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Only months after The Smiths had split, “Suedehead” proved Morrissey could immediately succeed under his own name. Recorded with producer Stephen Street, who also co-wrote the music, the song introduced a more polished solo sound while retaining Morrissey’s characteristically ambiguous lyrics about an unwanted, intrusive relationship. It became the...

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Johnny Marr wrote the music for “This Charming Man” while The Smiths were still searching for their first real breakthrough. Built around his bright, intricate guitar riff and Morrissey’s deliberately ambiguous storytelling, the song was first recorded for a John Peel session before being re-recorded at Strawberry Studios in Stockport. Released as the band’s second single in 1983, it reached No. 25 in the UK and later appeared on Hatful of Hollow in its Peel session form. Early live performances that year captured The Smiths just as their distinctive sound was beginning to push them beyond Britain’s independent music scene.
2:45

Johnny Marr wrote the music for “This Charming Man” while The Smiths were still searching for their first real breakthrough. Built around his bright, intricate guitar riff and Morrissey’s deliberately ambiguous storytelling, the song was first recorded for a John Peel session before being re-recorded at Strawberry Studios in Stockport. Released as the band’s second single in 1983, it reached No. 25 in the UK and later appeared on Hatful of Hollow in its Peel session form. Early live performances that year captured The Smiths just as their distinctive sound was beginning to push them beyond Britain’s independent music scene.

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Originally released as a standalone single in 1991, "Pregnant for the Last Time" never appeared on one of Morrissey's studio albums, making it something of a hidden gem in his catalogue. Its playful title masked a characteristically sharp and bittersweet look at changing relationships, while the song reflected the confidence of his early solo years. This Top of the Pops appearance captures Morrissey during a prolific period as he continued to carve out an identity beyond The Smiths.
2:36

Originally released as a standalone single in 1991, "Pregnant for the Last Time" never appeared on one of Morrissey's studio albums, making it something of a hidden gem in his catalogue. Its playful title masked a characteristically sharp and bittersweet look at changing relationships, while the song reflected the confidence of his early solo years. This Top of the Pops appearance captures Morrissey during a prolific period as he continued to carve out an identity beyond The Smiths.

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11,797 просмотров • 28 дней назад

From their appearance on The Old Grey Whistle Test in 1986, Bigmouth Strikes Again captures The Smiths during the run of The Queen Is Dead. Released that year as a single, the song reached number 26 on the UK Singles Chart and became one of the band’s most recognisable tracks. Driven by Johnny Marr’s rapid, layered guitar work and Morrissey’s self-referential lyric, it reflected the sharper, more confrontational edge of the band’s mid-80s peak, with performances like this placing them firmly at the centre of British alternative music.
3:21

From their appearance on The Old Grey Whistle Test in 1986, Bigmouth Strikes Again captures The Smiths during the run of The Queen Is Dead. Released that year as a single, the song reached number 26 on the UK Singles Chart and became one of the band’s most recognisable tracks. Driven by Johnny Marr’s rapid, layered guitar work and Morrissey’s self-referential lyric, it reflected the sharper, more confrontational edge of the band’s mid-80s peak, with performances like this placing them firmly at the centre of British alternative music.

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Later... with Jools Holland in 1998 captured Celebrity Skin by Hole with its polished rock sound, sharp lyrics and Courtney Love’s commanding presence. Released in 1998 from the album Celebrity Skin, it reached number eighteen on the UK Singles Chart. With its cleaner production, melodic hooks and defiant tone, it became one of the band’s most successful singles and marked a shift toward a more mainstream rock style.
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Later... with Jools Holland in 1998 captured Celebrity Skin by Hole with its polished rock sound, sharp lyrics and Courtney Love’s commanding presence. Released in 1998 from the album Celebrity Skin, it reached number eighteen on the UK Singles Chart. With its cleaner production, melodic hooks and defiant tone, it became one of the band’s most successful singles and marked a shift toward a more mainstream rock style.

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"Dancing with Myself" was originally recorded in 1980 by Generation X, Billy Idol's punk band with bassist Tony James, who co-wrote the song with Idol. Released as a single in the UK, the raw, guitar-driven original peaked at No. 62 on the UK Singles Chart. After Generation X disbanded in 1981, Billy Idol re-recorded the song with producer Keith Forsey. The new version was first released on the EP Don't Stop in 1981 before being included on his 1982 self-titled debut album. Boosted by heavy MTV exposure, the song helped establish Idol as a solo artist in the United States and became one of his signature songs, reaching No. 27 on Billboard's Hot Dance Club Play chart.
3:04

"Dancing with Myself" was originally recorded in 1980 by Generation X, Billy Idol's punk band with bassist Tony James, who co-wrote the song with Idol. Released as a single in the UK, the raw, guitar-driven original peaked at No. 62 on the UK Singles Chart. After Generation X disbanded in 1981, Billy Idol re-recorded the song with producer Keith Forsey. The new version was first released on the EP Don't Stop in 1981 before being included on his 1982 self-titled debut album. Boosted by heavy MTV exposure, the song helped establish Idol as a solo artist in the United States and became one of his signature songs, reaching No. 27 on Billboard's Hot Dance Club Play chart.

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After years away from the spotlight, Weezer needed a song that could announce they were properly back. Rivers Cuomo wrote “Hash Pipe” during a burst of creativity after taking tequila and Ritalin, later recalling that the idea arrived during a particularly wild night. Its heavy riff and deliberately strange lyrics sounded tougher than much of the band’s earlier work, and it became the first single from the Green Album. On the Pepsi Chart Show in 2001, the lip-synced television performance captures Weezer at the beginning of an unlikely second act.
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After years away from the spotlight, Weezer needed a song that could announce they were properly back. Rivers Cuomo wrote “Hash Pipe” during a burst of creativity after taking tequila and Ritalin, later recalling that the idea arrived during a particularly wild night. Its heavy riff and deliberately strange lyrics sounded tougher than much of the band’s earlier work, and it became the first single from the Green Album. On the Pepsi Chart Show in 2001, the lip-synced television performance captures Weezer at the beginning of an unlikely second act.

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"Supersonic" was written and recorded in a single day, with Noel Gallagher reportedly finishing the song while the rest of Oasis took a break from the studio. Released as their debut single and later featured on Definitely Maybe, it was the first glimpse of the sound and attitude that would define the band. Two years later, this performance at Maine Road in 1996 shows just how far Oasis had travelled, playing their first single to a huge hometown crowd.
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"Supersonic" was written and recorded in a single day, with Noel Gallagher reportedly finishing the song while the rest of Oasis took a break from the studio. Released as their debut single and later featured on Definitely Maybe, it was the first glimpse of the sound and attitude that would define the band. Two years later, this performance at Maine Road in 1996 shows just how far Oasis had travelled, playing their first single to a huge hometown crowd.

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12,243 просмотров • 23 дней назад

At Later with Jools Holland in 2000, Oasis perform Gas Panic, taken from their fourth studio album Standing on the Shoulder of Giants, released earlier that year. Although not released as a single, it became a standout album track and a live favourite, known for its darker tone and introspective lyrics reflecting Noel Gallagher’s anxiety during the late 90s. The song showcased a more psychedelic and atmospheric side of the band and later featured in live recordings, documentaries and retrospectives exploring Oasis’s shift in sound at the turn of the decade.
7:28

At Later with Jools Holland in 2000, Oasis perform Gas Panic, taken from their fourth studio album Standing on the Shoulder of Giants, released earlier that year. Although not released as a single, it became a standout album track and a live favourite, known for its darker tone and introspective lyrics reflecting Noel Gallagher’s anxiety during the late 90s. The song showcased a more psychedelic and atmospheric side of the band and later featured in live recordings, documentaries and retrospectives exploring Oasis’s shift in sound at the turn of the decade.

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A real tragedy from the Welsh valleys inspired one of Stereophonics’ defining early songs. Kelly Jones based “Local Boy in the Photograph” on a young man he had known through football who later died on a railway line. Jones turned the story into a tribute rather than simply dwelling on the tragedy. The track came from the band’s 1997 debut album Word Gets Around and initially reached No. 51 in the UK before a 1998 re-release climbed to No. 14. By Glastonbury that summer, Stereophonics were rapidly becoming one of Britain’s biggest new guitar bands, with the song already established as an emotional live favourite.
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A real tragedy from the Welsh valleys inspired one of Stereophonics’ defining early songs. Kelly Jones based “Local Boy in the Photograph” on a young man he had known through football who later died on a railway line. Jones turned the story into a tribute rather than simply dwelling on the tragedy. The track came from the band’s 1997 debut album Word Gets Around and initially reached No. 51 in the UK before a 1998 re-release climbed to No. 14. By Glastonbury that summer, Stereophonics were rapidly becoming one of Britain’s biggest new guitar bands, with the song already established as an emotional live favourite.

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"Don't Look Back in Anger" was written by Noel Gallagher and became the first Oasis single to feature him on lead vocals rather than his brother Liam. The song was heavily influenced by John Lennon, particularly the opening piano chords, which echo Imagine. Noel has also said that the name "Sally" was simply a name that sounded right in the song, rather than referring to a specific person. The line "So I'll start a revolution from my bed" is widely understood as a reference to John Lennon and Yoko Ono's famous 1969 Bed-In peace protests, reinforcing the song's strong Lennon influence. The track was released in 1996 as the fifth single from Oasis' second album, (What's the Story) Morning Glory?. It became the band's second No. 1 single in the UK and also reached No. 1 in Ireland. In the US it peaked at No. 10 on the Billboard Modern Rock Tracks chart and No. 55 on the Billboard Hot 100. Its status grew far beyond its initial chart performance and it became one of Oasis' most enduring anthems, regularly performed at the band's concerts.
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"Don't Look Back in Anger" was written by Noel Gallagher and became the first Oasis single to feature him on lead vocals rather than his brother Liam. The song was heavily influenced by John Lennon, particularly the opening piano chords, which echo Imagine. Noel has also said that the name "Sally" was simply a name that sounded right in the song, rather than referring to a specific person. The line "So I'll start a revolution from my bed" is widely understood as a reference to John Lennon and Yoko Ono's famous 1969 Bed-In peace protests, reinforcing the song's strong Lennon influence. The track was released in 1996 as the fifth single from Oasis' second album, (What's the Story) Morning Glory?. It became the band's second No. 1 single in the UK and also reached No. 1 in Ireland. In the US it peaked at No. 10 on the Billboard Modern Rock Tracks chart and No. 55 on the Billboard Hot 100. Its status grew far beyond its initial chart performance and it became one of Oasis' most enduring anthems, regularly performed at the band's concerts.

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Noel Gallagher’s love of The Jam made this pairing feel particularly fitting. Paul Weller wrote “That’s Entertainment” after returning home from the pub, turning ordinary British life, from police sirens and smoky rooms to buses and rainy streets, into something strangely beautiful. The song appeared on The Jam’s 1980 album Sound Affects, yet remarkably was never issued as a conventional UK single at the time. An imported release still reached No. 21. Weller and Gallagher became close friends and regular collaborators during the 1990s, and on Later... with Jools Holland in 2001 they stripped the song back to two voices and acoustic guitars.
4:30

Noel Gallagher’s love of The Jam made this pairing feel particularly fitting. Paul Weller wrote “That’s Entertainment” after returning home from the pub, turning ordinary British life, from police sirens and smoky rooms to buses and rainy streets, into something strangely beautiful. The song appeared on The Jam’s 1980 album Sound Affects, yet remarkably was never issued as a conventional UK single at the time. An imported release still reached No. 21. Weller and Gallagher became close friends and regular collaborators during the 1990s, and on Later... with Jools Holland in 2001 they stripped the song back to two voices and acoustic guitars.

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32,337 просмотров • 14 дней назад

“You Got It” was recorded by Roy Orbison in 1988 and released in 1989 as the lead single from his posthumous album Mystery Girl. Written by Roy Orbison, Jeff Lynne, and Tom Petty, the song became one of the biggest hits of Orbison's later career, reaching #9 on the Billboard Hot 100, #3 on the UK Singles Chart, and the Top 10 in several other countries. Its success marked an extraordinary comeback for an artist whose commercial peak had come more than two decades earlier. By 1988, Roy Orbison had become a member of the Traveling Wilburys, alongside George Harrison, Jeff Lynne, Tom Petty and Bob Dylan, a collaboration that helped revive his career and inspired the creative direction of Mystery Girl. Featuring Tom Petty on bass and backing vocals and Jeff Lynne's distinctive production style, “You Got It” showcased a brighter, more upbeat sound than many of Orbison's classic heartbreak ballads. Tragically, Orbison died of a heart attack in December 1988, just weeks before the song's release, meaning he never witnessed the remarkable success of his final major comeback...
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“You Got It” was recorded by Roy Orbison in 1988 and released in 1989 as the lead single from his posthumous album Mystery Girl. Written by Roy Orbison, Jeff Lynne, and Tom Petty, the song became one of the biggest hits of Orbison's later career, reaching #9 on the Billboard Hot 100, #3 on the UK Singles Chart, and the Top 10 in several other countries. Its success marked an extraordinary comeback for an artist whose commercial peak had come more than two decades earlier. By 1988, Roy Orbison had become a member of the Traveling Wilburys, alongside George Harrison, Jeff Lynne, Tom Petty and Bob Dylan, a collaboration that helped revive his career and inspired the creative direction of Mystery Girl. Featuring Tom Petty on bass and backing vocals and Jeff Lynne's distinctive production style, “You Got It” showcased a brighter, more upbeat sound than many of Orbison's classic heartbreak ballads. Tragically, Orbison died of a heart attack in December 1988, just weeks before the song's release, meaning he never witnessed the remarkable success of his final major comeback...

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"The Best" is from the album Foreign Affair (1989). The song was written by Mike Chapman and Holly Knight and first recorded by Bonnie Tyler in 1988 on the album Hide Your Heart, but her version was a commercial failure (only #95 in the UK). When Tina heard the demo, she called Holly Knight for changes: she had the guitar solo removed, put on a new bridge ("Each time you leave me I start losing control...") And he exchanged it for a striking saxophone at the end, raising the tonality to explode in the chorus. Recorded with production by Dan Hartman, it became the lead single of the album and one of the biggest hits of her life: #3 in the UK, and Top 5 in dozens of countries. Even Bonnie Tyler admitted that Tina's version saved the song and became an inspiration to herself.
3:50

"The Best" is from the album Foreign Affair (1989). The song was written by Mike Chapman and Holly Knight and first recorded by Bonnie Tyler in 1988 on the album Hide Your Heart, but her version was a commercial failure (only #95 in the UK). When Tina heard the demo, she called Holly Knight for changes: she had the guitar solo removed, put on a new bridge ("Each time you leave me I start losing control...") And he exchanged it for a striking saxophone at the end, raising the tonality to explode in the chorus. Recorded with production by Dan Hartman, it became the lead single of the album and one of the biggest hits of her life: #3 in the UK, and Top 5 in dozens of countries. Even Bonnie Tyler admitted that Tina's version saved the song and became an inspiration to herself.

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Phil is an English singer, drummer, songwriter, record producer, and actor. He was the drummer and later the lead singer of the rock band Genesis and had a successful solo career, achieving three UK number-one singles and seven US number-one singles as a solo artist. In total, his work with Genesis, other artists, and solo contributed more US top singles than any other artist in the 1980s. His most successful singles from that period include "In the Air Tonight," "Against All Odds (Take a Look at Me Now)," "One More Night," "Sustudio," "Another Day in Paradise," "Two Hearts," and "I Wish It Would Rain Down."
2:58

Phil is an English singer, drummer, songwriter, record producer, and actor. He was the drummer and later the lead singer of the rock band Genesis and had a successful solo career, achieving three UK number-one singles and seven US number-one singles as a solo artist. In total, his work with Genesis, other artists, and solo contributed more US top singles than any other artist in the 1980s. His most successful singles from that period include "In the Air Tonight," "Against All Odds (Take a Look at Me Now)," "One More Night," "Sustudio," "Another Day in Paradise," "Two Hearts," and "I Wish It Would Rain Down."

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"Venus" was released in 1969 as the lead single from Shocking Blue's second studio album, At Home. Written by Robbie van Leeuwen, the song became the Dutch band's biggest international success, reaching No. 1 on the Billboard Hot 100 in 1970. It also topped the charts in Belgium, Canada, and several other countries while reaching the Top 10 in the United Kingdom, Germany and Australia. More than a decade later, the song found a new audience when British girl group Bananarama recorded a cover version that also reached No. 1 on the Billboard Hot 100 in 1986, making "Venus" one of the few songs in history to top the US charts with recordings by two different artists.
2:42

"Venus" was released in 1969 as the lead single from Shocking Blue's second studio album, At Home. Written by Robbie van Leeuwen, the song became the Dutch band's biggest international success, reaching No. 1 on the Billboard Hot 100 in 1970. It also topped the charts in Belgium, Canada, and several other countries while reaching the Top 10 in the United Kingdom, Germany and Australia. More than a decade later, the song found a new audience when British girl group Bananarama recorded a cover version that also reached No. 1 on the Billboard Hot 100 in 1986, making "Venus" one of the few songs in history to top the US charts with recordings by two different artists.

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32,261 просмотров • 7 дней назад

When Glen Campbell Sat Down and Silenced a Room Full of Legends Glen Campbell sat with his acoustic guitar and began “Gentle on My Mind” with a quiet, unforced confidence. He simply sang and played, without any dramatic gestures. His voice was warm, the guitar clear and steady. In a room full of some of the finest musicians in the business, he stayed completely at ease in his own rhythm. That calm came from a lifetime spent inside music. Long before he became a star, Glen had played on hundreds of records for other major artists. That deep experience showed in the way he sat on the Ryman Auditorium stage in 1999. He had nothing left to prove. He simply let the song move through his voice and his hands. This particular song had changed his life in an unusual way. In 1967, while still working as a session musician in Los Angeles, Glen heard John Hartford’s original version on the radio and was immediately drawn to it. He gathered a few fellow players and went into the studio to cut a quick demo. Between lines he gave spoken directions to the musicians—telling them the feel he wanted. He assumed it was only a rough take that would later be refined. The producer listened to the unfinished recording and loved it. He edited out Glen’s talking, left the vocal and guitar as they were, and released the demo as the single without telling him. Glen later admitted he hadn’t particularly liked his own singing on that version because it felt too casual, not polished enough. Yet that very casualness matched the spirit of the song—light, free, and unforced. The track became a major hit and opened an entirely new chapter in his career. When the solo arrived on the Ryman stage, the guitar grew clearer and more expressive. There was no flash, no strain. The notes seemed to continue the story the lyrics had begun. Listeners could feel the gentle freedom the song describes—a love without chains, memories that remain soft and present. The solo never stepped outside the song. It simply carried the emotion forward. The people sitting around him were not ordinary audience members. They were peers—Roy Clark, Willie Nelson, Chet Atkins, and other country greats. When Glen began the solo, their attention locked in. The quiet focus and the smiles of those who had reached the same heights became the clearest form of recognition. In music, the silent attention of equals often means more than any spoken praise. Years later the moment still holds its power. There are no effects, no showmanship. Just a man with a guitar, singing a quiet song and allowing its feeling to come through completely. In a room filled with people who had stood at the top of the profession, he simply sat down and played—and that was enough to create something lasting. When the final note faded, what remained was the image of a man with an acoustic guitar, delivering a gentle song that made the best in the business stop and listen. A recording that began almost by accident had become one of the deepest marks of his career—and it still reaches listeners today.
2:48

When Glen Campbell Sat Down and Silenced a Room Full of Legends Glen Campbell sat with his acoustic guitar and began “Gentle on My Mind” with a quiet, unforced confidence. He simply sang and played, without any dramatic gestures. His voice was warm, the guitar clear and steady. In a room full of some of the finest musicians in the business, he stayed completely at ease in his own rhythm. That calm came from a lifetime spent inside music. Long before he became a star, Glen had played on hundreds of records for other major artists. That deep experience showed in the way he sat on the Ryman Auditorium stage in 1999. He had nothing left to prove. He simply let the song move through his voice and his hands. This particular song had changed his life in an unusual way. In 1967, while still working as a session musician in Los Angeles, Glen heard John Hartford’s original version on the radio and was immediately drawn to it. He gathered a few fellow players and went into the studio to cut a quick demo. Between lines he gave spoken directions to the musicians—telling them the feel he wanted. He assumed it was only a rough take that would later be refined. The producer listened to the unfinished recording and loved it. He edited out Glen’s talking, left the vocal and guitar as they were, and released the demo as the single without telling him. Glen later admitted he hadn’t particularly liked his own singing on that version because it felt too casual, not polished enough. Yet that very casualness matched the spirit of the song—light, free, and unforced. The track became a major hit and opened an entirely new chapter in his career. When the solo arrived on the Ryman stage, the guitar grew clearer and more expressive. There was no flash, no strain. The notes seemed to continue the story the lyrics had begun. Listeners could feel the gentle freedom the song describes—a love without chains, memories that remain soft and present. The solo never stepped outside the song. It simply carried the emotion forward. The people sitting around him were not ordinary audience members. They were peers—Roy Clark, Willie Nelson, Chet Atkins, and other country greats. When Glen began the solo, their attention locked in. The quiet focus and the smiles of those who had reached the same heights became the clearest form of recognition. In music, the silent attention of equals often means more than any spoken praise. Years later the moment still holds its power. There are no effects, no showmanship. Just a man with a guitar, singing a quiet song and allowing its feeling to come through completely. In a room filled with people who had stood at the top of the profession, he simply sat down and played—and that was enough to create something lasting. When the final note faded, what remained was the image of a man with an acoustic guitar, delivering a gentle song that made the best in the business stop and listen. A recording that began almost by accident had become one of the deepest marks of his career—and it still reaches listeners today.

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51,523 просмотров • 5 дней назад

"Your Love" is from The Outfield's 1985 debut album Play Deep. Singer Tony Lewis said he was inspired by Sting's vocal phrasing, while producer William Wittman gave the song a more energetic rock sound influenced by The Who. It became the band's biggest hit, peaking at #6 on the US Billboard Hot 100, #7 on the Mainstream Rock (Album Rock Tracks) chart, while Play Deep reached #9 on the Billboard 200. Despite The Outfield being an English band, "Your Love" reached only #83 on the UK Singles Chart, with the group finding far greater success in the United States than in their home country.
3:36

"Your Love" is from The Outfield's 1985 debut album Play Deep. Singer Tony Lewis said he was inspired by Sting's vocal phrasing, while producer William Wittman gave the song a more energetic rock sound influenced by The Who. It became the band's biggest hit, peaking at #6 on the US Billboard Hot 100, #7 on the Mainstream Rock (Album Rock Tracks) chart, while Play Deep reached #9 on the Billboard 200. Despite The Outfield being an English band, "Your Love" reached only #83 on the UK Singles Chart, with the group finding far greater success in the United States than in their home country.

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41,188 просмотров • 1 месяц назад

Madonna returned to the Coachella stage for the first time in 20 years She made a surprise appearance during Sabrina Carpenter’s set. Together they performed Vogue, Like a Prayer, and a new song from Madonna’s upcoming album, set for release in July. Madonna joked that it was the first time she had performed with someone shorter than her. She also said she wore the same corset, boots, and jacket she had on at Coachella 20 years ago. Justin Bieber is also being discussed. Instead of a full show, he played his old music videos on a laptop and simply sang along.
1:12

Madonna returned to the Coachella stage for the first time in 20 years She made a surprise appearance during Sabrina Carpenter’s set. Together they performed Vogue, Like a Prayer, and a new song from Madonna’s upcoming album, set for release in July. Madonna joked that it was the first time she had performed with someone shorter than her. She also said she wore the same corset, boots, and jacket she had on at Coachella 20 years ago. Justin Bieber is also being discussed. Instead of a full show, he played his old music videos on a laptop and simply sang along.

NEXTA

74,684 просмотров • 4 месяцев назад

Slade's Flame Soundtrack Ballad How Does It Feel released as the second single from the band's first soundtrack album and fifth studio album Slade in Flame on February 7, 1975 in promotion of the film of the same name. The song was written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Chas Chandler. It reached No. 15 in the UK, remaining in the charts for seven weeks. The melody for "How Does It Feel" was the first one Lea composed while still in school. He conceived the idea on an old piano, which he later described as missing half its keys. Although the tune didn't progress further at that time, Lea revisited it later for the theme of Flame. Holder wrote the lyrics, and it became "How Does It Feel". The song included a brass section performed by members of Gonzalez. In the band's 1984 biography, Feel the Noize!, Lea recalled, "It was an old song I'd written, and Nod added some great lyrics to it. Tommy Vance said it was good but warned we might face challenges. However, I didn't care whether it was number one or number 15... to me, it was a much better record than we'd made before, and that was all I cared about." Personally I love the track, and think it was deserving of much higher place than 15. How do you feel, about this release?
3:37

Slade's Flame Soundtrack Ballad How Does It Feel released as the second single from the band's first soundtrack album and fifth studio album Slade in Flame on February 7, 1975 in promotion of the film of the same name. The song was written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Chas Chandler. It reached No. 15 in the UK, remaining in the charts for seven weeks. The melody for "How Does It Feel" was the first one Lea composed while still in school. He conceived the idea on an old piano, which he later described as missing half its keys. Although the tune didn't progress further at that time, Lea revisited it later for the theme of Flame. Holder wrote the lyrics, and it became "How Does It Feel". The song included a brass section performed by members of Gonzalez. In the band's 1984 biography, Feel the Noize!, Lea recalled, "It was an old song I'd written, and Nod added some great lyrics to it. Tommy Vance said it was good but warned we might face challenges. However, I didn't care whether it was number one or number 15... to me, it was a much better record than we'd made before, and that was all I cared about." Personally I love the track, and think it was deserving of much higher place than 15. How do you feel, about this release?

Glam Slam: Chronicles

18,230 просмотров • 6 месяцев назад