[In War They Come Song Free Download
Luther Lazaro
"The Harder They Come" is a reggae song by the Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, in which it is supposed to have been written by the film's main character, Ivanhoe Martin.
In 1969, singer Jimmy Cliff met film director Perry Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2]
The actual recording of the track, at Dynamic Sounds, was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson (piano), Winston Wright (organ), Winston Grennan (drums), Linford "Hux" Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson (bass).[2]
"The Harder They Come" was recorded by the group Rockers Revenge in 1983 after their successful cover version of the Eddy Grant song "Walking On Sunshine" the previous year. The single peaked at number 13 in the US Dance Chart and at number 30 in the UK and Irish Singles Chart.
"The Harder They Come" was released as a single by English ska band Madness in November 1992 after a successful reunion concert held at London's Finsbury Park. The single was recorded live at the event along with its B-sides. Although in 1992 Madness had success with reissues of "It Must Be Love" and "My Girl", their version of "The Harder They Come" failed to make the top 40 in the UK Singles Chart, peaking at number 44.[10]
"If They Come in the Morning"[1] is the original title of the song better known as "No Time For Love".[2] It was recorded by Moving Hearts for their debut album in 1981. It also has been recorded in 1986 by Christy Moore on his The Spirit of Freedom album. It was written by American singer/songwriter Jack Warshaw in 1976. The title was borrowed from the book of the same title by Angela Davis, rephrasing the closing line of James Baldwin's letter to her of November 19, 1970: "...if they take you in the morning, they will be coming for us that night". From its first line the song attacks unjust law in the forms of "apartheid, internment, conscription, partition and silence..." with references to places prominent in the news at the time: Boston, Chicago, Saigon (now Ho Chi Minh City), Santiago (Chile), Cape Town and Belfast. Warshaw had visited Belfast on a research project and knew fellow Belfast/Derry songwriters The People of No Property whose recording was to be the source of Moore's version. To Moore and Irish opposition to partition and, as they see it, British occupation of Northern Ireland, it was a freedom anthem. Moore varied the song's first line, slipping in "we call it" after "They call it the law..." so that its meaning is unmistakable. He also entered Irish hunger striker Bobby Sands into the fourth stanza after Huey Newton and Bobby Seale in place of "the Panthers," giving the song greater traction through Sands' martyrdom.
The Christy Moore version was included in two BBC documentaries, Folk Hibernia[3] and Folk Britannia[4] as well as concert videos of Moore and Moving Hearts. Writing in The Irish Times, Frank McNally observed:
...Moving Hearts were the political wing (in some versions, the musical wing) of the Wolfe Tones. Their songs spanned a range of mostly respectable lefty causes, from Jim Page's Hiroshima Nagasaki Russian Roulette, to Jackson Browne's environmentalist elegy Before the Deluge. It wasn't all politics, either. One of the stand-out performances at the Stadium was a punk rock/heavy metal version of Nancy Spain. But the real showstopper - the song that earned the standing ovation - was No Time for Love (if they come in the morning).
This too was fairly right on, name-checking an international roll-call of outlaws, from Sacco and Vanzetti to Connolly and Pearse. It was the mention of Bobby Sands that, in 1981, brought the sentiment bang up to date. And just to underline it, Christy Moore ousted "Newton and Seale" from the original lyrics to make room for Patsy O'Hara, the INLA man who also died in the hunger strikes.The song was an all-embracing call to revolution, railing against the "boys in blue" and various other enemies of freedom. But it had a particular message for those not primarily involved in the conflict. "The fish need the sea to survive, just like your comrades need you," sang Christy. "The death squads can only get through to them if first they can get through to you."
You had to take sides in 1981, and neither side was comfortable. I voted for the first time in that year's general election, when the candidates in our constituency included Kieran Doherty, then three weeks into his strike. I hated Margaret Thatcher's intransigence on the prisoner issue. But I also hated the way the hunger strikes were being rammed down our throats and used (or so it seemed) to seek a wider endorsement for the "struggle". Doherty topped the poll and was a TD for the last seven weeks of his life. But he went to his undoubtedly courageous death without my vote.[5]
I may be wrong and Idaho has been mentioned - but never like this, I guarantee. First of all, if you don't know about the Amazing World Of Gumball cartoon then bless your soul, that is all about to change. My kids love this show and I don't let them watch it anymore because it is dumb, nonsense, and loud characters. I realize I just sounded like my dad. But really, the show is super weird, and pointless, and I'll just stop there and let you watch this Idaho potato song from the series so you can see for yourself.
Now that you have experienced The Amazing World of Gumball in a small dose and heard the potato song you most definitely need some backstory on why this is a thing. I won't say that it makes sense, but there is a reason for the potato song. Gumball and Darwin make friends with a potato, who they call Idaho. Idaho has a country accent and doesn't know a lot about modern technology. Idaho goes through a lot with the Gumball friends, including dying and being buried to come back alive...yep. That's in this video:
OK, if you made it this far I can admit something - I don't hate Gumball. The show is hilarious! I just wanted to see if you'd keep watching videos if I acted like I hated them. So, now that you've watched a bit, do you also like the Amazing World of Gumball? If you're sold on this cartoon, here's a 13-minute video featuring Idaho.
The Eagles have "Fly Eagle Fly," which has taken on a life of its own as one of football's most famous team-inspired songs. The Phillies have "High Hopes," which was popularized by legendary play-by-play announcer Harry Kalas.
The groovy tune from straight out of the 1970s has made a comeback as the 76ers' victory song in recent years. Most Philly basketball fans have heard it before, blasting over the speakers at Wells Fargo Center after a Sixers win. You can sometimes even hear it on TV in the background of postgame interviews.
The song has humble beginnings within the Sixers organization. In 1975, Temple University graduate Randy Childress was doing odd jobs here and there for the team, including dressing up as a turkey at a game before Thanksgiving for $500.
But then-GM Pat Williams wasn't satisfied. He wanted to improve the fan experience and do everything possible to whip the home crowd into a frenzy. After learning that Childress was in a band in his spare time, he tasked the bass guitarist with writing a fight song for the team.
Childress recruited his bandmates Terry Rocap and Joe Sherwood, part of a group called Fresh Aire, to help him throw together a track. One day, he was watching "Sesame Street" with his seven-year-old daughter when he had an epiphany. He came up with the now-famous chorus: One, two, three, four, five, Sixers!
They brought it to Williams, who gave it his stamp of approval. Without much fanfare, the team began playing it before home games during the 1975 season. One year later, a talented player by the name of Julius Erving arrived in Philadelphia and helped launch the franchise to new heights.
The song was used throughout some of the 76ers' best years in the late 70s and early 80s. But when Williams left the organization, it was quickly forgotten. For nearly two decades, it was little more than a quirky, obscure part of the team's history.
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