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In popular music, a cover version, cover song, revival, or simply cover, is a new performance or recording by someone other than the original artist or composer of a previously recorded, commercially released song.
Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training. It stands in contrast to both art music and traditional or "folk" music. Art music was historically disseminated through the performances of written music, although since the beginning of the recording industry, it is also disseminated through recordings. Traditional music forms such as early blues songs or hymns were passed along orally, or to smaller, local audiences.
Performance is completion of a task with application of knowledge, skills and abilities.
Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
Before the onset of rock 'n' roll in the 1950s, songs were published and several records of a song might be brought out by singers of the day, each giving it their individual treatment. Cover versions could also be released as an effort to revive the song's popularity among younger generations of listeners after the popularity of the original version has long since declined over the years.
On occasion, a cover can become more popular than the original, such as Elvis Presley's version of Carl Perkins' original "Blue Suede Shoes", Santana's 1970 version of Peter Green's and Fleetwood Mac's 1968 "Black Magic Woman", Johnny Cash's version of Nine Inch Nails' "Hurt", Whitney Houston's versions of Dolly Parton's "I Will Always Love You" and of George Benson's "The Greatest Love of All", Glenn Medeiros's version of George Benson's "Nothing's Gonna Change My Love for You" or Jimi Hendrix's version of Bob Dylan's "All Along the Watchtower".The Hendrix recording, released six months after Dylan's original, became a Top 10 single in the UK in 1968 (US number 20) and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time. Another famous example is the Beatles' cover of "Twist and Shout", originally by the Top Notes, and their cover of the song, "Til There Was You", by Meredith Willson, among many others.
Elvis Aaron Presley, also known mononymously as Elvis, was an American singer, musician, and actor. Regarded as one of the most significant cultural icons of the 20th century, he is often referred to as the "King of Rock and Roll" or simply "the King".
Carl Lee Perkins was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954. Amongst his best-known songs are 'Blue Suede Shoes', 'Matchbox' and 'Everybody's Trying To Be My Baby'.
"Blue Suede Shoes" is a rock-and-roll standard written and first recorded by Carl Perkins in 1955. It is considered one of the first rockabilly records, incorporating elements of blues, country and pop music of the time. Perkins' original version of the song was on the Cashbox Best Selling Singles list for 16 weeks and spent two weeks in the number two position. Elvis Presley performed his version of the song three different times on national television. It was also recorded by Buddy Holly and Eddie Cochran, among many others.
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. The Chicago Tribune described the term in 1952: "trade jargon meaning to record a tune that looks like a potential hit on someone else's label". Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 – the production of musical entertainment was seen as a live event, even if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record. In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible.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
Paul "Hucklebuck" Williams was an African American jazz and blues saxophonist, bandleader, and songwriter. His record "The Huckle-Buck", recorded in December 1948, was one of the most successful R&B records of the time. In his Honkers and Shouters, Arnold Shaw credited Williams as one of the first to employ the honking tenor saxophone solo that became the hallmark of rhythm and blues and rock and roll in the 1950s and early 1960s.
This is a list of notable events in music that took place in the year 1949.
Hiram King "Hank" Williams was an American singer-songwriter and musician. Regarded as one of the most significant and influential American singers and songwriters of the 20th century, Williams recorded 35 singles that reached the Top 10 of the Billboard Country & Western Best Sellers chart, including 11 that ranked number one.
In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-popular tunes, even out of doing contemporary cover versions of current hits. Musicians now play what they call "cover versions" (the reworking, updating or interpretation) of songs as a tribute to the original performer or group. Using familiar material (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. (See, for example, Please Please Me .) Artists might also perform interpretations ("covers") of a favorite artist's hit tunesfor the simple pleasure of playing a familiar song or collection of tunes. A cover band plays such "cover versions" exclusively.
Please Please Me is the debut studio album by the English rock band the Beatles. Parlophone rush-released the album on 22 March 1963 in the United Kingdom to capitalise on the success of the band's singles "Please Please Me" and "Love Me Do". The album topped Record Retailer's LP chart for 30 weeks, an unprecedented achievement for a pop album at that time.
A cover band, is a band that plays songs recorded by someone else, sometimes mimicking the original as perfectly as possible, and sometimes re-interpreting or changing the original. These remade songs are known as cover songs. New or unknown bands often find the format marketable for smaller venues, such as pubs, clubs, or parks. The bands also perform at private events, for example, weddings and birthday parties and may be known as a wedding band, party band, function band or band-for-hire. A band whose covers consist mainly of songs that were chart hits is often called a top 40 band. Some bands, however, start as cover bands, then grow to perform original material. For example, The Rolling Stones released three albums consisting primarily of covers before recording one with their own original material.
Today three broad types of entertainers depend on cover versions for their principal repertoire:
Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band. Bands such as Björn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show, The Iron Maidens and Glory Days are dedicated to playing the music of ABBA, Led Zeppelin, The Beatles, Pink Floyd, Iron Maiden and Bruce Springsteen respectively. Some tribute acts salute the Who, The Rolling Stones and many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience to experience the "next best thing" to the original act. The formation of tribute acts is roughly proportional to the enduring popularity of the original act; for example, dozens of Beatles tribute bands have formed and an entire subindustry has formed around Elvis impersonation. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles and Metallica. There are also situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim "Ripper" Owens who, once the lead singer of Judas Priest tribute band British Steel, went on to join Judas Priest himself.
A tribute act, tribute band or tribute group is a music group, singer, or musician who specifically plays the music of a well-known music act. Tribute acts include individual performers who mimic the songs and style of an artist, such as Elvis impersonators covering the works of Elvis Presley or groups like The Iron Maidens, an all-female band that pays tribute to Iron Maiden.
Björn Again is a parody of the Swedish pop group ABBA founded in 1988 in Australia, but now involving multiple touring troupes performing under the Björn Again name. The show takes its name from Björn Ulvaeus, a member of ABBA, and a pun on the phrase "born again".
Led Zepagain is an American hard rock tribute band formed in Ventura, California. The current band consists of vocalist/harmonica player Swan Montgomery, Guitar/ Mandolin Anthony David, bassist/keyboardist/mandolinist Jim Wootten and drummer/percussionist Derek Smith. The group was formed in 1988 and is considered one of the top Zepplin tribute bands in Southern California.
Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs. Such bands draw from current Top 40 hits and/or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen. The use of a screen for lyrics as a memory aid can dramatically increase the number of songs a singer can perform.
Revivalist artists or bands are performers who are inspired by an entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely primarily on audiences seeking a nostalgic experience, revivalist bands usually seek new young audiences for whom the music is fresh and has no nostalgic value. For example, Sha Na Na started in 1969 as a celebration of the doo-wop music of the 1950s, a genre of music that was not initially fashionable during the hippie counter-culture era. The Blues Brothers started in 1978 as a living salute to the blues, soul and R&B music of the 1950s and 1960s that was not in vogue by the late 1970s. The Blues Brothers' creed was that they were "on a mission from God" as evangelists for blues and soul music. The Black Crowes formed in 1984, initially dedicated to reviving 1970s style blues-rock. They started writing their own material in the same vein.
The examples and perspective in this section may not represent a worldwide view of the subject. (July 2017) (Learn how and when to remove this template message)
Since the Copyright Act of 1909, United States musicians have had the right to record a version of someone else's previously recorded and released tune, whether it is music alone or music with lyrics.A license can be negotiated between representatives of the interpreting artist and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording artist pays a standard royalty to the original author/copyright holder through an organization such as the Harry Fox Agency, and is safe under copyright law even if they do not have any permission from the original author. A similar service was provided by Limelight by RightsFlow, until January 2015, when they announced they will be closing their service. The U.S. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market.
Although a composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to decide who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of "Mr. Tambourine Man".Even with this, pre-release cover versions of songs can occasionally occur.
Live performances of copyrighted songs are typically arranged through performing rights organizations such as ASCAP or BMI.
Early in the 20th century it became common for phonograph record labels record companies to have singers or musicians "cover" a commercially successful "hit" tune by recording a version for their own label in hopes of cashing in on the tune's success. For example, Ain't She Sweet was popularized in 1927 by Eddie Cantor (on stage) and by Ben Bernie and Gene Austin (on record), was repopularized through popular recordings by Mr. Goon Bones & Mr. Ford and Pearl Bailey in 1949, and later still revived as 33 1/3 and 45 RPM records by the Beatles in 1964.
Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area and reach an audience before the version by the artist(s) who first introduced the tune in a particular format—the "original", "introductory" or "popularizing" artist—was widely available, and highly competitive record companies were quick to take advantage of these facts.[ clarification needed ]
This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the Swing era, when a bobby soxer went looking for a recorded tune, say "In the Mood", typically she wanted the version popularized by her favorite artist(s), e.g. the Glenn Miller version (on RCA Victor's cheaper Bluebird label), not someone else's (sometimes presented on a more expensive record company's label). This trend was marked closely by the charting of record sales by the different artists, not just hit tunes, on the music industry's Hit Parades. However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well. Most audiences until the mid-1950s still heard their favorite artists playing live music on stage or via the radio. And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience. Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz, country and western or rhythm and blues tunes, and vice versa, were frequent. Consider Mack the Knife (Die Moritat vom Mackie Messer): this was originally from Bertholt Brecht's 1928 Die Dreigroschenoper. It was popularized by a 1956 record Hit Parade instrumental tune, Moritat, for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August,but a hit also for Louis Armstrong 1956/1959, Bobby Darin, 1959, and Ella Fitzgerald, 1960, as vocal versions of Mack The Knife.
Europe's Radio Luxembourg, like many commercial stations, also sold "air time"; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available. Add to this the fact that many radio stations were limited in their permitted "needle time" (the amount of recorded music they were allowed to play), or were regulated on the amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the UK.
In the US, unlike most countries, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in different genres. For example, King Records frequently cut both rhythm and blues and country and western versions of novelty songs like "Good Morning, Judge" and "Don't Roll those Bloodshot Eyes at Me". This tradition was expanded when rhythm and blues songs began appearing on pop music charts.
In the early days of rock and roll, many tunes originally recorded by R&B and country musicians were still being re-recorded in a more popular vein by other artists with a more toned-down style or professional polish.This was inevitable because radio stations were reluctant to play formats outside their target audience's taste. By far the most popular style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore popular recording artists sought that format. For many purists these popular versions lacked the raw earthiness of the original introducing artists.
Most did not have the kudos that rebellious teenagers craved, the street credibility — of rock and roll music; most were performed, and some were written, by black artists not heard in popular mass entertainment markets. Most parents considered the bowdlerized popular cover versions more palatable for the mass audience of parents and their children. Artists targeting the white-majority family audience were more acceptable to programmers at most radio and TV stations. Singer-songwriter Don McLean called the cover version a "racist tool". Many parents in the 1950s - 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for the most part, shared entertainment with their parents in ways their children had become reluctant to do. The jukebox and the personal record disc player were still relatively expensive pieces of machinery — and the portable radio a great novelty, allowing truculent teenagers to shut themselves off.
Tunes by introducing or "original" niche market artists that became successful on the mass audience Hit Parade charts are called crossovers as they "crossed over" from the targeted country, jazz or rhythm audience. Also, many songs originally recorded by male artists were rerecorded by female artists, and vice versa. Such a cover version is also sometimes called a cross cover version, male cover, or female cover. Incidentally, until the mid-1930s male vocalists often sang the female lyrics to popular songs, though this faded rapidly after it was deemed decadent in Nazi Germany. Some songs such as "If Only for One Night" were originally recorded by female artists but covered by mostly male artists.
Reworking non-English language tunes and lyrics for the Anglo-Saxon markets was once a popular part of the music business. For example, the 1954 worldwide hit The Happy Wanderer was originally Der fröhliche Wanderer , to this must be added Hymne a l'amour, Mutterlein, Volare, Seeman, "Quando, Quando, Quando,"L'amour est bleu, etc.
Cover versions of many popular songs have been recorded, sometimes with a radically different style, sometimes virtually indistinguishable from the original. For example, Sir Mix-a-Lot's 1992 rap "Baby Got Back" was covered by indie rock singer Jonathan Coulton in 2005, in an acoustic soft rock style. Coulton's cover was then covered, without attribution, in 2013 by the show Glee , and was so similar that Coulton, among others, alleged plagiarism of his arrangement.Some producers or recording artists may also enlist the services of a sample replay company such as Titan Tribute Media or Scorccio, in order to replicate an original recording with precision detail and accuracy.
A song may be covered into another language. For example, in the 1930s, a recording of Isle of Capri in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco's 1982 German-language hit "Der Kommissar" was covered in English by After the Fire, although the German title was retained. The English version, which was not a direct translation of Falco's original but retained much of its spirit, reached the Top 5 on the US charts. "The Lion Sleeps Tonight" evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan's 1980s hits were English-language covers of songs already successful in Europe, for the American record market. Numerable English-language covers exist of "99 Luftballons" by German singer Nena (notably one by punk band Goldfinger), one having been recorded by Nena herself following the success of her original German version. "Popcorn", a song that was originally completely instrumental, has had lyrics added in at least six different languages in various covers. During the heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame but with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics often chide the music industry of shorting the tune-composing process.
Although modern cover versions are often produced for artistic reasons, some aspects of the disingenuous spirit of early cover versions remain. In the album-buying heyday of the 1970s, albums of sound-alike covers were created, commonly released to fill bargain bins in the music section of supermarkets and even specialized music stores, where uninformed customers might easily confuse them with original recordings. The packaging of such discs was often intentionally confusing, combining the name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular by. More recently, albums such as the Kidz Bop series of compact discs, featuring versions of contemporary songs sung by children, have sold successfully.
In 2009 the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by the series' titular glee club until near the end of its second season with the episode "Original Song". The series still primarily uses cover songs of both chart hits and show tunes, occasionally as mashups or distinct variations. The show's musical performances have been a commercial success, with over twenty-one million copies of Glee cast single releases purchased digitally, and over nine million albums purchased worldwide.
Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, "Singin' in the Rain" was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929 . The famous Gene Kelly version was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin' in the Rain. In 1978, it was covered by French singer Sheila accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently "Singin' In the Rain" has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen. Another example of this, from a different angle, is the tune "Blueberry Hill", many mistakenly believe the Fats Domino 1956 release to be the original recording and artist. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and roll version is the only one that might currently get widespread airplay on most media. Similarly, "Unchained Melody" was originally performed by Todd Duncan, featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Young's cover version rival outdoing this in the UK,Les Baxter's Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number one spot in May 1955, but The Righteous Brothers' later version (top five on the US Hit Parade of September 1965 stalling at number 14 in the UK in August) is by far the wider known version, and especially so following its appearance in the 1990 film Ghost . "House of the Rising Sun" has hundreds of versions and in many genres such as folk, blues rock and punk as well as dance and dubstep.
Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young's "Love Is in the Air" occur in Strictly Ballroom , Candi Staton's "Young Hearts Run Free" appear in Romeo + Juliet , and adaptations of artists such as Nat King Cole, Nirvana, Kiss, Elton John, Thelma Houston, Marilyn Monroe, Madonna, T. Rex, David Bowie, Queen and The Police are used in Moulin Rouge! The covers are carefully designed to fit into the structure of each film and suit the taste of the intended audience.
Other artists release new versions of their own previous songs, like German singer Nena who recorded an entire album with great success, with new versions of older hits. Cover songs can be used to display creativity of a performers work through the talent of another artist's previous production. Not to be confused with a Remix, which is defined as altering or distorting the original sound electronically; Cover Versions give a performer the ability to adapt music to their own style, typically allowing them to change the genre of a song and recreating it to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson's hit song "Beat It", changing the genre from pop rock to a more punk rock feel. This is more common with today's covers, taking older popular music and revamping it to compare with modern popular music. Aretha Franklin's cover of Otis Redding's "Respect" was voted the greatest cover song of all-time, according to Forbes.com.
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, jazz, boogie woogie, and rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.
Louis Thomas Jordan was an American musician, songwriter and bandleader who was popular from the late 1930s to the early 1950s. Known as "The King of the Jukebox", his highest profile came towards the end of the swing era.
A hit parade is a ranked list of the most popular recordings at a given point in time, usually determined by sales and/or airplay. The term originated in the 1930s; Billboard magazine published its first music hit parade on January 4, 1936. It has also been used by broadcast programs which featured hit tunes such as Your Hit Parade, which aired on radio and television in the United States from 1935 through the 1950s.
Bert Kaempfert was a German orchestra leader, multi-instrumentalist, music producer, arranger, and composer. He made easy listening and jazz-oriented records and wrote the music for a number of well-known songs, including "Strangers in the Night" and "Moon Over Naples".
Johnny Rivers is an American rock 'n' roll singer, songwriter, guitarist, and record producer. His repertoire includes pop, folk, blues, and old-time rock 'n' roll. Rivers charted during the 1960s and 1970s but remains best known for a string of hit singles between 1964 and 1968, among them "Memphis", "Mountain of Love", "The Seventh Son", "Secret Agent Man", "Poor Side of Town", "Baby I Need Your Lovin'", and "Summer Rain".
Crossover is a term applied to musical works or performers who appeal to different types of audience, for example by appearing on two or more of the record charts which track differing musical styles or genres. If the second chart combines genres, such as a "Hot 100" list, the work is not a crossover.
Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, boogie woogie, jazz and swing music, and was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
"Money " is a song written by Tamla founder Berry Gordy and Janie Bradford that became the first hit record for Gordy's Motown enterprise. The song was recorded in 1959 by Barrett Strong for the Tamla label, distributed nationally on Anna Records. It went on to be covered by many artists, including the Beatles in 1963 and the Flying Lizards in 1979.
"Come Together" is a song by the English rock band the Beatles, written primarily by John Lennon and credited to Lennon–McCartney. The song is the opening track on their 1969 album Abbey Road and was also released as a single coupled with "Something". The song reached the top of the charts in the United States and peaked at No. 4 in the United Kingdom.
"Rock and Roll Music" is a 1957 hit single written and recorded by rock and roll star Chuck Berry. The song has been widely covered and is recognized as one of Berry's most popular and enduring compositions. In the fall of 1957, his recording reached number 6 on Billboard magazine's R&B Singles chart and number 8 on its Hot 100 chart.
"Roll Over Beethoven" is a 1956 hit single written by Chuck Berry, originally released on Chess Records, with "Drifting Heart" as the B-side. The lyrics of the song mention rock and roll and the desire for rhythm and blues to replace classical music. The title of the song is an imperative directed at the composer Ludwig van Beethoven to roll over in his grave in reaction to the new genre of music that Berry was promoting. The song has been covered by many other artists, including the Beatles and the Electric Light Orchestra. Rolling Stone magazine ranked it number 97 on its list of the "500 Greatest Songs of All Time".
"Matchbox" is a song written and recorded by Carl Perkins and released in 1957. Blind Lemon Jefferson wrote and recorded a song entitled "Match Box Blues" in 1927, which is musically different but which contains some lyric phrases in common.
"Rock Island Line" is an American folk song. Ostensibly about the Chicago, Rock Island and Pacific Railroad, it appeared as a folk song as early as 1929. The first recorded performance of "Rock Island Line" was by inmates of the Arkansas Cummins State Farm prison in 1934.
"Viva Las Vegas" is a 1963 song recorded by Elvis Presley written by Doc Pomus and Mort Shuman for his Viva Las Vegas film vehicle, which along with the song was set for general release the year after. Although Elvis Presley never sang the song live, it has since become widely known and often performed by others. The RIAA certified it gold on March 27, 1992 having sold 500,000 copies in the United States.
A revivalist artist or revivalist band is a musical group, singer, or musician dedicated to reviving interest in a musical genre from an earlier era.
"Hard to Handle" is a 1968 song written by American soul star Otis Redding along with Al Bell and Allen Jones. Originally recorded by Redding, it was released in 1968 as the B-side to "Amen". The song also appears on the 1968 album The Immortal Otis Redding. Redding's version reached #38 on the Billboard R&B charts and #51 on the pop charts.
"Freight Train" is an American folk song written by Elizabeth Cotten in the early 20th century, and popularized during the American folk revival and British skiffle period of the 1950s and 1960s. By Cotten's own account in the 1985 BBC series Down Home, she composed “Freight Train” as a teenager, inspired by the sound of the trains rolling in on the tracks near her home in North Carolina.
This article includes an overview of the events and trends in popular music in the 1960s.
Malaysian pop or abbreviated as M-pop or Malay pop refers to popular music forms in Malaysia. Although popular music in various languages such as Mandopop are popular and have been produced in Malaysia, Malaysian pop refers to music recorded primarily in the Malay language in Malaysia.
As it became clear in 1908 that Congress was going to give music publishers the right to control mechanical reproduction of their songs, the Aeolian Company was entering into arrangements with many of the largest music publishers to be the exclusive manufacturer of piano rolls of their compositions. Fearing that Aeolian might create a piano roll monopoly, Congress responded to pleas of other piano roll manufacturers to subject the mechanical right to a compulsory license.