love rollercoaster

A month after hitting the top of the R&B chart the Ohio Players were on top of the pop chart with this loopy funk classic. The group wrote it flying through stormy weather in a twin engine Navajo airplane. "Sugar" Bonner wrote the lyrics around a comment of a band mate, who said that since the group loved what they were doing (in concert) they should consider the airplane ride a "love roller coaster."

An urban legend continues to surround the song that the girl on the album cover (Panamanian-born model Ester Cordet) was attacked or killed near the studio and her screams are heard on the song. This was a hoax; the scream was actually that of keyboardist Billy Beck. Another high-pitch in the song was also said to be the scream of the "victim", but actually it was the scream of a woman on a roller coaster ride, which the band recorded and looped in the song. Casey Kasem reported the urban myth of the girl being killed in the studio recording booth on 'American Top 40' in 1976. Jimmy "Diamond" Williams sets the record straight: “There is a part in the song where there's a breakdown. It's guitars and it's right before the second verse and Billy Beck does one of those inhaling-type screeches like Minnie Ripperton did to reach her high note or Mariah Carey does to go octaves above. The DJ made this crack and it swept the country. People were asking us, 'Did you kill this girl in the studio?' The band took a vow of silence because that makes you sell more records."

www.facebook.com/OhioPlayers/

You give me that funny feeling in my tummy
Ahw sh.., yeah, that's right huh
Rollercoaster of love say what
Rollercoaster yeah (oohh oohh oohh)

Oh baby you know what I'm talking about
Rollercoaster of love
Oh yeah it's rollercoaster time

Lovin' you is really wild
Oh it´s just a love rollercoaster
Step right up and get your tickets

Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)
Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)

Move over dad 'cause I'm a double dipple
Upside down on the big dip dipper
1, 2, 1, 2,3 I've got a ticket come ride with me
Let me go down on the merry-go-round
All is fair 'n' a big fair ground
Let's go slow, let's go fast
Like a liquorice twist gonna whip your ass

Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)
Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)

Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)
Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)

Move over dad 'cause I'm a double dipple
Upside down on the big dip dipper
1, 2, 1, 2,3 I've got a ticket come ride with me
Let me go down on the merry-go-round
All is fair 'n' a big fair ground
Let's go slow, let's go fast
Like a liquorice twist gonna whip your ass

Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)
Your love is like a rollercoaster baby, baby
I want to ride yeah (awawaw)

Rollercoaster say what

I will be there for you I will be your man

'Honey'
full album:




All tracks written by James Williams, Clarence Satchell, Leroy Bonner, Marshall Jones, Ralph Middlebrooks, Marvin Pierce, William Beck.

Side one
1. "Honey" 4:15
2. "Fopp" 3:45
3. "Let's Love" 5:15
4. "Ain't Givin' Up No Ground" 1:45
Side two
5. "Sweet Sticky Thing" 6:13
6. "Love Rollercoaster" 4:52
7. "Alone" 4:40

tapestry

Carole King brought the singer / songwriter genre mainstream success with the wondrous woven magic of 'Tapestry'. After a decade of success as a songwriter (along with her husband Gerry Goffin) in the Brill Building, her first solo album 'Writer' was a commercial disappointment. James Taylor convinced her to record another solo album and even played on some of the tracks. King wrote or co-wrote all of the songs on the album. Intimate and disarming, every song is a revelation from the boogie woogie barn burners to the understated reworkings of the hit songs she wrote for others. It held the top spot of the album chart for fifteen consecutive weeks and spent over three hundred weeks on the album chart (both records for a female artist). 'Tapestry' has sold twenty five million copies worldwide. King won Grammy awards for Album of the Year, Best Female Pop Vocal Performance, Record of the Year ("It's Too Late"), and Song of the Year ("You've Got a Friend").








http://www.caroleking.com/

'I Feel The Earth Move' is considered a number one single as part of the double A single with 'It's Too Late'.

'So Far Away'

'It's Too Late' made it to the top of the charts as a double sided single.

'Beautiful'

"You've got to get up every morning With a smile in your face

And show the world all the love in your heart

Then people gonna treat you better

You're gonna find, yes you will

That you're beatiful as you feel"

'Way Over Yonder'

"And maybe tomorrow, I'll find my way

To the land where the honey runs in rivers each day

And the sweet tasting good life is so easily found, yes it is"

'You've Got A Friend' was a number one hit for James Taylor the same year that she released 'Tapestry'.

'Where You Lead'

"I always wanted a real home with flowers on the window sill

But if you want to live in New York City, honey, you know I will"

'Will You Love Me Tomorrow?' was the first number one hit for King and Goffin exactly ten years before she released her own version with "the Mitchell / Taylor Boy-And-Girl Choir" on background vocals. King's slowed down performance makes the song more desperate and soulful.

'Smackwater Jack'

"You can't talk to a man when he don't want to understand"

'(You Make Me Feel Like) A Natural Woman' was a top ten single for Aretha Franklin in 1967.

'Tapestry'
full album:



All songs written by Carole King except where noted.

Side 1
"I Feel the Earth Move" – 3:00
"So Far Away" – 3:55
"It's Too Late" (lyrics by Toni Stern) – 3:54
"Home Again" – 2:29
"Beautiful" – 3:08
"Way Over Yonder" – 4:49
Side 2
"You've Got a Friend" – 5:09
"Where You Lead" (lyrics by Toni Stern) – 3:20
"Will You Love Me Tomorrow?" (Gerry Goffin, King) – 4:13
"Smackwater Jack" (Goffin, King) – 3:42
"Tapestry" – 3:15
"(You Make Me Feel Like) A Natural Woman" (Goffin, King, Jerry Wexler) – 3:59

will you love me tomorrow?

A group of classmates from Passaic, New Jersey made a lasting treasure out of a moment's pleasure with this breakthrough hit for Gerry Goffin and Carole King. The husband and wife songwriting team were part of Aldon Music in the Brill Building publishing house.

King recalls, "Every day we squeezed into our respective cubby holes with just enough room for a piano, a bench, and maybe a chair for the lyricist if you were lucky. You'd sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific — because Don Kirshner ("The Man With the Golden Ear") would play one songwriter against another. He'd say: 'We need a new smash hit' — and we'd all go back and write a song and the next day we'd each audition."

Shirelle's lead singer Shirley Owens thought it sounded too country and western; but after strings were added, she warmed to it. Carole King also played timpani on the recording. Due to its suggestive subject matter, some stations refused to play the song; and still, the Shirelles became the first black girl group to reach the top of the charts.






http://www.history-of-rock.com/shirelles.htm

Tonight you're mine completely

You give your love so sweetly

Tonight the light of love is in your eyes

But will you love me tomorrow?

Is this a lasting treasure

Or just a moment's pleasure?

Can I believe the magic of your sighs?

Will you still love me tomorrow?

Tonight with words unspoken

You say that I'm the only one

But will my heart be broken

When the night meets the morning sun?

I'd like to know that your love

Is love I can be sure of

So tell me now, and I won't ask again

Will you still love me tomorrow?

So tell me now, and I won't ask again

Will you still love me tomorrow?

Will you still love me tomorrow?

Will you still love me tomorrow?

let it snow! let it snow! let it snow!

 'Ol' Leather Lungs' had no place to go because he was snowed in at the top of the charts. Big band leader Vaughn Monroe was known as "the Baritone With Muscles" and "the Voice With Hair on its Chest". He was also an actor and had his own television show in the early fifties.

The song was written by Sammy Cahn and Jule Styne in Hollywood, California during one of the hottest days on record. Monroe's version spent five weeks at number one and is one of the best-selling songs of all time.

Click here if you want to see the video without the 'snow'.

Oh, the weather outside is frightful,
But the fire is so delightful,
And since we've no place to go,
Let it snow, let it snow, let it snow.

It doesn't show signs of stopping,
And I brought some corn for popping;
The lights are turned way down low,
Let it snow, let it snow, let it snow.

When we finally kiss good night,
How I'll hate going out in the storm;
But if you really hold me tight,
All the way home I'll be warm.

The fire is slowly dying,
And, my dear, we're still good-bye-ing,
But as long as you love me so.
Let it snow, let it snow, let it snow.

mozart

Wolfgang Amadeus Mozart
(27 January 1756 – 5 December 1791)


baptismal name
Johannes Chrysostomus Wolfgangus Theophilus Mozart



The favorite son of Salzburg (then a part of the Holy Roman Empire) was a musical prodigy who began composing at the age of five. His father (who was a teacher, composer, violinist, and assistant concertmaster) took him and his sister Maria all over Europe to royal courts and major cities to perform together on piano and violin. After years of travel trying to find financial success, he eventually secured a job as court musician for the ruler of Salzburg. After Archbishop von Schrattenbach died and was replaced by the less generous Hieronymus von Colloredo, Mozart became increasingly dissatisfied with this position. He resigned and travelled with his mother (Colloredo refused to give his father leave) to other cities in an unsuccessful search for work. After his mother took ill and died in Paris, he reluctantly accepted another position in Salzburg as court organist and Konzertmeister. Archbishop Colloredo summoned him to Vienna where his employer's treatment of Mozart led him to resign again. The request was refused at first and then granted with a literal kick in the ass. Mozart settled in Vienna as a freelance composer and performer in 1781, a radical step that gave him unprecedented freedom.





http://www.mozartproject.org/

www.biography.com/people/wolfgang-mozart







marriage-of-figaro

requiem

Composed in 1787, the Serenade in G Major (No. 13) K 525 is more commonly known as "Eine Kleine Nachtmusik" which can be translated as "A Little Night Music."






Mozart's Sonata for Two Pianos in D Major (KV 448) is one of the most used compositions in music psychology research. Since the publication of the study Music and Spatial Task Performance in Nature in 1993, numerous researchers have tried to replicate the so-called "Mozart effect" using this composition.






The "storm and stress" of Symphony No. 25 in G minor, K 183, 1st movement was completed in 1773.

Zaide aria, Ruhe Sanft, from  an unfinished "rescue opera" composed in 1780.

The 1984 film 'Amadeus' tells the story of Mozart and rival composer Antonio Salieri in Vienna. It won eight Academy Awards, including Best Picture.












full soundtrack





01. W.A. Mozart - Symphony No. 25 in G minor, K. 183; 1st movement 00:00:00 
02. W.A. Mozart - Eine Kleine Nachtmusik (Serenade), K. 525; 1st movement 00:07:51
03. Giovanni Battista Pergolesi - Stabat Mater, Quando Corpus Morietur and Amen 00:13:32
04. Simon Preston and W.A. Mozart - Salieri's March turned into Non piu andrai (from Le nozze di Figaro, K. 492) 00:17:51
05. W.A. Mozart - Serenade for Winds; K. 361; 3rd movement" - 00:19:43
06. W.A. Mozart - The Abduction from the Seraglio, K. 384, Chorus of the Janissaries (arr.) / Ich mochte wohl (Ein Deutsches Kriegslied), K. 539 (arr.) - 00:25:52
07. W.A. Mozart - The Abduction from the Seraglio, K. 384, Turkish Finale" - 00:30:17
08. W.A. Mozart - Mass in C minor; K. 427, Kyrie - 00:31:45
09. W.A. Mozart - Concerto for Flute and Harp, K. 299; 2nd movement 00:38:15
10. W.A. Mozart - Symphony No. 29 in A, K. 201; 1st movement, allegro moderato - 00:46:48
11. W.A. Mozart - Adagio in C minor for Glass Armonica, K. 617 - 00:52:31
12. W.A. Mozart - Concerto for Two Pianos, K. 365; 3rd Movement - 00:58:34

13. W.A. Mozart - Symphonie Concertante, K. 364; 1st movement - 01:05:48

the greatest

Chan Marshall reinvented herself (again) by reconnecting with her Southern roots through a crack team of session veterans. The Memphis Rhythm Band filled out her soulful slowcore sound with Mabon "Teenie" Hodges on guitar, his brother Leroy "Flick" Hodges (sharing bass duties with Dave Smith) and Steve Potts drumming. They channel Al Green and Big Star at legendary Ardent Studios and produce a warm, mellow, laid back, quiet intensity on 'The Greatest'. The result is her most polished, mature, and accessible album. Her angst becomes more subtle with these ironic and thorny torch songs. Within the bleakness, there is hope. "Half of it is innocent, the other half is wise."









http://www.catpowerthegreatest.com/

"Once I wanted to be the greatest

Two fists of solid rock

With brains that could explain

Any feeling"

"You're supposed to have an answer

You're supposed to have living proof

Well do you have your answer

Do you have your answer

Well I am your answer I am living"

"We've lived in bars

And danced on tables

Hotels trains and ships that sail

We swim with sharks

And fly with aeroplanes out of here"

"Could we

Take a walk

Could we

Have a talk alone in the afternoon"

"Where is my love

Horses running free

Carrying you and me"

"Love and communication you were here for me

At this very moment cuz I found you on the phone

You called me

And you were not hunting me"

'The Greatest' full album:



All tracks written by Chan Marshall.

No. Title Length
1. "The Greatest"   3:22
2. "Living Proof"   3:11
3. "Lived in Bars"   3:44
4. "Could We"   2:21
5. "Empty Shell"   3:04
6. "Willie"   5:57
7. "Where Is My Love"   2:53
8. "The Moon"   3:45
9. "Islands"   1:44
10. "After It All"   3:31
11. "Hate"   3:38
12. "Love & Communication"   4:34