Glen Campbell - Rhinestone Cowboy
Glen Campbell - Rhinestone Cowboy
The Egles Lyin' Eyes
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Eagles - Lyin' Eyes - ( Remaster ) HD
![Crystal Gayle - Don't it Make my Brown Eyes Blue - Live [Restored]](https://i.ytimg.com/vi/fyyhQUXCrJM/maxresdefault.jpg)
Crystal Gayle - Don't it Make my Brown Eyes Blue - Live [Restored]
Crystal Gayle - Don't it Make my Brown Eyes Blue - Live [Restored]
Kate Bush - Hammer Horror - Official Music Video
Kate Bush - Hammer Horror - Official Music Video
"Hammer Horror"
You stood in the belltower
But now you're gone
So who knows all the sights
Of Notre Dame?
They've got the stars for the gallant hearts
I'm the replacement for your part
But all I want to do is forget
You, friend
Hammer Horror, Hammer Horror
Won't leave me alone
The first time in my life
I keep the lights on
To ease my soul
Hammer Horror, Hammer Horror
Won't leave it alone
I don't know
Is this the right thing to do?
Rehearsing in your things
I feel guilty
And retracing all the scenes
Of your big hit
Oh, God, you needed the leading role
It wasn't me who made you go, though
Now all I want to do is forget
You, friend
Hammer Horror, Hammer Horror
Won't leave me alone
The first time in my life
I keep the lights on
To ease my soul
Hammer Horror, Hammer Horror
Won't leave it alone
I don't know
Is this the right thing to do?
Who calls me from the other side
Of the street?
And who taps me on the shoulder?
I turn around, but you're gone
I've got a hunch that you're following
To get your own back on me
So all I want to do is forget
You, friend
Hammer Horror, Hammer Horror
Won't leave me alone
The first time in my life
I keep the lights on
To ease my soul
Hammer Horror, Hammer Horror
Won't leave it alone
I don't know
Is this the right thing to do?
"Hammer Horror" was Kate Bush's fourth single release and first single from her second album Lionheart. It was released on 27 October 1978. Following the top ten success of her first three singles, the song charted at a much lower No. 44 on the UK Singles Chart. The parent album, released a few weeks later, was unaffected and charted in the top 10. "Hammer Horror" proved to be a temporary blip, for Bush's next single returned her to the top 20. In other countries it fared better, such as Ireland, where it reached No. 10. In Australia, Kate Bush devised the dance routine for the song in her Melbourne hotel room, and performed the song on the television show Countdown.
The song references Hammer Films, a company specializing in horror movies. However, Bush conceived of the song after viewing the film Man of a Thousand Faces, a biographical film – not produced by Hammer – about Lon Chaney starring James Cagney. "The song was inspired by seeing James Cagney playing the part of Lon Chaney playing the hunchback", Bush stated in 1979. "He was an actor in an actor in an actor, rather like Chinese boxes, and that's what I was trying to create." The story of the song concerns an actor who gets thrust into the lead role of The Hunchback of Notre Dame after the original actor dies in an accident on the film set. The guilt-ridden narrator of the song ends up being haunted by the ghost of the jealous original actor, who was a former friend. A promotional video was made for the single featuring Bush and a black-masked dancer performing the song against a black background. The B-side of the song was "Coffee Homeground", which also featured on Lionheart.
All tracks written and composed by Kate Bush.
7" vinyl
"Hammer Horror" – 4:38
"Coffee Homeground" – 3:39
Wildfire - Michael Martin Murphey {HD}
Wildfire - Michael Martin Murphey {HD}
She comes down from Yellow Mountain
On a dark, flat land she rides
On a pony she named Wildfire
With a whirlwind by her side
On a cold Nebraska night
Oh, they say she died one winter
When there came a killing frost
And the pony she named Wildfire
Busted down its stall
In a blizard he was lost
She ran calling Wildfire
She ran calling Wildfire
She ran calling Wildfire
By the dark of the moon - I planted
But there came an early snow
There's been a hoot-owl howling by my window now
For six nights in a row
She's coming for me I know
And on Wildfire we're both gonna go
We'll be riding Wildfire
We'll be riding Wildfire
We'll be riding Wildfire
On Wildfire we're gonna ride
Gonna leave sodbustin' behind
Get these hard times right on out of our minds
Riding Wildffire
Born 14th March 1945, Dallas, Texas, USA. Having been influenced by gospel music at an early age, Murphey aspired to become a Baptist minister. From 1965-70, as a staff songwriter for Screen Gems, Murphey was writing theme tunes and soundtrack material for television. He grew disillusioned with the poor financial rewards, and left. For a short time he was a member of the Lewis And Clarke Expedition, which he formed with Owen Castleman, before going solo. Geronimo’s Cadillac was produced in Nashville by Bob Johnston, who was responsible for Murphey’s signing with A&M Records. The title track was released as a single, and achieved a Top 40 place in the USA pop charts. As well as folk, country and blues, Murphey’s early gospel leanings are evident in the overall sound of what is an excellent album. He signed to Epic Records in 1973 after releasing Cosmic Cowboy Souvenir, which continued the urban cowboy theme of his earlier work. Michael Martin Murphey included a number of songs Murphey had co-written with Michael D’Abo. His albums followed a more middle-of-the-road format after this, with occasional glimpses of his better work, as in Peaks, Valleys, Honky-Tonks And Alleys. However, he did reach number 3 in the US pop singles charts in 1975, achieving a gold disc with ‘Wildfire’. Murphey has never had the degree of commercial success his writing would indicate that he is capable of. However, as a writer, he has had songs covered by John Denver, Cher, Claire Hamill, Hoyt Axton, Bobbie Gentry and the Monkees, for whom he wrote ‘What Am I Doing Hanging ‘Round?’. He also wrote songs for Michael Nesmith including ‘The Oklahoma Backroom Dance’. Murphey later played at Ronnie Scott’s club in London, for a press presentation, and was supported on the occasion by J.D. Souther, Don Henley, Dave Jackson and Gary Nurm. He was also featured in the movie Urban Cowboy, which included his song ‘Cherokee Fiddle’. Murphey continued recording easy-listening country music into the 80s with great success (in 1984 he changed the billing on his singles releases from Michael Murphey to Michael Martin Murphey). In 1987, he achieved a number 1 country single with the wedding song, ‘A Long Line Of Love’, and had further hits with ‘A Face In The Crowd’, a duet with Holly Dunn, and ‘Talkin’ To The Wrong Man’, which featured his son, Ryan.
Murphey went off at a tangent in the 90s and, like Ian Tyson, chose to revive old cowboy songs as well as writing his own. He is a superb performer of this material, but whether this will prove to be a good career move remains to be seen, as many country performers want to forget the music’s cowboy roots. Murphey could be described as a latter-day Marty Robbins and Cowboy Songs III does include, with the aid of modern technology, a seamless duet with Robbins on ‘Big Iron’. However, Murphey is far more ambitious than Robbins, as he ably demonstrated with 1995’s Sagebrush Symphony (recorded with the San Antonio Symphony Orchestra) and 1997’s The Horse Legends. He started his own record label in 1998 following his departure from Warner Brothers Records.
In a 2008 interview, Murphey talked about the origins of the song and the context in which it was written. He was a third-year student at UCLA, working on a concept album for Kenny Rogers (The Ballad of Calico).The work was demanding, sometimes taking more than twenty hours a day. One night he dreamed the song in its totality, writing it up in a few hours the next morning. He believes the song came to him from a story his grandfather told him when he was a little boy – a prominent Native American legend about a ghost horse. Murphey didn't have a horse named Wildfire until a few years before the interview, when he gave that name to a palomino mare.
The lyrics are those of a homesteader telling the story of a young Nebraska woman said to have died searching for her escaped pony, "Wildfire", during a blizzard. The homesteader finds himself in a similar situation, doomed in an early winter storm. A hoot owl has perched outside of his window for six days, and the homesteader believes the owl is a sign that the ghost of the young woman is calling for him. He hopes to join her (presumably in heaven) and spend eternity riding Wildfire with her, leaving the difficulties of earthly life behind. The song is rather famous for its piano intro and outro, which is often left off versions of the song edited for radio. The introduction is based on a piece 24 Preludes, Op. 11 (Scriabin) Prelude in D-flat, Op. 11 No. 15 by the Russian classical composer Alexander Scriabin.
In 2007, the host of The Late Show, David Letterman, developed a sudden fascination with "Wildfire", discussing the song and its lyrics—particularly the line about "leave sodbustin' behind"—with the bandleader Paul Shaffer over the course of several weeks. This ultimately led to Murphey's being invited on the show to perform "Wildfire". Letterman described the song as "haunting and disturbingly mysterious, but always lovely," and surmised that the performance would leave the studio audience with "a palpable sense of ... mysticism, melancholy ... and uplifting well-being."
In a third-season episode of The Simpsons named "Lisa's Pony", Lisa played the song for her pony with her saxophone. She introduced the song by saying "This next song is also about a girl and her pony. It's called 'Wildfire'."
The song has occasionally appeared in "bad song" surveys, such as one by the humor columnist Dave Barry during the 1990s. He quoted one reader who, referring to the song's tale of the loss of a woman and a pony in a "killing frost", pointed out that "'killing' in 'killing frost' refers to your flowers and your garden vegetables, and when one is forecast you should cover your tomatoes ... Nobody ever got lost in a killing frost who wouldn't get lost in July as well." But it could also be pointed out that the song is written from the perspective of a farmer, in which a killing frost would be a memorable event. The song goes on to say "in a blizzard he was lost," so obviously the killing frost continued on to be a significant winter storm.
The movie Bandits mentions the song as being a favorite of Joe Blake's. Kate Wheeler claims to love it too, though she confuses it with Mustang Sally.
David Letterman
Michael Murphey - vocals, piano
Jac Murphy – piano (intro and outro)
Sam Broussard – guitar
Richard Dean – guitar, background vocals
Michael McKinney – bass, background vocals
Harry Wilkinson – drums
Edgar Winter "Frankenstein" Live at Rockpalast 2007
Edgar Winter "Frankenstein" Live at Rockpalast 2007
Frankenstein - The Edgar Winter Group 1973
Frankenstein - The Edgar Winter Group 1973
In late 1972, American blues rock multi-instrumentalist Edgar Winter brought together Dan Hartman, Ronnie Montrose, and Chuck Ruff to form the Edgar Winter Group, the legendary band that created such classic rock hits as the number one “Frankenstein” and the ever popular “Free Ride”. Released in 1973, the band’s debut album, ‘They Only Come Out at Night’, peaked at the #3 position on the Billboard Hot 200 and stayed on the charts for an impressive 80 weeks. It was certified gold in April 1973 and double platinum in November 1986. The album has continued to attract critical acclaim, with the All Music Guide labeling its songs as “red-hot”.
Winter’s group is also known for its innovation, with the frontman inventing the keyboard body strap early in his career. Said innovation allows him the freedom to move around on stage during his multi-instrument high-energy performances. He was also one of the first artists to feature a synthesizer as the main instrument in a song. “Frankenstein” in particular revolutionized modern rock and roll and opened up a whole new world of possibilities with experimentation and sound.
After ‘They Only Come Out at Night’, the band released ‘Shock Treatment’, featuring guitarist Rick Derringer in place of Ronnie Montrose. That musican went on to work in Montrose and other groups. Although not quite able to capture the same free spirit as the group’s earlier album, ‘Shock Treatment’ earned major critical praise, and the band continued its lively tour schedule.
Later releases from Edgar Winter and his associates include the albums ‘Jasmine Nightdreams’, ‘The Edgar Winter Group with Rick Derringer’ (a live album), ‘Together Live With Johnny Winter’, ‘Recycled’ (a reunion with White Trash), ‘Standing On Rock’, ‘Mission Earth’, ‘Live In Japan’, ‘Not A Kid Anymore’, ‘The Real Deal’, and ‘Winter Blues’.
Mainstream success has eluded Winter’s various band line-ups since their 70s heyday, but their work has remained radio staples. Winter continues to tour as of 2013. More information is available on his official website . Edgar Winter's Official Web Site
Starland Vocal Band - Afternoon Delight (1976) Uncut Video
Starland Vocal Band - Afternoon Delight (1976) Uncut Video
"Afternoon Delight"
Gonna find my baby, gonna hold her tight
Gonna grab some afternoon delight
My motto's always been "When it's right, it's right"
Why wait until the middle of a cold dark night
When everything's a little clearer in the light of day
And we know the night is always gonna be here any way
Thinkin' of you's workin' up my appetite
Looking forward to a little afternoon delight
Rubbin' sticks and stones together make the sparks ignite
And the thought of loving you is getting so exciting
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight
Started out this morning feeling so polite
I always thought a fish could not be caught who didn't bite
But you've got some bait a waitin' and I think I might
Like nibblin' in a little afternoon delight
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight
Please' be waiting for me baby when I come around
We could make a lot of lovin' 'fore the sun goes down
Thinkin' of you's workin' up an appetite
Looking forward to a little afternoon delight
Rubbin' sticks and stones together make the sparks ignite
And the thought of loving you is getting so exciting
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight
Afternoon delight
Afternoon delight
Introduction
Starland Vocal Band is a now-defunct American pop and country band, known for their biggest hit “Afternoon Delight” during the 70s music era, where it topped the US Billboard Hot 100. Although they had minor hits such as “California Day” and “The Light of My Life,” Starland Vocal Band is most considered a one hit wonder. A little bit more about Starland Vocal Band in this article.
Formation
Starland Vocal Band had its roots in Fat City, a husband-and-wife musical duo formed by Bill Danoff and Taffy Nivert. They co-wrote the song “I Guess He’d Rather Be in Colorado” and then “Take Me Home, Country Roads” with John Denver, which became a hit for the latter in 1971.
Fat City recorded two more albums, and changed their name to Bill & Taffy where they released a couple of more records before forming the Starland Vocal Band. To add their lineup, Danoff and Nivert included keyboardist/guitarist/vocalist Jon Carroll and singer Margot Chapman.
Jon Carrol from Starland Vocal Band
Margot Chapman (September 7, 1957) American singer, o.a. known from the Starland Vocal Band.
Success with “Afternoon Delight”
The group released their eponymous debut album in 1976. It included the single “Afternoon Delight,” written by Danoff. The song’s distinctive vocal harmony became the song’s selling point and its sexually suggestive lyrics caught the fancy of the listeners during that time.
Released on Windsong label, “Afternoon Delight” rose to #1 on the Billboard Hot 100 and #5 on the Billboard adult contemporary chart in 1976. It also went to #1 on the Canadian RPM top singles. At year’s end, “Afternoon Delight” peaked at #12 on the Billboard Hot 100.
The success of the song also helped Starland Vocal Band to be nominated for four Grammy Awards, where they won two: one for “Best New Artist” and “Best Arrangement for Voices (duo, group or chorus)” in 1977.
After the hit
Starland Vocal Band released the follow up album Rear View Mirror in 1977 but it didn’t come as successful as their first album. Their third album Late Nite Radio also failed to chart. After scoring their last charting single “Loving You with My Eyes” the group disbanded. In the wake of the band’s split, the Danoffs divorced; Carroll and Chapman, who had also married while still being members of the band, later divorced as well.
Each of the four members went to embark their own solo careers, but they would never be able to attain the success of their song “Afternoon Delight,” which has now become an oldies music classic.
Starland Vocal Band Fly Away
Starland Vocal Band Fly Away
The Light of My Life
Starland Vocal Band The Light of My Life
Mac & Katie Kissoon - Sugar Candy Kisses • TopPop
Mac & Katie Kissoon - Sugar Candy Kisses • TopPop
Oh honey, I'm so in love with you
say we'll always be together
tell me you love me too
Sugar candy kisses, sugar honey love
summernights I've spent with
you are what I'm thinking of
just sugar candy dreamin'
I'm by the one I love
yes, you're my sugar candy kind of guy
my sugar candy love
You showed me what love was
like that summernight
just you and me together
till the mornin' light
you swept me off my feet
My heart skipped a beat
when you held me close to you
what else could I do
but fall in love with you, with your
Sugar candy kisses, sugar honey love
just sugar candy dreamin'
I'm by the one I love
yes, you're my sugar candy kind of guy
my sugar candy love
So tell me baby you're gonna stay
that's all I pray
we can't let love like ours just fade away
so, come on now sweep me off my feet
Make my heart skip a beat
hold me close to you
what else can I do
I'm so in love with you, your
Sugar candy kisses, sugar honey love
summernights I've spent with
you are what I'm thinking of
just sugar candy dreamin'
I'm by the one I love
yes, you're my sugar candy kind of guy
my sugar candy love
(c) Tekst & Muziek: Tony Waddington & Wayne Bickerton
Who are Mac and Katie Kissoon?
The brother-and-sister vocal pop/rock duo, Mac and Katie Kissoon were both born in Port of Spain, Trinidad and raised in the UK. They are best known for their chart smashes during the 1970s such as “Chirpy Chirpy Cheep Cheep,” “Sugar Candy Kisses,” and “Don’t Do It Baby,” all of which were big homeland hits. After their chart-making power lost steam and they ceased to perform as a duo, Katie and Mac (mostly separately) went on in their careers mostly as backing vocalists namely, for Van Morrison, Eric Clapton, The Pet Shop Boys, Roger Waters, Robbie Williams and George Harrison. After Harrison’s death, Katie also appeared at the Concert for George memorial event at the Royal Albert Hall in November 2002.
The siblings’ early life and career
The male and female sibling vocal duo consisted of Mac Kissoon and Katie Kissoon. Mac was born Gerald Farthing on November 11, 1943 while Katie was born Katherine Farthing on March 11, 1951. Both were born in Port of Spain, on the island of Trinidad in the West Indies.
During the early 1960s, the siblings and their family immigrated to the United Kingdom where they were raised. In 1965, Mac and Katie Kissoon became part of vocal group the Marionettes, an act consisting of two male and two female members. Separately, Katie had cut a handful of solo recordings under the name Peanut, while Mac used to front his own band that had toured around Europe. He also released his solo records, one of which was his cover version of the Rolling Stones’ “(I Can’t Get No) Satisfaction.”
Port of Spain Waterfront: Destination Trinidad and Tobago
A hit with “Chirpy Chirpy Cheep Cheep”
The siblings also formed as part of another group called the Rag Dolls before they started their own act. In 1971, they did a cover version of Middle of the Road hit “Chirpy Chirpy Cheep Cheep” which was written by British singer-songwriter Lally Stott. Stott recorded the song’s original version, which had made dents on some European charts as well as in Australia and the US.
All three versions of “Chirpy Chirpy Cheep Cheep” were released in 1971, including the Lally Stott original. The Middle of the Road’s rendition was the most successful, topping the official national singles chart. While Mac and Katie Kissoon’s version didn’t do quite as well in the UK (only peaking at #41), it otherwise became successful in the United States, peaking at #20 on the Billboard Hot 100. It also reached #10 on the Billboard adult contemporary singles chart.
The duo continued to record and perform together. They weren’t able to surpass or even just match their initial US chart success, but their singles became hits in Europe particularly in the Netherlands and Belgium.
Maracas Bay, Trinidad by Mandy/Flickr/CC BY 2.0
UK breakthrough hits
In 1975, Mac and Katie Kissoon finally achieved breakthrough chart success in the UK via the single “Sugar Candy Kisses” which made it to #3. They followed this up with another Top 10 UK smash “Don’t Do It Baby” which peaked at #9. Both of these hits were written by Tony Waddington and Wayne Bickerton.
The siblings in their own separate careers
When bubblegum pop was starting to lose favor among the listening public, the siblings returned their focus to their separate careers. For a time, though, Mac and Katie also became members of German big band leader James Last’s backing singers. According to a source, Mac Kissoon still performs with Last’s up to this day. In 1997, the siblings reunited and released their last record together yet,From Now On that contained all new material.
Katie Kissoon continued her own successful career as a backup/session singer, having collaborated with such luminaries like George Harrison, Eric Clapton, Elton John, Elkie Brooks, Roger Waters, Robbie Williams and Van Morrison, among many others. In 2002, Kissoon also performed at Concert for George which commemorated Harrison’s first death anniversary. She’s still active recording and touring up to the present. Kissoon is the mother of Seb Stone, a singer-songwriter, musician and record producer.
Katie Kissoon
