I decided to roll with Vanilla ICE today for my Monday Music.
The first time I heard of "Vanilla Ice" was in 1990 and we had gotten a group of new soldiers and they were talking about this thing called "rap" and vanilla ice was their spokesman for lack of a better word, Remember by this time I was 25 years old, been in the green machine 6 years and didn't have the same interest as the younger soldiers. That was the first time I really experienced "The generation gap". Seeing a couple of Italian kids trying to rap was hilarious.
I listened to the song..."like I had a choice", it was everywhere!!!. I did notice that the AFN station would start it off with "under Pressure" by Queen then follow it with vanilla Ice or they would reverse it. It made for an interesting combination. I have gotten used to the song, it don't grate on me like it used to. I do know that Vanilla Ice had a hard time with "Street Creed" in the rapper scene. Being a white guy in basically a black music world was hard and he didn't get the respect he should have gotten.
The later rapper Emimen in my mind had it a bit easier because Vanilla Ice was there before but in a way Eminem had it harder because of the controversy surrounding Vanilla Ice. Eminem really had "street Creed" in spades, where Vanilla was accused of manufacturing his. After Vanilla faded out of the mainstream music stream he had to reinvent himself to get away from the image. From what I have seen he has done a good job, he has a dedicated base to his music and he is "keeping it real".
"Ice Ice Baby" is a hip hop song written by American rapperVanilla Ice and DJ Earthquake based on the bassline of "Under Pressure" by Queen and David Bowie, who did not initially receive songwriting credit or royalties until after it had become a hit. Originally released on Vanilla Ice's 1989 debut album Hooked and later on his 1990 national debut To the Extreme, it is his most well known song. It has appeared in remixed form on Platinum Underground and Vanilla Ice Is Back! A live version appears on the album Extremely Live, while a rap rock version appears on the album Hard to Swallow, under the title "Too Cold". "Ice Ice Baby" was initially released as the B-side to Vanilla Ice's cover of "Play That Funky Music", but the single was not initially successful. When disc jockey David Morales played "Ice Ice Baby" instead, it began to gain success. "Ice Ice Baby" was the first hip hop single to top the Billboard Hot 100. Outside the United States, the song topped the charts in Australia, Belgium, the Netherlands, New Zealand, the Republic of Ireland and the United Kingdom, thus helping the song diversify hip hop by introducing it to a mainstream audience. The song came fifth in VH1 and Blender's 2004 list of the "50 Most Awesomely Bad Songs Ever."
Robert Van Winkle, better known by his stage name Vanilla Ice, wrote "Ice Ice Baby" in 1983 at the age of 16, basing its lyrics upon his experiences in South Florida. The lyrics describe a shooting and Van Winkle's rhyming skills. The chorus of "Ice Ice Baby" originates from the signature chant of the national African American fraternity Alpha Phi Alpha. Of the song's lyrics, Van Winkle states that "If you released 'Ice Ice Baby' today, it would fit in today's lyrical respect among peers, you know what I'm sayin'? [...] My lyrics aren't, 'Pump it up, go! Go!' At least I'm sayin' somethin'." The song's hook samples the bassline of the 1981 song "Under Pressure" by Queen and David Bowie who did not receive credit or royalties for the sample. In a 1990 interview, Van Winkle said the two melodies were slightly different because he had added an additional note, an anacrusis ("pickup") between odd-numbered and subsequent even-numbered iterations of the Under Pressure sample. In later interviews, Van Winkle readily admitted he sampled the song and claimed his 1990 statement was a joke; others, however, suggested he had been serious. Van Winkle later paid Queen and Bowie and as a result, Bowie and all members of Queen have since been given songwriting credit for the sample. In December 1990, Van Winkle told British youth music magazine Smash Hits where he came up with the idea of sampling "Under Pressure":
“
The way I do stuff is to go through old records that my brother has. He used to listen to rock 'n' roll and stuff like that. I listened to funk and hip hop because rock wasn't really my era. But having a brother like that, well, I just mixed the two, and he had a copy of 'Under Pressure'. And putting those sounds to hip hop was great.
”
Van Winkle described himself as the first rapper to cross into the pop market and said that although his pioneer status forced him to "take the heat for a lot of people" for his music's use of samples, the criticism he received over sample use allowed sampling to become acceptable in mainstream hip hop.
This is another one of those songs that I can play over and over again, especially on the bike when I am riding, Or driving my truck in the early morning driving to work like I did this morning, hence the selection of the sing after I got to work for my "Monday Music"
I remembered this song hitting in 1983 on the MTV music circuit, you know MTV...Back when they played Music video's rather than the insipid reality shows and other crap. and I thought it was a pretty cool song, but it faded away and I forgot about the song until my Sirius/XM did their forgotten hit with cuts from Indiana Jones and "Raiders of the Lost Ark" and this song came on and it was a "Eureka" moment and I recalled the song and saved it and bootlegged it on an app I have on my phone.
"Birds Fly (Whisper to a Scream)", given the reversed title "Whisper to a Scream (Birds Fly)" in some markets, is a song by the British band The Icicle Works. It was released in 1983 as the first single from the band's 1984 debut eponymous album The Icicle Works. The song was written by Ian McNabb, the band's lead singer, and produced by Hugh Jones.
The Icicle Works is the eponymous debut album by The Icicle Works. The album was released in 1984 and charted at number 24 in the UK and number 40 in the US. The original 1984 issue features different track listings and cover artwork in the UK, in the USA, and in Canada. In 2006, Beggars Banquet Records issued both a 2-CD and a limited edition 3-CD expanded edition of The Icicle Works. Disc 1 consists of the original album in its entirety, in the UK configuration. Disc 2 features a selection of b-sides, radio sessions, and remixes, as well as one live track. On the 3-CD edition, the first 10 tracks of disc 3 consist of "radio session" versions of the songs from the original UK Icicle Works album; they are presented in the original UK album sequence. Disc 3 then concludes with a previously released b-side, and a previously unreleased album outtake. The US version of the album has a remixed and re-titled version of "Birds Fly (Whisper to a Scream)". The US remix does not include the female spoken introduction heard on the UK mix. The US album was released by Arista Records.
Pitchfork Media described the song "Love Is a Wonderful Colour" as "one of those "wow where was this hiding?" tracks that make you think there's something left to 80s crate-digging.
I was driving in to work and this song *Popped up* as a preset alert on my Sirius/XM so I listened to it several times back to back on the drive to work, I would remember things while I drive, especially my interaction with my Dad who really liked the series "Call of Duty" and the Stones were from his generation, and for me this song is the only song and of course "Sympathy For The Devil" that I liked. I ain't knocking the Stones, it is a personal preference thing and of course there is the belief that Pete Townsend will be there for the end of time since he seemed to never change, he is the real "Dorian Gray".LOL I have ran this song several times in the past, it is one of the few I will run repeats on....
Well anyway, I didn't post anything this weekend, was very busy.....I decided to make room...in my garage......for the F150....Shocker.....Took a lot of work...
A lot of rearranging....chunked some stuff.....moved some stuff to the shed....a LOT of lifting.....Man I was sore..but the results were cool
I never was able to get my F150 into the garage, neither my 1999 or my 2021....until now....I was able to get my focuses in there....but never the trucks.
I always associate the song "Paint it black" with the series "Call OF Duty" that the song was the opening lyrics for in the 1980's.
Vietnam was a taboo subject for a while the wounds that the conflict left on the American Psyche was deep. We had won the battles but lost the war because we as a nation had lost the will to fight it thanks to the media and the hippies and the antiwar movement that was funded by the communist party and liberal donors. it took several years before Vietnam could be discussed outside of the veterans. My Dad was a Vietnam Veteran, he did a tour in 1968 and dealt with the tunnels of Cu-Chi and the Tet Offensive, then he returned in 1972 for a second tour. For a while especially in the 1970's, the Vietnam vet was portrayed as crazy or dangerous. The specter of Vietnam dogged every use of the Military or any support during the 1980's, from Grenada, to Beirut, to Honduras and Nicaragua. The Ghost of Vietnam were finally laid to rest during Desert Storm.
I decided to roll with "Paint it black" It is a Rolling Stone song that was used in the opening credits of a TV series that we GI's watched in the barracks. We liked the realism, the attention to detail, they had used Vietnam veterans as advisers to ensure the realism and gritty reality...for 80's TV anyway. When the show came on, the dayroom was full as everybody clustered around the AFN broadcast of the show. This song is the only song by the Rolling Stones that I really liked.....We would cheer when the soldiers would shoot up Charlie and the firefights. The interplay of the people was very well done, we liked the way the new LT played by Stephen Caffrey was mentored by the platoon sergeant played by Terrance Knox. All the other guys also played well on each other and at the end of the video, it showed the 3 soldiers standing at attention and saluting the flag on TV at the end of the broadcast day....when they played the national Anthem. That was telling for me. The simple patriotism showed represented the beliefs of the Veterans in their country..
"Paint It Black" is a song recorded in 1966 by the English rock band the Rolling Stones. A product of the songwriting partnership of Mick Jagger and Keith Richards, it is a raga rock song with Indian, Middle Eastern, and Eastern European influences and lyrics about grief and loss. London Records released the song as a single on 7 May 1966 in the United States, and Decca Records released it on 13 May in the United Kingdom. Two months later, London Records included it as the opening track on the American version of the band's 1966 studio album Aftermath, though it is not on the original UK release.
Originating from a series of improvisational melodies played by Brian Jones on the sitar, all five members of the band contributed to the final arrangement, although only Jagger and Richards were credited as songwriters. In contrast to previous Rolling Stones singles with straightforward rock arrangements, "Paint It Black" has unconventional instrumentation including a prominent sitar, the Hammond organ, and castanets. This instrumental experimentation matches other songs on Aftermath. The song was influential to the burgeoning psychedelic genre as the first chart-topping single to feature the sitar, and widened the instrument's audience. Reviews of the song at the time were mixed and some music critics believed its use of the sitar was an attempt to copy the Beatles, and others criticized its experimental style and doubted its commercial potential.
"Paint It Black" was a major chart success for the Rolling Stones, at eleven weeks (including two at number one) on the US Billboard Hot 100, and 10 weeks (including one atop the chart) on the Record Retailer chart in the UK. Upon a re-issue in 2007, it reentered the UK Singles Chart for 11 weeks. It was the band's third number-one single in the US and sixth in the UK. The song also topped charts in Canada and the Netherlands. It received a platinum certification in the UK from the British Phonographic Industry (BPI) and from Italy's Federazione Industria Musicale Italiana (FIMI).
In 1965, popularity of the Rolling Stones increased markedly with a series of international hit singles written by lead singer Mick Jagger and guitarist Keith Richards.While 1964 saw the band reach the top of both the albums and singles charts in their native United Kingdom, other bands from Britain dominated the American market, such as the Beatles. In 1965, the Stones crossed over to the American Market with their first number one single, "(I Can't Get No) Satisfaction", and first number one album Out of Our Heads. That year also saw the Stones reach the top of the charts for the first time in countries such as Finland, Germany, and South Africa.
This success attracted the attention of Allen Klein, an American businessman who became their US representative in August while Andrew Loog Oldham, the group's manager, continued in the role of promoter and record producer.[4] One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars. Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point.According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before".
By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, in comparison to whom they had long been promoted by Oldham as a rougher alternative.With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the musical and cultural influence of the Beatles, and began to be identified as one of the major pillars of the British Invasion. The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the Establishment detractors of rock music, which music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on".
"Paint It Black" came at a pivotal period in the band's recording history. The Jagger/Richards songwriting collaboration had begun producing more original material for the band over the past year, with the early model of Stones albums featuring only a few Jagger-Richards compositions having been replaced by that of albums such as Out of Our Heads and December's Children (and Everybody's), each of which consisted of half original tracks and half cover songs. This trend culminated in the sessions for Aftermath (1966) where, for the first time, the duo penned every track on the album. Brian Jones, originally the band's founder and leader over the first few years of its existence, began feeling overshadowed by the prominence of Jagger and Richards' contributions to the group.
Despite having contributed to early songs by the Stones via the Nanker Phelge pseudonym, Jones had less and less influence over the group's direction as their popularity grew primarily as a result of original Jagger-Richards singles. Jones grew bored attempting to write songs, and with conventional guitar melodies. To alleviate his boredom, he begun exploring Eastern instruments, specifically the Indian sitar, with a goal to bolstering the musical texture and complexity of the band's sound. A multi-instrumentalist, Jones could develop a tune on the sitar in a short time; he had a background with the instrument largely from his studies under Harihar Rao, a disciple of Ravi Shankar.
Over 1965, the sitar had become a more and more prominent instrument in the landscape of british rock. The Yardbirds had attempted to record "Heart Full of Soul" with the sitar as part of the arrangement in April, however they had run into problems getting the instrument to "cut through" the mix, and the session musician responsible for playing the instrument had trouble staying within the 4/4 time signature of the song. Ultimately, the final version of "Heart Full of Soul" featured a fuzz guitar in place of the sitar, although the song's distinctively Indian timbre remained. Following similar Indian-influenced experimentation by the Kinks on "See My Friends" that nonetheless still used guitar as the primary instrument, the first British band to release a recording featuring the sitar was the Beatles, with "Norwegian Wood (This Bird Has Flown)" released that December on the album Rubber Soul. Following a discussion with the Beatles' lead guitarist George Harrison, who had recently played the sitar on the sessions for "Norwegian Wood" in October 1965, Jones began devoting more time to the sitar, and began arranging basic melodies with the instrument. One of these melodies morphed over time into the tune featured in "Paint It Black"
Initial reaction to "Paint It Black" was mixed. Some music critics found the addition of the sitar to be simply a case of the band copying the Beatles.n his book Brian Jones: The Making of the Rolling Stones, Paul Trynka comments on the influence of Harrison's sitar playing on the Beatles' song "Norwegian Wood" from the Rubber Soul album and draws parallels with Jones' droning sitar melody on "Paint It Black". Responding to claims that he was imitating the Beatles, Jones replied: "What utter rubbish", comparing the argument to saying that all groups using a guitar copy each other merely by using the instrument. Jonathan Bellman, an American musicologist, agreed with Jones, writing in a 1997 issue of The Journal of Musicology that the events are an example of concurrent musical and instrumental experimentation. Jones' sitar part on the track influenced the development of a whole subgenre of minor-key psychedelic music.
In a retrospective review, Richie Unterberger of AllMusic called the song an "eerily insistent" classic that features some of "the best use of sitar on a rock record", and in another AllMusic review wrote it is "perhaps the most effective use of the Indian instrument in a rock song". Writing on the song's 50th anniversary in 2016, Dave Swanson of Ultimate Classic Rock considered the song, like its parent album Aftermath, to be a major turning point in artistic evolution for the band, noting: "'Paint It, Black' wasn't just another song by just another rock group; it was an explosion of ideas presented in one neat three-minute package." In 2017, ranking Aftermath as one of the best albums of the 1960s, Judy Berman of Pitchfork described the song as "rock's most nihilistic hit to date".vid Palmer, editor of the Cullman Times, wrote that the "attitude" songs on Aftermath – particularly "Paint It Black" – influenced the nihilistic outlook of punk music. Stereogum critic Tom Breihan praised the song as a strong example of the band's brand of "swirling doom-blues", and praised its heavy sound and dark lyrics as ahead of its time when compared to the landscape of popular music in 1966.
I decided to go with a Meatloaf song for my Monday Music, I was driving into work and this song came on the "90's channel" on my Sirius/XM, and it brought back memories. I saw Meatloaf back in 1994, My girlfriend(now my wife) knew that I liked "Meatloaf" and he was coming to Lakewood Amphitheatre. She gave me a Hallmark card(One of her Superpowers, LOL) and when I opened it, 2 tickets fell out. I was very happy and surprised. We made jokes now about the "salad days" but they were more like "Ramen" noodles days...Salad days would have been an improvement. We had the cheapo lawn seats, and they were still good, from the recreational pharmaceuticals that were present to the couple behind us that didn't need a room, it was a very good show. At the end Meatloaf would say " thank you to his fans for sticking with him from the good times and bad. he was very sincere about it. His album Bat out of hell II..Back into Hell was climbing the charts but the critics were still lambasting the album as a joke. he showed them though, the sucker went double platinum or something like that. Even now I would play the song and the album if I go on a road trip.
"I'd Do Anything for Love (But I Won't Do That)" is a song composed and written by Jim Steinman, and recorded by Meat Loaf. The song was released in 1993 as the first single from the album Bat Out of Hell II: Back into Hell. The last six verses feature a female vocalist who was credited only as "Mrs. Loud" in the album notes. She was later identified as Lorraine Crosby, from North East England. She does not, however, appear in the video, in which her vocals are lipsynched by Dana Patrick. Meat Loaf promoted the single with American vocalist Patti Russo performing the live female vocals. The title of the song confused some listeners, who were curious to know what "that" is. The song was a commercial success, reaching number one in 28 countries. The single was certified platinum in the United States and became Meat Loaf's first number-one single on the Billboard Hot 100 chart and on the UK singles chart, and was the best-selling single of 1993 in the UK. The song earned Meat Loaf a Grammy Award for Best Rock Vocal Performance, Solo. The song opens with a guitar played to sound like a revving motorcycle, which scholar Anne Bader interprets as foreshadowing "the male angst to come". This is a reference to Todd Rundgren's contribution in the middle of "Bat Out of Hell". Roy Bittan's piano begins to play, along with the guitars. The vocals begin at the 1:50 point, which is where many pop songs are beginning their second chorus. Steinman "alternates ... [a bombastic] style with mellow moments where the hard-hitting piano licks are fleshed out with ethereal synthesizer and choral-styled backing vocals."
And I would do anything for love
I'd run right into hell and back
These opening vocals are accompanied by piano and backing vocals. The song then becomes much louder as the band, predominantly piano, plays the main melody for twenty seconds. An instrumental section follows the first verse and chorus, lasting over 45 seconds, with piano playing the title melody, accompanied by guitar and wordless background vocals by Todd Rundgren, Rory Dodd and Kasim Sulton. The lead vocals recommence with another verse. The popular phrase "sex, drugs and rock 'n' roll" was edited to become "Some days I just pray to the god of sex and drums and rock and roll" on the recording (though not always in live shows). Steinman's songs are usually much longer than most other songs, and "I'd Do Anything for Love (But I Won't Do That)" is no exception.The song is a full 12 minutes, and Steinman broke down when executives advised him that he had to cut it down to get radio play. Manager Allen Kovac warned that any song over five minutes would not be played on radio, saying that if Steinman and the group did not make the cuts then the stations would. Even after they made the cuts, Steinman sent his own version to the stations. The single version was edited down to five minutes and 25 seconds, where the entire motorcycle introduction is omitted. The video version was whittled down to seven minutes and 38 seconds, where the motorcycle intro remains, but not in its entirety. In the video version and single version, the lengthy instrumental break is completely omitted. In the video and single versions, the refrain, which reads "I'd do anything for love, anything you've been dreaming of, but I just won't do that", which is sung before the instrumental bridge, was to be repeated three times, but was whittled down to having the one line repeated twice. Lorraine Crosby sings six verses in the complete song. In the video version, the second and third verses are omitted. In the single version, the second, third, and fifth verses are omitted.
I was driving to work early Monday morning a couple of weeks ago and I happen to stop on the "Studio 54" channel of Sirius/XM, it plays a lot of dance and Disco, hence the channel location of "54" like the famous "Studio 54" in New York during the Heydays of Disco, well anyway I heard this sone and I stopped and listened to it because I heard it before somewhere and it took a couple of minutes to figure it out.
Fixed it
YES! I heard it during the fight scene between Uma Thurmond and Luci Liu. I always liked the Kill Bill Vol1 because of the Revenge and Payback angle in the movie. Fun fact, the Yellow Tracksuit Uma Worn is in homage to Bruce Lee Track Suit in "Game Of Death"
The Animals did a version in the 1960's and I actually heard it on my "60's Gold" channel on my Sirius/XM a week later, Funny That.
The Animals' lead singer Eric Burdon would later say of the song, "It was never considered pop material, but it somehow got passed on to us and we fell in love with it immediately."
The song was recorded in November 1964. The band became a trans-Atlantic hit in early 1965 for their rendition of the song, rising to No. 3 on the UK Singles Chart, No. 15 on the U.S. pop singles chart, and No. 4 in Canada.
During Animals concerts at the time, the group maintained the recorded arrangement, but Burdon sometimes slowed the vocal line down to an almost spoken part, recapturing a bit of the Simone flavor.
A disco version of the song by the group Santa Esmeralda, which took the Animals' arrangement and transformed it with disco, flamenco, and other Latin rhythm and ornamentation elements, also became a hit in the late 1970s. Their version of the song was first released in summer 1977 as a 16-minute epic that took up an entire side of their Don't Let Me Be Misunderstood album, which was picked up for greater worldwide distribution by their label at the time, Casablanca Records. The 12-inch club remix was extremely popular, reached No. 1 on the U.S. BillboardClub Play Singles chart and in some European countries as well. Though, the single peaked at No. 4 on the Hot Dance/Disco-Club Play chart. Their 7-inch single version peaked at #15 on the Billboard Hot 100 in the U.S., which is coincidentally the same number at which The Animals version peaked.
