big_man_pig_man

Born In East LA by Cheech!

but of course.

yes yes yes...earlier i said that i thought Paige played a guitar solo with a violin bow on Whole Lotta Love, but i think it was on Dazed and Confused. it's one or the other.

guitar solo= the solo in "Feels So Good"-Chuck Mangione guitar riff= opening riff in "Keep On Rockin In the Free World" - Neil Young AND opening riff in "Gimme Some Lovin"-Spencer Davis Group keyboard/synth riff= opening riff in "Superstition"- Stevie Wonder

the electric guitar replaced the sax in the 50's as the blues solo instrument...up until then the sax was the more common solo instrument... rock and roll and blues are closely related, so it's not unheard of to hear sax solo's on rock songs. didn't led zep's Jimmy Page play a guitar solo with a violin bow on one of their songs? Whole Lotta Love or something? the beatles had a sitar on Norweigan Wood. and a clarinet/oboe on When I'm 64. harmonica solos aren't that unusual. The Who had that twangy thing on Join Together.

it's not a very good song, really. lot's of others have done a whole lot better with the 'we don't need no education' type song. including the floyd, men at work -"Be Good Johnny"... The Logic Song is where S.T. got it right on that whole theme.

i'd have to disagree, it is catchy though... but i wouldn't say it's one of the best you'll hear anywhere...it ain't that good ::

my vote is for Spandau Ballet "True" :happybanana:

i'll have to listen to that again, haven't heard it in years... i guess i'm protective of my pink floyd. lol.

there's a violin at the end of Wish You Were Here according to Roger, but i never hear it.

i consider it my generous donation and a sign of my appreciation for all the folk at LW~!

ps... i paid the 20 bucks or so to get Limewire PRO... there's no smegging difference.

legal shmegal. there are times when "everybody else does it" is actually a good excuse.

if you listen to "Help" and "When I'm 64" a few times or so...you'll start to get it. Lennon does Help! Mcartney does 64

give a little bit breakfast in america

get limewire

i saw them in 88 or 87 on the Invisible Touch Tour. i knew the song was about drugs. they also did "Man On The Corner" "like a monkey on your back you need it, but do you love it enough to leave it"

Beds are Burning performed by Midnight Oil Black or White performed by Michael Jackson Buffalo Soldier performed by Bob Marley Bury My Heart at Wounded Knee performed by the Indigo Girls Cortez the Killer performed by Neil Young Indian Reservation performed by Paul Revere and the Raiders Why Can't We Be Friends performed by War (also remade by Smash Mouth)

u2 "sunday bloody sunday" paul mcartney "give ireland back to the irish" peter gabriel "biko"

john lennon "woman is the ni**er of the world"

marvin gaye "what's going on" u2 "Pride" bruce hornsby "The Way It IS" paul mcartney and stevie wonder "Ebony and Ivory" james brown "I'm Black And I'm Proud"

wondering outloud to myself why "Red Red Wine" didn't make the top 10, you could replace that "Comfortably Numb" piece of smeg with it.

yeah, when people think classic cover they think of Clapton's "Sherrif"... funny nobody ever covered "Wonderful Tonight" with any real success. Clapton covered "After Midnight" in the late 80's...does that count? covering yourself?!

here's telegraph.uk's top 10 cover's list.....some of these are bizarre.......... 10 Mr Bojangles - Nina Simone, 1971 orig. Jerry Jeff Walker, 1967 Much recorded, often trampled underfoot (hang your head in shame, Bob Dylan, Lulu and Robbie Williams), this strange Jerry Jeff Walker ballad about an itinerant dancer was made famous by Sammy Davis Jnr as a theatrical showstopper. The inimitable Nina Simone gets to the lonely heart of the tale, in an ethereal, understated, drifting, low-key version. Key moment: The whole song. Simone's almost casual delivery de-dramatises the narrative yet ensures the inherent emotion resonates all the louder. 9 Comfortably Numb - Scissor Sisters, 2004 Orig. Pink Floyd, 1979 Only divine inspiration could explain how, or why, New York's bendiest band came to pop Pink Floyd's balloon of pretension by re-recording their most horribly self-regarding song in the style of the Saturday Night Fever-era Bee Gees. At once cold, sexy and relentlessly danceable, it far outshines the original in both concept and execution. Key moment: The flurry of electronic handclaps after the line "You may feel a little sick." 8 Twist and Shout - The Beatles, 1963 Orig. the Isley Brothers, 1960 The Beatles recorded their version in a single take for their debut album Please Please Me ? and the world changed. John Lennon's lead vocal sounds as raw and urgent as a live concert, aeons away from the bland, computerised studio sound of today. Key moment: John's barked "Shake it up baby" after Paul and George's aaahs in the middle. 7 Mr Tambourine Man - The Byrds, 1965 orig. Bob Dylan, 1964 Folk and rock were inconceivable bedfellows, respectively too earnest and too thrill-driven to contemplate each other's existence, until these Californian Beatles obsessives fused the two musics in one exquisite, harmony-loaded Bob Dylan cover. The lyrics reflected how Dylan, tiring of polemic, was now consumed by the seduction of pure music. The Byrds completed that transition for him in none-more-beautiful sound, and went to number one. Key moment: That guitar-chiming intro. 6 Tainted Love - Soft Cell, 1981 orig. Gloria Jones, 1964 With Marc Almond's heroically overwrought vocal adding a deliciously deviant twist to Dave Ball's slinky synth-pop backing track, this straight-ahead '60s soul stomper (originally performed by Gloria Jones ? later mother of Marc Bolan's son, Rolan) was somehow transformed into the mystical bridge between Northern soul and acid house. Key moment: The syncopated handclap/keyboard lurch combo which launched a million dancefloor forays. 5 Respect - Aretha Franklin, 1967 orig. Otis Redding, 1965 Soul queen Aretha took Redding's original and turned it into a kind of proto-girl power anthem. Redding sang: "All I'm asking is for a little respect when I come home." Franklin changed the "I" to "you", added the r-e-s-p-e-c-t bit, and made the song her own. Key moment: "Sock it to me sock it to me sock it to me sock it to me." 4 Hallelujah - Jeff Buckley, 1993 orig. Leonard Cohen, 1984 If Leonard Cohen has a fault, it's a weakness for ponderous, synth-heavy arrangements, and nowhere was this more so than on his original version of this lyrically magnificent song. Then Jeff Buckley got hold of it, stripped it down, and sang it in his exquisitely pure chorister's voice. Definitive. Key moment: The serene, sustained falsetto note towards the end. 3 My Way - Sid Vicious, 1979 orig. Frank Sinatra, 1969 (after Paul Anka, 1969) He knifed his girlfriend Nancy Spungen to death and died soon afterwards from an overdose of heroin supplied by his own mother. But Sid Vicious should also be remembered for this riotous version of the song made famous by Sinatra, recorded with the rump of the Sex Pistols following Johnny Rotten's departure. The Pistols rock like demons, and Vicious snarls and sneers his way through the song's valedictory lyric with twisted glee. It's mad, hilarious, and thrilling. Key moment: Vicious sings the first verse in tones of mock-seriousness (inserting obscenities along the way); then the guitars and drums kick in. 2 You Were Always on My Mind - Pet Shop Boys, 1987 orig. Elvis Presley, 1972 (after brenda lee, 1971) The Boys, on career best form, elevated Elvis's tender elegy ? written by Willie Nelson ? into a monumental explosion of high pop camp. Chris Lowe conjures an electronic symphony of rumbling drums, swelling strings and glittering synths to underpin Neil Tennant's crystalline vocals. "I'm sorry I treated you wrong," mourned Elvis. "You'd be a fool to lose me, cad though I am," seems to be Tennant's message. Key moment: the stabbing trumpet sample, introduced before the song kicks in: Da! Da-da-da-da-da. Da! And the greatest cover ever... 1 All Along the Watchtower - Jimi Hendrix Experience, 1968 orig. Bob Dylan, 1967 Jimi Hendrix The greatest cover version of all-time: Hendrix doing a Dylan song Hendrix's version of a so-so track from Dylan's John Wesley Harding album completely outgunned the original. A light, scampering ballad re-emerged as a mini-epic of foreboding with Hendrix's heavy three-chord intro hanging like a thundercloud and Dylan's lyrics sounding an ominous epitaph for the 1960s. Key moment: The last words ? "And the wind began to howl" - before the closing guitar storm. Lovefilm Strategic Dimensions ? Copyright of Telegraph Group Limited 2005. Terms & Conditions of reading. Commercial information. Privacy and Cookie Policy. XML RSS feeds available