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I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time download full album zip cd mp3 vinyl flac

Download I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time
Label: Metrodome - HERBAL717 • Format: 20x, CD Compilation Box Set • Country: UK • Genre: Reggae • Style: Dub, Roots Reggae

Bluesfest at Easter is my Christmas. Oh and I love vinyl. The sound, the smell and the feel. I read. And I still enjoy my Saturday morning coffee with newspaper spread in front of me. I despise commercial radio. I live in a busy household. My family is great. And loud. My stereo is louder! Like Like. One of the greatest songwriters in the history of music—in any genre. Like Liked by 1 person. Great observations and I will check out The Harder they Come. Have you listened to Rebelution? If not, give them a chance.

Also, put reggae on the rocks on the bucket list. I love that you love reggae. Hi Drew — thanks so much for this feedback. I will pass this on to Scott our Music Guru. Thanks again for your comment! Heart Of The Congos — The Congos Produced by Lee Perry, some would say his greatest achievement as a producer, where he showed considerable restraint to let some of the most beautiful reggae harmonies ever recorded, shine through.

Key track — Congoman 3. Key track — Two Sevens Clash 5. Key track — Sponji Reggae 8. Scott I love music. My playlist now sorted for this weekend! Thanks for the tip Mehg. Like your Bucket List addition too!!

Cheers Like Like. Because he's got you looking both ways, it's bigger, it hits harder. Or softer, depending on how you look at it. With a talent for wordplay that can be as head-spinning as it is disturbing, and a knack for incessant sing-song choruses that suggest he might've thrived in a Brill Building cubicle, Eminem crams hugely popular songs with more internal rhymes and lyrical trickery than anyone else in contemporary pop.

Dre tracks that gave him room to freak out as agilely and aggressively as he liked. Kenny "Babyface" Edmonds rose to fame for his work with Antonio "L. But Edmonds' true legacy is as a craftsman of thoughtful ballads and mid-tempo romantic material, with his own solid career as a performer often overshadowed by the huge successes he's enabled other artists to enjoy: "End of the Road," which he wrote for Boyz II Men, broke records with its week run as the Number One song on the Billboard Hot Edmonds has said, "I don't just come in with songs.

I talk with the artist and find out what they will or won't sing about. Blige taking a stand with "Not Gon' Cry," anyone but Toni Braxton lending the necessary sultry edge to the many songs he's written for her over the past quarter-century.

It took a husband and wife team — married for more than four decades and parted only by death — to write one of rock's most devastating tales of heartbreak: "Love Hurts. The Bryants' breakthrough came when the Everlys seized on a composition that had been turned down more than 30 times, "Bye Bye Love," and hit Number Two.

We made it. Sometimes it pays to be ignorant. Mann and Weil met in at the song-publishing company Aldon Music, married in and have been living and working together ever since. But Kristofferson did more than succeed them. Thanks to his writerly skills, Kristofferson's hang-dog tales of screwups, hangovers, regret and redemption had the epochal feel of novellas, and without him, there would probably be no Steve Earle, Sturgill Simpson or similar country hippies.

From the start, Sam Cooke knew how to write the kind of song people wanted to hear Sam Cooke sing — his very first pop single, "You Send Me," was the perfect showcase for his effortlessly gorgeous melismas and easygoing charm. Cooke's determination I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time win over mainstream white audiences led him to expand his range as a writer, and he proved equally adept with the starry-eyed pop romance of "Cupid," the urbane dance floor workout "Twistin' the Night Away" even the subtle social commentary of "Chain Gang.

Whether it's a fleet, planning guitar tune like "Sitting Still" or a luminous ballad like "Nightswimming" or a loopy left-field pop smash like "Stand" the songwriting credit on a golden-era R. But the same organic give-and-take governed their later albums as well.

As Mills said in"we gradually shape each other's songs into R. The definitive hip-hop artist of the last 15 years, Kanye West made his name as a producer with the Doors-sampling beat on Jay Z's "The Blueprint" and emerged as an unquenchably driven song machine releasing groundbreaking music at a Beatlesque clip.

Kanye isn't afraid to outsource Chicago rapper Rhymefest co-wrote the lyrics to his first Passacaglia - Ludvig Irgens-Jensen, Ragnhild Heiland Sørensen, Bergen Philharmonic Orchestra*, Eivin hit, "Jesus Walks," and the credits to his albums can often read like veritable productions workshops.

Yet, his stamp is unmistakable — a genius for connecting genres and styles, a knack for spinning out Olympian boasts and an ability to make his egomaniacal admissions and conflictions compelling. West claims he didn't write down any of his rhymes until taking a more craft-oriented approach on 's monumentally ambitious My Beautiful Dark Twisted Fantasy. I would sit down. We'd ping-pong 'til we had a song," McCartney said.

Married songwriting partnerships are hardly rare, but few husband-and-wife teams explored the dynamics of monogamy with the depth and insight of Nick Ashford and Valerie Simpson. Their breakthrough was the Ray Charles party classic "Let's Go Get Stoned," but once the duo went to work at Motown, romantic love became their sole topic.

Love lifts me up. Ashford and Simpson later built on this technique during their own career as performers, Follow Your Blis - Marc Antoine - The Very Best Of doubt on "Is It Still Good to Ya" and affirmation on "Sold as a Rock " with equal brilliance.

Ina year before he died, Marvin Gaye said the goal of music was to "tell the world and the people about the upcoming holocaust and to find all of those of higher consciousness who can be saved. Motown was so overstaffed with great in-house songwriters that Gaye spent much of the Sixties singing other people's songs. He found his voice as a composer in the Seventies when Four Tops member Obie Benson brought him a song idea that would later blossom into "What's Going On.

We measured him for the suit, and he tailored it. Iceland's greatest musical export has penned a catalog so tied to her unmatchable accented English and visionary beat-driven arrangements, it's easy to forget what a tremendous writer she is.

I try not to record them [when] I first hear them. If I forget all about it and it pops up later on, then I know it's good enough. I let my subconscious do the editing for me. My whole goal in life was to reach that certain success where people will say, 'Hey, that guy can do anything.

He's the Evel Knievel of music. He's jumping over 15 buses! Raised in Louisiana, Lucinda Williams grew up listening to Hank Williams and reading Flannery O'Connor and emerged in the late Eighties as the great Southern songwriter of her generation.

Yet, unlike most artists with a literary bent, she focuses on sensual detail just as much writerly scenes and imagery. Few songwriters use repetition as skillfully as Williams: on 's "I Just Wanted to See You So Bad," she ramped up the song's sexual obsession by restating the title after every other line, and the title track from her masterpiece Car Wheels on a Gravel Road captures the peculiar rhythms of childhood memory by restating the song's title at the end of each stanza.

Williams learned her sense of concision from her father, poet Miller Williams. At a time when most songwriters were still talking about love and heartbreak, Curtis Mayfield was penning sweet, subtle Civil Rights epistles like 's "Keep on Pushing" and 's "People Get Ready" the latter a favorite of Martin Luther King. As leader of the Impressions, Mayfield's low-key demeanor matched his lithe tenor and restrained, spacious guitar playing that influenced fellow chitlin' circuit veteran Jimi Hendrix' "Little Wing.

If you could feel it, I could feel it. And I could write a song about it. If you have a good imagination, you can go quite far. The syncopation. The humor. We take longer to get to the future than anywhere else in America. So we have held on to the old world charm more. If the personal is political, Loretta Lynn was Nashville's down-home feminist revolutionary.

She always took more pride in her writing than in her perky singing, and much of the lyrical material in her 16 country chart-toppers was drawn from her difficult marriage to Oliver "Doolittle" Lynn, whose alcoholism and infidelities inspired domestic dramedies like "Don't Come Home a-Drinkin' With Lovin' on Your Mind.

Sometimes Hayes played keyboards on songs they'd written together, or Porter sang backup. I'm Comin'" and other classic duets. The team fell apart once Hayes became a hot buttered soul star in his own right, but they were inducted into the Songwriters Hall of Fame together inthree years before Hayes' death. A gender-bending poet who kicked open the door for punk while retaining a faith in rock's Sixties idealism, she drew on her love of Dylan, garage rock and French symbolist poetry as well guitarist Lenny Kaye's encyclopedic knowledge to rewrite rock history in her own image.

A collaboration with Bruce Springsteen, "Because the Night," became a Top 20 hit inand after a long absence she returned in with "People Have the Power," and then again in with "About a Boy," a tribute to Kurt Cobain as well as her departed husband Fred "Sonic" Smith and friend Robert Mapplethorpe. The deep passion of her work since shows she's never lost her faith in what she once called "the right to create, without apology, from a stance beyond gender or social definition, but not beyond the responsibility to create something of worth.

Veering away from the pop success of "Creep," the group began deconstructing and abstracting songforms. Yorke and Greenwood have called their process "defacatory," and Yorke suggests his lyrics are as much stream of consciousness flow, gibberish and "just sounds" as anything confessional. They always had a simple melody, a hip set of chord changes and a cool groove.

When Walter Becker and Donald Fagen met as students at Bard College during the late Sixties, they hit it off over a shared love of jazz, Dylan and the sardonic, post-modern humor of writers like Kurt Vonnegut and John Barth. Thus began the symbiotic relationship that produced a string of sophisticated, acerbic songs that still felt at home amidst the laidback mood of Seventies FM radio — hits Jörg Maria Berg - Die Matrosen Von Der Santa Isabella "Do It Again," "Rikki Don't Lose That Number" and "Peg.

We'd work on music and lyrics together, inventing characters, adding musical and verbal jokes, polishing the arrangements and smoking Turkish cigarettes. The way he could mix the deep grooves of church music and blues with lighter pop melodies electrified his music, but there was nothing light about his greatest work, "Do Right Woman, Do Right Man. Taylor was one of the most successful and influential artists to emerge from the "singer-songwriter" scene of the early Seventies.

By chronicling every aspect of his life — drug addiction, recovery, marriages and divorces, deaths of friends and family members — he created the mold for confessional balladeers from Cat Stevens to Elliott Smith.

As his friend and former guitarist Danny Kortchmar has said, "They're like Christmas carols. It sounds like they were written a hundred years ago. It's not for everybody. And it doesn't pretend to be. But to me, there's still something compelling to me about doing it. No hip-hop artist has reached the Billboard Top Ten more times than Jay Z, and none has done more to shape both the culture I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time music around him.

His most indelible songs — "Izzo Hova ," "99 Problems," "Big Pimpin'" — mix diamond-sharp rhymes with unshakable hooks. As he notes himself, in the late Nineties and early s, it wasn't summer without a Jay Z hit blasting out of every car window. Recent highpoints like the Kanye West collaboration "Otis" and 's "Picasso Baby" show that no number of Magical Wave - Kitaro - Dream with Warren Buffet or late-night diaper-duty emergency calls can slow down his de Vinci flow and Sinatra roll.

He began writing as Luke Powers - Running to Paradise childhood hobby — authoring, as he later recalled, ", songs before I had as record deal.

The more you listen, the clearer it becomes that Marr isn't exaggerating. They scored their first big hit with the Soul Survivors' "Expressway to Your Heart" inbut by then the team of Kenny Gamble and Leon Huff had already been working together for five years, and over the following 15, they'd define the sound of Philadelphia soul and help invent disco. Gamble wrote most of their lyrics, and keyboardist Huff most of their music, but their roles were flexible, and so was their style: they wrote poignant love songs "Me and Mrs.

Jones"rubbery political funk "For the Love of Money"and richly orchestrated dance music with the rhythms that became disco tropes like the Soul Train theme "TSOP". Harrison wrote one of the Beatles' earliest openly political songs in 's "Taxman" and one of their prettiest late-period tunes in "Here Comes the Sun.

After working as a producer at Atlantic Records, he established his own labels Bang and Shout, where he collaborated closely with Van Morrison most famously on the I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time biggest hit, "Brown Eyed Girl" and wrote "Piece of My Heart," which was covered by Big Brother and the Holding Company.

Berns, who suffered from chronic health problems since childhood, died of a heart attack in at Despite his enormous reputation among other songwriters, he remains a relatively obscure figure in pop history. As the leader of Pretenders, Hynde linked the start-and-go rhythms and abrasive guitars of post-punk to a heartland rocker's sense of straightforward melody.

Nilsson was a pioneer of the Los Angeles studio sound, a crucial bridge between the baroque psychedelic pop of the late Sixties and the more personal singer-songwriter era of the Seventies. Overdubbing his flawless voice, he was his own angelic choir on songs like "" and the Beatles medley "You Can't Do That," and he caught the ear of Beatles publicist Derek Taylor, who bought a box of Nilsson records to send to friends.

In songs like "You're Breaking My Heart" ". Which is a rare, inexplicable talent to have," Α Τραγούδι Γυναικών (Θέλω Να Χορεύω) - Γιώργος Κουρουπός - Μουσική Για Το Θέατρο Newman once said of Nilsson's easy way with complex melodies and counterpoint.

Harry had that gift. Jerome Felder was a Jewish kid from Brooklyn who'd been on crutches since he'd contracted polio at age six. When he started trying to establish himself as a blues singer, he called himself Doc Pomus.

But he gave up his performing career in the late Fifties and formed a songwriting partnership with Mort Shuman. King's "Young Boy Blues," a collaboration with Phil Spector, in which every verse is effectively one long sentence. Spector later called Pomus, who died of cancer in"the greatest songwriter who ever lived. But in the early Seventies he moved to Austin, Texas, and reinvented himself as a link between Nashville's tradition and rock's imperative of personal freedom, making concept albums like Phases and Stages and Red Headed Strangerhelping pioneer the stripped-down Outlaw Country movement and rising as the greatest interpreter of American song outside Frank Sinatra.

No one except Dylan has embraced the endless highway with more artistic success — as explained by Nelson in "On the Road Again," a Top 20 Grammy-winning hit in — and his studio career is just as endless, ranging from Texas swing to reggae to standards with strings. He's unique. For all of pioneering funk radical George Clinton's subversive use of hard grooves, distortion, jamming, Afro-futurism and arena-wowing spaceships, the vast P-Funk canon was built on traditional songwriting chops.

Parliament was born as a doo-wop group in the Fifties led by Clinton, a young Leiber and Stoller fan who worked briefly in the Brill Building and later spent time as a Motown songwriter. After his exposure to Hendrix, Vanilla Fudge and copious amounts of psychedelics, Clinton's pop-wise sense of puns and wordplay helped drive home his interstellar philosophizing.

Between their roaring debut in and their split inthe duo wrote at a feverish pace, often in Jones' grandmother's flat in a high-rise council estate, bashing out finished songs together as a full band in their rehearsal space. The Clash's watershed London Callingwhich Rolling Stone declared the best album of the Eighties, became a double album not by design but because they were writing so many songs so quickly at the time.

Before she was a star, Madonna was a songwriter with a sharp ear for a hook and a lyrical catchphrase, playing tracks like "Lucky Star" for record companies in the hope of scoring a contract.

Her earliest hits honed the electro beats coming out of the New York club scene into universal radio gold. But songs like her greatest statement, "Like a Prayer," can also summon an anthemic power to rival Springsteen or U2. Madonna has enlisted numerous collaborators en route to selling more than million albums — she started working with longtime writing partner Patrick Leonard after he brought her "Live to Tell" inand from Shep Pettibone and William Orbit in the Nineties through Diplo, Avicii and Kanye West on 's Rebel Heartshe's worked successfully with producers across many genres.

Through it all, her songs have been consistently stamped with her own sensibility and inflected with autobiographical detail. Waits began as a throwback, a beatnik jazzbo singing the praises of old cars and barflies and looking for the heart of Saturday night. Nirvana's skull-crushing noise assault would Sista B. (Intermède) - Suprême NTM - Paris Sous Les Bombes meant little if not for the deceptively brilliant pop craft underpinning it.

Her "Rhiannon," "Sara" and "Gold Dust Woman" were full of post-hippie witchy imagery, but under the gossamer surface, they were deceptively tough-minded accounts of heartbreak and betrayal in the L.

She and Buckingham were a couple when they joined Fleetwood Mac, but some of her greatest songs came out of the wreckage of their relationship — including the Number One "Dreams. She remains undiminished as a writer, as she proved on her gem In Your Dreams. But her most famous song is still "Landslide," her acoustic lament for children growing older, written before she'd even turned You can feel really old at At the heart of Biggie's music I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time a gift for rolling off scrolls of buoyant lines that were as singable as they were quotable — "Birthdays were the worst days, now we sip champagne when we're thirsty," "Poppa been smooth since days of Underoos" and on and on.

Working with pop-savvy producer Sean "Puffy" Combs, Biggie raised his Crown Debate - The Team Spirit* - 3 Chord Songs throughout his brief career —from the social realism of "Things Done Changed" to the euphoric rags-to-riches celebration "Juicy" to effortlessly virtuosic performances like "Hypnotize" and "Ten Crack Commandments," both from his swan song Life After Death.

Dixon was a fine performer and bass player, but he made his greatest contribution as house songwriter at Chess Records in the s. Dixon was essential in shaping the sound of post-war Chicago blues, supplying masters like Muddy Waters and Howlin' Wolf with riffs as crisp as the creases in a new suit and lyrics so boastful that they'd be terrifying if half-true. By the early Sixties, as a new generation discovered the blues, plenty of young white men were learning to exaggerate their sexual prowess from Dixon's songs.

It's possible that no blues writer other than Robert Johnson had had as profound an impact on the development of rock music: Mick Jagger acquired his strut from "Little Red Rooster," which the Stones faithfully covered in ; the Doors did a leering L.

From a town known as Oyster Bay, Long Island, rode a boy with a six-pack in his hand — Billy Joel, in real life a piano man from Hicksville. Joel has always had a heart in Tin Pan Alley, first hitting it big in the Seventies with the semi-confessional tale of wasting away as a lounge performer, "Piano Man. His signature song, "Scenes from an Italian Restaurant," is an epic seven-minute tale of suburban dreams biting the dust down at the Parkway Diner.

Happy 50th anniversary, Brenda and Eddie. The two future Eagles were lucky to meet up in L. And those songs, soaked in world-weariness, cynicism, resentment and the occasional happy ending, were so precisely crafted that, decades later, they keep people returning to the records and seeing the band's seemingly endless reunion tour. Ina clever record company executive paired lyricist Bernie Till Tonight - Various - Party Fun 2010 Vol.

2 and a young piano player named Reginald Kenneth Dwight. Their partnership has endured for nearly 50 years, putting 57 songs in the Top I had someone to write my words for me. Without him, the journey would not have been possible. There's a reason Diamond's songs have been covered by everyone from the Monkees and Smash Mouth to Sinatra. First are the meaty, hooky melodies, dating back to early Diamond sing-alongs like "Cherry, Cherry" and "Sweet Caroline" and extending into later, more brooding angst-a-thons like "I Am.

I Said" and "Song Sung Blue. From his early, frisky Brill Building pop "I'm a Believer" to the later-life love songs about his latest wife, few singers brood and contemplate life in song the way Diamond has. And let's not forget the ebullient "Cracklin' Rosie," the vaguely salacious "Girl, You'll Be a Woman Soon," just two of the more than 50 songs he's placed in the Billboard Top during his half-century-plus career. I write these little songs and go and sing them. It seems like an odd way to gain an inner sense of acceptance of the self.

But it's what I do. Working most famously with the Temptations, they created "psychedelic soul," built on Whitfield's expansively experimental production and Strong's downbeat, socially conscious lyrics. As far away from pop convention as Whitfield and Strong's music could be — several of the artists they worked with grew frustrated with their freakiness — their sound found its audience: the Temptations' "Ball of Confusion," the Undisputed Truth's "Smiling Faces Sometimes" and Edwin Starr's vehement protest diatribe "War" were all huge hits.

At a time when many rock songwriters were interested in psychedelic escapism, the Psycho - The Exploited - Apocalypse 77 Robbie Robertson looked for inspiration in America — its history, its myths and its music.

Yet, he was content to play a kind of behind-the-scenes role, passing out songs for the Band's three distinct vocalists — Levon Helm, Rick Danko and Richard Manuel — in an act of generosity that enhanced the Band's theme of communal progress and spirit.

His voice had the authority of experience, and so did his songs. In them, he was the man who taught the weeping willow how to cry, the solitary figure who wore black for the poor and beaten-down, the stone-cold killer who boasted he'd "shot a man in Reno just to watch him die. And he never stopped, recording "The Wanderer" with U2 inand a series of albums with Rick Rubin in his final years as he battled the effects of Shy-Dragger Syndrome.

Listen to him, and he always brings you to your senses. When he convened Sly and the Family Stone in the late Sixties, he deployed a fast-talking radio jock's ear for aphorism "different strokes for different folks," "I want to take you higher" and an ability to make tricky arrangements seem natural "Thank You Falettinme Be Mice Elf Agin" builds raw funk out of everyone in the band playing radically different parts.

From the optimism of "Everyday People" to the funky angst of 's There's a Riot Goin' Onhis music mapped the flower-power era's journey from utopian promise to catastrophic meltdown as well as anyone, and his grooves and riffs have been endlessly sampled by the hip-hop artists to arrive in his wake. Every pop era has at least one songwriter who effortlessly taps into the zeitgeist, and for the last roughly 15 years, that person has been this Swedish writer-producer.

As you know, a lot of the stuff that was once considered rubbish or 'for kids' is now considered classic. Try 50 years. CCR were the catchy, hard-driving dance band amidst the psychedelic San Francisco ballroom scene of the late Sixties, scoring 12 Top 40 hits during their run while releasing an incredible five albums between and Fogerty's songwriting process reflected the blue-collar worldview of a guy who wrote his first Top 10 hit 's "Proud Mary" just two days after being discharged from the Army Reserves: "Just sitting very late at night," he said.

There was no extra stimulus, no alcohol or drugs or anything. It was purely mental. I had discovered what all writers discover, whether they're told or not, that you could do anything. The first time most people heard David Bowie, he was playing an astronaut named Major Tom, floating through space, completely cut off from civilization.

Within a couple of years Bowie was channeling that sense of cosmic alienation into albums like 's Hunky Dory and the 's classic The Rise and Fall of Ziggy Stardust and the Spiders From Marsemerging as one of the most creative and unpredictable songwriting forces of the s.

Early on, Bowie specialized in offering an indelible vision of the Seventies glam-rock demimonde. Lyrically, his use of William Burroughs-style cut and paste made for fascinating, if at times, baffling flows of image and ideas. On timeless songs like "Life on Mars" or "Changes" or "Heroes," his ability to combine accessibility and idiosyncrasy makes for music that marries art and pop and transfigures culture itself.

He didn't start writing songs in earnest until he'd recorded a few albums, and his songwriting gifts have been overshadowed by his vocal mastery. Still, Al Green's best original material isn't just a showcase for his voice.

Green sang about romantic ecstasy and failings and deeper longings for divine love the language of Scripture has never been far from his lyrics, even when he was writing secular material. He may sound and look like the prototypical SoCal balladeer, but Browne has spent his career pushing the singer-songwriter envelope.

He's written some of rock's most finely observed songs not just about his journey through life from the prematurely wise "These Days," penned when he was 16 years old, through more recent songs like "The Night Inside Me"but has also ventured into social critiques "Lawyers in Love" and political protest "Lives in the Balance". Whatever the subject, Browne brings the same probing, thoughtful take on what he called, in "Looking East," "the search for the truth.

The duo charted deep space — inner and outer—on early collaborations like "Dark Star. He had one foot off the ground and he'd be writing in his notebooks. He was communing with the music. And all of a sudden, we had songs. And voila: there they are.

When they first got started in the s, the ambitious lads in U2 made a deal to split all their publishing money evenly. Bono brings the grand vision and uncanny ear for heroic hooks, and the Edge brings his sonic mastery and an eagerness to push boundaries. Working together, the duo have pursued their expansive vision from the adolescent cry of "Out of Control" to political anthems like "Sunday Bloody Sunday" to the stadium-shaking roar of "Where the Streets Have No Name" to the funky, danceable "Mysterious Ways" and "Discotheque" all the way through the highly-personable "The Miracle of Joey Ramone " from last year's Songs of Innocence.

As the band's charismatic frontman, Bono may soak up a lot of the credit, but he's the first to admit how important the Edge is to their songwriting. Jackson's innate musical genius could be heard on the earliest Jackson 5 chart-toppers. Jackson's collaborators and co-writers marvel at the way his dance-floor classics sprang full-formed from their creator's head. That, Michael said, was the only way he could write: "If I sat down at a piano, if I sat here and played some chords.

Not just little eight-bar loop ideas. He would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills. As he told American Songwriter in"Sometimes the songs got to coming too fast for me to write, and sometimes they still do. Burt Bacharach studied classical composition with French composer Darius Milhaud and was part of avant-garde icon John Cage's circle. But he chose pop music as a career and started writing songs with lyricist Hal David, who had a knack for matching wistful sentiments to Bacharach's unconventional jazz chords and Liebeslied - Clemens Denk - Lieder shifting time signatures.

With 3, songs to her name — including more than 20 Number One country singles —Dolly Parton has enjoyed one of country's most impressive songwriting careers.

Parton tapped her hardscrabble Tennessee-hills upbringing on songs like "Coat of Many Colors" and "The Bargain Store," and throughout the Seventies, her songs broke new ground in describing romantic heartache and marital hardship. On "Travelin' Man," from her masterpiece Coat of Many ColorsParton's mom runs off with her man, and on the gut-wrenching "If I I Love My Girl - Various - Herbman - The Greatest Reggae Collection Of All Time My Mind," also on that album, Parton watches while her boyfriend has sex with another woman.

But she doesn't do much joking around when it comes to the art of songwriting. The Who had a one-of-a-kind drummer, a brilliant bassist, a towering singer — and their songs featured some pretty impressive guitar playing too.

But they would never have gone anywhere if Pete Townshend hadn't developed into an endlessly innovative songwriter. Early tunes like their debut single "I Can't Explain" and the epochal anthem "My Generation" were fueled by adolescent angst, but with each passing year, Townshend became more and more ambitious, moving from a loose concept record about a pirate radio station 's The Who Sell Out to a groundbreaking rock opera about a deaf, dumb and blind pinball star 's Tommy to a double LP about a young mod facing with a form of split Raw - Fulgeance - Step-Thru disorder 's Quadrophenia.

His output slowed down considerably by the mids and he's released a scant two albums in the past three decades. But what he accomplished in the Who's first 15 years transformed the possibilities of rock music.

Chuck Berry wrote about teenage America. Holly had only been making records for a little Brinkman - I Wish than two years when he died in a plane crash in at age Yet, in that brief career, he created an amazing body of work. On songs like "That'll Be the Day," "Rave On," "Everyday," "Oh Boy," "Peggy Sue" and "Not Fade Away," his buoyant, hiccupping vocals and wiry, exuberant guitar playing drove home lyrics that seemed to sum up the hopes, aspirations and fears of the kids buying his records.

After a failed attempt to make it in Nashville as a country artist, Holly returned to his native Lubbock, Texas, where he and his band the Crickets drove to producer Norman Petty's studio in Clovis, New Mexico, to cut a version of "That'll Day Be the Day" a song Decca Records had rejectedthat Mistral Gagnant - Various - Lamour En Chansons a Number One single.

Wait For The Blackout - Various - I.R.S. Greatest Hits Vols. 2 & 3 most influential folk singer in American history once described his creative process thusly: "When I'm writing a song and I get the words, I look around for some tune that has proved its popularity with the people. Guthrie's music, Bob Dylan wrote in Chronicles"had the infinite sweep of humanity.

But it's his ability to nail emotion that makes simple love songs like "Days" incandescent, and elevates a lonely meditation like "Waterloo Sunset" into what some consider the most beautiful song in the English language. I can't get rid of them. I go into something minute, then look at it, then go back into it.

I was still called a soul singer," he once recalled. I had discovered that my strength was not in the horns, it was in the rhythm. On classic albums like 's 12 Songs and 's Sail AwayNewman developed characters, explored ironies and embodied perspectives no one else of his time had even considered — "Suzanne" was sung from the point of view of a rapist, "God's Song" surveyed mankind with disgust from the Almighty's easy chair and "Sail Away" was a sales pitch from an antebellum slave trader to Africans on the wonders of America "Every man is free to take care of his home and his family".

Newman's early albums were commercial calamities, but he had a surprise hit with 's "Short People," a bitingly funny parody of bigotry, and he's gone on to enjoy a hugely successful second career writing soundtracks for movies like Toy Story and Monsters Inc. Bone Burnett calls "Sail Away," "the greatest satire in the history of American music.

After springing forth in as a sneering, splay-legged punk rocker with a knack for motor-mouth lyrics "I was always into writing a lot of words," he said in


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