"Words" was the Bee Gees third UK top 10 hit, reaching number 8, and in a UK television special on ITV in December 2011 it was voted fourth in "The Nation's Favourite Bee Gees Song".[1] The song has been recorded by many other artists, including hit versions by Rita Coolidge in 1978 and Boyzone in 1996. This was Boyzone's fifth single and their first number-one hit in the UK.
'Words' reflects a mood, It was written after an argument. Barry had been arguing with someone, I had been arguing with someone, and happened to be in the same mood. [The arguments were] about absolutely nothing. They were just words. That is what the song is all about; words can make you happy or words can make you sad.
Hindi Bad Words Song Video
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Words was recorded on 3 October 1967 along with "World" and the unreleased track "Maccleby's Secret" at the IBC Studios in London.[4] The song featured vocals from only Barry and became his solo spot in concert for the remainder of the Bee Gees' career.
"I remember the [first] session so clearly. Robin and I were in the studios at 9 o'clock in the morning, and Robin kept on falling asleep over the piano. I wanted him to write the piano part of the song and play it because I'm not much of a pianist, but he just couldn't keep his eyes open, so I ended up doing it myself".[3]
The song was recorded by Glen Campbell on the "Wichita Lineman" album released in 1968, also recorded and performed live by Elvis Presley in 1969. It was included in the concert documentary and album Elvis: That's the Way It Is.
"Words" is a song by F. R. David, released as a single in 1982 from his debut album of the same name. The song was a huge European hit, peaking at number one in West Germany, Switzerland, Spain, Italy, Sweden, Austria, Denmark, Ireland, Belgium, and Norway. In early 1983, it peaked at number two on the UK Singles Chart, and it also went to number one in South Africa in late 1982, spending 25 weeks on the charts, eventually becoming the most successful hit on that country's year-end chart. In Australia, the single peaked at number 12 and spent 41 weeks within the top 100 in two chart runs throughout 1983 and early 1984.[2]
Giffords suffered from aphasia -- the inability to speak because of damage to the language pathways in her brain's left hemisphere. But by layering words on top of melody and rhythm, she trained her brain to use a less-traveled pathway to the same destination.
Two separate lines of research have examined the influence of song and infant-directed speech (IDS-a speech register that includes some melodic features) on language learning, suggesting that the use of musical attributes in speech input can enhance language learning. However, the benefits of these two types of stimuli have never been directly compared. In this investigation, we compared the effects of song and IDS for immediate word learning and long-term memory of the learned words. This study examines whether the highly musical stimuli (i.e., song) would facilitate language learning more than the less musical stimuli (i.e., IDS). English-speaking adults were administered a word learning task, with Mandarin Chinese words presented in adult-directed speech (ADS), IDS, or song. Participants' word learning performance was assessed immediately after the word learning task (immediate word learning) and then 1 day later (long-term memory). Results showed that both song and IDS facilitated immediate word learning and long-term memory of the words; however, this facilitative effect did not differ between IDS and song, suggesting that the relationship between the degree of musicality and language learning performance is not linear. In addition, song and IDS were found to facilitate the word association process (mapping a label to its referent) rather than the word recognition process. Finally, participants' confidence in their answers might not differ among ADS, IDS, and sung words.
"Rap God" finds Eminem spitting rhymes about Monica Lewinsky, Dale Earnhardt and a host of fellow rappers including 2Pac, Ice Cube, Eazy-E, Run-DMC, Dr Dre, Rakim, Pharoahe Monch, Fabolous, Ray J and Heavy D & The Boyz. In all, 43 figures from the world of rap/hip-hop are name-checked/referenced by Eminem.Taken from The Marshall Mathers LP 2, Eminem's eighth studio album, "Rap God" debuted at Number 5 on the UK's Official Singles Chart on 26 October 2013, and at Number 7 on the US Billboard Hot 100 on 2 November 2013, as well as charting in numerous other countries around the world. It was the rapper's seventh Top 10 debut on the Hot 100, eclipsing Lil Wayne (six) for the most Top 10 debuts on the Hot 100 (male)."Rap God" also helped Eminem set the record for the most simultaneous Top 20 hits on the US Hot 100 as a lead solo artist. "The Monster" (No.3), "Berzerk" (No.15), "Survival" (No.16) and "Rap God" (No.17) were all in the Top 20 on 16 November 2013. Only The Beatles, with six simultaneous Top 20 hits in April-May 1964, can better Eminem's achievement among lead artists. 50 Cent, T-Pain and Lil Wayne have all had four songs in the Top 20 at the same time, but all were featured artists on at least one track.Eminem performed "Rap God" at the inaugural YouTube Music Awards in New York City, USA, on 3 November 2013.Main image via Reuters
Come a runnin' boys
Don't you hear that noise like the thunder in the sky
How it rolls along in a good old song
From the sons of Nebraski.
Now it's coming near with a rising cheer
That will sweep all foes away,
So with all our vim
We are bound to win and we're going to win today.
Francis Scott Key was a gifted amateur poet. Inspired by the sight of the American flag flying over Fort McHenry the morning after the bombardment, he scribbled the initial verse of his song on the back of a letter. Back in Baltimore, he completed the four verses (PDF) and copied them onto a sheet of paper, probably making more than one copy. A local printer issued the new song as a broadside. Shortly afterward, two Baltimore newspapers published it, and by mid-October it had appeared in at least seventeen other papers in cities up and down the East Coast.
The words to our national anthem have nothing to do with consumption of alcohol, but the melody that Francis Scott Key had in mind when he wrote those words did originate decades earlier as the melody for a song in praise of wine.
Many sets of lyrics have been written to the melody that Key chose for his verses that eventually became our national anthem. In fact, by 1820, eighty-four were written in the United States alone. Unlike most common melodies, we know who wrote the original words, music, and why!
Malvina Reynolds songbook(s) in which the music to this song appears:
---- Little Boxes and Other Handmade Songs
---- The Malvina Reynolds Songbook
---- There's Music in the Air: Songs for the Middle-Young
Other place(s) where the music to this song appears:
---- 62 Stars, Sixty-two Hits: the Keys-Hansen Book (Hansen Publications, 1963)
---- 100 Solos, Saxophone (London and New York: Amsco, 1987)
---- Hazel Arnett and Carl S. Miller: I Hear America Singing!: Great Folk Songs from the Revolution to Rock (New York: Praeger, 1975)
---- Peter Blood-Patterson: Rise Up Singing: The Group-Singing Song Book [lyrics & guitar chords only] (Bethlehem, PA: Sing Out Corp., 1988), p. 2
---- Broadside No. 20 (February 1963)
---- Broadside: Songs of Our Times..., Vol. 1 (New York: Oak Publications, 1964), p. 15
---- Creative Keyboard Songbook, Volume 2 (New York: Amsco Productions, 1987-)
---- Great Songs of the 60's (London and New York: Wise Publications, 1973)
---- Kathleen Krull and Allen Garns: Gonna Sing My Head Off!: American Folk Songs for Children (New York: A. A. Knopf, 1990)
---- Kathleen Krull and Allen Garns: I Hear America Singing!: Folk Songs for American Families (New York: A. A. Knopf, 2003)
---- Jim Morse and Nancy Mathews: The Sierra Club Survival Songbook (San Francisco and New York: The Sierra Club, 1971)
---- Milton Okun: The New York Times Great Songs of the Sixties (New York: Times Books, 1970-1974)
---- Sing Out!, Volume 13(4) (1963), p. 21
---- Wanda Willson Whitman: Songs That Changed the World (New York: Crown, 1969)
Malvina Reynolds recordings of this song:
---- Malvina Reynolds Sings the Truth
---- The Ultimate Pollution
---- Malvina
---- Ear to the Ground
---- Malvina Reynolds...Sings the Truth (2008)
---- Cassandra Records CS-52 (7-inch 45 rpm disc, 1971; flip side "The Cement Octopus")
---- Cassandra Records CS-53 (7-inch 45 rpm disc, 1973; flip side "Casitas" sung by Victor Jara)
---- The Best of Broadside 1962-1988 (Smithsonian Folkways Recordings SFW CD 40130, 2000)
---- Bread and Roses Festival of Acoustic Music (Fantasy F-79009, 1979)
---- Folk Classics: Roots of American Folk Music (Columbia CK 45026, 1989)
---- Folk, Gospel & Blues: Will the Circle be Unbroken? (Sony J2K 65804, 1999)
---- Washington Square Memoirs: The Great Urban Folk Boom, 1950-1970 (Rhino Records R2 74264, 2001)
---- Weeds: Music from the Original Series (Bulletproof RDCD 10830, 2005)
---- listen to youtube.com video
---- listen to youtube.com video
You might think of the appropriateness of songs as falling on a continuum. Can the issues be resolved by changing some of the words? Is the content so egregious that the entire song must be removed? Or is there some middle ground? Once you make the determination, how do you talk about the changes with your community? Can they be mentioned briefly in passing, or do they require a lengthy conversation (or many conversations)?
Jacki Breger is a veteran song leader in camp, school, and concert settings, and has been a camp counselor/song leader and director in both day and resident camps. She is a seasoned workshop presenter at local, regional, and national conferences. She hosted a radio program for kids about folk and classical music, has produced five albums of songs for children, and authored a book on how to teach songs and lead singing. She was featured on the ACA CampWire Podcast #21 on camp singing, and she has written and presented workshops about antibias curriculum for schools and singing programs. be457b7860
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