This one came to mind last night, for obvious reasons.
Tag Archives: Tuneage
Here’s one of my favorite tunes from the eighties, The Plimsouls’ “A Million Miles Away”, in a format you oldsters may remember — the “music video”:
If you really want to date yourself, can you remember the movie soundtrack in which the song appeared? No?
Well, here you go.
Time sure damn flies, don’t it?
Dylan, live “Shelter From The Storm”.
A reminder that Arab chic was a thing once, I suppose.
Two dudes singing and strumming…
I went and saw Robert Earl Keen at City Winery last night. Nothing like sitting close up (front row seats!) in an intimate setting like that — and he was terrific in front of an audience who clearly loved him. I’ve never hear a crowd sing every word of a song correctly in a concert setting, but we managed that for “Merry Christmas From The Family”. I think he enjoyed it as much as we did.
Anyway, he played my favorite song of his and, well, hell, why don’t you listen, too? Feel free to sing along like we did last night.
Here’s the opener to Sharky’s Machine.
The opening credits use the 1979 hit song “Street Life“, originally performed by The Crusaders with vocalist Randy Crawford. The recording in the film is a newer version orchestrated by Doc Severinsen, inviting Crawford to reprise her vocal and who composed the original score, as well. This version is a much more powerful and faster-paced version with a full orchestra, and it was the one that Quentin Tarantino included in Jackie Brown (1997). (Crawford is given the only credit on the song title.)
I dig the original, too, for what it’s worth. Here’s a live version.
This one popped up on the player this morning on the way to work. It was in every sixties garage band’s repertoire for two reasons: one, because it was easy to master and two, because it effing rules.
The amazing thing about “Gloria” is that it was originally released as a b-side.
The Shadows of Knight had a bigger hit in the US with it, mainly because a lot of radio stations wouldn’t play the original due to the “She comes to my room” verse.
That didn’t slow Jim Morrison down. (Warning: this one’s a wee bit NSFW.)
I love the way everything kicks in at about the 5:20 mark on that one.
Finally, here’s Patti Smith reinventing the song for the punk rock era.
Iconic. Just iconic.