Fogerty wrote it out of disgust at the fancy wedding plans of Richard Nixon's daughter."You just had the feeling that none of these people were going to be too involved with the war," he said.Recorded between four and seven in the morning, during the landmark Memphis session that helped return the King to his throne, "Suspicious Minds" — the final Number One single of his lifetime — is Presley's masterpiece: He sings so intensely through the fade-out that his band returns for another minute of the tear-stained chorus.Tags: Syracuse University Creative WritingGreat College Application LettersValue Of Sports And S EssaySaving Francesca Identity EssayDissertation Reading CommitteePa Program EssayEssay On Education For AllThesis For Grade 5Research Paper Questions To AskMla Format For A Research Paper
Appears on: Writers: Green, Mabon "Teenie" Hodges Producer: Willie Mitchell Released: June '72, Hi12 weeks; No.
3 "Sixty percent of my audience are women," Green once said.
The tune was first recorded by Phillips' folk group the New Journeymen and later given to Barry Mc Guire as a thank-you after Mc Guire, riding high with "Eve of Destruction," introduced the group to producer Lou Adler, who convinced the Mamas and the Papas to cut it themselves.
Appears on: Writers: Smokey Robinson, Ronald White Producers: Robinson, White Released: Jan. 1 The Temptations were sharing a bill with Robinson and his group the Miracles at Harlem's Apollo Theater when Robinson took time out to cut the rhythm track for a new song.
It was the first single to crack the pop, R&B and country charts, and Perkins was driving to New York to perform the song on Writers: Robert "Bumps" Blackwell, John Marascalco Producer: Blackwell Released: Feb. 10 Little Richard first heard the phrase "Good golly, Miss Molly," from a Southern DJ named Jimmy Pennick.
He turned the words into perhaps his most blatant assault on American propriety: "Good golly, Miss Molly/You sure like to ball." He swiped the music from Ike Turner's piano intro to Jackie Brenston's "Rocket 88," recorded by Sam Phillips in Memphis seven years earlier.As soon as you start, you get that magic feeling, an extra feeling.Songs like that come out in five minutes; if I work on them more than, say, 20 minutes, they’re probably not going to work.The roughness shows: The drums and piano are muffled, the alto sax cracks during the solo, and the backing vocals wander off-key.But the primitive sound — and the fact that only four of the Five Satins were even present for the session — can't keep "In the Still of the Night," originally released as a B side, from being a sublime, definitive piece of doo-wop.When you hear a great song, you can think of where you were when you first heard it, the sounds, the smells.It takes the emotions of a moment and holds it for years to come. A great song has all the key elements — melody; emotion; a strong statement that becomes part of the lexicon; and great production. That song had everything — different melodies, opera, R&B, rock — and it explored all of those different genres in an authentic way, where it felt natural.The lyrics, which celebrate risk-taking, came out of a conversation Cee-Lo and Danger Mouse had in the studio: The pair decided that their genre-smashing collaborations were indeed "crazy." With a haunting melody inspired by spaghetti Western soundtrack-composer Ennio Morricone, "Crazy" didn't feel like a hit."It seemed too out there for urban radio and too urban for rock radio," Danger Mouse told Writer: John Fogerty Producer: Fogerty Released: Oct. 14 "Fortunate Son" is a blast at rich folks who plan wars and then draft poor people to fight them." But as the session wore on and the liquor kept flowing, Lewis' mood changed considerably — on bootleg tapes he can be heard saying, "I would like to eat a little pussy if I had some." Goodness gracious, great balls of fire, indeed.Appears on: Writer: Perkins Producer: Sam Phillips Released: Feb '56, Sun 21 weeks; No.