Danzah Skipped Original Mix
Peaking at #9 on the Billboard Hot 100 chart, "Drift Away" is one of Uncle Kracker's most famous songs. Unbeknownst to most people, it's also a cover. The original version of the song, which belongs to soul singer Dobie Gray, was certified Gold by the Recording Industry Association of America in 1973.
Danzah Skipped Original Mix
A true hippie anthem, "Aquarius/Let the Sunshine In" is actually a mashup of two songs written for the musical "Hair." It's also somewhat of a rarity in the music industry as it was recorded by the group in two different cities: Los Angeles and Las Vegas. Despite its nontraditional origins, the single was certified platinum by the RIAA in August 1991, 22 years after its original release.
Popularized by the movie "Shrek," "I'm a Believer" was actually released 35 years prior by The Monkees. The original version was an instantaneous hit, going gold within two days of its release and holding the #1 spot on the Billboard Hot 100 for seven weeks.
In the original, expletive-laden version of this song, CeeLo Green drops the F-bomb 16 times in the span of 3.5 minutes. Even still, it reached #2 on the Billboard Hot 100 and broke the 2 million view mark on YouTube within one week of its release.
The Counting Crows and Vanessa Carlton cover of this song might be the most famous version, but Joni Mitchell's was the original. Mitchell told The Los Angeles Times that she wrote the song after her first trip to Hawaii, where they had literally paved paradise to put up a parking lot.
The Go-Gos originally started as a punk band in the 1970s but shifted to pop with the release of their album "Beauty and the Beat" in 1981. "Our Lips are Sealed" was the breakout hit from the album, peaking at #20 on the Billboard charts.
Arguably the first heavy metal song, "In-A-Gadda-Da-Vida" peaked at #30 on the Billboard charts. The original song is over 17 minutes long but uses only 30 different words. It was this version (not the four-minute radio cut) that Iron Butterfly was set to perform at Woodstock before they got stuck in an airport and couldn't make it.
After the Beatles released this track in 1967, the BBC banned "Lucy in the Sky With Diamonds" for its excessive amount of drug references. While the band originally denied that the song had anything to do with drugs, Paul McCartney finally confessed, in a 2004 interview with Daily Mail, that it was "pretty obvious" what the song was actually about.
The closing song from "Grease," "You're the One That I Want" wasn't originally a part of the stage production, but was written specifically for the movie version of the musical. An instant hit, it reached the top spot on the Billboard a week before the film hit theaters in June 1978. The song's success also played a significant role in Olivia Newton-John's ability to rebrand herself from folk singer to bona fide pop star.
If people remembered their grade school grammar lessons, they'd already know that "in which we live in" is redundant, but the wrong hearing of this line persists, whether heard in the Wings original or the Guns N' Roses cover.
La Danza delle Libellule Exceptional Edition was released in 2015 and is the concentrated parfum or extrait version of a gourmand Nobile fragrance (La Danza delle Libellule Fragranza Suprema) that was originally issued in 2012 as an eau de parfum. According to Luckyscent, the new Exceptional Edition is 35% stronger than the Suprema and has richer apple, cinnamon, and vanilla notes. The complete note list is:
The first one is probably better in its original form, rather than the new Exceptional version with its amplified sugariness and different balance of notes. Not something that would be up your alley or mine, lol ? but it sounds better, comparatively speaking. As for Malia and Patchouli Nobile, let me know what you think if you try either one.
It is exactly that kind of mix of users to whom Riccardo Carnesecchi's edition of dance music is addressed. It includes music from the so-called Contarini collection of 17th-century opera manuscripts, which is preserved at the Biblioteca Nazionale Marciana, Venice. But-and here is the first problem-it includes not only the dances, but also some arias and instrumental pieces the editor thought might have been used for dancing, sometimes with good reason, but quite often without. The music is printed without any indication of its dramatic context; even the characters of the dancers are mostly omitted. Worse, the edition abounds with mistakes, and its practical value to performers is diminished even further by Carnesecchi's decision to change those clefs of the instrumental parts that in the original are in alto or tenor into treble, or even treble clef at the octave. Worse still, the editor alters metres and note values without any indication at all, apparently to make the music conform to some artificial modern-day [End Page 336]notion of regularity. Thus, for instance, in Olimpia's aria 'Donne offese' from Aurelio Aureli's and Domenico Freschi's opera Olimpia vendicata(Venice, 1682) he stretches the music of the last bar to two bars by doubling the note values (but not in the parallel passage four bars earlier). By this drastic intervention, he creates something like a four-bar phrase, but the edition loses any value as documentation of dance music. Carnesecchi also omits the last ensemble of Olimpia vendicata, even though the libretto clearly states that it was used as a dance. 041b061a72