Tamil Movie Rock On!! 2 Video Songs Free Download
Osman Blunt
During a recent discussion about music with a co-worker, it somehow worked its way into a bet that I couldn't come up with 100 rock songs that use the words "dance" or "dancing." I have no idea how the conversation got to that bet, but of course I can't turn it down.
It also came with the caveat that I couldn't use search engines (Google, etc) to find them, but could solicit suggestions from other people (he didn't specify if they were people I personally knew or not )
So that's it....I need rock songs that use those words in the song. By rock I mean.....rock, metal, punk, etc. I cannot use country (too easy), jazz (too easy), pop/dance/electronic (way too easy) or anything other than music that would be defined as "rock".
For many political historians, April 1970 marks the beginning of the modern environmental movement in America. Earth Day, the brainchild of Senator Gaylord Nelson, has been a worldwide celebration of nature and conservation every year since.
But music historians could also argue that April 1970 also marks the birth of the modern environmental rock anthem. That same month, an emerging Canadian singer-songwriter released a simple song about "paving paradise to put up a parking lot."
To this day, "Big Yellow Taxi" is Joni Mitchell's most well-known song. Not only was a tremendous hit in 1970, but it also brought environmental concerns to the popular radio waves. Mitchell blazed a trail for other rock artists, and in the months that followed, dozens of popular songs explicitly tackled themes of pollution and environmental destruction.
Just one year later on "Mercy Mercy Me (The Ecology)," Marvin Gaye silky smooth voice warned of the impact of pollution on birds and fish. And the Beach Boys didn't mince words on their 1971 track "Don't Go In The Water" when they sang, in their trademark six-part harmony, "Don't you think it's sad what's happened to the water?" There's no question that the early 1970s was a golden age of conservation choruses (The Kinks' "Apeman" and The Doors' "Ship of Fools" are two personal favs).
Using apocalyptic imagery, The Pixies sing about the shrinking ozone ("now there's a hole in the sky and the ground's not cold") and water pollution in the form of "ten million pounds of sludge from New York and New Jersey." Fortunately, since the Pixies released the song, the cities have taken huge strides to limit sewer system discharge thanks to better rules and regulations.
Dave Matthew's Band 1996 smash album "Crash" featured not one, but two environmental anthems. The better-known "Too Much" was overtly critical of consumerism and unchecked capitalism with straight-forward lyrics like "I eat too much / I drink too much / I want too much."
But on "Proudest Monkey," Matthews is much subtler. He questions whether it was worth it when those early humans ("proud monkeys") "climbed out of these safe limbs" and traded a peaceful life in nature for a life in the city with "car horns, corners and the gritty."
In their 2004 massive hit "Float On", Modest Mouse's Isaac Brock sang, "Don't you worry, we'll all float on, alright." But seven years earlier, he was much less laissez faire. Like Joni Mitchell, Brock laments the environmental impact of suburban sprawl, in particular the huge expansion of parking lots and highways. I suspect that Brock knew that when we turn forests and farms into residential and commercial areas without careful planning, we add to the amount of pollution that ends up in our rivers and streams.
I can't tell you how many times I sang these lyrics before it dawned on me that Jack Johnson was warning us that if we're not careful and thoughtful about suburban growth and transportation, we'll need more oil. In that scenario, "the drilling goes too far" and "the horizon begins to fade." Johnson's lyrics remain timely, as the President considers expanding offshore drilling in the Atlantic Ocean, a move that CBF believes does not make economic or environmental sense.
Courtney Barnett's breakout 2015 album "Sometime I Sit and Think, and Sometimes I Just Sit" features some of the best songwriting of the last 10 years. On "Dead Fox," she begins by questioning whether local, organic produce is actually worth the extra cost (CBF thinks so!). But later, after seeing roadkill ("a possum Jackson Polluck") and a tractor trailer rushing produce to market, she begins to question whether she's complicit in the loss of the natural world. Her conclusion? "More people die on the road than they do in the ocean / Maybe we should mull over culling cars instead of sharks."
Radiohead's Thom Yorke initially titled this song "Silent Spring," presumably after Rachel Carson's seminal environmental work. In his signature falsetto, Yorke delivers a haunting yet beautiful reminder that "we are of the earth / to her we do return." And, despite the enormous challenges that climate change poses, Yorke encourages us to "take back what is ours / one day at a time."
"Anything beautiful that's used as a national symbol is something that's often been destroyed," Case said in a Song Exploder interview. Rather than simply wonder what the last lion of Albion (an old name for Great Britain) must have been thinking, she wrote a song about it. The result is a powerful song that reminds the listener we must take care of all living things.
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In the early 1990s, Cuomo had an awkward girlfriend who was routinely picked on. His efforts to stick up for her inspired Weezer's breakthrough, a track whose bubble-grunge hooks and lines such as "I look just like Buddy Holly/And you're Mary Tyler Moore" helped the band reach a nation of pop-minded suburban punks. It also earned Weezer autographed photos from the real Mary Tyler Moore.
The Stones were in Toronto, rehearsing for their classic gigs at the El Mocambo Club, when Jagger, jamming with R&B legend Billy Preston, came up with "Miss You." With a disco groove and a touch of the blues via a harmonica player they found in a Paris subway, it became the band's first Number One hit in five years. "It's not really about a girl," Jagger said. "The feeling of longing is what the song is."
R. Kelly's automotive metaphors for booty-knockin' in "Ignition" are subtler than they might've been; the lyrics were toned down at the request of a Chicago radio station. On Chocolate Factory, the original version of the song segued immediately into the hit remix.
The rhythm was inspired by the wriggling of a praying mantis that VanWyngarden and Goldwasser kept in college. VanWyngarden wrote about rock-star fantasies ("I'll move to Paris, shoot some heroin"), though it's unclear how facetious the words are. "Some think we're druggies. Others see the tongue-in-cheek element," he said. "That's what I hope for as a lyricist: confusion!"
In 1979, Gaynor's career was falling apart. Donna Summer had replaced her as the leading disco diva, and the 32-year-old Gaynor had recently suffered the death of her mother and had undergone spinal surgery. So when she belted out "I Will Survive," she brought extra attitude. The track was originally a B side, but after enterprising DJs started to play it at discos, it turned into a smash.
Attempting to jump-start a solo career after her stint in the Runaways, Jett had her demo tape to "I Love Rock 'N Roll" rejected by 23 record labels. Tiny Boardwalk Records finally bit, but the label sold her the radio rights to the track for $2,500. Today, the song is worth nearly $20 million.
A staple of beach-town jukeboxes every summer since its release, "Under the Boardwalk" evokes the carefree sounds of the shore. But its recording was no day at the beach. Johnny Moore was drafted to sing lead because the track's original singer, Rudy Lewis, died of a heroin overdose in his hotel room the night before the session.
"I've never been a big fan of irony," Smith said, which might be why this reverie of love, cut at a vineyard in the South of France, is his favorite Cure song. The band's girlfriends influenced the music. "The girls would sit on the sofa in the back of the control room and give the songs marks out of 10," he said. "So there was a really big female input."
Before "I'm Eighteen," Cooper was just another hairy rock oddball. But this proto-punk smash defined the age when, in Cooper's words, you're "old enough to be drafted but not old enough to vote." A few years later, Johnny Rotten sang this at his audition for the Sex Pistols; by then, Cooper was a guest on The Muppet Show.
In 1975, Bowie traded his glammed-out Ziggy Stardust persona for an exploration of what he called "plastic soul." Yet this R&B homage is one of his warmest, wildest tales, recorded in Philadelphia with a then-unknown Luther Vandross on backing vocals and David Sanborn wailing on sax. "It's about a newlywed couple who don't know if they really like each other," Bowie said.
This hit about a Big Easy streetwalker remains in rotation 35 years after it hit Number One. The group was from Philadelphia, but the nasty groove was classic New Orleans, with producer Toussaint and his house band, legendary R&B stalwarts the Meters, funking up the beat. Thanks to the ladies of LaBelle, every disco fan now knows at least one line of French: "Voulez-vous coucher avec moi?"
James wasn't exactly modest about his ambitions. As he declared in 1981, "I wanna make Paul McCartney white-boy money!" He got it with the self-described "punk funk" of "Super Freak," from his breakthrough album, Street Songs. James enlisted the Temptations for background vocals. The song got a second life when MC Hammer jacked it for the 1990 megasmash "U Can't Touch This."
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