+- Music Discussion (https://www.music-discussion.com)
+-- Forum: Music Discussion (https://www.music-discussion.com/forumdisplay.php?fid=4)
+--- Forum: General Music (https://www.music-discussion.com/forumdisplay.php?fid=18)
+--- Thread: Songs People Should Hear (/showthread.php?tid=2032)
Songs People Should Hear - Music Head - 10-04-2010
![[Image: 796657.jpg]](http://userserve-ak.last.fm/serve/252/796657.jpg)
http://www.youtube.com/watch?v=VOk2T6Uweao
from wikipedia
"Incense and Peppermints" is a song by the Los Angeles based psychedelic pop band Strawberry Alarm Clock. It was released as a single during 1967 by UNI Records and reached the #1 position on the Billboard Hot 100, where it stayed for one week before beginning its fall down the charts. Although the single was released in the United Kingdom it failed to break into the UK Singles Chart.
Prior to the release of "Incense and Peppermints", the Strawberry Alarm Clock had already issued three singles, "My Flash on You" b/w "Fortune Teller", "In the Building" b/w "Hey Joe", and "Heart Full Of Rain" b/w "Next Plane Home", on All-American Records under the name Thee Sixpence. During recording sessions for "Incense and Peppermints", the band expressed a dislike for the song's lyrics (written by John Carter), so the lead vocals were sung by Greg Munford (a friend of the band) who was attending the recording session as a visitor. The regular vocalists in the band were relegated to providing background and harmony vocals on the record. Controversially, band members Mark Weitz and Ed King were both denied songwriting credits by the band's producer, Frank Slay, despite the fact that the song was, at least partially, built on an instrumental idea by Weitz and King. King would go on to greater fame as a member of the 1970s Southern rock band Lynyrd Skynyrd.
"Incense and Peppermints" initially appeared on the B-side of Thee Sixpence's fourth single, "The Birdman of Alkatrash", released on All-American Records in April 1967. However, local radio stations began playing "Incense and Peppermints" (the single's B-side) instead of the A-side and the song began to gain in popularity in and around Los Angeles. Sensing the possibility of a national hit, UNI Records (a subsidiary of MCA) picked up the record for national distribution and the single was re-released; this time with "Incense and Peppermints" on the A-side and "The Birdman of Alkatrash" as the B-side. By the time of this second pressing, the band had changed their name to Strawberry Alarm Clock due to the existence of a local group with a name somewhat similar to Thee Sixpence.
"Incense and Peppermints" spent a total of 16 weeks on the Billboard chart, finally reaching the #1 spot on November 25, 1967. The single eventually earned a gold disc from the RIAA on 19 December 1967 for sales of one million copies.
Good sense, innocence, cripplin' and kind.
Dead kings, many things I can't define.
Oh Cajun spice, sweats and blushers your mind.
Incense and peppermints, the color of thyme.
Who cares what games we choose?
Little to win, but nothing to lose.
Incense and peppermints, meaningless nouns.
Turn on, tune in, turn your eyes around.
Look at yourself, look at yourself,
Yeah, yeah.
Look at yourself, look at yourself,
Yeah, yeah,
Yeah, yeah.
Tune-a by the cockeyed world in two.
Throw your pride to one side, It's the least you can do.
Beatniks and politics, nothing is new.
A yardstick for lunatics, one point of view.
Who cares what games we choose?
Little to win, but nothing to lose.
Good sense, innocence, crippled and kind.
Dead kings and many things I can't define.
Oh Cajun spice, sweats and blushers your mind.
Incense and peppermints, the color of thyme.
Who cares what games we choose?
Little to win, but nothing to lose.
Incense, peppermints, incense, peppermints.
Songs People Should Hear - Music Head - 11-04-2010
![[Image: 346039.jpg]](http://userserve-ak.last.fm/serve/252/346039.jpg)
http://www.youtube.com/watch?v=5tLTb4P1HD8
from wikipedia
"In the Year 2525 (Exordium and Terminus)" is a hit song from 1969 by the Lincoln, Nebraska duo Zager and Evans which reached number one on the Billboard Hot 100 for the six weeks commencing July 12. The song was written by Rick Evans in 1964 and originally released on a small regional record label (Truth Records) in 1968. A year later, an Odessa, Texas radio station popularized the disc, which RCA Records quickly picked up for nationwide distribution.
"In the Year 2525 (Exordium and Terminus)" opens with the words "In the year 2525, If man is still alive, If woman can survive, They may find...". Subsequent verses pick up the story at 1010-year intervals from 2525 to 6565. Disturbing predictions are given for each selected year. In the year 3535, for example, all of a person's actions, words and thoughts will be preprogrammed into a daily pill. Then the pattern as well as the music changes, going up a half step in the key of the song, after two stanzas, first from A flat minor, to A minor, and, then, finally, to B flat minor, and verses for the years 7510, 8510 and 9595 follow.
The overriding theme, of a world doomed by its passive acquiescence to and overdependence on its own overdone technologies, struck a resonant chord in millions of people around the world in the late 1960s.
The song describes a nightmarish vision of the future as man's technological inventions gradually dehumanize him. It includes a colloquial reference to the Second Coming (In the year 7510, if God's a-coming, He ought to make it by then.), which echoed the zeitgeist of the Jesus Movement.
The song also references examples of technologies that were not fully developed but were known to the public in 1969, such as robots, as well as future technology that would come into existence long before their prediction in the song, the science of test tube babies and genetic selection by parents of their future children. Such a concept had been explored in a few science fiction novels but had not yet, for the most part, been mentioned in the mainstream media until "In The Year 2525" was released in 1969.
In one of the daily newscasts to the crew of Apollo 11 capsule communicator Ronald Evans told the returning crew that "In the Year 2525" was currently number one on the Billboard charts after also informing the crew about the large number of Moon based songs that had just been written following the successful moon landing.
It is unusual for a recording artist to have a number one hit and then never have another chart single for the rest of their career. "In the Year 2525" actually gave Zager and Evans this status twice: they remain the only act to do this in both the U.S. and UK singles charts. The duo also recorded and released the song in Italian under the title of "Nell'Anno Due Mila Trenta Tre" ("In The Year 2033"). Their follow up single on RCA-Victor, "Mr. Turnkey" (a song about a rapist who nails his own wrist to the wall as punishment for his crime), failed to hit the main music charts on either side of the Atlantic (although it did manage to make the Bubbling Under Hot 100 chart, peaking at #106).
The song has been covered many times. A notable version is sung by the italo-french pop icon Dalida, another one by the UK new romantic group Visage; another version was used as the theme song for the short-lived science fiction series Cleopatra 2525. It is also featured in both parts of the two-part second season finale of Millennium where a man-made virus is threatening to wipe out humanity. The Slovenian industrial group Laibach edited the lyrics in their cover version to make it appropriate for 1994's NATO album. There was also a dance cover of this song by The Act featuring Clinton III in 1993. More recently, it was covered by the gothic rock band Fields of the Nephilim, by the electronic body music band Project Pitchfork (album Dhyani), 1991, by the German electronic band Strauss & Roggenbuck, and most recently by Ian Brown on his 2009 album "My Way".
In the 1992 movie Alien 3, a prisoner is heard singing a line or two of the song while scraping the inside of a ventilator shaft, shortly before he is attacked by a juvenile Xenomorph and subsequently diced by a large ventilation fan. The movie takes place a few hundred years after the 20th century.
An extended selection of the song is played at the end of "The Time is Now", the second season finale of the TV series Millennium.
The song appeared on the list of songs deemed inappropriate by Clear Channel following the September 11, 2001 attacks.
The song still receives regular airplay on many radio stations. It was often featured as bumper music on Coast to Coast AM with Art Bell (before Bell retired). "In The Year 2525" was one of the 10 biggest singles of the 1960s in the United States, although it didn't neatly fit into any of the main categories of rock music. Upon release by RCA in 1969, it quickly became a multi-million-seller.
According to Jimmy Guterman and Owen O'Donnell, authors of The Worst Rock and Roll Records of All Time (1991), who place the song at number six on their list of the 50 worst rock-and-roll singles, "science fiction and rock and roll don't mix any better than Zsa Zsa Gabor and reality". Others differ, calling the one-hit wonder "prophetic".
The White Stripes refer to "the year 2525" in the song "You're Pretty Good Looking (For a Girl)" on their album De Stijl (2000).
In the year 2525
If man is still alive
If woman can survive
They may find
In the year 3535
Ain't gonna need to tell the truth, tell no lies
Everything you think, do, and say
Is in the pill you took today
In the year 4545
Ain't gonna need your teeth, won't need your eyes
You won't find a thing chew
Nobody's gonna look at you
In the year 5555
Your arms are hanging limp at your sides
Your legs got not nothing to do
Some machine is doing that for you
In the year 6565
Ain't gonna need no husband, won't need no wife
You'll pick your son, pick your daughter too
From the bottom of a long glass tube
In the year 7510
If God's a-comin' he ought to make it by then
Maybe he'll look around himself and say
Guess it's time for the Judgement day
In the year 8510
God is gonna shake his mighty head
He'll either say I'm pleased where man has been
Or tear it down and start again
In the year 9595
I'm kinda wondering if man is gonna be alive
He's taken everything this old earth can give
And he ain't put back nothing
Now it's been 10,000 years
Man has cried a billion tears
For what he never knew
Now man's reign is through
But through the eternal night
The twinkling of starlight
So very far away
Maybe it's only yesterday
In the year 2525
If man is still alive
If woman can survive
They may find
Songs People Should Hear - Music Head - 12-04-2010
![[Image: P20496DWRCI.jpg]](http://image.allmusic.com/00/amg/pic200/drP200/P204/P20496DWRCI.jpg)
http://www.youtube.com/watch?v=MJw0qpqIONQ
from wikipedia
"Valleri" is a song written by Tommy Boyce and Bobby Hart for The Monkees, who had a #3 on Billboard Hot 100 and #1 on Cash Box with it in early 1968. The song also rose to #12 in the UK.
Responding to Screen Gems president and music supervisor Don Kirshner's early-morning request for a "girl's-name song" to be used in the Monkees's television series, Boyce and Hart improvised "Valleri" on their way to Kirshner's office, after pretending over the telephone that the song was already finished. Nonetheless, Kirshner was pleased with their work, and "Valleri" took its place on the Monkees recording schedule, with Boyce and Hart producing the original sessions in August 1966.
The original recording (with instrumental backing by the Candy Store Prophets, plus session musician Louie Shelton contributing a flamencoesque guitar solo) was featured in the show's first season in 1967; a staged performance showed Michael Nesmith copying Shelton's guitar licks, and singer Davy Jones appearing to physically outgrow his bandmates, through forced perspective and camera trick shots. While the first version of "Valleri" went unreleased, a few off-air recordings received radio airplay (thanks to DJs taping the audio directly from the video), and later surfaced on bootleg recordings.
By the end of 1967, the Monkees had gone from only singing on their records (to meet their filming, recording, and appearance schedules) to also playing, to a mix of both. Their fifth album, The Birds, The Bees & the Monkees, rounded out the selection of songs from the show to appear on record, with the second season (1967-1968) being its last. Assuming both performing and producing roles, the Monkees remade both "I'll Be Back Up On My Feet" and "Valleri", duplicating the latter as closely as possible to the original, to the point of bringing back the Candy Store Prophets and Louie Shelton to perform. Boyce and Hart were not pleased that their production was not being used, but understood the reasons, and still collected writer's royalties.
When Lester Sill of Colgems Records heard the track, he felt it needed something extra, and had a brass section overdubbed. The remade "Valleri", released on March 2, 1968, made it to Number Three in the US, but proved to be the band's last top ten hit of the 1960s. (It was also their last single to receive a push from their television series; its followup, "D. W. Washburn", was not featured on the show, and only reached #19 in the pop charts. Later singles fared even worse.)
When Davy Jones, Micky Dolenz and Peter Tork reunited in 1986 to tour as the Monkees, they featured "Valleri" frequently in their song lineup. The song itself is simple musically; consisting mostly of four chords (F# Major, E Major, D Major and C# Major) repeated several times, with a change midway (from F# Major to D# minor, twice).
The original recording of "Valleri" was finally released in January 1990, as part of the Rhino Records collection Missing Links, Volume II, along with several other versions of Monkees tunes used in the TV series.
Valleri,
I love my Valleri.
There's a girl I know,
Who makes me feel so good,
And I wouldn't live without her,
Even if I could.
They call her Valleri,
I love my Valleri.
Oh, yeah!
Come on!
Wow!
She's the same little girl who used to
Hang around my door,
But she sure looks different than
The way she looked before.
I call her Valleri,
I love my Valleri.
Valleri,
I love my Valleri.
I love my Valleri,
I need her, Valleri.
Songs People Should Hear - Music Head - 13-04-2010
![[Image: P11237FDP9M.jpg]](http://image.allmusic.com/00/amg/pic200/drP100/P112/P11237FDP9M.jpg)
http://www.youtube.com/watch?v=bZP0pzDRtQw
from wikipedia
"For What It's Worth" is a song written by Stephen Stills. It was performed by Buffalo Springfield and released as a single in January 1967; it was later added to the re-release of their first album, Buffalo Springfield. The single peaked at number seven on the Billboard Hot 100 chart. In 2004, this song was #63 on Rolling Stone's list of The 500 Greatest Songs of All Time. The song is currently ranked as the 99th greatest song of all time, as well as the eighth best song of 1967, by Acclaimed Music.
While the song has come to symbolize worldwide turbulence and confrontational feelings arising from events during the 1960s (particularly the Vietnam War), Stills reportedly wrote the song in reaction to escalating unrest between law enforcement and young club-goers related to the closing of Pandora's Box, a club on the Sunset Strip in West Hollywood, California. The song's title appears nowhere in its lyrics; it is more easily remembered by the first line of chorus: "Stop, children, what's that sound? Everybody look what's going down."
Stills said in an interview that the name of the song came about when he presented it to the record company executive Ahmet Ertegun who signed Buffalo Springfield to the Atlantic Records owned ATCO label. He said: "I have this song here, for what it's worth, if you want it." Later they decided that should be its name.
In 2006, when interviewed on Tom Kent's radio show "Into the '70s", Stephen Stills pointed out that many people think "For What It's Worth" is about the Kent State Shootings (1970), despite having been actually recorded four years before that event.
The song was also played at Buffalo Springfield's induction to the Rock and Roll Hall of Fame.
There's something happening here
What it is ain't exactly clear
There's a man with a gun over there
Telling me I got to beware
I think it's time we stop, children, what's that sound
Everybody look what's going down
There's battle lines being drawn
Nobody's right if everybody's wrong
Young people speaking their minds
Getting so much resistance from behind
I think it's time we stop, hey, what's that sound
Everybody look what's going down
What a field-day for the heat
A thousand people in the street
Singing songs and carrying signs
Mostly say, hooray for our side
It's time we stop, hey, what's that sound
Everybody look what's going down
Paranoia strikes deep
Into your life it will creep
It starts when you're always afraid
You step out of line, the man come and take you away
We better stop, hey, what's that sound
Everybody look what's going down
Stop, hey, what's that sound
Everybody look what's going down
Stop, now, what's that sound
Everybody look what's going down
Stop, children, what's that sound
Everybody look what's going down
Songs People Should Hear - tantulo - 13-04-2010
Queen - Love Of My Life
Songs People Should Hear - Music Head - 14-04-2010
![[Image: 560911.gif]](http://userserve-ak.last.fm/serve/252/560911.gif)
http://www.youtube.com/watch?v=SqAh1dQu_pg
from wikipedia
"Walk Away Renée" is a song made popular by the band The Left Banke in 1966 (single release: July 1966, Smash Records, title printed as "Walk Away Renee"), composed by the group's then 16-year-old keyboard player Michael Brown (real name Michael Lookofsky) and Tony Sansone. Bob Calilli is also credited as a writer, though he didn't actually write any of the lyrics or music - he received credit in exchange for setting up the session in which the writing stage of the song was completed. The song was also a chart hit for the Motown group The Four Tops in 1968.
The song features a flute being played during the instrumental bridge of the middle portion of the song. Michael Brown got the idea for the flute solo from The Mamas & the Papas song "California Dreamin'" which had been recorded in November 1965 but wasn't a hit and in heavy rotation until early 1966. The song also includes a lush Obbligato string orchestration, memorable harpsichord accompaniment, and a falling chromatic bass melody which led critics to refer to the group's sound as Baroque pop, "Bach-Rock" or Baroque n Roll.
Rolling Stone placed the song at number 220 in the 500 Greatest Songs of All Time. After its initial release, it spent thirteen weeks on the charts with a top spot at #5. It has been widely covered by artists in a wide range of genres and styles, often with great success. For example, Linda Ronstadt and Ann Savoy recently covered the song on their album Adieu False Heart. The New York Times' reviewer Jon Pareles stated of their cover version that:
âTheir spare reading of the Left Banke's 1965 hit "Walk Away Renee" brings the lyric's ache into full relief, and allows Ronstadt a brief return to the pop-rock milieu from which she emerged".
The song is one of a number Brown wrote about Renee Fladen-Kamm, then-girlfriend of The Left Banke's bassist Tom Finn and object of Brown's affection. She was associated with the band for a few weeks, and described as a free-spirited and quite tall blonde. The song was written one month after Brown met her. "Walk Away Renée" was one of series of love songs the infatuated Brown wrote after meeting his newfound muse. Other songs written about her include the band's second hit "Pretty Ballerina" and "She May Call You Up Tonight". After decades of obscurity, she was identified in 2001 as a noted singer, vocal teacher and artist on the West Coast.
Brown says of his unrequited love for Renée:
"I was just sort of mythologically in love, if you know what I mean, without having evidence in fact or in deed...But I was as close as anybody could be to the real thing".
Fladen-Kamm was looking on during the recording of the song, and her presence nearly prevented its completion. In an interview, Brown stated:
"My hands were shaking when I tried to play, because she was right there in the control room," he says. "There was no way I could do it with her around, so I came back and did it later.
And when I see the sign that
points one way
The lot we used to pass by
every day
Just walk away Renee,
You won't see me follow you back home
The empty sidewalks on my
block are not the same
You're not to blame
From deep inside the tears that
I'm forced to cry
From deep inside the pain I
I chose to hide
Just walk away Renee,
You won't see me follow you back home
Now as the rain beats down
upon my weary eyes
For me it cries
Just walk away Renee,
You won't see me follow you back home
Now as the rain beats down
upon my weary eyes
For me it cries
Your name and mine inside
a heart upon a wall
Still finds a way to haunt me,
though they're so small
Just walk away Renee,
You won't see me follow you back home
The empty sidewalks on my
block are not the same
You're not to blame
Songs People Should Hear - Music Head - 15-04-2010
![[Image: 125625.jpg]](http://userserve-ak.last.fm/serve/252/125625.jpg)
http://www.youtube.com/watch?v=C_3Cvy_-C7U
from wikipedia
"Easier Said Than Done" is a popular song sung by The Essex that was a number-one song in the United States during the year 1963. It topped the Billboard Hot 100 singles chart on July 6, 1963 and remained there for two weeks. The song was written by William Linton and Larry Huff.
The Essex were active-duty members of the United States Marine Corps at the time, as was Linton, who wrote the song at the request of Essex member Walter Vickers. The song's rhythm was inspired by the sound of the teletype machines in the communications office of their Marine post. The group was not thrilled with the song, but recorded it for use as the b-side of their debut single, "Are You Going My Way". The recording was unusually short, and editing was used to repeat part of the recording; even so, the song was only a little over two minutes. The single was released in May 1963, but "Easier Said Than Done" quickly emerged as the more popular side. The song became a major hit with broad appeal, reaching number one on both the pop and rhythm and blues charts. The song became the title track of the group's first album, which reached #113 on the Billboard album chart, becoming their only charting album.
Founding members Walter Vickers (guitar) and Rodney Taylor (drums) were U.S. Marines stationed in Okinawa, Japan. After being transferred to Camp LeJeune in North Carolina, they enlisted fellow Marines Billy Hill and Rudolph Johnson as group members. Next they added a female lead singer, Anita Humes, another Marine.
In 1963, a demo earned them a recording contract with Roulette Records. They recorded "Easier Said Than Done" in twenty minutes. The song was written by Larry Huff and William Linton, who said that the beat was inspired by the sound of multiple teletype machines, noisy mechanical beasts pounding out copy in the base's communications room.[citation needed] Released as their first single, the song reached the top of the U.S. Billboard Hot 100 chart. The track sold over one million records and received a gold disc award from the R.I.A.A. "Easier Said Than Done" reached #41 in the UK Singles Chart in August 1963.
Rudolph Johnson left the group, and the Essex became a quartet. Three months after "Easier Said Than Done" reached #1 in July 1963, the group had a #12 hit with the follow-up song, "A Walkin' Miracle" in September 1963. On the label of this single, the group name appeared as 'The Essex Featuring Anita Humes.' The next single, "She's Got Everything," was a #56 hit. Marine duties made it hard for the group to take advantage of their hits; for example, before long, Johnson was posted to Okinawa.
Humes released several solo singles on the Roulette label, but had no chart success.
My friends all tell me
Go to him, run to him,
Say sweet lovely things to him,
And tell him - he's the one.
Deep in my heart I know it,
But it's so hard to show it
'Cause it's easier - easier said than done.
My buddies tell me
Fly to him, sigh to him,
Tell him I would die for him,
And tell him - he's the one.
Although he gives me a feeling
That sets my heart a-reeling,
Yet it's easier - easier said than done.
Well, I know that I love him so.
I'm afraid that he'll never know
Because I (I-I) I get so timid and shy
Each time that I look him in the eye.
They all tell me
Sing to him, swing with him,
And just do anything for him,
And tell him - he's the one.
I got a love so true
But I'm sad and blue
'Cause it's easier - easier said than done.
Well, I know that I love him so.
I'm afraid that he'll never know
Because I (I-I) I get so timid and shy
Each time that I look him in the eye.
They all tell me
Sing to him, swing with him,
And just do anything for him,
And tell him - he's the one.
I got a love so true
But I'm sad and blue
'Cause it's easier - easier said than done.
Easier-er-er-er - said than done.
Songs People Should Hear - Music Head - 16-04-2010
![[Image: P14608U1P32.jpg]](http://image.allmusic.com/00/amg/pic200/drP100/P146/P14608U1P32.jpg)
http://www.youtube.com/watch?v=WIXVzeB0DUo
from wikipedia
"A Well Respected Man" is a song by the British band The Kinks, originally released on the UK EP Kwyet Kinks in September 1965 (see 1965 in music). It was released as a single in the US in October and reached #13. Musically, it marked the beginning of an expansion in the Kinks' inspirations, drawing much from British music hall traditions, as well as from American rhythm and blues used later in songs such as "Dedicated Follower of Fashion". Following the success of that single, "A Well Respected Man" was also released as a single in mainland Europe in March 1966 (although pressed in the UK, it was an export only issue).
It was one of three Kinks songs included on The Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll along with "You Really Got Me" and "Lola".
Davies composed the song based on a negative experience with upper class guests at a luxury resort where he was staying in 1965. He crafted the song to mock what he perceived as their condescension and self-satisfaction.
The song was featured in the 2007 film Juno and its award-winning soundtrack.
The song can be heard during the end credits of the 2004 film The Life and Death of Peter Sellers.
The song can also be heard in the Criminal Minds episode, "Normal"
The song can also be heard in the Supernatural episode, "It's A Terrible Life."
The song can also be heard in the Homicide: Life on the Street episode, "Colors"
The song was also used in the small British play A Well Respected Man, written and starring Rachel Sodah, Nicola Sewell and Benjamin Feist of Staines, England.
'Cause he gets up in the morning,
And he goes to work at nine,
And he comes back home at five-thirty,
Gets the same train every time.
'Cause his world is built 'round punctuality,
It never fails.
And he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.
And his mother goes to meetings,
While his father pulls the maid,
And she stirs the tea with councilors,
While discussing foreign trade,
And she passes looks, as well as bills
At every suave young man
'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.
And he likes his own backyard,
And he likes his fags the best,
'Cause he's better than the rest,
And his own sweat smells the best,
And he hopes to grab his father's loot,
When Peter passes on.
'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.
And he plays at stocks and shares,
And he goes to the Regatta,
And he adores the girl next door,
'Cause he's dying to get at her,
But his mother knows the best about
The matrimonial stakes.
'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.
Songs People Should Hear - kvincent5555 - 17-04-2010
I was never a fan, but some of the performances from the '68 special were really good, and gave me a sense of the early Elvis that folks like the Beatles, Zeppelin, etc. seemed to have great respect for.
http://www.youtube.com/watch?v=C_Pxo-WnunU
Songs People Should Hear - Music Head - 17-04-2010
kvincent5555 Wrote:I was never a fan, but some of the performances from the '68 special were really good, and gave me a sense of the early Elvis that folks like the Beatles, Zeppelin, etc. seemed to have great respect for.
http://www.youtube.com/watch?v=C_Pxo-WnunU
nice performance.
the man had charisma