Triple H Theme Song Mp3 Download

This is the theme song for my new video game podcast Triple Click, which I produce and co-host with Maddy Myers and Jason Schreier.I'm playing sax, guitar, flute, and a few other instruments, though I used samples to build the drum groove. Jason and Maddy joined in to double the melody, playing acoustic guitar and Fender Rhodes, respectively.

The GameInformationArtist/Performed byMotrheadUsed byTriple HDates Used2001-PresentVideo The Game is a theme song used by Triple H. The song is written and performed by Motrhead.

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Triple H currently has two entrance theme songs. One for when he wrestles, and one for when he comes to the ring to cut a promo. His main theme music is Motrhead's "The Game." The second one, "King of Kings," is also a Motrhead song.

Entrance music sets the tone for wrestlers when they enter the ring, and some theme songs hype up an audience instantly. Over time, many artists have contributed music to WWE, providing songs for WWE superstars' entrance themes. For instance, Alter Bridge's song, "Metalingus," has been Edge's entrance music for nearly two decades.

With Oscar season underway, it's worth noting that it could Billie Eilish in front of the Academy Awards next year. The last two Bond themes - Sam Smith's 'Writing's On The Wall (from Spectre) and Adele's 'Skyfall' - both won the Best Original Song Oscar.

One of the most important aspect of a professional wrestler's persona is his entrance music. It's the signal that lets the world know that he is coming, and a good song can often enhance the character with only a few chords and words. Hulk Hogan's legacy certainly would not have been as great had he not had "Real American" playing over the speakers every time he ripped his shirt off, and the likes of the Ultimate Warrior, "The Million Dollar Man" Ted DiBiase, the Undertaker, "Stone Cold" Steve Austin and the Rock all had distinct music that perfectly complimented their huge personalities.

As far as entrance themes go, Triple H has one of the best. His tune, "The Game," is one of the more savage entries on the WWE playlist, which is owed to the fact that Motrhead recorded the track for him. Over the course of his career, Triple H (whose real name is Paul Levesque) has become friends with Motorhead frontman and rock legend Lemmy Kilmister (Triple H appeared on a Motrhead album back in 2002 and often introduces the band in concert). After recording "The Game," Lemmy was also drafted into recording two more songs for Triple H (the theme song for his faction Evolution and "King of Kings," a new twist on Triple H's character). What began as a professional relationship turned into a personal one.

"Years ago I was making a transition to becoming this bad guy, and they wanted me to change my music. We had our music guy Jim Johnston working on it, and it wasn't the sound I wanted," Triple H explained to MTV News. "I kept saying, 'I want it more raw, more gritty,' and I kept saying, 'Think Motrhead, think Motrhead.' So finally Jim was like, 'Why don't we just get Motrhead to do it?' They were into it, and they did the song for me, and they came to one of the shows, and Lem and I just hit it off. They've played me to the ring a few times."

Professional wrestler Triple H made his entrance to the METALLICA song "For Whom The Bell Tolls" during last night's (Sunday, April 3) WWE Wrestlemania XXVII match against The Undertaker at the Georgia Dome in Atlanta, Georgia. You can watch video footage of his arrival below.

I'm going to share something with you today that is going to BLOW YOUR MIND if you haven't learned it already! Did you know that all music (well, 98% of it) is either duple (2 based) or triple (3 based) metre. Say what? You might be thinking right now.. 'obviously waltzes and minuets are triple metre, marches, hornpipes and polkas are duple metre.. but what about 5s and 7s? They're different! Oh and 9/8s.. they're different! Girl, you don't know anything..' am I reading your mind? It's all good! I used to think similarly, but I've since learned a thing or two and I want to share it with you today!

First, let's address the duple metre family.. There are a few obvious ones here, like the marches, polkas, hornpipes, 2/4 galops, 4/4s, tangos, habaneras, most czardas and your standard 2/4 allegro. What else belongs in this seemingly obvious category? Here are some surprises.. allegro 6/8s. That's right.. you'd think that a 6/8 would be triple metre; the adagio 6/8 is, but the allegro 6/8 is technically a 2/4 on compound-time steroids! Stick 3 eighth notes on each quarter note and you've got a 6/8. 123 456. It's duple metre. Another surprise duple is the 12/8.. This is the same idea.. it's 4/4 on compound-time steroids! Put 3 eighth notes on each beat so it feels like this super "notey" crazy big adage.. and really, it's a 4. If you can count a 4/4 adage, you can count a 12/8, you just need to hear the underlying triple sound under the beat. I was chatting with a teacher recently that was struggling with understanding a movie theme piece of music. It is a fabulous piece of music, very dramatic but it was also very hard to count for everyone, teacher and students. Turns out, it's a 12/8.. Now, that teacher is good to go and totally knows how to count her choreography! Another surprising duple metre piece of music is the 5/4! That's right. a 5 is a 2.

Now let's talk about triple metre! When it comes to triple metre, there is a lot of music that is not a surprise.. like all the waltzes, the sarabande, the minuet, the polonaise, the mazurka, the bolero, etc.. but did you know that the 7/4 or the 7/8 actually belongs to the triple metre family? It's rhythm, most commonly, is divided into 2 + 2 + 3. Do you see the 3 sections of rhythm within the measure? 12, 12, 123 | 12, 12, 123| etc. Another surprise, to some of you, is the 9/8. This is another simple metre'd time signature, on compound-time steroids.

According to the YouTube videos which featured the song itself, the song starts with a hearty introduction by HandUnit. The song's lyrics describe the personalities of each of the three, as well as making shilling comments about Freddy Fazbear's Pizza as a whole, as well as off-hand comments in the background. Occasionally, a monotonous voice will pipe in and recite a fine print notice, as if reading a disclaimer. The ending of the song features promotions offered by some advertisers from the company. The music fades out at the end. The melody is reminiscent of 1980s style techno music, befitting the era in which Freddy Fazbear's Pizza was first open, with rock guitar accents, courtesy of Bonnie.

After breaking out as a singles star in mid-1999, Triple H adopted a new theme song, away from the DX entrance music he had been using while with the group. Initially, the song had no lyrics but the addition of some made it so much better.

At Backlash 2000, he had one of his greatest entrants to the theme song, being flanked by Vince McMahon and Stephanie McMahon, as he readied himself to defend his title against The Rock, arguably his greatest ever rival.

The wrestling legend himself has got on record in the past about being a fan of the Hammers, so it was only a matter of time before fans heard his iconic entrance theme music blaring out over London Stadium.

Just to make things hard on you, Tron Knotts has dropped his latest hit single on Megaupload. After navigating a Playstation Store-esque labyrinth of frustration, you will be treated to a song that is best described as an amalgamation of NES game music, my little brother in the shower when he thinks no one is home, and Pantera.

The late Marvin Hamlisch teamed with Alan and Marilyn Bergman to write this instant standard from the Streisand/Robert Redford romance of the same name. Streisand sang it on the film soundtrack. It became her first No. 1 hit on the Billboard Hot 100. Streisand opted not to sing the song on the Academy Awards telecast, so another legend, the late Peggy Lee, filled in for her. This won the Grammy for song of the year.

The late Joseph Brooks wrote this hymn-like ballad from the film of the same name. This was the first song written by a solitary songwriter to win the Triple Crown. This also marked the only time that a songwriter has won the Triple Crown for a song from a film that he or she directed. Kacey Cisyk sang it on the film soundtrack (actress Didi Conn lip-synched in the scene, which features Brooks in a cameo as the music director). Debby Boone, whose cover version was the first single in Hot 100 history to log 10 weeks at No. 1, sang it on the Academy Awards telecast.

Menken teamed with Stephen Schwartz to write this stirring ballad from Pocahontas, the fourth song from an animated Disney film in seven years to spawn a Triple Crown winner. Remarkably, Menken co-wrote all four of these songs. The song, which expresses empathy for indigenous peoples, was a kind of a corrective to the Frontierland vision of company founder Walt Disney. The song was performed twice on the film soundtrack, by Judy Kuhn and by Vanessa Williams. Williams, whose single reached No. 4 on the Hot 100, performed it on the telecast.

Lady Gaga teamed with Mark Ronson, Anthony Rossomando and Andrew Wyatt to write this song from the fourth iteration of A Star Is Born. Gaga and Bradley Cooper, who starred in the film, sang the power ballad on the film soundtrack and on the telecast. Their recording reached No. 1 on the Hot 100. Cooper also directed the film, making him the only director of a film that spawned a Triple Crown winner who also recorded the song on the film soundtrack.

Did you have a super-clear vision of what you wanted your theme to be, or was it something that evolved over time? To be honest, I had almost no time to settle on the theme for the show, so I was racking my brain. I knew it had to be instrumental, somewhat unrecognisable (in order to be a good pathway into the show), and not dictate too much what the program would be about. e24fc04721