Download Hey Shona Song

[Ramya Bradbury]

ShonaLaing (born 9 October 1955) is a New Zealand musician. Laing had several folk hits in her native country and in the 1980s became internationally popular for her alternative music, most notably "(Glad I'm) Not a Kennedy" and "Soviet Snow" which was based on the Chernobyl disaster. Various alternative radio stations in the US such as WLIR played songs from her "South" album and she became internationally known. Laing contributed to Manfred Mann's Earth Band album Somewhere in Afrika and contributed music to, and appeared in, the 1985 action film Shaker Run.[1]

Laing first came to prominence in 1972 as a 17-year-old schoolgirl, coming runner-up in the television talent show New Faces with her song "1905".[2] She signed a recording contract with Phonogram. Her first two singles, "1905" and "Show Your Love" were both certified gold and each peaked at number 4 on the New Zealand charts[citation needed]. In 1973, she won two RATA awards: Best New Artist and Recording Artist Of The Year.[3] Laing twice represented New Zealand at the Tokyo Music Festival, in 1973 (with the song "Masquerade") and 1974. In 1975, she relocated to Britain and was based there for the next seven years during which time she released a number of singles and an album, Tied to the Tracks in 1981. She joined Manfred Mann's Earth Band for two years, working alongside English musician Chris Thompson for the album Somewhere in Afrika.[4]

Laing returned to New Zealand in 1983, and released her album Genre two years later, in 1985. The song "(Glad I'm) Not a Kennedy" eventually charted in Australia, and was re-released as part of her next album, South. The song reached No. 2 on the NZ Singles Chart in August 1987.[4] Laing won the APRA Silver Scroll in 1988 for "Soviet Snow" and in 1992 for "Mercy of Love".[5]

"(Glad I'm) Not a Kennedy" is a song by New Zealand musician Shona Laing. According to Laing, the inspiration for the song was her reaction to a television appearance of American politician Edward Kennedy.[2] The song was originally released as a single in 1985, titled "Not a Kennedy", and was included on Laing's 1985 album Genre.[3] It was re-mixed and re-released in 1987, and this version was included on her 1987 album South.[2] The song reached number two in New Zealand, number nine in Australia, and number 14 on the US Billboard Modern Rock Tracks chart.

This popular African Praise Song exists in a staggering number of variations, depending on the country, language, and denominational background of the community singing it. Here are three versions that have been widely shared within the MMC network: in Shona, Swahili, and English. You'll notice subtle differences in melody, harmony, translation, and instruments accompanying the song.

Gaana is your gateway to the best and latest in music, offering over 30 million songs across diverse languages including Hindi, English, Bollywood, and regional tracks. Stream your favourite Hindi songs, Bollywood music, English MP3 songs, radio, podcast and regional music online or download songs to enjoy anytime, anywhere!

Arranged by Shona musician Dumisani Maraire, this is an exciting multipart dance song from Zimbabwe. Sung in Shona, it is guaranteed to escalate the energy of any high school program with four short, dynamic parts that interlock. Percussion; context; translation; SATB.

The hand clapping game can be played with children of many ages, in the book a couple different versions of the hand clapping game are given: a basic version and a more advanced version. In both versions, the children practice both physical and musical coordination as they are challenged to sing in one rhythm, but move their arms and hands in a different rhythm.

Thank you for this post. I used Sorida one year as my welcome song, and a way for the students to practice greeting/interacting with each other. I had forgotten all about it, but will definitely bring it back, and use your suggestions.

Shona Laing's long musical career began with '1905', a song dedicated to Henry Fonda. At 17 years old, Shona took the song to second place on talent show New Faces in 1972. Early the following year it rose to number four on the NZ top 10. This short live clip, thought to be filmed at Christchurch Town Hall, captures Shona in extreme close-up, serving to magnify the emotional intensity of the song. Don't be fooled into thinking this is a mimed performance; her voice is absolutely spot-on, and the crowd reacts with rapturous applause.

Early 1974 Laing recorded her second album Shooting Stars Are Only Seen At Night in Sydney at the EMI studio. The second album was not as well received as her debut but she once again won Best Female Vocalist at the 1974 Music Awards.

In 1975 Laing moved to England to develop her career but she was still contracted to Phonogram Records in New Zealand. A third album was recorded on a limited budget at R.G. Jones Studio in Wimbledon, but it was never released.

In May 1976 Laing and two other New Zealanders left London in a Volkswagen van en route to Nepal. She celebrated her 21st birthday in New Delhi. The trip inspired her to write 20 songs that gained her a manager Chips Chipperfield in 1977 and a publishing deal with Essex Music in 1978, with 15 hours of studio time per month.

Laing had created enough interest in the USA to sign to Atlantic Records in New York but the deal went sour partway through recording her album, after the A&R person who signed her left the company. Atlantic dropped Laing and made it difficult for her to gain access to the recordings.

A beautiful hypnotic song I wish to share. Performed on a Shona mbira in the back seat of a car. Unfortunately the Youtube clip came without any information on song or artist. Anonymous, like most African art.

I'm cosily installed by the fire in a cottage on Eilean Shona off Ardnamurchan, a 2000 acre island where I am on a winter retreat. I look out over the waters of the South Channel of Loch Moidart towards the imposing 14th century ruin of Castle Tioram. This panorama is the backdrop for a steady stream of avian comings and goings; through binoculars I sometimes see a flock of rock doves, wild cousins of the feral pigeons found in cities, wheeling around the ramparts of the castle; on the water are small parties of red breasted-mergansers, raffish males leading dowdy females, sometimes a solitary goldeneye, once a male eider; occasionally a peregrine dashes across, hoping to surprise a dove or a duck. Jet-black shags dive, then fly off to dry their wings on the rocks.

One afternoon a handsome great northern diver worked its way along the channel, spending almost as much time under water as on it. In the evenings the imposing form of the resident juvenile sea eagle (they are sometimes known as flying barn doors) wings its way across on its way to roost. The constantly changing wave patterns occasionally break to reveal the rounded head of a passing otter. Angular herons from a nearby heronry stalk the shallows, keeping an eye open for sea eagles, who regard them as both food and competition.

The magnificent 19th century plantations provide refuge for many of the island's small birds. Blue tits are concentrated in a single mobile flock of 100 or so, frequently joined by great tits, goldcrests, coal tits (already breaking occasionally into their see-saw song); a variety of other birds seem to tag along loosely for security, chaffinches, blackbirds, song thrushes, a few redwings from Scandinavia. Inquisitive robins fly over to investigate you, dunnocks and wrens skulk in the undergrowth; jays announce your arrival with raucous screeches in the gnarled oaks. There are other, more elusive flocks around-it is worth getting to know the wheezing call of siskins and the rattling of redpolls if you want to see them. Once over the wind I heard the "chup-chup-chup"s of a group of crossbills, but could not locate them. The island's resident pairs of great-spotted woodpeckers are most easily found by following their their far-carrying "tchick".

On walks there have been periods of sunlit stillness, the air full of the exuberant piping of oystercatchers and the mournful song of curlews, punctuated by the deep croaking of ravens; at other times the wind blows up and it is hard to imagine how birds can survive-we almost tripped over an unfortunate heron which seemed to be giving up the struggle. At this time of year there are few birds on the windswept tops, just a few wisps of meadow pipits and the odd woodcock, for whom even when it blows a gale the west coast is mild compared to their frozen breeding grounds in Russia. Large numbers fly over the North Sea on full moons in November and December, and slowly work their way westwards in search of milder air. There has been a big freeze inland while I am here, and today on a path through boggy woodland I put up a dozen woodcock, where last week there were none. When I emerged into the open the young sea eagle flew straight over my head, checking me out and causing the hinds on the hill to freeze.

Eilean Shona's birds do not always give themselves up easily; however, over time the island gives up its secrets, and after almost two weeks I am still adding a new bird or two to my list nearly every day.

*This line isn't always sung. Sometimes more lyrics are added to the song.

Malanga = sun, sunshine or day, daytime.

Shona = set, go down.

"A luta continua" is Portuguese. According to Wikipedia, "A luta continua (in English: the struggle continues) was the rallying cry of the FRELIMO movement during Mozambique's war for independence. The phrase is Portuguese (the official language of the former Portuguese colony) and was used by FRELIMO leader Samora Machel to cultivate popular support against the Portuguese colonial presence."

"You have to move to this song!" -Una May Olomolaiye

Movements: One step forward with right foot, then left foot. Then one step back with right foot, then left foot. Arms move in the same direction as the feet.

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