All About That Bass - Postmodern Jukebox European Tour Version

All About That Bass
Meghan Trainor

Because you know I'm all about that bass,
'Bout that bass, no treble
I'm all 'bout that bass, 'bout that bass, no treble
I'm all 'bout that bass, 'bout that bass, no treble
I'm all 'bout that bass, 'bout that bass
Yeah it's pretty clear, I ain't no size two
But I can shake it, shake it like I'm supposed to do
'Cause I got that boom boom that all the boys chase
All the right junk in all the right places
I see the magazines working that Photoshop
We know that shit ain't real
Come on now, make it stop
If you got beauty beauty just raise 'em up
'Cause every inch of you is perfect
From the bottom to the top
Yeah, my momma she told me don't worry about your size
She says, boys they like a little more booty to hold at night
You know…

"All About That Bass" is the debut single by American singer and songwriter Meghan Trainor. Released by Epic Records on June 30, 2014, it was recorded for her 2014 debut EP and her 2015 studio album, both named Title. Trainor co-wrote "All About That Bass" with its producer Kevin Kadish; it is a bubblegum pop/doo-wop and retro-R&B song that draws influences from various musical genres including hip hop, country and rock and roll. Lyrically, it discusses positive body image.

Several publications included it among the best songs of 2014 and received Grammy Award nominations for Record of the Year and Song of the Year. It spent eight weeks atop the US Billboard Hot 100 and topped the charts in other twenty countries, including Canada, New Zealand, Switzerland and the United Kingdom. The song sold 11 million units worldwide, becoming the third best-selling song of 2014 and one of the best-selling singles of all time.

Fatima Robinson directed the song's accompanying music video, a viral online success that was noted for its visuals and lighthearted nature. The song inspired a variety of viral videos and tributes, while Vogue recognized it as part of "the era of the big booty."Trainor has performed it on television and at various concerts, and notable artists have recorded cover versions. Trainor regularly performed the song during her 2015 concert tours, the That Bass Tour and the MTrain Tour.

Bruce Springsteen w. John Fogerty - Fortunate Son - Madison Square Garde...

Fortunate Son
Creedence Clearwater Revival

Some folks are born made to wave the flag
Ooh, they're red, white and blue
And when the band plays "Hail to the chief"
Ooh, they point the cannon at you, Lord
It ain't me, it ain't me, I ain't no senator's son, son
It ain't me, it ain't me; I ain't no fortunate one, no
Some folks are born silver spoon in hand
Lord, don't they help themselves, oh
But when the taxman comes to the door
Lord, the house looks like a rummage sale, yes
It ain't me, it ain't me, I ain't no millionaire's son, no
It ain't me, it ain't me; I ain't no fortunate one, no
Yeah, yeah
Some folks inherit star spangled eyes
Ooh, they send you down to war, Lord
And when…


Fortunate Son




"Fortunate Son" is a song by American rock band Creedence Clearwater Revival released on their fourth studio album, Willy and the Poor Boys in 1969. It was released as a single, together with "Down on the Corner", in September 1969. This song reached #14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits. The tracks combined to climb to #9 the next week, on the way to peaking at #3 three more weeks later, on 20 December 1969. It won the RIAA Gold Disc award in December 1970. Pitchfork Media placed it at number 17 on its list of "The 200 Greatest Songs of the 1960s". Rolling Stone placed it at #99 on its "500 Greatest Songs of All Time" list. In 2014, the song was added to the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

Origin

The song is a counterculture era anti-war anthem, criticizing militant patriotic behavior and those who support the use of military force without having to "pay the costs" themselves (either financially or by serving in a wartime military). The song, released during the Vietnam War, is not explicit in its criticism of that war in particular, but the clear attacks on the elite classes (the families that give birth to "fortunate sons") of United States and their withdrawal from the costs of nationalistic imperialism are easy to contextualize to that conflict. The song was inspired by the wedding of David Eisenhower, the grandson of President Dwight David Eisenhower, to Julie Nixon, the daughter of President Richard Nixon, in 1968. The song's author and singer, John Fogerty, told Rolling Stone:

Julie Nixon was hanging around with David Eisenhower, and you just had the feeling that none of these people were going to be involved with the war. In 1968, the majority of the country thought morale was great among the troops, and eighty percent of them were in favor of the war. But to some of us who were watching closely, we just knew we were headed for trouble.

Fogerty has since gone on to explain more about the initial origin of the song, while on the television show The Voice:

The thoughts behind this song - it was a lot of anger. So it was the Vietnam War going on... Now I was drafted and they're making me fight, and no one has actually defined why. So this was all boiling inside of me and I sat down on the edge of my bed and out came "It ain't me, it ain't me, I ain't no senator's son!" You know, it took about 20 minutes to write the song.

Interpretive legacy

The song has been widely used to protest military actions as well as elitism in a broader sense in Western society, particularly in the United States; as an added consequence of its popularity, it has even been used in completely unrelated situations, such as to advertise blue jeans.

It attracted criticism when Bruce Springsteen, Dave Grohl, and Zac Brown performed the song together at the November 2014 Concert for Valor in Washington D.C.. Fogerty, a military veteran, defended their song choice.


Cover versions[

The song has since been recorded or notably performed by Bob Seger, La Renga, Gordon Downie and the Country of Miracles, Brandi Carlile, Pearl Jam, U2, Sleater-Kinney, Corrosion of Conformity, Death Cab for Cutie, Cat Power, The Dropkick Murphys, 38 Special, Circle Jerks, Jeff B.R.I.C.K. & The Mortiboys, Minutemen, Kid Rock, W.A.S.P., Todd Snider and Patty Griffin, Bruce Springsteen, Santana featuring Scott Stapp, The Ghost Inside and Aloe Blacc. The Screaming Jets recorded a cover of "Fortunate Son" and released it as a B-side to their 1996 single, "Sacrifice". Wyclef Jean's cover of the song was played over the beginning and ending credits of The Manchurian Candidate (2004). Sleater-Kinney also performed a cover of the song, which they dedicated to George W. Bush, during the WedRock benefit concert on April 28, 2004. Fogerty recorded a version of the song with Foo Fighters for his 2013 album Wrote a Song for Everyone(Forced Entry).[ October 12, 2015, Dustin Monk and James Dupré covered the song with songwriters on The Voice (U.S. season 9), Australian-American rock band The Dead Daisies covered the song on their 2016 album Make Some Noise. The song was also covered for the Bioshock Infinite game soundtrack and can be heard during gameplay. On November 13th, 2016, on The X Factor (Australia season 8). contestant 'Davey Woder', covered the song.

Video games

The song is used in the introduction sequence of the game Battlefield Vietnam where it is among a list of in-game playable tracks. The song was also used during the E3 announcement trailer for Battlefield: Bad Company 2: Vietnam and is also the main menu song for the game and plays mid-game in vehicle radios. "Fortunate Son" was also included in the game Call of Duty: Black Ops at the start of the level S.O.G. Its use is an anachronism, as the level S.O.G. takes place during the Battle of Khe Sanh, a year before the song is released. In Homefront, the song is played during the chapter "Golden Gate". A cover of the song was released as DLC for Rock Band in 2007. The first appearance of the song came out before real instruments were integrated. The original version was made available to download on March 1, 2011, for use in Rock Band 3 PRO mode which takes advantage of the use of a real guitar / bass guitar, along with standard MIDI-compatible electronic drum kits in addition to vocals.[15][16] The master recording by CCR was made available as well in 2010. The song is also playable on basic controllers in Guitar Hero: Warriors of Rock.

The song is briefly played as both its original recording and a solo a cappella rendition, sung by Jessy Carolina, in BioShock Infinite.[17] As the game is set in 1912, the presence of the song, which is sung by a slave as a spiritual, indicates that time travel is at work in the plot. This is later confirmed when players discover a "tear" in space and time; the Creedence Clearwater Revival version of the song can be heard playing through this tear.

The song is featured in the video game Grand Theft Auto V on the in-game radio station Los Santos Rock Radio, though the song is only available for the Xbox One, PlayStation 4 and PC versions of the game. An instrumental version of the song is also played as background music in Indianapolis 500 Legends. The song is also featured on the soundtrack for MLB The Show: 09 on PS3.

The song is featured in the 2016 video games Mafia III, where its use is an anachronism, as the game takes place a year before the song was released, as well as Watch Dogs 2.
Movies and TV[edit]

"Fortunate Son" is featured in the film Forrest Gump, and is the introduction song in the scene where Forrest and Bubba are shown flying in a U.S. Army UH-1C Huey Helicopter, to the combat zone, in South Vietnam, c. 1968, in the Vietnam War. Most recently, "Fortunate Son," performed by Creedence Clearwater Revival, is featured in the film Little White Lies, called the French Big Chill, in part for its use of American rock classics.

The song also appeared in the film Live Free or Die Hard.

The song also appeared in the film War Dogs.

A cover version of the song performed by Wyclef Jean appears on the soundtrack of the 2004 version of the film The Manchurian Candidate and is the opening track of the closing credits.

This song is covered by the band Jeffster! from the spycom Chuck on season 3 episode 9 "Chuck Versus the Beard".

The original CCR version plays over the closing credits in the 2012 film Battleship.

American Dad! episode In Country...Club featured the song when Stan brings his son to a Vietnam War reenactment. The song however was not credited.

The song was included on the soundtrack album for the 2016 film Suicide Squad.

Commercials

A highly edited version was used in a Wrangler commercial because John Fogerty "long ago signed away legal control of his old recordings to Creedence's record label, Fantasy Records."[11][21] In this case, the advertiser eventually stopped using the song, as Fogerty related in a later interview:


Yes, the people that owned Fantasy Records also owned all my early songs, and they would do all kinds of stuff I really hated in a commercial way with my songs. ... Then one day somebody from the L.A. Times actually bothered to call me up and ask me how I felt, and I finally had a chance to talk about it. And I said I'm very much against my song being used to sell pants. ... So my position got stated very well in the newspaper, and lo and behold, Wrangler to their credit said, "Wow, even though we made our agreement with the publisher, the owner of the song, we can see now that John Fogerty really hates the idea", so they stopped doing it.[22]

Bruce Springsteen w. John Fogerty - Fortunate Son - Madison Square Garde...

Bruce Springsteen w. John Fogerty - Pretty Woman - Madison Square Garden...

. #OyVeyDonaldTrump From Mar-A-Lago (a music parody) The Boy from Itpanema..

The Orange One.

lyrics

Tall and Orange and Rich and Tubby
The boy from Mar-a-lago goes walking
And when he passes, each one he passes goes
"A$$hole! Blowhard! Windbag!"
Spending millions each vacation
He laughs as he rips off the nation
And when he passes, each one he passes goes
"You cut Meals on Wheels? Healthcare? PBS? NEA? Pussy grabber! Tiny hands!"
Oh and I watch him so madly
How can I tell him I loathe him?
Yes, while he's dining on lobster
And Melania stays in NYC
The bill comes, not to him, but me
How much money is he making from presidential golf-vacationing
at his own Mar-a-Lago by the sea
Oh is he running the country?
How can I tell if he's working?
Yes, I would vote to impeach him
But each day when I walk to DC
I can't find him, he's at the sea
If he works no one will ever know
"cuz he's holed up in Mar-a-lago
Laughing at his own government money tree
("Windbag!")
He's living free
("Fascist")
And charging me
("Spray-tanned gobshite")
Down by the sea
(Bloviated $hit-gibbon)

credits

released March 19, 2017
Sandy Riccardi, vocals
Richard Riccardi, piano

There are a hundred amazing things about it. Here are a few: (1) perfect tempo, (2) excellent maintenance of extended rhythmic phrasing, (3) trenchant lyrics, (4) perfect recreation of the feel of the original song, (5) astonishing singing, (5) incredible intonation and phrasing, (6) the moment when she takes off her sunglasses is so thought out and hilarious, (7) not a single clunky rhyme or any forced prosody, (8) an amazing ease and relaxation in the performance.(9) Brilliant lyrics and cat calling Wonderful talent, brilliance, and artistry. It's really impressive. and hey ho yeah..... could agree more about the sentiments expressed about #OyVeyDonaldTrump #AmericaHangsItsHeadInShame #ImpeachTrumpNow........... ( special thanks to Harry Kelly)

Original Lyrics : The Boy From Itpanema 

The Boy From Ipanema Lyrics
Diana Krall - lyrics Quiet Nights Other Album Songs

I've Grown Accustomed To Your Face
Where Or When
Too Marvelous For Words
I've Grown Accustomed To His Face
The Boy From Ipanema
Walk On By
You're My Thrill
Este Seu Olhar
So Nice
Quiet Nights
Guess I'll Hang My Tears Out To Dry
How Can You Mend A Broken Heart
Everytime We Say Goodbye
For No One
Oh how I love him
But he just doesn't see
Tall and tan and young and handsome
The boy from Ipanema goes walking
And when he passes
Each girl he passes goes
When he walks
He's like a samba
That swings so cool and sways so gentle
That when he passes each girl
He passes goes
Ooh but I watch him so sadly
How can I tell him I love him
Yes I would give my heart gladly
But each day
When he walks to the sea
He looks straight ahead not at me
Tall and tan and young and handsome
The boy from Ipanema goes walking
And when he passes goes
I smile, but he doesn't see (doesn't see)
He just doesn't see he never sees me

Songwriters
A.C. JOBIM V. DE MOREAS, N. GIMBEL

SoMo- We Can Make Love lyrics

George Michael - Careless Whisper (Official Video)

Fred Astaire and Ginger Rogers - Let's Call The Whole Thing Off HQ

"Let's Call The Whole Thing Off"


Things have come to a pretty pass
Our romance is growing flat,
For you like this and the other
While I go for this and that,

Goodness knows what the end will be
Oh I don't know where I'm at
It looks as if we two will never be one
Something must be done:

You say either and I say either,
You say neither and I say neither
Either, either Neither, neither
Let's call the whole thing off.

You like potato and I like potahto
You like tomato and I like tomahto
Potato, potahto, Tomato, tomahto.
Let's call the whole thing off

But oh, if we call the whole thing off
Then we must part
And oh, if we ever part, then that might break my heart

So if you like pyjamas and I like pyjahmas,
I'll wear pyjamas and give up pyajahmas
For we know we need each other so we
Better call the whole thing off
Let's call the whole thing off.

You say laughter and I say larfter
You say after and I say arfter
Laughter, larfter after arfter
Let's call the whole thing off,

You like vanilla and I like vanella
You saspiralla, and I saspirella
Vanilla vanella chocolate strawberry
Let's call the whole thing off

But oh if we call the whole thing of then we must part
And oh, if we ever part, then that might break my heart

So if you go for oysters and I go for ersters
I'll order oysters and cancel the ersters
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.

I say father, and you say pater,
I saw mother and you say mater
Pater, mater Uncle, auntie let's call the whole thing off.

I like bananas and you like banahnahs
I say Havana and I get Havahnah
Bananas, banahnahs Havana, Havahnah
Go your way, I'll go mine

So if I go for scallops and you go for lobsters,
So all right no contest we'll order lobster
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.


"Let's Call the Whole Thing Off" is a song written by George Gershwin and Ira Gershwin for the 1937 film Shall We Dance, where it was introduced by Fred Astaire and Ginger Rogers as part of a celebrated dance duet on roller skates.[ The song is most famous for its “You like to-may-toes /təˈmeɪtoʊz/ and I like to-mah-toes /təˈmɑːtoʊz/” and other verses comparing their different regional dialects.

The differences in pronunciation are not simply regional, however, but serve more specifically to identify class differences. At the time, typical American pronunciations were considered less "refined" by the upper-class, and there was a specific emphasis on the "broader" a sound. This class distinction with respect to pronunciation has been retained in caricatures, especially in the theater, where the longer a pronunciation is most strongly associated with the word "darling."

The song was ranked No. 34 on AFI's 100 Years... 100 Songs.
Notable recordings

• Billie Holiday – Lady Day: The Complete Billie Holiday on Columbia 1933–1944 (1937)
• Sam Cooke – Tribute to the Lady (1959)
• Ella Fitzgerald – on Ella Fitzgerald Sings the George and Ira Gershwin Songbook (1959), on the 1983 Pablo release Nice Work If You Can Get It, and in a 1957 duet with Louis Armstrong on Ella and Louis Again.
• Fred Astaire with Johnny Green & His Orchestra (1937)
• Brian Wilson – Brian Wilson Reimagines Gershwin (2010)
• Uri Caine – Rhapsody in Blue (2013)

The song has been re-used in filmmaking and television production, most notably in When Harry Met Sally... – where it is performed by Harry Connick, Jr. – and The Simpsons. It was featured in the 2012 Broadway Musical Nice Work If You Can Get It.

Taylor Swift Dear John Lyrics

“

The song "Dear John" is sort of like the last email you would ever send to someone that you used to be in a relationship with. Usually people write this venting last email to someone and they say everything that they want to say to that person, and then they usually don't send it. I guess by putting this song on the album I am pushing send.

”

Dear John is a 2010 song by Taylor Swift on the album Speak Now.

The song is written about John Mayer, who Taylor Swift  had briefly dated. She also worked with him on a song called "Half of My Heart" for his 2009 album Battle Studies.

Mayer, who is well-known for publicly talking about his relationships with various famous women in the press, has whined in an interview in Rolling Stones about Taylor writing the song about him. He said about Taylor humiliating him with the song. 

Long were the nights when my days once revolved around you
Counting my footsteps,
Praying the floor won't fall through, again
My mother accused me of losing my mind,
But I swore I was fine, you paint me a blue sky
And go back and turn it to rain
And I lived in your chess game,
But you changed the rules every day
Wondering which version of you I might get on the phone
Tonight, well I stopped picking up, and this song is to let you know why

Dear John, I see it all now that you're gone
Don't you think I was too young to be messed with?
The girl in the dress, cried the whole way home, I should've known

Well maybe it's me and my blind optimism to blame
Maybe it's you and your sick need to give love then take it awayAnd you'll add my name to your long list of traitors who don't understand
And I'll look back and regret how I ignored when they said "run as fast as you can"1

Dear John, I see it all now that you're gone
Don't you think I was too young to be messed with?
The girl in the dress, cried the whole way home

Dear John, I see it all, now it was wrong
Don't you think nineteen is too young
To be played by your dark twisted games, when I loved you so?
I should've known

You are an expert at sorry,
And keeping the lines blurry
Never impressed by me acing your tests
All the girls that you've run dry
Have tired, lifeless eyes
'Cause you burned them out
But I took your matches before fire could catch me,
So don't look now, I'm shining like fireworks over your sad, empty town1

Dear John, I see it all now that you're gone
Don't you think I was too young to be messed with?
The girl in the dress, cried the whole way home.

I see it all now that you're gone
Don't you think I was too young to be messed with?
The girl in the dress wrote you a song
You should've known, you should've known
Don't you think I was too young? You should've known

The Rolling Stones -- Doom And Gloom (Lyric Video)

Beatles Vs. Rolling Stones Again It’s Beatles Vs. Rolling Stones Again With Paul McCartney Vs. Mick Jagger and Keith Richards At The Grammys – Who Should Win Best Rock Song?

(Photo : Facebook/The Beatles)


The 2014 Grammy Awards Best Rock Song category has us flashing back to 1964! Paul McCartney will go head-to-head with Mick Jagger & Keith Richards of the Rolling Stones for the Grammy for Best Rock Song.

McCartney’s “Cut Me Some Slack,” co-written and co-performed with Nirvana members Dave Grohl, Krist Novoselic and Pat Smear, is up against Jagger’s and Richards’ “Doom and Gloom,” performed by the Rolling Stones (the Grammy goes to the songwriters).

The other songs in the category are “Ain’t Messin ‘Round” by Gary Clark Jr., “God Is Dead?” by Black Sabbath, and “Panic Station” by Muse, but we’re interested in seeing that Beatles Vs. Stones rivalry revived!


The Beatles and the Rolling Stones were often pitted against each other in the early 1960s, when the Beatles were known for their clean-cut image and the Rolling Stones were rock’s biggest bad boys. The two bands went head-to-head in the charts and for awards, but it was mostly a good-natured rivalry. Behind the scenes, the bands were friendly, and McCartney and Richards still hang out to this day – and have talked about making a record together.

“We were really pleased to see each other. We fell straight in, talking about the past, talking about songwriting,” Richards wrote of McCartney in his memoir Life.

“We talked about such strangely simple things as the difference between the Beatles and Stones, and that the Beatles were a vocal band because they could all sing the lead vocal, and we were more of a musicians’ band–we had only one front man.”

However friendly McCartney and Richards may be, however, only one of them can go home with the Grammy! 






Labels: .

Taylor Swift - Shake It Off

Taylor Swift - Shake It Off

The Rolling Stones - Ride 'Em On Down from their new album Blue & Lonesome

Yeah!
I’m a dealin' man, still dealing, yeah
I’ll go keep on dealing till I find myself a bed
I got to stop dealing, I believe I’ll ride ‘em on down
Well I done stopped dealing, I believe I’ll ride 'em on down

Yeah!
Raised in the country, got up raised in town
Got two kids and they’re all look like mine
I got to stop dealing, I believe I’ll ride ‘em on down
Yeah, I got to stop dealing, I believe I’ll ride 'em on down

Yeah!
I’m dealing darling, by some other deck
Seem like somebody gonna take my shit
I got to stop dealing, I believe I’ll ride ‘em on down
Well, I done stopped dealing, I believe I’ll ride 'em on down

Yeah!

[guitar solo]

Yeah!
Born yesterday and not a day before
Here you come knocking at my door
Done stop dealing, I believe I’ll ride ‘em on down
Well I done stopped dealing, I believe I’ll ride 'em on down

Yeah!

[harmonica solo]



The Rolling Stones searing jazzy blues take on Eddie Taylor's "Ride 'Em on Down" off the rock legends' upcoming LP of blues classics Blue & Lonesome.



The Rolling Stones' New Blues: Inside Their Roots Revival, Bright Future

Why iconic band took just three days to make 'Blue & Lonesome,' its first album in 11 years

The track dates back to the 1930s when Delta blues great Bukka White penned the track under the title "Shake 'Em on Down." Chicago blues singer Eddie Taylor recorded the track in 1955 as "Ride 'Em on Down"; it's this version that inspired the Stones to cover the track.

The Stones previously shared "Just Your Fool" and "Hate to See You Go" from Blue & Lonesome, released  December 2nd, 2016.

Rolling Stone recently spoke to the band for a cover story where the Stones opened up about the sessions that produced Blue & Lonesome and their contribution to the blues.

"The thing about the blues is it changes in very small increments," Mick Jagger said. "People reinterpret what they know – Elmore James reinterpreted Robert Johnson licks, as did Muddy Waters. So I'm not saying we're making the jumps that they made, but we can't help but reinterpret these songs."

"Ride 'Em on Down" also features a scorching harmonica solo courtesy of Jagger. "This is the best record Mick Jagger has ever made," Keith Richards told Rolling Stone while praising the singer's harmonica skills. "It was just watching the guy enjoying doing what he really can do better than anybody else… And also, the band ain't too shabby."