La bande-son
Parce qu'il n'y a pas que "We Are The Champions" ou "I Will Survive" dans la vie. Ici on parle de pop, de rock, de hip-hop, de nü-metal, de ce que vous voulez.
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Message posté par 2yemklubapanam
Un de ses condisciples
Manuel Göttsching. Quasarsphere.
https://soundcloud.com/vangalva/quasarsphere
Manuel Göttsching. Quasarsphere.
https://soundcloud.com/vangalva/quasarsphere
C'est vraiment sublime.
C'est très ressemblant à une partie de Gates of Delirium de Yes:
A partir de 16mn:
https://www.youtube.com/watch?v=EdmUAsU2eXI
Y a aussi Karl Bartos qui a fait partie du groupe:
I am the message
https://www.youtube.com/watch?v=srkK5zGjfgw
I am the message
https://www.youtube.com/watch?v=srkK5zGjfgw
Un classique celui là. Je connaissais Nujabes et Fat Jon avant que Samurai Champloo ne les popularisent plus, même s'ils ne sont toujours pas assez connus à mon goût.
Encore une voix qui s'éteint, Little Richard 1932-2020.
De son vrai nom Richard Penniman, the "Queen of Rock and Roll", comme il aimait à se surnommer lui-même. Une voix terrific qui un beau jour abandonna le rock pour le Gospel.
Des chanteurs de rock qui firent nos défonces des samedis après-midi à notre club, ne reste donc plus que Jerry Lee Lewis, né en 35. A voir dans quel état, lui le contemporain d'Elvis.
J'ai eu l'occasion de les voir tous les deux à l'Olympia, ainsi que Chuck Berry. Prétexte pour les "Rednecks" fans essentiellement de Rockabilly blanc, de ce coltiner avec les flics.
Par contre mieux vaut jeter un voile pudique sur les prestations de Gene Vincent au Golf Drouot en fin de vie et de Vince Taylor qui termina son show en...slip de bain. En plus d'une bataille rangée entre bandes de blousons noirs nostalgiques et avec le service d'ordre de l'Olympia: " attention, les mecs, me dit un pote: paraît qu'y a Répu, Bastille et Montreuil. " Et les 50 premiers rangs se vidèrent aussi sec !
De son vrai nom Richard Penniman, the "Queen of Rock and Roll", comme il aimait à se surnommer lui-même. Une voix terrific qui un beau jour abandonna le rock pour le Gospel.
Des chanteurs de rock qui firent nos défonces des samedis après-midi à notre club, ne reste donc plus que Jerry Lee Lewis, né en 35. A voir dans quel état, lui le contemporain d'Elvis.
J'ai eu l'occasion de les voir tous les deux à l'Olympia, ainsi que Chuck Berry. Prétexte pour les "Rednecks" fans essentiellement de Rockabilly blanc, de ce coltiner avec les flics.
Par contre mieux vaut jeter un voile pudique sur les prestations de Gene Vincent au Golf Drouot en fin de vie et de Vince Taylor qui termina son show en...slip de bain. En plus d'une bataille rangée entre bandes de blousons noirs nostalgiques et avec le service d'ordre de l'Olympia: " attention, les mecs, me dit un pote: paraît qu'y a Répu, Bastille et Montreuil. " Et les 50 premiers rangs se vidèrent aussi sec !
Aiò Fredù!
Je parie 2 pesos que tu étais croque mort avant la retraite?
C'est de la "macagna" hein Fredù babin!^^
(Bcp de respect pour tes renseignements culturels l'amicu)
Je parie 2 pesos que tu étais croque mort avant la retraite?
C'est de la "macagna" hein Fredù babin!^^
(Bcp de respect pour tes renseignements culturels l'amicu)
Message posté par So-Frites
Aiò Fredù!
Je parie 2 pesos que tu étais croque mort avant la retraite?
C'est de la "macagna" hein Fredù babin!^^
(Bcp de respect pour tes renseignements culturels l'amicu)
Je parie 2 pesos que tu étais croque mort avant la retraite?
C'est de la "macagna" hein Fredù babin!^^
(Bcp de respect pour tes renseignements culturels l'amicu)
Pas de ma faute si toutes les idoles de notre jeunesse n'en finissent plus de clamser. Et je t'ai pas raconté le fameux concert de la Nation en juin 63. C'était pas mal non plus.
Le grand Harry Belafonte est toujours parmi nous. Que de fois le vinyl "Calypso" est passé sur le Teppaz, puis sur l'électrophone stéréo acheté au Printemps, avant que la Fnac n'existât !
Huhuhuh, excellent!
Tiens ça me fera une bonne occasion de mettre le pif dans la disco de Genesis, c'est fou, j'ai une culture hyper élargie en musique ( sans m'autosucer ) avec des milliers voire des millions d'heures d'écoute et de découvertes et il y a des classiques dont j'ignore la disco...huhu
Pour moi, le plus beau morceau jamais écrit dans le plus bel album jamais composé.
Message posté par JalovesbigTits
Tiens ça me fera une bonne occasion de mettre le pif dans la disco de Genesis, c'est fou, j'ai une culture hyper élargie en musique ( sans m'autosucer ) avec des milliers voire des millions d'heures d'écoute et de découvertes et il y a des classiques dont j'ignore la disco...huhu
N’écoute que la période PG, t’en auras pour des années.
Message posté par JalovesbigTits
Tiens ça me fera une bonne occasion de mettre le pif dans la disco de Genesis, c'est fou, j'ai une culture hyper élargie en musique ( sans m'autosucer ) avec des milliers voire des millions d'heures d'écoute et de découvertes et il y a des classiques dont j'ignore la disco...huhu
En parlant de PG, tu peux aussi ajouter ses trois premiers albums solo.
Ok les mecs, merci pour vos conseils!
…
D'accord avec Ruruud et i90 !
Genesis avec PG c'est le vrai Progr', ensuite c'est plus pop'.
A la nuance que "mon" album est "A trick of the tail" et mon best-titre est "Firth of fifth"(ah qd S.Hackett fait l'Amour à sa guitare) de l'Album "Selling England by the pound".
https://youtu.be/SD5engyVXe0
Nursery cryme, Selling england by the pound, the lamb lies down on broway, Wind & wuthering, A trick of the tail et le Live "Seconds out" sont des chefs d'œuvre. Idem pour PG solo (et Hackett a fait du bon taf aussi en solo).
Pour les morceaux, Firth of fifth mais aussi Entangled qui me fout la chair de poule puis the musical box, The cinema show, The carpet crawl, Afterglow, Supper's ready…
Jouissance!
Anecdote:
le virage Progr ---> pop' est l'album "...and then there were three" (ainsi donc nous voilà que 3) suite au départ d'Hackett après PG.
Le titre de l'album est inspiré d'une contine américaine pour enfants "les 10 petits indiens".
D'accord avec Ruruud et i90 !
Genesis avec PG c'est le vrai Progr', ensuite c'est plus pop'.
A la nuance que "mon" album est "A trick of the tail" et mon best-titre est "Firth of fifth"(ah qd S.Hackett fait l'Amour à sa guitare) de l'Album "Selling England by the pound".
https://youtu.be/SD5engyVXe0
Nursery cryme, Selling england by the pound, the lamb lies down on broway, Wind & wuthering, A trick of the tail et le Live "Seconds out" sont des chefs d'œuvre. Idem pour PG solo (et Hackett a fait du bon taf aussi en solo).
Pour les morceaux, Firth of fifth mais aussi Entangled qui me fout la chair de poule puis the musical box, The cinema show, The carpet crawl, Afterglow, Supper's ready…
Jouissance!
Anecdote:
le virage Progr ---> pop' est l'album "...and then there were three" (ainsi donc nous voilà que 3) suite au départ d'Hackett après PG.
Le titre de l'album est inspiré d'une contine américaine pour enfants "les 10 petits indiens".
Message posté par Ras Bernard Lama
bad card est la chanson préférée de Sydney Govou. Les grands esprits lyonnais se rencontrent
Je l'ignorais, je suis pas cannabis du tout mais je dois avouer qu'après quelques bières, ça passe crème.
Message posté par Fred Astaire
Encore une voix qui s'éteint, Little Richard 1932-2020.
De son vrai nom Richard Penniman, the "Queen of Rock and Roll", comme il aimait à se surnommer lui-même. Une voix terrific qui un beau jour abandonna le rock pour le Gospel.
Des chanteurs de rock qui firent nos défonces des samedis après-midi à notre club, ne reste donc plus que Jerry Lee Lewis, né en 35. A voir dans quel état, lui le contemporain d'Elvis.
J'ai eu l'occasion de les voir tous les deux à l'Olympia, ainsi que Chuck Berry. Prétexte pour les "Rednecks" fans essentiellement de Rockabilly blanc, de ce coltiner avec les flics.
Par contre mieux vaut jeter un voile pudique sur les prestations de Gene Vincent au Golf Drouot en fin de vie et de Vince Taylor qui termina son show en...slip de bain. En plus d'une bataille rangée entre bandes de blousons noirs nostalgiques et avec le service d'ordre de l'Olympia: " attention, les mecs, me dit un pote: paraît qu'y a Répu, Bastille et Montreuil. " Et les 50 premiers rangs se vidèrent aussi sec !
De son vrai nom Richard Penniman, the "Queen of Rock and Roll", comme il aimait à se surnommer lui-même. Une voix terrific qui un beau jour abandonna le rock pour le Gospel.
Des chanteurs de rock qui firent nos défonces des samedis après-midi à notre club, ne reste donc plus que Jerry Lee Lewis, né en 35. A voir dans quel état, lui le contemporain d'Elvis.
J'ai eu l'occasion de les voir tous les deux à l'Olympia, ainsi que Chuck Berry. Prétexte pour les "Rednecks" fans essentiellement de Rockabilly blanc, de ce coltiner avec les flics.
Par contre mieux vaut jeter un voile pudique sur les prestations de Gene Vincent au Golf Drouot en fin de vie et de Vince Taylor qui termina son show en...slip de bain. En plus d'une bataille rangée entre bandes de blousons noirs nostalgiques et avec le service d'ordre de l'Olympia: " attention, les mecs, me dit un pote: paraît qu'y a Répu, Bastille et Montreuil. " Et les 50 premiers rangs se vidèrent aussi sec !
La véritable histoire de Tutti Frutti.
"Tutti Frutti" (Italian: "All fruits") is a song written by Little Richard and Dorothy LaBostrie that was first recorded in 1955, becoming Little Richard's first major hit record. With its opening cry of "A-wop-bop-a-loo-bop-a-wop-bam-boom!" (a verbal rendition of a drum pattern that Little Richard had imagined)and its hard-driving sound and wild lyrics, it became not only a model for many future Little Richard songs, but also a model for rock and roll itself.[The song introduced several of rock music's most characteristic musical features, including its loud volume, powerful vocal style, and distinctive beat and rhythm.
In 2007, an eclectic panel of renowned recording artists ranked "Tutti Frutti" at No. 1 on Mojo's "The Top 100 Records That Changed The World" and hailed the recording as "the sound of the birth of rock and roll". In 2010, the U.S. Library of Congress National Recording Registry added the recording to its registry, claiming the "unique vocalizing over the irresistible beat announced a new era in music". In April 2012, Rolling Stone magazine declared that the song "still contains what has to be considered the most inspired rock lyric ever recorded: 'A wop bop alu bop, a wop bam boom!' "
Although "Little Richard" Penniman had recorded for RCA and Peacock Records since 1951, his records had been relatively undistinguished and did not result in the commercial success for which his producers hoped. In February 1955, he sent a demo tape to Specialty Records, which was heard by Specialty owner Art Rupe. Rupe heard promise in the tapes and arranged a recording session for Little Richard at Cosimo Matassa's J & M Studio in New Orleans in September 1955, with Robert "Bumps" Blackwell as producer and Fats Domino's backing band. The band included Lee Allen and Alvin "Red" Tyler on saxophones, Huey Smith on piano, Frank Fields on double bass, Justin Adams on guitar and Earl Palmer on drums.
As the session wore on, Little Richard became frustrated that his anarchic performance style was not being fully captured on tape. During a lunch break, he started pounding a piano and singing a ribald song that he wrote and composed, and which he had been performing live for a few years. According to some accounts, he first wrote and performed the song while working as a janitor in a bus station. The song that he sang was a piece of music that he "had polished in clubs across the South." Little Richard sang:
A-wop-bop-a-loo-bop-a-wop-bam-boom!
Tutti Frutti, good booty
After this lively performance, Blackwell knew the song was going to be a hit, but recognized that the lyrics, with their "minstrel modes and sexual humor", needed to be revised for lyrical purity.
Blackwell contacted local songwriter Dorothy LaBostrie to revise the lyrics, with Little Richard still playing in his characteristic style. According to Blackwell, LaBostrie "didn't understand melody" but she was definitely a "prolific writer".
The original lyrics, in which "Tutti Frutti" referred to a homosexual man, were:
Tutti Frutti, good booty
If it don't fit, don't force it
You can grease it, make it easy
These were replaced with:
Tutti Frutti, aw rooty
Tutti Frutti, aw rooty.
"Aw rooty" was a slang expression meaning "All right". According to Charles Connor, Little Richard's drummer, the original lyrics were:
Tutti Frutti, good booty
If it's tight, it's all right
And if it's greasy, it makes it easy
In addition to Penniman and LaBostrie, a third name—Lubin—is credited as co-writer. Some sources considered this a pseudonym used by Specialty label owner Art Rupe to claim royalties on some of his label's songs,[1] but others refer to songwriter Joe Lubin.
As possible evidence that the "sexual song" theory was created later, songwriter LaBostrie was quoted as saying, "Little Richard didn't write none of 'Tutti Frutti'. I'll tell you exactly how I came to write that. I used to live on Galvez Street and my girlfriend and I liked to go down to the drug store and buy ice cream. One day we went in and saw this new flavor, Tutti Frutti. Right away I thought, 'Boy, that's a great idea for a song'. So I kept it in the back of my mind until I got to the studio that day. I also wrote the flip side of 'Tutti Frutti', 'I'm Just A Lonely Guy', and a spiritual, 'Blessed Mother', all in the same day." LaBostrie was still receiving royalty checks on the average of $5,000 every three to six months from the song in the 1980s.
Blackwell said time constraints prevented the development of a new arrangement, so Little Richard recorded the revised song in three takes, taking about 15 minutes, with the original piano part. The song was recorded on September 14, 1955. Released on Specialty 561, the record entered the Billboard Rhythm and Blues chart at the end of December 1955 and rose to No. 2 early in February 1956. It also reached No. 21 on the Billboard pop chart. In the UK, it only scraped into the top 30 in 1957, as the B-side of "Long Tall Sally". The song, with its twelve-bar blues chord progression, provided the foundation of Little Richard's career. It was seen as a very aggressive song that contained more features of African American vernacular music than any other past recordings in this style.
Richard's contract with Peacock had been purchased by Specialty Records owner Art Rupe, who also owned the publishing company that bought Richard's songs. Specialty's deal with Richard was typical of most record companies's dealings with their artists.
Impact
"Tutti Frutti" provided the title for one of the earliest books about the development of rock and roll and pop music from the 1950s, Nik Cohn's "Awopbopaloobop Alopbamboom" (1969). In 2010, the US Library of Congress National Recording Registry added the recording to its registry, stating that the hit, with its original a cappella introduction, heralded a new era in music.
Combining elements of boogie, gospel and blues, the song introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and rhythm. The beat has its roots in boogie-woogie, but Richard departed from its shuffle rhythm and introduced a new distinctive rock beat. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register. The song's new rhythm became the basis for the standard rock beat, which was later consolidated by Chuck Berry.
In 2007, an eclectic panel of renowned recording artists voted "Tutti Frutti" No. 1 on Mojo's The Top 100 Records That Changed The World, hailing the recording as "the sound of the birth of rock and roll."[ The song is No. 43 on Rolling Stone's list of The 500 Greatest Songs of All Time. In April 2012, Rolling Stone magazine declared that the song "still has the most inspired rock lyric on record."
Personnel
Little Richard – vocals, piano
Lee Allen – tenor saxophone
Alvin "Red" Tyler – baritone saxophone
Frank Fields – double bass
Earl Palmer – drums
Additional personnel
Justin Adams – guitar
Early cover versions
The song has been covered by many musicians. After Pat Boone's success with "Ain't That a Shame", his next single was "Tutti Frutti", markedly toned down from the already reworked Blackwell version. Boone's version made No. 12 on the national pop chart, with Little Richard's trailing behind reaching only No. 21 in February 1956. Boone himself admitted that he did not wish to do a cover of "Tutti Frutti" because "it didn't make sense" to him; however, the producers persuaded him into making a different version by claiming that the record would generate attention and money.
Little Richard admitted that though Boone "took [his] music", Boone made it more popular due to his high status in the white music industry. Nevertheless, a Washington Post Staff Writer, Richard Harrington, quoted Richard in an article:
They didn't want me to be in the white guys' way. ... I felt I was pushed into a rhythm and blues corner to keep out of rockers' way, because that's where the money is. When "Tutti Frutti" came out. ... They needed a rock star to block me out of white homes because I was a hero to white kids. The white kids would have Pat Boone upon the dresser and me in the drawer 'cause they liked my version better, but the families didn't want me because of the image that I was projecting.
Elvis Presley version
Elvis Presley recorded the song and it was included in his first RCA album Elvis Presley March 23, 1956. Presley's version uses "A-wop-bop-a-loo-bop-a-lop-bam-boom!" for every verse,finishing the phrase with "bam-boom" instead of "bom-bom". Elvis' cut of "Tutti Frutti" was also released as part of a four track EP (RCA EPA-747) and as the b-side of "Blue Suede Shoes" (RCA 47-6636) which reached #20 on the 'Billboard' chart.
The Beatles versions
According to eminent author Mark Lewisohn in The Complete Beatles Chronicles (p. 365) The Beatles performed "Tutti Frutti" live from at least 1960 through 1962 (in Hamburg, Liverpool and elsewhere). Reportedly the lead vocal was always by Paul McCartney, but it is unknown whether their version was actually based on the one by Elvis or that of Little Richard. No recorded version is known to survive. However, according to author Allen J. Weiner in The Beatles – The Ultimate Recording Guide (p. 225) during the massive Get Back sessions a version of "Tutti Frutti" was recorded. A few months later George Harrison played on a live version which was recorded in Copenhagen with Delaney and Bonnie and Eric Clapton which came out on an unauthorized release, though a legitimate version was also recorded in concert in England (and released in 1970).
Message posté par Fred Astaire
La véritable histoire de Tutti Frutti.
"Tutti Frutti" (Italian: "All fruits") is a song written by Little Richard and Dorothy LaBostrie that was first recorded in 1955, becoming Little Richard's first major hit record. With its opening cry of "A-wop-bop-a-loo-bop-a-wop-bam-boom!" (a verbal rendition of a drum pattern that Little Richard had imagined)and its hard-driving sound and wild lyrics, it became not only a model for many future Little Richard songs, but also a model for rock and roll itself.[The song introduced several of rock music's most characteristic musical features, including its loud volume, powerful vocal style, and distinctive beat and rhythm.
In 2007, an eclectic panel of renowned recording artists ranked "Tutti Frutti" at No. 1 on Mojo's "The Top 100 Records That Changed The World" and hailed the recording as "the sound of the birth of rock and roll". In 2010, the U.S. Library of Congress National Recording Registry added the recording to its registry, claiming the "unique vocalizing over the irresistible beat announced a new era in music". In April 2012, Rolling Stone magazine declared that the song "still contains what has to be considered the most inspired rock lyric ever recorded: 'A wop bop alu bop, a wop bam boom!' "
Although "Little Richard" Penniman had recorded for RCA and Peacock Records since 1951, his records had been relatively undistinguished and did not result in the commercial success for which his producers hoped. In February 1955, he sent a demo tape to Specialty Records, which was heard by Specialty owner Art Rupe. Rupe heard promise in the tapes and arranged a recording session for Little Richard at Cosimo Matassa's J & M Studio in New Orleans in September 1955, with Robert "Bumps" Blackwell as producer and Fats Domino's backing band. The band included Lee Allen and Alvin "Red" Tyler on saxophones, Huey Smith on piano, Frank Fields on double bass, Justin Adams on guitar and Earl Palmer on drums.
As the session wore on, Little Richard became frustrated that his anarchic performance style was not being fully captured on tape. During a lunch break, he started pounding a piano and singing a ribald song that he wrote and composed, and which he had been performing live for a few years. According to some accounts, he first wrote and performed the song while working as a janitor in a bus station. The song that he sang was a piece of music that he "had polished in clubs across the South." Little Richard sang:
A-wop-bop-a-loo-bop-a-wop-bam-boom!
Tutti Frutti, good booty
After this lively performance, Blackwell knew the song was going to be a hit, but recognized that the lyrics, with their "minstrel modes and sexual humor", needed to be revised for lyrical purity.
Blackwell contacted local songwriter Dorothy LaBostrie to revise the lyrics, with Little Richard still playing in his characteristic style. According to Blackwell, LaBostrie "didn't understand melody" but she was definitely a "prolific writer".
The original lyrics, in which "Tutti Frutti" referred to a homosexual man, were:
Tutti Frutti, good booty
If it don't fit, don't force it
You can grease it, make it easy
These were replaced with:
Tutti Frutti, aw rooty
Tutti Frutti, aw rooty.
"Aw rooty" was a slang expression meaning "All right". According to Charles Connor, Little Richard's drummer, the original lyrics were:
Tutti Frutti, good booty
If it's tight, it's all right
And if it's greasy, it makes it easy
In addition to Penniman and LaBostrie, a third name—Lubin—is credited as co-writer. Some sources considered this a pseudonym used by Specialty label owner Art Rupe to claim royalties on some of his label's songs,[1
"Tutti Frutti" (Italian: "All fruits") is a song written by Little Richard and Dorothy LaBostrie that was first recorded in 1955, becoming Little Richard's first major hit record. With its opening cry of "A-wop-bop-a-loo-bop-a-wop-bam-boom!" (a verbal rendition of a drum pattern that Little Richard had imagined)and its hard-driving sound and wild lyrics, it became not only a model for many future Little Richard songs, but also a model for rock and roll itself.[The song introduced several of rock music's most characteristic musical features, including its loud volume, powerful vocal style, and distinctive beat and rhythm.
In 2007, an eclectic panel of renowned recording artists ranked "Tutti Frutti" at No. 1 on Mojo's "The Top 100 Records That Changed The World" and hailed the recording as "the sound of the birth of rock and roll". In 2010, the U.S. Library of Congress National Recording Registry added the recording to its registry, claiming the "unique vocalizing over the irresistible beat announced a new era in music". In April 2012, Rolling Stone magazine declared that the song "still contains what has to be considered the most inspired rock lyric ever recorded: 'A wop bop alu bop, a wop bam boom!' "
Although "Little Richard" Penniman had recorded for RCA and Peacock Records since 1951, his records had been relatively undistinguished and did not result in the commercial success for which his producers hoped. In February 1955, he sent a demo tape to Specialty Records, which was heard by Specialty owner Art Rupe. Rupe heard promise in the tapes and arranged a recording session for Little Richard at Cosimo Matassa's J & M Studio in New Orleans in September 1955, with Robert "Bumps" Blackwell as producer and Fats Domino's backing band. The band included Lee Allen and Alvin "Red" Tyler on saxophones, Huey Smith on piano, Frank Fields on double bass, Justin Adams on guitar and Earl Palmer on drums.
As the session wore on, Little Richard became frustrated that his anarchic performance style was not being fully captured on tape. During a lunch break, he started pounding a piano and singing a ribald song that he wrote and composed, and which he had been performing live for a few years. According to some accounts, he first wrote and performed the song while working as a janitor in a bus station. The song that he sang was a piece of music that he "had polished in clubs across the South." Little Richard sang:
A-wop-bop-a-loo-bop-a-wop-bam-boom!
Tutti Frutti, good booty
After this lively performance, Blackwell knew the song was going to be a hit, but recognized that the lyrics, with their "minstrel modes and sexual humor", needed to be revised for lyrical purity.
Blackwell contacted local songwriter Dorothy LaBostrie to revise the lyrics, with Little Richard still playing in his characteristic style. According to Blackwell, LaBostrie "didn't understand melody" but she was definitely a "prolific writer".
The original lyrics, in which "Tutti Frutti" referred to a homosexual man, were:
Tutti Frutti, good booty
If it don't fit, don't force it
You can grease it, make it easy
These were replaced with:
Tutti Frutti, aw rooty
Tutti Frutti, aw rooty.
"Aw rooty" was a slang expression meaning "All right". According to Charles Connor, Little Richard's drummer, the original lyrics were:
Tutti Frutti, good booty
If it's tight, it's all right
And if it's greasy, it makes it easy
In addition to Penniman and LaBostrie, a third name—Lubin—is credited as co-writer. Some sources considered this a pseudonym used by Specialty label owner Art Rupe to claim royalties on some of his label's songs,[1
"I'm your backdoor man"...
Gros faible pour "passover", ces mecs ont tout compris dans leur style, très bon!
Message posté par JalovesbigTits
Gros faible pour "passover", ces mecs ont tout compris dans leur style, très bon!
J'aime beaucoup leur album Death Song également. Mais oui, ils ont un style très sympa, très perso avec la guitare saccadée très psychadélique!
Message posté par stavosky
J'aime beaucoup leur album Death Song également. Mais oui, ils ont un style très sympa, très perso avec la guitare saccadée très psychadélique!
Ça me fait rebondir sur ce son monstrueux à te souffler la culotte de Brigitte Macron :
https://www.youtube.com/playlist?list=O … _Oig---raI
https://youtu.be/9LlbYixG1GU
The musical box-GENESIS
The musical box-GENESIS