TERRY HOKNES - MY FAVORITE SONGS OF ALL TIME ! hoknes@hotmail.com
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1521 |
OTHER ONES |
HOLIDAY |
1987 |
|
1522 |
HILARY DUFF |
COME CLEAN |
2004 |
|
1523 |
TERRY HOKNES |
HAUNTING LOVE SONG |
1996 |
|
1524 |
KLAATU |
HOPE |
1977 |
|
1525 |
MORNING |
EASY KEEPER |
1970 |
|
1526 |
PAUL McCARTNEY & WINGS |
DAYTIME NIGHTIME SUFFERING |
1979 |
|
1527 |
AVERAGE WHITE BAND |
WORK TO DO |
1974 |
|
1528 |
BEATLES |
DIG A PONY |
1970 |
|
1529 |
TERRY HOKNES |
HEAD SET |
2001 |
|
1530 |
HERB ALPERT & TIJUANA BRASS |
A TASTE OF HONEY |
1965 |
|
1531 |
ROYAL PHILHARMONIC ORCHESTRA |
HOOKED ON ROMANCE |
1982 |
|
1532 |
GLASS FAMILY |
ONCE AGAIN |
1968 |
|
1533 |
JEFFERSON |
SHENANDOAH |
1969 |
|
1534 |
JOHN LENNON |
SLIPPIN' AND SLIDIN' |
1975 |
|
1535 |
COTTON PATCH GOSPEL |
ARE WE READY |
1991 |
|
1536 |
SNOW |
OLD UNCLE TIMOTHY'S FLYING BALLOON |
1968 |
|
1537 |
TIFFANY |
DROP THAT BOMB |
1988 |
|
1538 |
YES |
SOUND CHASER |
1974 |
|
1539 |
BEATLES |
FOR YOU BLUE |
1970 |
|
1540 |
JANE WIEDLIN |
RUSH HOUR |
1988 |
| THE OTHER ONES - HOLIDAY (1987) hit #29 September 15th 1987 - my #9 favorite daily song for 8 days at age 16 in Grade 12. October 31st 1987 - my #4 favorite weekly song in the Top 40 on Billboard for 1 week
The Other Ones was a
band that consisted mainly of Australians, but was based
in Berlin, Germany in the late 1980s. The band consisted of
Alf Klimek (vocals),
Jayney Klimek (vocals),
Johnny Klimek (bass),
Andreas Schwarz-Ruszczynski (guitars),
Stephan Gottwald (keyboards)
and
Uwe Hoffmann (drums).
After traveling throughout the world in the late 1970s as a puppeteer and then a singer, Alf went back home to Melbourne, Australia to collaborate with his younger brother Johnny in a more musical direction. Together they returned to Berlin, West Germany in late 1983 and along with Johnny's twin sister Jayney (who had been in a band back in Australia as well) created the musical group "The Other Ones," enlisting three local Berlin musicians, guitarist Andreas Schwarz-Ruszczynski, keyboardist Stephan Gottwald and drummer Uwe Hoffmann. They signed to Virgin Records in 1984 and an album of music was recorded in Sussex, England at Comfort's Place Studios. They also shared the same management as the band Alphaville, and they based themselves in Berlin. Their self-titled album was released in late 1986. Their first single "We Are What We Are" peaked at #53 on May 30, 1987 and their song "Holiday" entered the Billboard Hot 100 chart at #29 on October 17, 1987. Music videos for the two songs were also released. (The song "Holiday" was remixed and re-released as "Another Holiday" in 1991.) |
| HILARY DUFF - COME CLEAN (2004) hit #3
Come Clean" is a song recorded by American recording
artist
Hilary Duff. The song was written by
Kara DioGuardi and
John Shanks, and produced by latter for Duff's second
studio album,
Metamorphosis (2003). The song contains influences
of
electronica, with the lyrics chronicling the protagonist
wanting to "come clean" with her
love interest, from a strained relationship. The critics
received "Come Clean" with mixed reviews. The song was
released on January 20, 2004 as the album's second single.
The song peaked at number thirty five, becoming Duff's first top forty single in the US and also her best charting single at the time. But, the song failed to match the success of its predecessor "So Yesterday" in many other countries. It reached a peak of number seventeen in Australia and eighteen in the UK, while charting inside top twenty in Canada, Netherlands, Ireland and New Zealand. A remix of the song by Chris Cox was included on Duff's 2005 compilation album, Most Wanted, and in 2008, another remix of the song by Chico Bennett & Richard "Humpty" Vission was included on Duff's second compilation album Best of Hilary Duff. The video was nominated in the category of Best Pop Video at the 2004 MTV Video Music Awards. The song won her a TMF Award in the Fake ID Category, and assisted her in winning the 2004 World Music Award for Best New Artist. The song was also shortlisted for the 47th Annual Grammy Awards in the category for Best Female Pop Vocal Performance.
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| TERRY HOKNES - HAUNTING LOVE SONG (1996) Opus #386 This song was written in 1989 at age 18. I wrote my first song in 1982 at age 11 in Grade 6. I would sporadically write 18 few songs over the next 4 years. Starting with my 19th song (Opus #19) I began writing on a very regular basis starting in December 1986 in Grade 11 at Aden Bowman. This included writing over 58 songs with my best friend Nels Krauss over the period of 1986-1992. I wrote 97 songs in 1987 and then 215 songs in 1988. By the time I graduated high school at age 17 I was up to Opus #268. I wrote another 178 songs in 1989. By the time I celebrated my 19th birthday I was up to Opus #524. At that time I was in first year University living in Muenster, SK in residence at St Peters College at the monastery. I met a poet from New York named Philip Murray who I collaborated with writing music to his words 91 songs in total. I wrote my 1000th song the week I turned 25 in January 1996. |
| KLAATU - HOPE (1977) Album: Hope (1977) I discovered Klaatu on March 21st 1985 (Klaatu day) at age 14 in Grade 9 with the album Hope. I had built a fort in grandmas basement using her brown couch flipped over. I laid in there with my record player and played this album 100 times in a two week period. To this date this album is possibly my #1 favorite album of all time. Klaatu are definitely one of the most influential bands on my music and influence. I had listened to Klaatu originally due to the Beatles rumour connection. Roy Wood and Klaatu are the only two acts to debut at #1 on my favorite daily group chart (both in 1985) showing the instant appreciation of these two acts early on in my charts. Unfortunately I had no daily song charts during the first run of promotion in 1985 to show my first appreciation for the individual songs. March 28th 1990 - my #9 favorite daily song for 1 day at age 19 while living at the monastery in Muenster, SK for 1st year University celebrating the 5th anniversary of discovering Klaatu.
Hope, released in September 1977, is the
second album by the Canadian progressive rock group
Klaatu. It is a
concept album, recorded with the
London Symphony Orchestra, about the sole survivor of an
arrogant race of beings, who warns space travellers of
hazards in the last days of his life. Many fans and
critics consider Hope to be the most creative of the
Klaatu albums. It won a
Juno Award for "Best Engineered Album" and a Canadian
Music Critics award for "Best Album" in 1977. An alternate version of Hope was released in 2005
as part of the group's
Sun Set collection of rarities. The alternate
version on Sun Set included the complete
contributions of the
London Symphony Orchestra, which had largely been
removed from the version released in 1977.
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| MORNING - EASY KEEPER (1970) Album: Morning (1970) March 21st 1988 - my #1 favorite daily song for 4 days at age age 17 in Grade 12. I think I bought this album for $2.00 the same day that I bought 12 Dreams of Dr Sardonicus for $2.00 and Pidgeon for $2.00 all at the Tramps record shop that was on 3rd Avenue on my hunt for albums from 1968 in February 1988. Based in Los Angeles, featuring the talents of Barry Brown
vocals/guitar/drums, Terry Johnson vocals/guitar, Jim Hobson
vocals/keyboards, Jim Kehn vocals/guitar/drums, Jay Lewis vocals/guitar
and bassist Bruce Wallace.
Signed by Vault Records, the band's cleverly titled 1970 debut "Morning"
was produced by Brown, Hobson and Lewis. With most of the band
contributing material. A fine Los Angeles-based group, originally known as The Morning and The Evening. The group was formed after Jay Lewis, also known as Jay Donnellan, had been fired from Love by Arthur Lee. Jim Hobson also appeared on Love's Out Here. When the band signed a recording contract with Vault they retained complete control of the writing, engineering, arranging and producing of their first album, which is an underrated folk-influenced gem. It has a crisp, yet often sleepy sound, which is at its best on And I'm Gone and Sleepy Eyes. The album closes with a ninety second country gem Dirt Roads (the only track written by Jim Kehn) which is worthy of comparison with the title track of Quicksilver's Happy Trails |
| PAUL McCARTNEY & WINGS - DAYTIME NIGHTIME SUFFERING (1979) In about 1984 I bought the 12" single for Goodnight Tonight which must be the first time I heard this song as the B side at age 13.
Daytime Nighttime Suffering" is a song written by
Paul McCartney and recorded by
Wings. It was the B-side to the 1979 single "Goodnight
Tonight," which was a top-five hit in both the UK and
USA. It was released on CD in 1993 as part of the release of
The Paul McCartney Collection, and can be found as a
bonus track on the album
Back to the Egg. It is also included on the CD
collection
Wingspan: Hits and History.
"When Wings was recording Back to the Egg, Paul had announced to the other band members that if they could come up with a good enough song, it would be recorded and put on B-side of the single. Such a generous gesture opened financial doors for the other band members, as the song could earn a small fortune as the flip side of a hit single. Each member--including Linda--spent the weekend trying to compose the song, but when Monday morning rolled around, Paul announced that he had written 'the one.' It was included as the B-side of 'Goodnight Tonight', which hit the top ten on both sides of the Atlantic in the spring of 1979 and went gold in the United States." McCartney cited the song as "one of my current favourites" in a 1984 interview with Oprah Winfrey, and he has mentioned it as a favourite in subsequent interviews as well. Linda McCartney mentioned it as a favourite as well. Despite this, McCartney has never performed the song live, although it was selected for inclusion on the "History" disc of the Wingspan: Hits and History collection
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| AVERAGE WHITE BAND - WORK TO DO (1974)
Album: AWB (1974) B side of the #1 45 rpm record Pick Up The Pieces which is how I learned the song in 1989. August 16th 1989 - my #4 favorite daily song on 12th anniversary of Elvis Presleys death while I was 18 preparing to move away from home for the first time in 2 weeks to Muenster, SK for 1st year University.
"Work to Do" is a 1972
funk song by
The Isley Brothers, released on their
T-Neck imprint. The song, written and produced by the
group, was issued on their 1972 album,
Brother, Brother, Brother, and charted at #51 pop
and #11 R&B upon its initial charting Lyrically, the song
explicates a troubled situation between a man and his
girlfriend/wife, concerning the lack of quality time spent
with each other. The man pleads that as much as he cannot
wait to get home and spend time with her, he has a more
pressing obligation/commitment to attend to work.
Over the years, the song has got more success courtesy to various cover versions
Average White Band (also AWB) is a Scottish funk and R&B band, who had a series of soul and disco hits between 1974 and 1980. They are best known for their million selling song, "Pick Up the Pieces" and their album Cut the Cake. The band name was initially proposed by Bonnie Bramlett. They have influenced others such as the Brand New Heavies, and been sampled by various musicians including the Beastie Boys, TLC, The Beatnuts, Too Short, Ice Cube, Eric B. & Rakim, Nas and A Tribe Called Quest, as well as Arrested Development - in turn making them the fifteenth most sampled act in history. As of 2010, and almost forty years after their formation, they continue to perform |
| THE BEATLES - DIG A PONY (1970) Album: Let It Be (1970)
Dig a Pony" is a song by
The Beatles, originally released on their 1970 album
Let It Be. "Dig a Pony" was the penultimate song
played at the concert on the rooftop of
Apple Studios in
Savile Row,
London on 30 January 1969.
John Lennon was the song's composer and singer but the song was credited to Lennon–McCartney. It was originally called "All I Want Is You". Lennon would later comment that he thought the song was "a piece of garbage," though he has shown similar scorn for many of his songs. It was written for his soon-to-be wife Yoko Ono, and featured a multitude of strange, seemingly nonsense phrases which were strung together in what Lennon refers to as a Bob Dylan style of lyric. The working title for the song, "All I want is you" was originally the title of another composition by Lennon for Yoko, from which the chorus was taken. Early American copies of Let It Be mistitled this song as "I Dig A Pony." The song was one of the songs on Let It Be that was recorded at the rooftop concert, with an assistant holding up Lennon's lyrics for him as a cue. It begins with a false start, with Ringo Starr yelling "Hold it!" to halt the other band members because he was holding a cigarette and had only one drum stick in his hand. On the Anthology 3 version of this song, the first verse and the end of the song start off with Paul McCartney singing "All I want is..." This phrase appeared in every performance of the song but was cut from the final version by Phil Spector, and subsequently cut from the Let It Be... Naked version. |
| TERRY HOKNES - HEAD SET (2001) Opus #1100?? I performed this song live at every show in Orange Lucy during 2007 - videos are on youtube As the new century began a new chapter in songwriting where the focus was more on recording polished songs but writing way less and very sporadic. I had written 500 songs by the age of 19 and had hit 1000 songs by the age of 25. But since then I can go over a year at a time without writing a song but really focusing in most cases on a more commercial type of polished song however I still venture into all possible genres. I continue to play and sing every part on all my songs and recordings. I hired Neil Meckelborg of Audio Art to record my songs in 2001. We started out recording a full album at their location downtown behind the Bus depot but eventually worked on recordings at Neil's private studio. In total we recorded 3 full albums of material of my songs and a full length album of songs I wrote with Marilyn Parney that I produced. Neil and I also worked on a Trooper hit song karaoke CD in 2001. I spent 18 months recording with Neil and over 40 songs and over $10,000.00 in studio bills I paid at that time to record the best quality audio ever on my songs. Neil had used Sonar Cakewalk so I learned how to use it and have used that now for a decade in my own studio. |
| HERB ALPERT & THE TIJUANA BRASS - A TASTE OF HONEY (1965) hit #7 I once had every Tijuana Brass - i rarely had specific songs jump out as favorites but every song is such a pleasure to hear - I listened to him a lot in 1987 at age 16. Here is a classic though !
A Taste of Honey" is a
pop standard written by
Bobby Scott and
Ric Marlow. It was originally an instrumental track (or
recurring theme) written for the 1960 Broadway version of
the 1958 British play
A Taste of Honey (which was also made into the
film of the same name in 1961). Both the original and a
cover by
Herb Alpert in 1965 earned the song
Grammy Awards. A vocal version of the song, first
recorded by
Lenny Welch, became popular when it was recorded by
The Beatles in 1963.
The original recorded versions of the song "A Taste of Honey", "A Taste of Honey (refrain)" and "A Taste of Honey (closing theme)", appeared on Bobby Scott's 1960 album, also titled A Taste of Honey, on Atlantic 1355. The composition won Best Instrumental Theme at the Grammy Awards of 1963. Herb Alpert and the Tijuana Brass recorded the most popular instrumental version of the song with a cover on their 1965 album, Whipped Cream & Other Delights. This recording spent five weeks at number one on the easy listening chart, reached number seven on the Billboard Hot 100, and won three awards including Record of the Year at the Grammy Awards of 1966. Herbert "Herb" Alpert (born March 31, 1935) is an American musician most associated with the group variously known as Herb Alpert & the Tijuana Brass, Herb Alpert's Tijuana Brass, or TJB. He is also a recording industry executive — he is the "A" of A&M Records (a recording label he and business partner Jerry Moss founded and eventually sold to Polygram). The multi-talented Alpert has also created abstract expressionist paintings and sculpture over two decades, which are on occasion publicly exhibited; and he and his wife are substantial US philanthropists through the operation of the Herb Alpert Foundation |
| ROYAL PHILHARMONIC ORCHESTRA - HOOKED ON ROMANCE (1982)
Album: Hooked On Classics (1982)
Being a huge fan of Stars on 45 this classical instrumental series kept the same format going and with my love for a great beat with great melody and a classical background this is the unique time you will find some classical music make my favorite songs list. My major in University for 4 years was the Double Bass and I studied classical music performing in the Saskatoon Youth Orchestra (1985-1988) and Corelli Strings (1990-1992). Hooked on Classics was a series of record albums first introduced in 1981, toward the end of the disco era's peak in popularity. The series was disliked by many classical music purists, not least because of the background beat, but had the positive effect or reviving interest in classical music among a new generation. However, interest and sales waned after the initial album. Louis Clark, former arranger for Electric Light Orchestra, conducted the Royal Philharmonic Orchestra playing a collection of very recognizable extracts from classical music pieces played over a continuous beat (sometimes an overtly disco fast beat, sometimes a slower and more subtle rhythm, always produced by a LinnDrum) that linked the segments together.
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| THE GLASS FAMILY - ONCE AGAIN (1968) Album: Electric Band (1968) April 4th 1988 - my #4 favorite daily song for 5 days at age 17 in Grade 12. I had found a sealed copy of this 20 year old album for $2.00 at the local trendy record shop (possibly HMV) a block east of Midtown Plaza. One of my all time favorite albums with great variety from this unknown forgotten band. The sole and rare album by this Los Angeles trio emerged from a
short-lived contemporary songwriting workshop, and originally appeared
in February 1968. A superb mix of trippy pop-rock songs and ballads, it
sold poorly at the time but has earned a major cult reputation since.
The album starts with a killer track "House of Glass" with dirty vocals,
distorted acid guitar and swirling organ and it keeps on rocking.
The cover shows the three man band in front of a house with "family"
members all over the place, a reference to the commune hippie lifestyle
of this time. |
| JEFFERSON - SHENANDOAH (1969) December 8th 1989 - my #2 favorite daily song for 1 day at age 18 while living at the monastery in Muenster,SK for 1st year University. I had picked up a 20 year old copy of this album still brand new sealed for only $2.00 at a record shop a block from the Midtown Plaza in Saskatoon the year before.
Geoff Turton (born Geoffrey Turton, 11 March
1944,
Birmingham), who also
recorded under the name Jefferson, was a
British
singer. His musical career began as the
falsettist lead singer, and
rhythm guitarist of
The Rockin' Berries in 1961, who scored a number of
hits in the
UK and
Europe. The
group was best known for its
covers, and Turton did much of the searching and
decision work as to what was to be sung. When the group
broke up in 1968, Turton started a
solo career, releasing a
single, "Don't You Believe It", on
Piccadilly Records. It flopped, and Piccadilly head John
Schroeder suggested that Turton change his name to
Jefferson. The single "Montage" failed to
chart, but its follow-up, "Colour of My Love", was a hit
in the UK (peaking at #22 in the
UK Singles Chart), and
US (reaching #68 on the
Billboard Hot 100), and an
LP was issued following its success. A third single,
"Baby Take Me in Your Arms", was not a hit in the UK, but
cracked the
Top 40 in
America, peaking at #23 and justifying the release of a
stateside album. At the time of this single's success,
Turton was hurt in a car crash, and so he did not make any
live appearances. After a six month hospital stay, Turton
had a second
record which was never released by his
label and a career on hiatus in the UK.
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| JOHN LENNON - SLIPPIN' AND SLIDIN' (1975) Album: Rock And Roll (1975) I likely had this album by 1983 at age 12 and has helped influence to always enjoy fun 1950's rock. October 7th 1990 - my #3 favorite daily song for 13 days in celebration of John's 50th birthday when I was 19 in 2nd year University currently living in Nanny's old bedroom at grandmas house on Taylor Street playing records all fall on my sister Leslie's cheap portable all-in-one record/radio/tape player.
Rock 'n' Roll is a 1975 album of late 1950s
and early 1960s songs covered by
John Lennon. Recording the album was problematic and
spanned a year. Though critically derided, it reached #6 in
both the United Kingdom and the United States. Lennon
teamed up with producer
Phil Spector to record the album. When news got around
that Lennon was in Hollywood making a record, every musician
wanted to be part of the sessions. Many of them were, as
evidenced by the extensive line-up. But the sessions quickly
fell into disarray—fuelled by alcohol. Spector once showed
up dressed in a surgeon's outfit and shot a gun in the
ceiling of the studio, hurting Lennon's ears. On another
occasion, a bottle of whiskey had spilled on the A&M
Studio's mixing console causing future sessions to be banned
from the facility. Then Spector disappeared with the session
tapes and would not be heard from for several months.
Al Coury, then-head of A&R/promotion for
Capitol Records retrieved the Spector tapes for $90,000.
Not wanting to break stride, Lennon shelved the tapes and
completed work on Walls and Bridges. Levy took the
tapes and pressed his own version of the album called
ROOTS: John Lennon Sings The Great Rock & Roll Hits
on his record label,
Adam VIII, then proceeded to sue Lennon, EMI and Capitol
for $42 million for breach of contract. Capitol/EMI quickly ordered an injunction and Lennon
quickly finished work on his version of the album. In
February 1975, Capitol Records rush-released the official
Rock 'n' Roll, at a slightly reduced retail price, but
the delays had taken a toll on sales. The nostalgia wave had
peaked, and other artists such as
David Bowie and
Bryan Ferry had already released oldies projects, making
it less of a novelty.
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| DRAMA PUBLISHING COMPANY (COTTON PATCH GOSPEL) - ARE WE READY (1991) Cotton Patch Gospel musical by Harry Chapin I performed the double bass and backup vocals in a musical theatre production of Cotton Patch Gospel in the fall of 1991 at age 20 put on by Gateway Players in Saskatoon. I even had my picture in the Star Phoenix from our run performing the show. This was my favorite song in the musical which I was too shy to volunteer to sing lead vocal even though I wanted to when they asked who wanted the lead role for this song by Harry Chapin. The song opens up the second part of the show. September 10th 1991 - my #5 favorite daily song for 6 days
Cotton Patch Gospel is a musical by
Tom Key and
Russell Treyz with music and lyrics written by
Harry Chapin just before his death in 1981. Based on the
book
The Cotton Patch Version of Matthew and John by
Clarence Jordan, the story retells the life of
Jesus as if in modern day, rural
Georgia.
Using a southern reinterpretation of the gospel story, the musical is often performed in a one-man show format with an accompanying quartet of bluegrass musicians, although a larger cast can also be used. A video recording of the play was released in 1988 with Tom Key as the leading actor |
| SNOW - OLD UNCLE TIMOTHY'S FLYING BALLOON (1968) Album: Snow (1968) September 16th 1988 - my #9 favorite daily song for 3 days at age 17 the fall after graduating high school on my marathon of playing all 1968 music for its 20th anniversary. November 24th 2009 - my #10 favorite daily song for 27 days at age 38 living at Ave M South with Valerie now married 2 years and Nicholas is now 3.5 years old. Released on the Epic imprint in 1968 (BN26435), the sole, eponymous release by the Cleveland, Ohio outfit Snow, although being very much a record redolent of the period, is also an album of two halves. On the original record, side 1 kicks off with the band's attempt to infiltrate the singles chart with 'Where Has My Old Friend Billy Jones Gone', a folk-psych effort featuring a female vocalist brought in for the occasion, and who's influences clearly included Grace Slick amongst others. The side builds momentum, with its melodic harmonies and short, incisive guitar solos setting the scene for the brilliant Englebert and the clever tempo changes of 'You Let Me Know'. Side 2 is even better, starting with piercing guitar on 'Song Of The Sirens' and culminating with the outstanding 'Caterpillar' which, in the space of three minutes, escorts the listener through a plethora of sound effects, key changes and bold experimentation which still sounds as 'cutting edge' as anything comparable from the period. |
| TIFFANY - DROP THAT BOMB (1988) Album: Hold An Old Friend's Hand (1988) February 18th 1989 - my #2 favorite daily song for 11 days at age 18 taking extra high school classes the year after graduating high school. Publishing my monthly fanzine Yesterday And Today about the history of pop music and selling it monthly at Records On Wheels record store on 2nd Avenue. Valerie and I went to see Tiffany live in concert at the BB King Blues Club in New York City after being married now for 3.5 years in April 2011. Hold an Old Friend's Hand is the second regular studio album by Tiffany, released in November, 1988. It was reasonably successful, with a platinum certification, peaking at #17 on the U.S. charts and yielding one top-ten single ("All This Time") and another in the top 40 ("Radio Romance"); however, it didn't equal the multiplatinum success of her first album, which had two #1 singles on the Billboard Hot 100.
Tiffany Renee Darwish
(born October 2, 1971), known popularly as Tiffany,
is an
American
singer and former
teen icon. She is most notable for her 1987
remake of "I
Think We're Alone Now", originally recorded by
Tommy James and the Shondells in 1967. Released as the
second single from her eponymous album,
Tiffany, the song quickly became a teen anthem.
Thanks to an original mall tour, "The Beautiful You:
Celebrating The Good Life Shopping Mall Tour '87", Tiffany
became a pop sensation; both the single and the album peaked
at number one on the
Billboard Hot 100 and
Billboard 200 charts, respectively. The singles,
"Could've
Been" and "I
Saw Him Standing There", a feminine cover version of
The Beatles' "I
Saw Her Standing There", followed soon after, with the
former also claiming the number one position on the
Billboard Hot 100.
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| YES - SOUND CHASER (1974) Album: Relayer (1974) After dedicating all of 1980-1983 to The Beatles I discovered Yes in 1984 and that year at age 13 bought every single one of their albums due to their new fame with Owner Of A Lonely Heart but it was their 2nd new single Leave It that had my intrigued. So I learned their first 15 years of material all in 1984 just as I was entering high school. Yes would quickly become my 2nd favorite band of all time. I saw Bill Bruford live in concert in 1992 and chatted with him for a moment. My wife bought tickets to see Yes in 2008 in Toronto but the concert was cancelled due to Jon Anderson's vocal problems. We flew to New York in 2011 to see Jon Anderson solo in concert. Members of Yes are my favorite musicians ever including Rick Wakeman, Trevor Rabin, Steve Howe and Chris Squire. My high school best friend Nels Krauss and I also bonded through our connection of Yes and playing music and we enjoyed jamming on Yes songs in the mid 1980's.
Relayer is the seventh
studio album from the English
progressive rock band
Yes, released in 1974 on
Atlantic Records. It is the only Yes studio album to
feature
Patrick Moraz, who replaced keyboardist
Rick Wakeman earlier in the year. Relayer reached
#4 in the UK (remaining 8 weeks in the Top 40) and #5 in the
US (remaining 16 weeks in the Top 200). After
the ambitious concept double album
Tales from Topographic Oceans,
Rick Wakeman left
Yes to resume his solo career. The band auditioned
several prospective replacements, the closest contender
being the Greek keyboardist
Vangelis. He did not become a member of Yes, but these
auditions paved the way for several future collaborations
between
Vangelis and
Jon Anderson. The band finally chose Swiss-born
Patrick Moraz, previously of the bands
Refugee and Mainhorse, as a replacement while this album
was well into production. The album title comes from the
lyrics of "The Remembering (High The Memory)" from Tales
from Topographic Oceans
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| THE BEATLES - FOR YOU BLUE (1970) Album: Let It Be (1970)
For You Blue" is a
Beatles song written by
George Harrison. It was the
B-side to "The
Long and Winding Road" (in the US) and the eleventh
track on the Beatles' final LP release,
Let It Be. "For You Blue" was listed with "The Long
and Winding Road" as a double-sided hit when the single
reached number one on the US
Billboard Hot 100 in 1970.
The song is in the key of D and is one of the few original Beatles songs in which every section follows a classic twelve bar blues (I-IV-V) pattern. Indeed, in his vocal at 1.18 secs Harrison states this is "the twelve bar blues." The 'bluesy' feel to the song is accentuated by the addition to the blues-based minor pentatonic scale (I-flat3-4-5-flat7) of a flat7 on each of the I (D7), IV (G7) and V (A7) chords. A variation from the twelve bar blues pattern is the insertion of a IV7 (G7) chord on "lovely girl" in the opening I (D7) verse bar. The song features John Lennon playing lap steel guitar using a shotgun shell as a bottleneck. Harrison makes a few spoken comments during the song, including, "Bop, bop-cat-bop", "Go, Johnny, go", "There go the twelve-bar blues", and "Elmore James got nothin' on this baby." |
| JANE WIEDLIN - RUSH HOUR (1988) hit #9
Rush Hour" is a pop song by
Go Go's
guitarist
Jane Wiedlin, taken from her second album
Fur. It was
backed by a fellow album track, the percussive,
melancholy "End of Love". The
12-inch single featured an
extended remix by Rusty Garner and an instrumental
version.
"Rush Hour" was Wiedlin's most successful single, reaching #9 in the USA and #12 in Britain. The song is upbeat and features a mainly programmed backing, with an electric guitar solo. Its central hook is "Oooh you send me". The music video which accompanied the single eschewed the traffic metaphor of the song for a lighter concept; a simple "performance" clip interspersed with footage of Wiedlin swimming with dolphins. Jane Marie Genevieve Wiedlin (born May 20, 1958) is an American musician, singer-songwriter, and actress. She is best known as the rhythm guitarist of the all-female New Wave band The Go-Go's. As Jane Wiedlin describes it, she was present "pretty much from the beginning" of the Los Angeles punk scene. While attending college in the Los Angeles area, for fashion design, Wiedlin worked at a fashion design house where she created song lyrics by scribbling down ideas on the clothing patterns. "Jane Drano," as she came to be known, would later design punk-style clothing that she sold at Granny Takes a Trip, a store on Sunset Boulevard. She became part of the scene that spawned bands like X, The Germs and The Weirdos. She and Belinda Carlisle formed The Go-Go's as a punk band in 1978, with Margot Olaverra on bass, and Elissa Bello on drums. In 1981, Wiedlin and Terry Hall of the Fun Boy Three and The Specials co-wrote "Our Lips Are Sealed." The song peaked on the Billboard charts at #20 and remained on the charts until 1982. Hall also recorded the song with his band and the song was quite popular, hitting #7 in the UK. |