minutes and its heavy electric sound, and was hesitant to release it.
It was only when a month later a copy was leaked to a new popular music club and heard by influential DJs that the song was put out as a single.
Although radio stations were reluctant to play such a long track, "Like a Rolling Stone" reached number two in the US charts and became a worldwide hit.
The track has been described as revolutionary in its combination of different musical elements, the youthful, cynical sound of Dylan's voice, and the directness of the question in the chorus: "How does it feel?".
"Like a Rolling Stone" transformed Dylan's career and is today considered one of the most influential compositions in post-war popular music and has since its release been both a music industry and popular culture milestone which elevated Dylan's image to iconic.
Cover versions
Johnny Thunders,
David Bowie,
The Four Seasons,
The Rascals,
Judy Collins,
Johnny Winter,
Cher,
The Rolling Stones,
Spirit, Michael Bolton,
The Creation,
David Gilmour,
John Mellencamp,
The Wailers
Green Day and many others.
Guitarist Jimi Hendrix, performing with The Jimi Hendrix Experience, recorded a live version at the Monterey Pop Festival.
Hendrix was an avid fan of Bob Dylan, and especially liked "Like a Rolling Stone".
"It made me feel that I wasn't the only one who'd ever felt so low ..." Hendrix said.
After the second verse, Hendrix skipped to the fourth. Hendrix played the electric guitar, and music critic Greil Marcus described the atmosphere of the Hendrix recording thus:
Huge chords ride over the beginning of each verse like rain clouds; the tune is taken very slowly, with Hendrix's thick, street-talk drawl sounding nothing at all like Dylan's Midwestern dust storm."
Release
According to Shaun Considine, release coordinator for Columbia Records in 1965, "Like a Rolling Stone" was first relegated to the "graveyard of canceled releases" because of concerns from the sales and marketing departments over its unprecedented six-minute length and "raucous" rock sound. In the days following the rejection, Considine took a discarded acetate of the song to a club called Arthur—a newly opened disco popular with celebrities and media people. At the crowd's insistence, the demo was played over and over, until finally it wore out. The next morning, a disc jockey and a programming director from the city's leading top 40 stations called Columbia and demanded copies. Shortly afterwards, on July 20, 1965, "Like a Rolling Stone" was released as a single with "Gates of Eden" as its B-side.
The song has also been covered in various languages.
Hugues Aufray covered the song in French ("Comme des pierres qui roulent" (Aufray Trans Dylan, 1995)),
Wolfgang Ambros included an Austrian-German dialect version "Allan Wia a Stan" on his 1978 LP Wie Im Schlaf which reached position 8 in the Austrian charts for 8 weeks,
German band Bap created a dialect of Cologne version "Wie 'ne Stein" and Lars Winnerbäck did a performance of the song in Swedish titled "Som en hemlös själ".
Articolo 31 recorded an Italian version titled "Come una Pietra Scalciata".
#instrumentalcover
#easylistening
#bobdylancover
📜 [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 youtube.com/BobDylan
From '' Plays Instrumental Versions Of Bob Dylan Favorites ''
Label: Metro Records – MS-597
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1966
Tracklist
A1 Like A Rolling Stone
A2 It Ain't Me Babe
A3 It's All Over Now Baby Blue
A4 She Belongs To Me
A5 Don't Think Twice, It's All Right
B1 One Too Many Mornings
B2 Positively 4th Street
B3 All I Really Want To Do
B4 Mr. Tambourine Man
B5 The Times They Are A-Changin'
Written-By – Bob Dylan
Artwork – Peter Max
Engineer – Val Valentin
Producer, Arranged By – Alan Lorber
------------------------
"Like a Rolling Stone" is a 1965 song by American singer-songwriter Bob Dylan.
Its confrontational lyrics originate in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England.
After the lyrics were heavily edited, "Like a Rolling Stone" was recorded a few weeks later as part of the sessions for the forthcoming album Highway 61 Revisited.
During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in 3/4 time.
A breakthrough was made when it was tried in a rock music format, and rookie session musician Al Kooper improvised the organ riff for which the track is known.
However, Columbia Records was unhappy with both the song's length at over six minutes and its heavy electric sound, and was hesitant to release it.
It was only when a month later a copy was leaked to a new popular music club and heard by influential DJs that the song was put out as a single.
Although radio stations were reluctant to play such a long track, "Like a Rolling Stone" reached number two in the US charts and became a worldwide hit.
The track has been described as revolutionary in its combination of different musical elements, the youthful, cynical sound of Dylan's voice, and the directness of the question in the chorus: "How does it feel?".
"Like a Rolling Stone" transformed Dylan's career and is today considered one of the most influential compositions in post-war popular music and has since its release been both a music industry and popular culture milestone which elevated Dylan's image to iconic.
Cover versions
Johnny Thunders,
David Bowie,
The Four Seasons,
The Rascals,
Judy Collins,
Johnny Winter,
Cher,
The Rolling Stones,
Spirit, Michael Bolton,
The Creation,
David Gilmour,
John Mellencamp,
The Wailers
Green Day and many others.
Guitarist Jimi Hendrix, performing with The Jimi Hendrix Experience, recorded a live version at the Monterey Pop Festival.
Hendrix was an avid fan of Bob Dylan, and especially liked "Like a Rolling Stone".
"It made me feel that I wasn't the only one who'd ever felt so low ..." Hendrix said.
After the second verse, Hendrix skipped to the fourth. Hendrix played the electric guitar, and music critic Greil Marcus described the atmosphere of the Hendrix recording thus:
Huge chords ride over the beginning of each verse like rain clouds; the tune is taken very slowly, with Hendrix's thick, street-talk drawl sounding nothing at all like Dylan's Midwestern dust storm."
Release
According to Shaun Considine, release coordinator for Columbia Records in 1965, "Like a Rolling Stone" was first relegated to the "graveyard of canceled releases" because of concerns from the sales and marketing departments over its unprecedented six-minute length and "raucous" rock sound. In the days following the rejection, Considine took a discarded acetate of the song to a club called Arthur—a newly opened disco popular with celebrities and media people. At the crowd's insistence, the demo was played over and over, until finally it wore out. The next morning, a disc jockey and a programming director from the city's leading top 40 stations called Columbia and demanded copies. Shortly afterwards, on July 20, 1965, "Like a Rolling Stone" was released as a single with "Gates of Eden" as its B-side.
The song has also been covered in various languages.
Hugues Aufray covered the song in French ("Comme des pierres qui roulent" (Aufray Trans Dylan, 1995)),
Wolfgang Ambros included an Austrian-German dialect version "Allan Wia a Stan" on his 1978 LP Wie Im Schlaf which reached position 8 in the Austrian charts for 8 weeks,
German band Bap created a dialect of Cologne version "Wie 'ne Stein" and Lars Winnerbäck did a performance of the song in Swedish titled "Som en hemlös själ".
Articolo 31 recorded an Italian version titled "Come una Pietra Scalciata".
#instrumentalcover
#easylistening
#bobdylancover
📜 [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 youtube.com/BobDylan
![Bonehedz - Its All Over Now + 96 Tears + Ooh La La
👥 [BAND INFO]
Bonehedz are:
Mike Keegan - Vocals
George Caravella - Keyboards, Vocals
Joe Cuzino - Vocals, Percussion
Mick Garaffa - Guitar, Vocals
Matt Monis - Bass Guitar
Kenny Muller - Drums
Ed Skalandunas - Lead Guitar (and any other instrument that the rest of us didn’t play)
Notes about the video
Matt Monis audio track recorded and engineered by Brent Cormier in Austin TX.
All other audio tracks recorded in Connecticut, Wyoming and Arizona.
All audio tracks produced, engineered, mixed and mastered by Ed Skalandunas at Pseudo Studios, Greenwich CT
Video produced, directed and edited by Michael S. Garaffa at Amberwood Studios, Phoenix AZ.
Video shot on location in Nashville TN, Connecticut, Casa Grande AZ and Jackson WY.
Matt Monis video shot by Glenn Harcrow in Austin, TX.
“Ooh La La” (intro/end music) performed by:
Ed Skalandunas - All instruments
Mick Garaffa, Mike Keegan, Joe Cuzino, George Caravella and Ed Skalandunas - Vocals
“96 Tears” (end credit music) performed by
‘Eddie Slick & Mick’
Ed Skalandunas - All Music
Mick Garaffa - Vocals, Handclaps
🎵 [SONG INFO]
Its All Over Now is a song written by Bobby Womack and his sister-in-law Shirley Womack.
It was first released by The Valentinos, featuring Bobby Womack, in 1964.
The Rolling Stones heard it on its release and quickly recorded a cover version, which became their first number one hit in the United Kingdom, in July 1964.
The Valentinos Original version
The Valentinos recorded the song at United Recording in Hollywood on March 24, 1964, and released it two months later.
It entered the Billboard Hot 100 on June 27, 1964, and stayed on the chart for two weeks, peaking at number 94.
The Rolling Stones version
The Rolling Stones landed in New York on June 1, 1964, for their first North American tour, around the time the Valentinos recording was released. New York radio DJ Murray the K played the song to the Rolling Stones. He also played the Stones King Bee (their Slim Harpo cover) the same night and remarked on their ability to achieve an authentic blues sound. After hearing Its All Over Now on that WINS show, the band recorded their version nine days later at Chess Studios in Chicago. Years later, Bobby Womack said in an interview that he had told Sam Cooke he did not want the Rolling Stones to record their version of the song, and that he had told Mick Jagger to get his own song. Cooke convinced him to let the Rolling Stones record the song. Six months later, after receiving the royalty check for the song, Womack told Cooke that Mick Jagger could have any song he wanted.
The Rolling Stones version of Its All Over Now is the most famous version of the song. It was first released as a single in the UK, where it peaked at number 1 on the UK Singles Chart, giving the Rolling Stones their first number one hit. It was the bands third single released in America, and stayed in the Billboard Hot 100 for ten weeks, peaking at number 26. Months later it appeared on their second American album 12 X 5. The song was a big hit in Europe and was part of the bands live set in the 1960s. Cash Box described it as a contagious cover of the Valentinos click and an infectious thumper that should head right for chartsville.
In 1964 Bill Wyman said, We just liked the sound of it. We didnt think it sounded country and western until we read it somewhere. Its the 12-string guitar and harmonising that do it. Every one of our records has been different. We dont want to do the same old thing every time or people will get fed up with it.
🎵 [SONG INFO]
Ooh La La is a 1973 song by the band Faces, written by Ronnie Lane and Ronnie Wood. It is the title song of the bands last studio album, Ooh La La.
The lead vocals were provided by Wood, a rarity in the bands catalogue; lead vocals were usually performed by Rod Stewart and less often by Ronnie Lane.
In 2021, it was listed at No. 246 on Rolling Stone magazines list of the 500 Greatest Songs of All Time.
🎵 [SONG INFO]
96 Tears is a song recorded by the American garage rock band ? and the Mysterians in 1966.
In October of that year, it was no.1 on the Billboard Hot 100 in the U.S. and on the RPM 100 in Canada. Billboard ranked the record as the no.5 song for 1966.
It was ranked no.213 on the Rolling Stone list of the 500 Greatest Songs of All Time in 2010.
🔗 [LINKS]
Bonehedz on YouTube:
@wearebonehedz3924
Spotify:
https://open.spotify.com/artist/7rVLyxqtHJF7T0i6Vmz2K1?si=Bhi60n9ASOi4pdmjYXe42g&nd=1&dlsi=fee3dfc24b2e4896
Apple Music:
https://music.apple.com/us/artist/bonehedz/1669928941
and Facebook:
https://www.facebook.com/p/The-Bonehedz-100063496959679/
Available on Spotify:
https://open.spotify.com/track/2YRM690DgCnPJty6OSzrGh
and Apple Music:
https://music.apple.com/us/album/its-all-over-now-single/1816343644
Original video here:
https://www.youtube.com/watch?v=mqxx5QE3ExQ Bonehedz - Its All Over Now + 96 Tears + Ooh La La](https://i.ytimg.com/vi/PJNyjm0azd8/mqdefault.jpg)
![Antoine - Pop Corn (with French lyrics, Gershon Kingsley)
From Pop Corn
Label: Disques Vogue – 45. V. 4140
Series: Hitcolor
Format: Vinyl, 7, 45 RPM, Stereo
Country: France
Released: 1972
Tracklist
A Pop Corn
Written-By – Antoine, Gershon Kingsley
B Feuilles Dautomne
Written-By – Antoine
Arranged By – Antoine
Record Company – Vogue International Industries
Published By – Vogue International
Published By – Editions Pactole
Published By – Edition Bourne France
👤 [ARTIST INFO]
Born on January 23th, 1945 in Toamasina, Madagascar. Antoine is a French singer, and also a sailor and adventurer, writer, photographer, and filmmaker. He was very popular in the 1960s and 1970s. He stopped his musical career to travel around the world.
🎵 [SONG INFO]
Popcorn is an early electronic pop instrumental, originally composed by Gershon Kingsley in 1969 on his album Music to Moog By.
The same year this tune was released and recorded at Audio Fidelity Records label in New York City.
In 1972, Hot Butters rerecording was a huge hit in many countries.
That version is by far the most well-known of this tune.
The tune was very popular in the Soviet Union and was featured in one of the Nu, pogodi! animated series.
Original version - Background
Composer Gershon Kingsley (of Perrey and Kingsley) first recorded it for his 1969 album Music to Moog By. In 1971 the song was re-recorded by Kingsleys band First Moog Quartet. Stan Free, member of the First Moog Quartet, rerecorded the instrumental with his band Hot Butter in 1972.
The title refers to the short staccato or sharp popping sound used.
Other cover versions
It has since been covered by various artists, including DJ Voyager, Anarchic System with vocal version, a pre-fame Jean Michel Jarre (under the pseudonyms of The Popcorn Orchestra and Jamie Jefferson), Arthur Fiedler and the Boston Pops, Unter Null, Richard D. James AKA Aphex Twin, M&H Band, Muse, DJ Fantomas, Gigi DAgostino, Guru Josh, Iranian artist Shadmehr Aghili, Afrosound, The Time Frequency (TTF), Herb Alpert and the Tijuana Brass, Norrie Paramor & the Midland Radio Orchestra, Ronnie Aldrich, The Treble Spankers, the Boomtang Boys, Space Penguins, Pattie Brooks (disco version as part of a medley that also included Black is Black & Na Na Hey Hey Kiss Him Goodbye), Bass Bumpers (fronted by the Crazy Frog cartoon), Liars, Finnish band Seidat, Swedish DJ Richi M, the Irish DJ Showey, South African Psytrance act Parana, Italian pop band La Strana Società, Japanese electronic artists Denki Groove, Russian Virtuoso Guitar Player Victor Zinchuk, Spanish rock band Los Pekenikes, Shadowy Men On A Shadowy Planet, and the Swedish Chef. It has also been remixed by Hexstatic on the Pick n Mix album. In 2003 Greek synthpop Duo Marsheaux released a darker mix of Popcorn as their debut single, which became a radio play hit in Europe. The song was also featured as the background music in the first version of the 1982 arcade game Pengo, the 1983 IBM PC game Digger, and the 1984 Mikro-Gen microcomputer game Pyjamarama. Many cover versions were made on popular home computers such as Atari, ZX Spectrum, Commodore 64 and Amiga, often by anonymous artists. On the 17th of September, 2007, Electropop group Plemo released a free track on micromusic.net based on the original Popcorn melody. It includes samples from (You Gotta) Fight for Your Right (To Party!) of the Beastie Boys. In 1976, the tenth episode of Nu, Pogodi! includes this song as Volk (The Wolf) tries to get closer and closer to Zayats (The Hare) at a construction site.
Big band arranger James Last recorded Popcorn in 1972
The song has never been covered by Kraftwerk although there are mistagged copies of the song allegedly by them (most frequently the version by M&H Band) in circulation. There is also a version circulating on the internet that is claimed to have been made by avant-garde group The Residents even though it sounds vastly different from The Residents usual experimental sound. This version is actually made by the hard house artists called The Rezidents, hence the confusion between the two.
Most recently, alternative rock band Muse performed this song live in Teignmouth, UK during their two nights at The Den. The song featured prominent electric guitar along with heavy percussion and bass. A studio version of their cover was released on the 2010 single Resistance. Faith No More covered the song live in Argentina in The Second Coming Tour.
🔗 [LINKS]
http://www.antoine.tv/site2016/
#antoine
#popcorn
#gershonkingsley
#chanson Antoine - Pop Corn (with French lyrics, Gershon Kingsley)](https://i.ytimg.com/vi/P_vRwim-rWI/mqdefault.jpg)

![Tom Schreck - Umbrella (Indie Folk, Rihanna Cover)
From Mixed Shapes (Cover Songs)
Released: November 16, 2020
Tracklist
01. Umbrella (Rihanna cover)
02. Back In The U.S.S.R. (The Beatles cover)
03. Supergolden Black Sunchild (Beck cover)
04. I Believe In You (Bob Dylan)
05. Sunset Road no.1 (Béla Fleck cover)
06. Never Loved A Band (Moon/Rand)
07. I Dont Wanna Go On With You Like That (Elton John cover)
08. Act Naturally (Buck Owens/Beatles cover)
09. Walk On (trad. blues; arr. McGhee/McGhee)
10. Out Of My Head (Fastball cover)
11. Hitch My Wagon (Kelly Mason Smith cover)
12. Blue Water (Dave Matthews Band cover)
13. I Will Follow You Into The Dark (Death Cab For Cutie cover)
14. Naked And Famous (Presidents Of The United States Of America cover)
15. Girl From The North Country (Bob Dylan, arr. Schreck)
16. Feel The Strain Of Sorrow Never Ceasing (Beck cover)
17. We Three (My Echo, My Shadow And Me) (Nelson Cogane, Sammy Mysels, Dick Robertson)
18. Singing In My Sleep (Semisonic cover)
19. Helter Skelter (The Beatles cover)
20. Nothing Else Matters (Metallica cover)
21. Sunset Road no.2 (Béla Fleck cover)
22. Do Re Mi (Woody Guthrie cover)
23. Till There Was You (Meredith Willson, From The Music Man/The Beatles cover)
24. Wading In The Velvet Sea (Phish cover)
25. I Threw It All Away (Bob Dylan)
26. Sea Of Heartbreak (Don Gibson cover)
27. I Will Survive (Gloria Gaynor cover)
Tom Schreck:
Lead & Harmony Vocals, Acoustic Guitar, Nylon-String Guitar, Electric Guitar, Bass, Banjo, Ukulele, Harmonica, Melodica, Accordion, Bass Melodica, Synthesizer, Electric Piano, Sampling, Percussion, Drum Programming, Overall Tracking, Arrangements and Production.
with
Jason Hall: Editing & Mix Engineer
Ben Owens: Lead Guitar on “Sunset Road no.1,” “Sunset Road no.2,” “I Don’t Want To Go On With You Like That,” “Hitch My Wagon,” “Supergolden Black Sunchild,” “Walk On,” “I Will Survive,” and “Naked & Famous”; Acoustic Guitar on “Girl From The North Country
Cornelius Perry: Bass on “Blue Water,” “Sunset Road no.1,” “Sunset Road no.2,” “I Don’t Want To Go On With You Like That,” “Never Loved A Band,” “I Threw It All Away,” “Out Of My Head,” “Supergolden Black Sunchild,” “Walk On,” “I Will Survive,” “Nothing Else Matters,” “Girl From The North Country,” and “I Believe In You
Matt Iceman: Drums on “Sunset Road no.2”
Emily Nelson: Cello on “Singing In My Sleep”
Rory Hoffman: Qanun and Lead Synthesizer on “Sunset Road no.2”; Tenor Saxophone on “Singing In My Sleep”
Drew Kohl: Pre-Production Editing on “Sunset Road no.2,” “I Believe In You and “Blue Water”; additional Editing on “Helter Skelter”
Ben Cowherd: Vocoder/Vocal Editing on “Helter Skelter”
David Rodgers: Cello Arrangement on “Singing In My Sleep
Dean Tomasek: Cover Art
Notes
Toms first release of cover songs.
Double-album-length, home-recorded, and lo-fi.
© 2020 Tom Schreck
℗ 2020 Tom Schreck
🎵 [SONG INFO]
Umbrella is a song by Barbadian singer Rihanna, released worldwide on March 29, 2007, through Def Jam Recordings as the lead single and opening track from her third studio album, Good Girl Gone Bad (2007). Its featured artist, American rapper Jay-Z, co-wrote the song with its producers Tricky Stewart and Kuk Harrell, with additional writing contributions coming from The-Dream.
Umbrella received universal critical acclaim upon release and was a global success, topping the charts in 19 countries such as Australia, Canada, Germany, Spain, the Republic of Ireland, Sweden, Switzerland, the United Kingdom, and the United States. In the UK, where the songs chart performance coincided with prolonged rain and flooding, it was one of the most played songs on radio in the 2000s. It managed to stay atop the UK Singles Chart for 10 consecutive weeks, the longest run at number one for any single of that decade, and is also one of the few songs to top the chart for at least 10 weeks. As one of the highest digital debuts in the United States at the time, it remained atop of the U.S. Billboard Hot 100 for seven consecutive weeks.
The singles accompanying music video, directed by Chris Applebaum and featuring Rihannas nude body covered in silver paint, earned her a Video of the Year at the 2007 MTV Video Music Awards and Most Watched Video on MuchMusic.com at MuchMusic Video Awards. Umbrella has been covered by several notable performers across various musical genres, including All Time Low, the Baseballs, Train, Manic Street Preachers, McFly, Mike Shinoda of Linkin Park, OneRepublic, Taylor Swift, and Vanilla Sky.
🔗 [LINKS]
https://www.nashvilleoutsider.com/
Available on bandcamp:
https://nashvilleoutsider.bandcamp.com/album/mixed-shapes-cover-songs
Spotify:
https://open.spotify.com/album/3WoaAgrKLG639l2X4dIUWz
Apple Music:
https://music.apple.com/us/album/mixed-shapes-cover-songs/1540375195
and Amazon Music:
https://www.amazon.com/music/player/albums/B08NGT536Q
#tomschreck
#umbrella
#indiefolk
#rihannacover Tom Schreck - Umbrella (Indie Folk, Rihanna Cover)](https://i.ytimg.com/vi/PoHSuLquYb8/mqdefault.jpg)
![Los 3 Gigantes - La Vi Parada Alli (I Saw Her Standing There, The Beatles Cover) (Beat/Instrumental)
From Abran En Nombre Del Go-Go
Label: RCA Victor – CML-2530-X
Format: Vinyl, LP, Album, Mono
Country: Chile
Released: 1967
Tracklist
A1a Es la Lluvia Que Cae
Written-By – Bob Lind, Mogol
A1b No Juegues Con Fosforos
Written-By – Carlos Zúñiga, Wilson Morales
A2a Happening
Written-By – Holland-Dozier-Holland
A2b Yo Fui Asistente Del Kaiser Guillermo
Written-By – Cook-Greenaway
A3a Tan Solo
Written-By – L. Ransford
A3b Herina
Written-By – Wilson Morales
A4a Yo Ya
Written-By – Carlos Zúñiga
A4b Musica Para Ver Pasar Las Chicas
Written-By – Sid Ramin
A5a Yesterday
Written-By – Lennon-McCartney
A5b Pasemos La Noche Juntos
Written-By [Uncredited] – Jagger-Richards
A6 Atlantic / Chau Amore Chau
B1 Juntos Felices / Georgy Girl
B2a Rapa Nui
Written-By – Claudio Baltierra
B2b Pajaro Amarillo
Written By – D. R.
B3 Django
Written-By – Luis Bacalov
B4a El Ultimo Tren A Clarksville
Written-By – Bobby Hart, Tommy Boyce
B4b Buscame Y Me Encontraras
Written-By – Holland-Dozier-Holland
B5 Calle Dorada / Morir Un Poco
B6 Gigante / Algo Estupido
B7a Busquen Al Mono
Written-By – Juan Hernandez
B7b La Vi Parada Alli
Written-By – Lennon-McCartney
Performer [Los 3 Gigantes] – Carlos Zúñiga, Claudio Baltierra, Juan Hernandez, Wilson Morales
Liner Notes – Los Larks
Record Company – Corporación De Radio De Chile, S.A.
🎵 [SONG INFO]
I Saw Her Standing There is a song written by John Lennon and Paul McCartney, and is the opening track on the Beatles debut album, Please Please Me, released in the United Kingdom by Parlophone on 22 March 1963.
In December 1963, Capitol Records released the song in the United States as the B-side on the labels first single by the Beatles, I Want to Hold Your Hand.
While the A-side topped the US Billboard charts for seven weeks starting 18 January 1964, I Saw Her Standing There entered the Billboard Hot 100 on 8 February 1964, remaining there for 11 weeks, peaking at No.14.
The song placed on the Cashbox charts for only one week at No.100 on the same day of its Billboard debut.
In 2004, I Saw Her Standing There was ranked No.139 on Rolling Stones list of the 500 Greatest Songs of All Time.
Composition
The song was a Lennon and McCartney collaboration based on McCartneys initial idea.
Originally titled Seventeen, the song was apparently conceived by McCartney while driving home from a Beatles concert in Southport, Lancashire as a modern take on the traditional song As I Roved Out, a version of Seventeen Come Sunday that he had heard in Liverpool in 1960.
According to Beatles biographer Mark Lewisohn, McCartney worked out chords and changes for the song on an acoustic guitar, at the family home of his Liverpool friend and fellow musician Rory Storm, on the same night, 22 October 1962.
Two days later, McCartney was writing lines for the song during a visit to London with his then-girlfriend Celia Mortimer, who was seventeen at the time herself.
The song was completed about a month later at McCartneys Forthlin Road home with Lennon.
Versions by others
Bonnie and the Butterflies recorded a version of the song under the title I Saw Him Standing There in 1964.
The Supremes
The Who filmed and recorded a version of the song for their film The Kids Are Alright; Keith Moon sang the lead vocal.
Los Impala recorded a cover of the song with lyrics translated to Spanish entitled La vi parada ahí.
Alvin and the Chipmunks covered the song for their 1964 album The Chipmunks Sing the Beatles Hits.
Led Zeppelin performed the song live on 4 September 1970 at the Los Angeles Forum as a Communication Breakdown medley featuring Good Times Bad Times and For What Its Worth
Daniel Johnston
Santo & Johnny
The Tubes
The Studioz (1982 - Warm Records – AWMR 2019)
Azra
Carmaig de Forest
Peter Grant
The Punkles
Allister
In 1991, Mimí recorded a Spanish version of this song called Te Ví Parado Ahí.
Vampiri recorded a version in Serbian language entitled Poziv na ples.
A tribute to the Beatles at 2004 Grammy Awards began with this song performed by Sting, Dave Matthews, Vince Gill and N.E.R.Ds Pharrell Williams. Matthews mistakenly sang I saw her dancing there during the first verse.
Little Richard and Jerry Lee Lewis
Jerry Garcia
Pink Fairies
Bob Welch
Duffy Power & The Graham Bond Quartet
In 2013, Blaine Anderson (Darren Criss), Sam Evans (Chord Overstreet), Jake Puckerman (Jacob Artist), and Ryder Lynn (Blake Jenner) performed the song in the Glee fifth-season premiere episode Love Love Love.
Soda Stereo
Ramones began most of their songs live with the count 1-2-3-4, usually from Dee Dee Ramone, and the count is included in many of their studio songs. They deliberately tried to hark back to I Saw Her Standing There.
#los3gigantes
#laviparadaalli
#isawherstandingthere
#beat
#thebeatlescover Los 3 Gigantes - La Vi Parada Alli (I Saw Her Standing There, The Beatles Cover) (Beat/Instrumental)](https://i.ytimg.com/vi/Q3tRSAXAVvo/mqdefault.jpg)
![BPA - Jump Into The Fire (Harry Nilsson Cover)
From Maybe Use My Knife 1980-1986
Label: Shake It! Records – SH-547, Hospital Records – HD12-CD
Format: CD, Compilation
Country: US
Released: Oct 8, 2005
Tracklist
01. No Heat
02. Thorazine Cheerleader
03. Buyer Beware
04. Late Nite TV
05. My Son
06. My Sisters Ex
07. Boots Make You Taller
08. Dining Room
09. Wally Song
10. Forensic Dentist
11. Bus Song
12. Shot {In The Dark}
13. Pretty Things
14. Etcetc
15. Jump Into The Fire
Written-By [Uncredited] – Harry Nilsson
16. 2 Days Off
17. Piss On The Flag
18. Blind Dog
19. Trillionaire
20. Just Got Wet
Liner Notes – John Rusza, N. Scott Haggerty, Terry Ross
Photography By – Doug Falsetti
Notes
Track sources:
1 to 9 from BPA - Moving And Storage
10, 11 from BPA - By-Products Of America
12 to 20 previously unreleased.
🎵 [SONG INFO]
Jump into the Fire is a song by American singer-songwriter Harry Nilsson from his 1971 album Nilsson Schmilsson.
It was also issued as the albums second single, after Without You, and peaked at number 27 on Americas Billboard Hot 100 chart and number 16 in Canada.
Written by Nilsson, the song is in the hard rock style and marked a departure from his previous work. The recording was produced by Richard Perry and includes a segment where the bass player, Herbie Flowers, audibly detunes his instrument.
Composition and recording
Jump into the Fire is a rock song written and performed in a style that music journalist Matthew Greenwald likens to the early-1970s sound of the Rolling Stones. He adds: Lyrically, on the surface, its a hot lovers plea; however, it could easily be taken as a plea to society as a whole. Like a lot of Nilssons greatest songs, it works on many different levels.
Stephen Thomas Erlewine describes the track as surging hard rock, while James Parker of The Atlantic calls it livid, dragon-bones funk.
Chuck Eddy highlights its Afro-Caribbean rhythm and posits it as an early example of disco-metal.
Nilsson recorded the song in London in 1971 for his album Nilsson Schmilsson. As with much of the material on the album, it marked a departure from his previous work, as Nilsson was keen for commercial success after years of recognition as a quality artist and songwriter.
He later commented: What do you say to a man who writes The Puppy Song and then writes Jump into the Fire? I really needed [to make that change], too; that was exactly what I was hoping would happen.
The sessions were produced by Richard Perry, whom Nilsson acknowledged as having been instrumental in his progression.
The musicians on the basic track were Nilsson (piano), Chris Spedding (guitar), Herbie Flowers (bass) and Jim Gordon (drums).
Flowers recalls that Nilsson gave only vague instructions: lots of tom-toms, a bass riff in D major.
The bass part includes a section where, following Gordons drum solo, Flowers detunes as he plays.
According to Flowers, he began loosening the bottom string for a laugh, believing that by that point in the song, the performance would be faded out on the released recording. Overdubs on this master take included Nilssons vocals, guitar solos by John Uribe and another rhythm guitar part by Klaus Voormann.
Release
Jump into the Fire received substantial airplay throughout the early 1970s. After the international success of Nilssons cover of the Badfinger ballad Without You, the song was a surprising choice for the second single from Nilsson Schmilsson. It was edited down from around seven minutes to three-and-a-half for this release.
The single peaked at number 27 on Americas Billboard Hot 100 chart, number 16 on the RPM singles chart in Canada, number 26 on Australias Go-Set National Top 40, and number 34 in West Germany.
Use in media
In 1972, Nilsson included Jump into the Fire in his musical horror film Count Downe. The film was produced by Ringo Starr and later retitled Son of Dracula for its limited cinema release in 1974.
In 1990, the song was used by director Martin Scorsese as the soundtrack to a frenetic scene in his film Goodfellas, when Ray Liottas character Henry Hill, a cocaine-addicted gangster, fears that the authorities are closing in on his illegal activities. Rolling Stone described the effect: This is what paranoia sounds like ... the more the filmmaker fades those Oh oh ooohs in and out, the more your own nerves start to fray. Sean ONeal of The A.V. Club writes: I have to admit, even when I play Jump Into The Fire today, I keep seeing that same helicopter. Michael Gallucci of the website Ultimate Classic Rock lists Jump into the Fire at number 3 in his list of the ten best Nilsson songs, behind Without You and Everybodys Talkin.
And it is featured in the 2015 film A Bigger Splash starring Ralph Fiennes and Tilda Swinton, and in episode 4 of the 2021 BBC/Netflix series The Serpent.
Cover versions
Hollywood Vampires
Chris Cornell
Robin Zander
#lofi
#punk
#avantgardemusic
#artrock
#experimentalmusic BPA - Jump Into The Fire (Harry Nilsson Cover)](https://i.ytimg.com/vi/Q5A8-KxD8RQ/mqdefault.jpg)

![Harold Ousley - At Last (Hard Bop/Soul-Jazz, Harry Warren - Sun Valley Serenade)
From Tenor Sax
Label: Bethlehem Records – BCP 6059 / 6059
Format: Vinyl, LP, Album, Mono
Country: US
Released: 1961
Tracklist
A1 Paris Sunday
Written-By – Harold Ousley
A2 Devachan
Written-By – Harold Ousley
A3 At Last
Written-By – Harry Warren, Mack Gordon
A4 Lush Life
Written-By – Billy Strayhorn
B1 Struttin To Truckin
Written-By – Harold Ousley
B2 Dell-A-Vonn
Written-By – Harold Ousley
B3 Porters Groove
Written-By – Harold Ousley
Tenor Saxophone – Harold Ousley
Baritone Saxophone – Charles Davis
Trombone – Julian Priester
Piano – Phil Wright
Drums – Walter Perkins
Bass – Tommy Williams
Producer – Teddy Charles
Manufactured By – Bethlehem Music Corp.
Notes
Red silver box label w/ deep groove on both sides.
The album has been reissued in 1987 on Fresh Sound Records (Spain, FSR-2027)
and on Mar 13, 2013 on Solid Records (Japan, CDSOL-6048) for the Bethlehem Album Collection 1000 Series (No. 48)
🎵 [SONG INFO]
At Last is a song written by Mack Gordon (lyrics) and Harry Warren (music) for the musical film Sun Valley Serenade (1941).
Glenn Miller and his orchestra recorded the tune several times, with a 1942 version reaching number two on the US Billboard pop music chart.
In 1960, rhythm and blues singer Etta James recorded an arrangement by Riley Hampton that improvised on Warrens original melody.
Etta Jamess rendition was the title track on her debut album At Last! (1960) and was eventually inducted into the Grammy Hall of Fame in 1999.
Most recently, Celine Dion and Beyoncé have also had chart successes with the song.
Glenn Miller original renditions
Prior to release of Sun Valley Serenade, At Last was performed in the film by Glenn Miller and his orchestra, with vocals by John Payne and Lynn Bari, dubbed by Pat Friday. Studio head Darryl Zanuck reportedly said: There are too many big ones in this. Lets save one for the next. The At Last vocal by Payne and Bari was thus deleted from the film, although instrumental versions remained, including in the Black Ice Ballet finale.
The vocal version was included in the movie Orchestra Wives (1942), which also featured the Glenn Miller orchestra. It was sung by Ray Eberle and Bari, again dubbed by Friday.
Unreleased recordings of the song were made in 1941 by Glenn Miller.
A new version was recorded by Glenn Miller and His Orchestra in Hollywood on May 20, 1942, and released by RCA Victor Records as a 78 single, backed with the A-side (Ive Got a Gal In) Kalamazoo.
The song entered the US Billboard pop music chart (called Songs with the Most Radio Plugs at the time) on August 1, 1942, at number 17 and peaked at number two on August 29, 1942.
It spent a total of 17 weeks on the chart and later became a musical standard.
The personnel on the 1942 studio recording of At Last: Ray Eberle (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank DAnnolfo (trombone), Lloyd Skip Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward Doc Goldberg (string bass), and Maurice Purtill (drums). The arrangement was by Jerry Gray and Bill Finegan.
When RCA Victor issued two 10-inch LP soundtracks to Sun Valley Serenade and Orchestra Wives in 1954, to coincide with the theatrical reissue of the two films, the outtake version of At Last from Sun Valley Serenade was included, heard for the first time, but the version in Orchestra Wives was not. This latter rendition was eventually on LP in 1958, in the 20th-Fox double-disc (TCF-100-2) Glenn Miller Compilation of His Original Film Soundtracks.
Wartime release
The 1942 RCA Victor studio recording of At Last by Glenn Miller and his Orchestra featuring Ray Eberle on vocals was released as a U.S. Army V-Disc or Victory Disc by the U.S. War Department during World War II in October 1943 as No. 12A.
V-Discs were sent to American soldiers and military personnel overseas.
Later versions
At Last has been recorded by many other artists since its original 1940s renditions.
Former Glenn Miller Orchestra trumpeter Ray Anthony had the highest charting recording of the song in the U.S. on the pop charts in 1952, peaking at number two on the Billboard pop singles chart and number 20 on the Cashbox chart.
A recording by Gene Watson peaked at number 61 on the Billboard Hot Country Singles & Tracks chart in 1991.
In 2012, Christina Aguilera was invited by Etta James family to sing At Last at James funeral.
At the funeral, Aguilera stated that James was her idol and inspiration, and that in honour of James, she performs At Last at every concert.
Aguilera also recorded a studio version of the song, and it is registered with American Society of Composers, Authors and Publishers (ASCAP), but the cover remains unreleased.
~more info here: https://en.wikipedia.org/wiki/At_Last Harold Ousley - At Last (Hard Bop/Soul-Jazz, Harry Warren - Sun Valley Serenade)](https://i.ytimg.com/vi/QI9VoPc-Prk/mqdefault.jpg)
![The Hebe Geebees - Night Fever (Punk, Bee Gees Cover)
From Saturday Night Pogo
Label: Rhino Records – RNLP 003
Format: Vinyl, LP, Compilation, Dark Blue Sleeve
Country: US
Released: 1978
Tracklist
A1 The Winos - Beauty Queen
Written By – Pique
Written-By – Harold Bronson
A2 The Berlin Brats - Tropically Hot
Written-By – Jonathan Haft, Rick Wilder
A3 The Droogs - Set My Love On You
Written-By – Ric Albin, Roger Clay
A4 Needles & Pins - I Wanna Play With Guns
Written-By – Page Porrazzo
A5 The Motels - Counting
Written-By – Martha Davis
A6 Vom - Im In Love With Your Mom
Written-By – Gregg Turner, Mike Saunders, Richard Meltzer
A7 The Low Numbers - Belsen Was A Gas
Written-By – Johnny Rotten, Paul Cook, Sid Vicious, Steve Jones
B1 The Dils - Mr. Big
Written-By – Chip Kinman, Tony Kinman
B2 Daddy Maxfield - Wheel Of Fortune
Written-By – Graham Daddy, Louis Maxfield
B3 The Young Republicans - Guardian Angel
Written By – Van Leevwen
Written-By – Steve Hufsteter
B4 Backstage Pass - Legend (Come On Up To Me)
Written By – Popkin
B5 The Dogs - Younger Point Of View
Written-By – Loren Molinare
B6 Chainsaw - Polaride Pictures
Written-By – Donald Alvarado, Mr. Twister (Kurt Ingham)
B7 The Hebe Geebees - Night Fever
Written-By – Robin Gibb, Barry Gibb & Maurice Gibb
Art Direction, Graphics, Photography By [Front Cover] – Heather Harris
Producer – Harold Bronson
Executive-Producer – Richard Foos
Copyright © – Rhino Records Inc.
Phonographic Copyright ℗ – Rhino Records
🎵 [SONG INFO]
Night Fever is a song written and performed by the Bee Gees.
It first appeared on the soundtrack to Saturday Night Fever on RSO Records.
Producer Robert Stigwood wanted to call the film Saturday Night, but singer Robin Gibb expressed hesitation at the title.
Stigwood liked the title Night Fever but was wary of marketing a movie with that name.
The song bounded up the Billboard charts while the Bee Gees’ two previous hits from Saturday Night Fever soundtrack (How Deep is Your Love and Stayin Alive) were still in the top ten.
The record debuted on the Billboard Hot 100 Chart at no.76, then leaped up 44 positions to no.32. It then moved: 32–17–8–5–2–1. It remained at no.1 for eight weeks (the most for any single that year), and ultimately spent 13 weeks in the top 10.
For the first five weeks that Night Fever was at no.1, Stayin Alive was at no.2.
Also, for one week in March, Bee Gees related songs held five of the top positions on the Hot 100 chart, and four of the top five positions, with Night Fever at the top of the list. The B-side of Night Fever was a live version of Down the Road taken from the Bee Gees 1977 album, Here at Last... Bee Gees... Live.
Inspiration and writing
When Bee Gees manager Robert Stigwood was producing a movie about a New York disco scene, the working title for the film at that time was Saturday Night. Stigwood asked the group to write a song using that name as a title, but the Bee Gees disliked it. They had already written a song called Night Fever, so the group convinced Stigwood to use that and change the film to Saturday Night Fever.
The string intro of Night Fever was inspired by Theme from A Summer Place by Percy Faith, according to keyboardist Blue Weaver when he was performing it one morning at the sessions and Barry Gibb walked in and heard the new idea for this song.
As Weaver explains the history behind this song:
...Night Fever started off because Barry walked in one morning when I was trying to work out something. I always wanted to do a disco version of Theme from A Summer Place by the Percy Faith Orchestra or something - it was a big hit in the Sixties. I was playing that, and Barry said, What was that? and I said, Theme from A Summer Place, and Barry said, No, it wasnt. It was new. Barry heard the idea - I was playing it on a string synthesizer and sang the riff over it.
— Blue Weaver
Barry Gibb, Robin Gibb and Maurice Gibb completed the lyrics for Night Fever sitting on a staircase (reminiscent of their first international hit New York Mining Disaster 1941, which was written also in a staircase back in 1967).
Recording
The Bee Gees began recording this song by April 1977 in France and finishing it in September the same year.
A demo of Night Fever with some instrumental and vocals heard exists and was available to download on Rhino Records website.
Legacy
It also replaced Andy Gibbs Love Is Thicker Than Water at number one and was in turn replaced by Yvonne Ellimans If I Cant Have You—all of which were written and produced by the Gibb brothers. It would be the third of six consecutive US no.1s for the band, tying the Beatles for the record for most consecutive no.1 singles.
Billboard ranked it as the No. 2 song for 1978, behind Andy Gibbs Shadow Dancing.
Night Fever topped the UK Singles Chart for two weeks, their third UK number-one, and in the US it remained the number-one Billboard Hot 100 single for over two months in 1978.
#thehebegeebees
#nightfever
#punk
#beegeescover The Hebe Geebees - Night Fever (Punk, Bee Gees Cover)](https://i.ytimg.com/vi/QMzGSNVVFh8/mqdefault.jpg)
![The Ron Scott Combo - Caravan (Duke Ellington)
From Jungle Love / Caravan
Label: Pentagon Records – 101, 831W-101
Format: Vinyl, 7, 45 RPM, Single
Country: US
Released: 1966
Tracklist
A Jungle Love
B Caravan
Notes
Live Recording
A Side Matrix: TK4M-6383-1
B Side Matrix: TK4M-6382-1
🎵 [SONG INFO]
Caravan is an American jazz standard by Juan Tizol and Duke Ellington, first performed by Ellington in 1936.
Irving Mills wrote lyrics, but they are rarely sung.
Original recording
The first version of the song was recorded in Hollywood in 1936 and performed as an instrumental by Barney Bigard and His Jazzopators. Two takes were recorded for Variety label, of which the first was issued as a 78 record (Variety VA-515-1) in 1937.
The band members were:
Cootie Williams – Trumpet
Juan Tizol – Trombone
Barney Bigard – Clarinet
Harry Carney – Baritone Saxophone
Duke Ellington – Piano
Billy Taylor – Double Bass
Sonny Greer – Drums
The musicians were members of the Duke Ellington Orchestra, which often split into smaller combinations to record songs under different band names.
For this recording, which included Ellington and Tizol as performers, the nominal session band leader was Bigard.
As of 2024 this is the most covered song in history, with over 500 versions published.
Other versions
The sound of Caravan appealed to exotica musicians; Martin Denny, Arthur Lyman and Gordon Jenkins all covered it.
The Mills Brothers recorded an a cappella version of the song.
Duke Ellington – New York, May 14, 1937
Valaida Snow – Valaida Snow (vocal and trumpet) and her Orchestra, 1939, Sonora
Art Tatum – Los Angeles, April–July 1940
Billy Eckstine - 1949
Dizzy Gillespie – October 25, 1951
Roy Clark – Third episode of Hee Haw, 1969
Chet Atkins - A Session with Chet Atkins, 1954
Thelonious Monk – Thelonious Monk Plays Duke Ellington, Hackensack, New Jersey, July 27, 1955
Nat King Cole – After Midnight, Los Angeles, September 14, 1956
Santo & Johnnys – Santo & Johnny (1959), peaked at number 48 on the Billboard Hot 100 chart
Shirley Scott on Queen of the Organ: Memorial Album 2003 (Compilation)
Bobby Darin on This is Darin 1959 (rec) 1960 (rel)
Art Blakey and the Jazz Messengers – Caravan, New York, October 23, 1962
Wes Montgomery – Movin Wes, New York, November 16, 1964
The Ventures - Live in Japan 65, Tokyo, March 5, 1965 (released May 30, 1995)
Gene Krupa – Live at the New School, New York, April 17, 1973 (released 1999)
Dizzy Gillespie and Oscar Peterson – Oscar Peterson and Dizzy Gillespie, London, November 28–29, 1974
Les Paul & Chet Atkins – Chester and Lester, May 6–7, 1975
Art Pepper – Friday Night at the Village Vanguard, New York, July 29, 1977
Little Steven and the Disciples of Soul, a live version (credited as From the motion picture Men Without Women ), B-side of the Forever single, 1982
Wynton Marsalis – Marsalis Standard Time, Vol. I, New York, May 29–30, 1986 and September 24–25, 1986
Medeski Martin & Wood – Notes from the Underground, New York, December 15–16, 1991
Michel Camilo – Rendezvous, New York, January 18–20, 1993
Chicago on their 1995 album Night & Day: Big Band
Dee Dee Bridgewater – Prelude To A Kiss: The Duke Ellington Album, a 1996 vocal rendition of the song, with a Mideastern and African percussion setting
Fanfare Ciocărlia - Gili Garabdi, 2005
Hiromis Sonicbloom - Beyond Standard, 2008
In popular culture
Woody Allen used the song in two of his films, Alice and Sweet and Lowdown.
An arrangement of the song for big band features in the soundtrack of the 2014 film Whiplash, as an important plot element.
The song is featured on Rachel Portman’s soundtrack for the 2000 film Chocolat.
Steven Soderbergh used the Lyman version in his 2001 film Oceans Eleven.
A horn sample from the Romanian cover version by Fanfare Ciocărlia was used in the song We No Speak Americano by Yolanda Be Cool.
Wu Bai used aspects of the song in his Crush on You (煞到妳).
The Brian Setzer Orchestra version was used in The Sopranos episode The Second Coming.
The track Youre Probably Wondering Why Im Here, from the Frank Zappa and The Mothers of Invention debut album Freak Out!, features the comedic line: I wanna hear Caravan with a drum solo!
The track ROBBERY by ASAP Rocky featuring Doechii from the album Dont Be Dumb samples the song.
#theronscottcombo
#caravan
#dukeellington
#juantizol The Ron Scott Combo - Caravan (Duke Ellington)](https://i.ytimg.com/vi/QPHMwT6bHUM/mqdefault.jpg)
![Souls Of The Slain - 7 And 7 Is (Love Cover)
From 7 And 7 Is / Cant Go On
Label: Rickshaw – 101
Format: Vinyl, 7, 45 RPM
Country: US
Released: Nov 1967
tracklist
A 7 And 7 Is
Written-By – Arthur Lee
B Cant Go On
Written-By – Billy Klause, Jim Hutchison, Memise Danielson
7 and 7 Is is a song written by Arthur Lee and recorded by his band Love on June 17 and 20, 1966, at Sunset Sound Recorders in Hollywood.
It was produced by Jac Holzman and engineered by Bruce Botnick.
The song was released as the A-side of Elektra single 45605 in July, 1966. The B-side was No. Fourteen, an outtake from the bands earlier recordings.
7 and 7 Is made the Billboard Pop Singles chart on July 30, 1966, peaking at number 33 during a ten-week chart run and becoming the bands highest-charting hit single. The recording was featured on the bands second album, Da Capo.
Background and development
Arthur Lee wrote 7 and 7 Is at the Colonial Apartments on Sunset Boulevard in West Hollywood.
The song was inspired by his high school girlfriend Anita Pretty Billings, with whom he shared a birthday of March 7.
Describing how the song came to him, Lee stated: I was living on Sunset and woke up early one morning. The whole band was asleep. I went in the bathroom, and I wrote those words. My songs used to come to me just before dawn, I would hear them in dreams, but if I didnt get up and write them down, or if I didnt have a tape recorder to hum into, I was through. If I took for granted that I could remember it the next day—boink, it was gone.
The lyrics describe Lees frustration at teenage life—the reference to in my lonely room Id sit, my mind in an ice cream cone being to wearing (in reality or metaphorically) a dunces cap.
Lees original version of the song was a slow folk song in the style of Bob Dylan.
Its arrangement developed as the band experimented in the studio.
Bassist Ken Forssi had received a bass fuzz effect unit from an endorsement deal the band had signed with Vox, and Lee suggested Forssi use it on 7 and 7 Is.
Lead guitarist Johnny Echols recalled: We started playing [with it] and at first it sounded strange, but Kenny started doing this sliding bass thing with it. As we played it we could hear that this was something different, something new.
Recording
Love recorded 7 and 7 Is on June 17 and 20, 1966, at Sunset Sound Recorders, with Jac Holzman producing and Bruce Botnick engineering.
The fuzz bass was ultimately abandoned as it overpowered the other instruments, but Forssi was able to achieve a similar sound with the feedback caused by his semi-acoustic Eko bass. Echols also used feedback, as well as extensive reverb and tremolo, saying he had wanted to use a surf guitar effect in a different context.
The sessions were tumultuous due to the songs fast and intense drum part, with Lee and drummer Alban Snoopy Pfisterer taking turns trying to accomplish it. Pfisterer later said: The session was a nightmare ... I had blisters on my fingers. I dont know how many times I tried to play that damn thing and it just wasnt coming out. Arthur would try it; then Id try it. Finally I got it. He couldnt do it. Echols praised it as Pfisterers best performance. Estimates in the number of takes the song required range from 20 to 60; however, most of these were only false starts.
The song took 4 hours to record according to Echols, who also claimed that the session took longer due to Holzman and Botnick objecting to the bands experimentation: they kept stopping us, saying, Its feeding back! Wed say, Its supposed to feed back.
In what has been called a flirtation with musique concrète, the track climaxes with the sound of an atomic explosion before a peaceful conclusion, in a blues form, which then fades out. Botnick said the explosion was taken from a sound effects record and may have been a gunshot slowed down. During live performances, Echols would recreate the sound by kicking his amplifier with the reverb turned all the way up.
Release and reception
Elektra Records issued 7 and 7 Is in July 1966, backed with No. Fourteen, an outtake from Loves debut album.
It entered the Billboard Hot 100 on July 30 and spent 10 weeks on the chart, peaking at number 33 on September 24.
It was the highest-charting single of the bands career.
Elektra released the bands second album, Da Capo, in November, with 7 and 7 Is sequenced as the fourth track, between ¡Que Vida! and The Castle.
Cash Box described the song as a pulsating, rhythmic extremely danceable blueser with a clever gimmick wind-up.
Covers
Described as garage rock, proto-punk and folk rock, the song was later covered by numerous bands, most notably Ramones, Alice Cooper, Jared Louche and The Aliens, The Electric Prunes, Billy Bragg, The Sidewinders, The Fuzztones, Robert Plant, Rush, Alice Bag, The Weirdos, The Bangles, Deep Purple, and Hollywood Vampires as well as a re-recording by Lee himself.
#garagerock
#fuzzrock Souls Of The Slain - 7 And 7 Is (Love Cover)](https://i.ytimg.com/vi/QU4eLf2TZBI/mqdefault.jpg)