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All I've Got To Do
"All I've Got to Do" is a song written by John Lennon (credited to Lennon–McCartney) and performed by the English rock band the Beatles on their second British album, ''With the Beatles'' (1963). In the United States, "All I've Got to Do" originally appeared on ''Meet the Beatles!'' (1964). According to Dennis Alstrand, the song is the first time in rock and roll or rock music in which the bass player plays chords as a vital part of the song. Inspiration Lennon said he was "trying to do Smokey Robinson again,"Dowlding, William. ''Beatlesongs''. New York: Touchstone, 1989, p. 49. and Ian MacDonald compared it to "(You Can) Depend on Me" by the Miracles, both musically and lyrically. Richie Unterberger of Allmusic said it sounds like Robinson but also Arthur Alexander. Beatles biographer Bob Spitz said the song is "restlessly dark and moody", and compared it to the Shirelles' "Baby It's You" (a song the Beatles previously covered) and early Drifters recordings. It was one of thr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
All I've Got To Do Sheet Music Cover
All or ALL may refer to: Language * All, an indefinite pronoun in English * All, one of the English determiners * Allar language (ISO 639-3 code) * Allative case (abbreviated ALL) Music * All (band), an American punk rock band * ''All'' (All album), 1999 * ''All'' (Descendents album) or the title song, 1987 * ''All'' (Horace Silver album) or the title song, 1972 * ''All'' (Yann Tiersen album), 2019 * "All" (song), by Patricia Bredin, representing the UK at Eurovision 1957 * "All (I Ever Want)", a song by Alexander Klaws, 2005 * "All", a song by Collective Soul from ''Hints Allegations and Things Left Unsaid'', 1994 Science and mathematics * ALL (complexity), the class of all decision problems in computability and complexity theory * Acute lymphoblastic leukemia * Anterolateral ligament Sports * American Lacrosse League * Arena Lacrosse League, Canada * Australian Lacrosse League Other uses * All, Missouri, a community in the United States * All, a brand of Sun Products * A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richie Unterberger
Richie Unterberger (born January 19, 1962) is an American author and journalist whose focus is popular music and travel writing. Life and writing Unterberger attended the University of Pennsylvania, where he wrote for the university newspaper ''The Daily Pennsylvanian'' and in the early 1980s was a deejay on the Penn radio station, WXPN-FM. Just prior to graduating in late 1982, he started reviewing records for '' Op'' magazine, which marked the start of his career as a freelance writer. From 1985 to 1991, Unterberger was an editor for '' Option''. Since 1993, he has been a prolific contributor to AllMusic, the on-line database of music biographies and album reviews, for which he has written thousands of entries, and many of his on-line contributions have been printed in the AllMusic guide series. Unterberger contributes to various local and national publications, including ''Mojo'', ''Record Collector'', ''Rolling Stone'', ''Oxford American'', and '' No Depression''. He has writ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cover Version
In popular music, a cover version, cover song, remake, revival, or simply cover, is a new performance or recording by a musician other than the original performer or composer of the song. Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after the original. History The term "cover" goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version. Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both crossed over to the popular hit parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd – the production of musical entertainment was seen as a live event, even if it was reproduced at home via a cop ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Steve Turner (writer)
Steve Turner is an English music journalist, biographer, and poet, who grew up in Northamptonshire, England. Career Turner's first published article was in the '' Beatles Monthly'' in 1969. His career as a journalist began as features editor of ''Beat Instrumental'', where he interviewed many of the prominent rock musicians of the 1970s. He subsequently freelanced for music magazines such as '' Melody Maker'', ''NME'' and ''Rolling Stone''. During the 1980s, he wrote extensively for British newspapers and magazines on a range of subjects as well as produced his study of the relationship between rock music and religion, ''Hungry For Heaven'', and co-authored ''U2: Rattle & Hum'', the book of the eponymous 1988 film. In the 1990s, he began devoting himself to full-length books. The first was a best-selling biography of British music star Cliff Richard, ''Cliff Richard: The Biography'' (1993), which stayed on the '' Sunday Times'' bestseller list for six weeks. He has also written ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Audio Mixing (recorded Music)
In sound recording and reproduction, audio mixing is the process of optimizing and combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo (or surround) field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on the final product. Audio mixing techniques largely depend on music genres and the quality of sound recordings involved. The process is generally carried out by a mixing engineer, though sometimes the record producer or recording artist may assist. After mixing, a mastering engineer prepares the final product for production. Audio mixing may be performed on a mixing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overdubbing
Overdubbing (also known as layering) is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more available tracks of a digital audio workstation (DAW) or tape recorder. The overdub process can be repeated multiple times. This technique is often used with singers, as well as with instruments, or ensembles/orchestras. Overdubbing is typically done for the purpose of adding richness and complexity to the original recording. For example, if there are only one or two artists involved in the recording process, overdubbing can give the effect of sounding like many performers. In vocal performances, the performer usually listens to an existing recorded performance (usually through headphones in a recording studio) and simultaneously plays a new performance along with it, which is also recorded. The intention is that the final mix will contain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Take
A take is a single continuous recorded performance. The term is used in film and music to denote and track the stages of production. Film In cinematography, a take refers to each filmed "version" of a particular shot or "setup". Takes of each shot are generally numbered starting with "take one" and the number of each successive take is increased (with the director calling for "take two" or "take eighteen") until the filming of the shot is completed. Film takes are often designated with the aid of a clapperboard. It is also referred to as the slate. The number of each take is written or attached to the clapperboard, which is filmed briefly prior to or at the beginning of the actual take. Only those takes which are vetted by the continuity person and/or script supervisor are printed and are sent to the film editor. Single-takes A single-take or one-take occurs when the entire scene is shot satisfactorily the first time, whether by necessity (as with certain expensive special e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
No Reply (song)
"No Reply" is a song by the English rock band the Beatles from their 1964 album ''Beatles for Sale''. In North America, it was issued on Capitol Records' variant on the British release, ''Beatles '65''. The song was written mainly by John Lennon and credited to Lennon–McCartney. Lennon originally gave the song to another artist managed by Brian Epstein, Tommy Quickly, in June 1964, but Quickly decided not to use it. The Beatles recorded the track in London soon after returning from their first full tour of the United States. The lyrics typify Lennon's more introspective and mature songwriting on the ''Beatles for Sale'' album. Background John Lennon began writing "No Reply" in May 1964 while in Tahiti, where he was on holiday with his Beatles bandmate George Harrison and their respective partners, Cynthia Lennon and Pattie Boyd. Once back in London, Lennon finished writing the song with some assistance from Paul McCartney. On 3 June, after the Beatles had completed the recordin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Not A Second Time
"Not a Second Time" is a song by English rock band the Beatles. It was written by John Lennon, though credited to the Lennon–McCartney partnership. It was first released on the Beatles second British album, ''With the Beatles'', and their second American album ''Meet the Beatles!''. Lennon said he was "trying to write a Smokey Robinson or something at the time." The song was recorded in nine takes on 11 September 1963 at EMI Studios. Musical structure This song inspired a musical analysis from William Mann of ''The Times'', citing the " Aeolian cadence" (Aeolian harmony) of Lennon's vocals as the song draws to a close, and noting that the same chord progression appears at the end of the final movement of Gustav Mahler's ''Das Lied von der Erde''. Lennon, years later, remarked: "To this day, I have no idea what eolian cadencesare. They sound like exotic birds." The actual meaning of the term "Aeolian cadence" is that a major key song resolves on the vi chord, which is the ton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
It Won't Be Long
"It Won't Be Long" is a song by the English rock band the Beatles, released as the opening track on their second UK album ''With the Beatles'' (1963), and was the first original song recorded for it. Although credited to Lennon–McCartney, it was primarily a composition by John Lennon, with Paul McCartney assisting with the lyrics and arrangement. Composition John Lennon claimed this song in 1971 and 1980. In about 1995 Paul McCartney described the song as dominated by John, but written in collaboration. “John mainly sang it so I expect that it was his original idea but we both sat down and wrote it together." The chorus is a play on the words "be long" and "belong". The song features early Beatles trademarks such as call-and-response yeah-yeahs and scaling guitar riffs. Typical also of this phase of Beatles songwriting is the melodramatic ending (similar to "She Loves You", which had just been recorded and was about to be released) where the music stops, allowing Lennon a bri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Drifters
The Drifters are several American doo-wop and R&B/Soul music, soul vocal groups. They were originally formed as a backing group for Clyde McPhatter, formerly the lead tenor of Billy Ward and his Dominoes in 1953. The second group of Drifters, formed in 1959 and led by Ben E. King, were originally an up-and-coming group named The Five Crowns. After 1965 members drifted in and out of both groups and many of these formed other groups of Drifters as well. Several groups of Drifters can trace roots back to these original groups, but contain few if any original members. According to ''Rolling Stone'', the Drifters were the least stable of the great vocal groups, as they were low-paid musicians hired by George Treadwell, who owned the Drifters' name from 1955, after McPhatter left. The Treadwell Drifters line has had 60 musicians, including several splinter groups by former Drifters members (not under Treadwell's management). These groups are usually identified with a possessive credit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baby It's You
"Baby It's You" is a song written by Burt Bacharach (music), Luther Dixon (credited as Barney Williams), and Mack David (lyrics). It was recorded by the Shirelles and the Beatles, and was a hit for both. The highest-charting version of "Baby It's You" was by the band Smith, who took the song to number five on the US charts in 1969. The Shirelles' original version The song was produced by Luther Dixon. When released as a single in 1961, it became a Top 10 smash on the Pop and R&B Charts, reached number three on the R&B chart and peaked at number eight on Billboard's Hot 100 chart. It later appeared on the album ''Baby It's You'', named to capitalize upon the success of the single. The vocal arrangements on this version proved influential in subsequent versions, including that by the Beatles. One notable feature of the song is its minor-to-major key chord changes on the verses. The Beatles' version British rock band the Beatles performed "Baby It's You" as part of their stage ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
