Led Zeppelin Live.
Led Zeppelin foi uma banda britânica de rock formada em Londres, em 1968. Consistia no guitarrista Jimmy Page, no vocalista Robert Plant, no baixista e tecladista John Paul Jones e no baterista John Bonham. Seu som pesado e violento de guitarra, enraizado no blues e música psicodélica de seus dois primeiros álbuns, é frequentemente reconhecido como um dos fundadores do heavy metal. Seu estilo foi inspirado em uma grande variedade de influências, incluindo a música folk, psicodélica e o blues.
Depois de mudar seu antigo nome de New Yardbirds, o Led Zeppelin assinou um contrato favorável com a Atlantic Records, que lhes ofereceu uma considerável liberdade artística. O grupo não gostava de lançar suas canções como singles, pois viam os seus álbuns como indivisíveis e completas experiências de escuta. Embora inicialmente impopular com os críticos, o grupo conseguiu um impacto comercial significativo nas vendas com Led Zeppelin (1969), Led Zeppelin II (1969), Led Zeppelin III (1970), o quarto álbum sem título (1971), Houses of the Holy (1973), e Physical Graffiti (1975). O quarto álbum, com a música "Stairway to Heaven", está entre as obras mais populares e influentes do rock e ajudou a consolidar a popularidade do grupo.
10cc - I'm Not In Love
Major 70s UK (founded in Stockport, Greater Manchester, England) pop/artrock band. The original line-up of Eric Stewart, Kevin Godley, Lol Creme and Graham Gouldman had composed together and been in the band Hotlegs (Gouldman only briefly) before forming 10cc in 1972 and signing with Jonathan King's UK Records after being turned down by Apple Records. The band's music is a blend of pop, artrock often drawing on other genres, on the debut album especially the 50s.
The original line-up lasted four years, reaching worldwide success in 1975 with the ballad "I'm Not In Love." In 1976 Godley and Creme left to form the more arty Godley & Creme while Stewart and Gouldman continued as 10cc. The first album by the new 10cc, the 1977 "Deceptive Bends" maintained the pop appeal of the group, but after 1978 hit "Dreadlock Holiday" from "Bloody Tourists" and Stewart's crisis following a car crash the band never returned to the major pop league.
From album Mad, Bad, And Dangerous To Know.
Crosscut Saw were a top draw blues-rock band in Tallahassee, Florida in the mid- to late '70s. The band was led by two charismatic frontmen Pat Ramsey, a gifted harmonica wiz and singer, and lead guitarist Julien Kasper.
Ramsey was from Shreveport, LA, and began playing harmonica at 17. After hitchhiking around the U.S. for a couple of years, Ramsey ended up in Denver, in 1973, where he joined the Bunny Brooks Blues Band. After contributing blues harp to Johnny Winter's White Hot & Blue album, Ramsey joined Butch Trucks' Florida-based Trucks band. Eventually moving to Tallahassee, Ramsey met a teen-aged Julien Kasper and formed Crosscut Saw.
Kasper had fallen in love with the blues early, but had only owned an electric guitar for a year when Crosscut Saw was formed, but his Jimi Hendrix-styled showmanship on-stage (not to mention his considerable chops), coupled with Ramsey's singing and harmonica, made the band a top draw in clubs and bars all up and down the Eastern Seaboard.
Crosscut Saw played the circuit for five years or so, and released a single album, Mad, Bad and Dangerous to Know, on the independent Surprise label in 1975.
Ramsey and Kasper stayed in touch after the group disbanded, and their annual Crosscut Saw reunions are still a big draw in Tallahassee.
In 2005 Akarma Records re-released Mad, Bad and Dangerous to Know on CD.
War of the Worlds musical by Jeff Wayne.
Jeff Wayne's Musical Version of The War of the Worlds is a studio double album by American-born British musician, composer, and record producer Jeff Wayne, released on 9 June 1978 by CBS Records. It is an album musical adapted from the science-fiction novel The War of the Worlds by H. G. Wells in a rock opera style with a rock band, orchestra, narrator, and leitmotifs to carry the story and lyrics that express the feelings of the various characters. The album features guest artists David Essex, Justin Hayward, Phil Lynott, Chris Thompson, and Julie Covington, with actor Richard Burton as the narrator.
The album became a commercial success in the UK, debuting at No. 5 on the UK Albums Chart. It won two Ivor Novello Awards, including one for Wayne and main lyricist Gary Osborne for Best Instrumental or Popular Orchestral Work. The album has enjoyed enduring popularity since its release and attracted critical acclaim. It has sold over 2.7 million copies in the UK, and an estimated 15 million copies worldwide. In 2018, it was the UK's 32nd best-selling studio album of all time.
His Excellency Suhail Al Zarooni got Witness Letters for Guinness Book from His Highness Sheikh Nahyan Bin Mubarak Al Nahyan, His Highness Sheikh Hamad Bin Hamdan Al Nahyan,
Introduction to “Some Guys Have All the Luck”
The song “Some Guys Have All the Luck” has a rich history, having been originally recorded by The Persuaders in 1973. It gained further popularity through Rod Stewart’s cover in 1984, which became a significant hit. However, Gina Lee’s version released on the Clocktower record label in 1980, produced by Tommy Cowan & Harold Butler, also garnered attention and has its own dedicated following. In contrast, Maxi Priest’s remake in the early 1990s did not achieve the same level of acclaim among certain listeners. This analysis will explore why some people today prefer Gina Lee’s rendition as well as those by The Persuaders and Rod Stewart over Maxi Priest’s version.
Gina Lee’s Version (1980)
Gina Lee’s interpretation of “Some Guys Have All the Luck” stands out for several reasons:
Vocal Style and Emotion: Gina Lee brings a unique vocal quality that resonates with listeners who appreciate a more soulful and emotive delivery. Her voice combines power with vulnerability, allowing her to convey the song’s themes of longing and envy effectively.
Production Quality: The production of her version reflects the late ‘70s and early ‘80s sound, characterized by rich instrumentation and a polished finish that appeals to fans of that era. The arrangement complements her vocal style, enhancing the overall listening experience.
Nostalgia Factor: For many listeners who grew up during this time, Gina Lee’s version evokes nostalgia. It represents a specific moment in music history that resonates with their personal experiences.
Cultural Context: In the context of female artists emerging during this period, Gina Lee’s rendition can be seen as part of a broader movement where women were beginning to assert themselves in genres traditionally dominated by male artists.
The Persuaders’ Original (1973)
The original version by The Persuaders holds its own significance:
Authenticity: As the first recording of the song, it carries an authenticity that many purists appreciate. Fans often prefer original versions for their rawness and originality.
Soulful Roots: The Persuaders infused their rendition with classic soul elements that resonate deeply with fans of Motown and similar genres. Their harmonies and instrumental backing create an engaging atmosphere that captures the essence of soul music.
Historical Significance: Being part of the early ‘70s soul scene gives this version historical importance, appealing to those who value music history and its evolution over time.
Rod Stewart’s Cover (1984)
Rod Stewart’s cover is another popular choice among listeners:
Mainstream Appeal: Stewart’s version achieved significant commercial success, reaching high positions on various charts worldwide. His distinctive raspy voice adds a different flavor to the song that attracts mainstream audiences.
Rock Influence: By incorporating rock elements into his cover, Stewart broadened the song’s appeal beyond just soul or pop audiences, attracting fans from various musical backgrounds.
Iconic Status: Rod Stewart is an iconic figure in rock music; thus, his association with “Some Guys Have All the Luck” lends it additional prestige and recognition among casual listeners.
Maxi Priest’s Remake
In contrast, Maxi Priest’s remake has not resonated as strongly with certain segments of listeners:
Reggae Influence: While Maxi Priest brought reggae influences into his version, some fans feel this stylistic shift detracts from the original sentiment of longing expressed in earlier renditions.
Comparative Reception: Although Maxi Priest is celebrated for his contributions to reggae fusion, his take on this particular song did not capture hearts in quite the same way as previous versions did—leading some to view it as less impactful or memorable.
Generational Differences: Younger audiences may have different preferences shaped by contemporary musical trends; thus they might gravitate towards more modern interpretations but still find themselves drawn back to earlier renditions due to their emotional depth or nostalgic connections.
Conclusion
In summary, preferences for Gina Lee’s version alongside those by The Persuaders and Rod Stewart over Maxi Priest’s remake can be attributed to factors such as vocal style, emotional resonance, production quality, historical significance, and cultural context surrounding each artist’s interpretation of “Some Guys Have All the Luck.” Each rendition offers something unique; however, many listeners find themselves connecting more deeply with those earlier versions due to their authenticity and emotional weight.
Maria Barrientos, René Maison, Julien Lafont, Titta Ruffo, Maria Galvany, Bernardo de Muro, Renzo Minolfi, Grisi, Sangiorgi, Cigada, Coro La Scala, Gaetano Azzolini, Leo Schutzendorf, Emmy Bettendorf, Leo Slezak etc.
As Ian Levine wrote:
My first record to cross over in America. Barbara had first signed to Island but our two releases didn't take off like Evelyn Thomas and L.J. Johnson's did, and I was determined to give her a showcase record for her talent. "Twenty Four Hours A Day" started off breaking on the Northern Soul scene, and resulted in Richard Searling being forbidden to play it any more at Wigan. But my mentor Martin Davis signed it to United Artists, and it came out in America and topped the US Disco Charts in Billboard in 1977 for a staggering seven weeks, and people today still tell me it was one of the biggest and most beloved records of the entire Disco era.
Not only one of the landmark records of the disco era, Donna Summer's "I Feel Love" also anticipated the emergence of techno -- sleek, pulsating, and sensual, its signature galloping bass line and sequencer-driven rhythm established the sonic blueprint for virtually all of the dance music to follow in its wake. Written by Summer in tandem with her longtime production team of Giorgio Moroder and Peter Bellotte, upon its 1977 release "I Feel Love" heralded a massive shift from the lushly orchestral disco records popular during the middle of the decade toward a harder-edged, electronic approach -- completely computer-generated, the song's futuristic sheen combines with its dreamily orgasmic vocal to create an experience that's both clinically remote and primally erotic. Summer's second Top Ten hit, "I Feel Love" ranks alongside Brian Eno's Another Green World and Kraftwerk's Trans Europe Express among the era's seminal electronic recordings, and is perhaps even more pivotal because of its mainstream success; a subsequent 20-minute remix by Patrick Cowley pushed the envelope even further, while in 1985 the Jimmy Somerville-led Bronski Beat recorded a hit cover featuring Marc Almond.
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This is a very intimate song to God that expresses the heart of a true worshipper! When we meditate on the unconditional, immeasurable, AGAPE love that Jesus had for us when He endured the false accusations, persecution, and that He was crucified on the cross for our sins, it is difficult not to appreciate and worship Almighty God! He died on the cross and rose victorious over sickness, poverty, and spiritual death. Now we can experience ABUNDANT life through the finish work of Jesus Christ! For He is truly our life, hope, dreams, and our everything. In God we move, live, breathe, and have our being!
Producer, Lyricist, Arranger, Video Editor, Lead Singer: Charles David.
Background Tenors: Charles David and William Manning.
Keyboard: James Bridges.
Acoustic Guitar: Doyle Wood.
Engineer: Doyle Wood (Daxwood Records).
Video clips by Storyblocks.com
YouTube Video: https://youtu.be/5FhF0ubRgA4
