Rock Ballads - Non Stop Mix
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Rock Ballads - Non Stop Mix
"Don't Stop Believin'" is a rock song by American band Journey. It was released in October 1981 as the second single from the group's seventh studio album, Escape (1981), released through Columbia Records. "Don't Stop Believin'" shares writing credits between the band's vocalist Steve Perry, guitarist Neal Schon, and keyboardist Jonathan Cain. A mid-tempo rock anthem and power ballad, "Don't Stop Believin'" is memorable for its distinctive opening keyboard riff.
At the dawn of the 1980s, Journey was becoming one of the most successful rock acts of the era. The band added Cain on keyboards before entering the studio to record Escape. Cain had kept the song title from encouragement his father gave him as a struggling musician living on Los Angeles' Sunset Boulevard. The song is unusual in that its chorus does not arrive until the song is nearly finished; its structure consists of two pre-choruses and three verses before it arrives at its central hook. The band recorded the song in one take at Fantasy Studios in Berkeley, California.
By 1980, the Californian rock outfit Journey was on its way to becoming one of the most successful acts of the era. After discarding its roots in progressive rock, the group hired vocalist Steve Perry and smoothed out its sound. The band had notched several domestic top-25 hits with "Lovin', Touchin', Squeezin'" and "Any Way You Want It". Original keyboardist Gregg Rolie, with the group since its progressive days, amicably departed in 1980, leaving the foursome without one of its signature elements. Rolie recommended the band invite Jonathan Cain of British rockers the Babys to be his permanent replacement, who accepted and joined the band as it prepared to record its next album, Escape (1981).
To prepare for writing its next effort, Journey rented a warehouse in Oakland, California, where they worked daily to complete arrangements and develop new ideas. Cain came up with the song's title and hook; it stemmed from something his father frequently told him when he was a struggling musician living on Los Angeles' Sunset Boulevard. Cain was unsuccessful and ready to give up, and each time he would call home in despair, his father would tell him, "Don't stop believing or you're done, dude." Guitarist Neil Schon invented the song's distinctive bass line, and Perry suggested Cain write a driving synthesizer piece to complement that bass line. Drummer Steve Smith added atop that with a standard rock backbeat, and instructed Schon to play 16th note arpeggios over the rest of the instrumentation, as though he were a "train" guiding the song in its direction.
Billboard called it an "uptempo, melodic track" and praised the "fluid guitar and vocal." Record World said that the "piano intro anticipates a powerful rock chorus for maximum airplay." Mike DeGagne of AllMusic has described "Don't Stop Believin'" as a "perfect rock song" and an "anthem", featuring "one of the best opening keyboard riffs in rock." It was ranked #133 on Rolling Stone's 500 Greatest Songs of All Time. It is the best-selling digital track from the 20th century, with over seven million copies sold in the United States.
The song reached number eight on Billboard's Mainstream Rock chart, and number nine on the Billboard Hot 100 chart. It sold over a million copies in vinyl. It is the number one paid digital download song originally released in the 20th century, and was also the 72nd most downloaded song of 2008, and 84th most downloaded song of 2009 in the store, over 27 years after its release. On August 31, 2009 the song topped the 3 million mark in paid downloads. It is the best-selling digital song from a pre-digital-era, and it was also the best-selling rock song in digital history until it was overtaken by Imagine Dragons' "Radioactive" in January 2014. It was placed just outside the top twenty best selling digital songs of all time in September 2010. It has sold over 7 million digital units in the US as of July 2017.
Signature Sound: A trebly, pristine instrumental balance that allows guitars and drums to cut through with maximum detail and sharpness, offering pop sheen to rock acts and rock heft to pop acts.
Signature Sound: More of an advisor who helps an artist find their creative center than a knob-twiddler in the studio, Rick Rubin is most associated this century with two seemingly contradictory modes: stark, stripped-down acoustics and conspicuously loud, hyper-compressed hard rock.
Signature Sound: A full-band attack loud, clean, resounding, and dramatic enough to fill your average arena, stadium or coliseum, and to make rock music still sound as big as rock music used to actually be.
June 6: Muse33rd year on the Summer Swing bandstand! Easy listening, vocal oriented acoustic soft rock played as only Muse can. Together for 45 years, Muse will perform fan favorites by artists such as the Eagles, Beatles, CSN, James Taylor, Van Morrison, Little Big Town, Jason Isbell and more.
June 13: CrossroadsCrossroads is a six-piece variety band that covers many country and classic rock hits. The band performs selections from artists such as Fleetwood Mac, Linda Ronstadt, REM and The Eagles, as well as Carrie Underwood, Sugarland and Martina McBride. Crossroads produces smooth vocal harmonies and provides audiences with a unique, varied and entertaining experience. More info can be found at facebook.com/auburncrossroadsband.
Traditional ballads are narrative folksongs - simply put, they are folksongs that tell stories. They tell all kinds of stories, including histories, legends, fairy tales, animal fables, jokes, and tales of outlaws and star-crossed lovers. ("Ballad" is a term also used in the recording industry for slow, romantic songs, but these should not be confused with traditional or folk ballads.) Many traditional ballads came to North America with settlers from Europe. Others were composed in North America and tell stories or relate ideas that tell us about the attitudes and experiences of our nation as it developed.
Sung by Robert Walker. Walker was the uncle of ballad singers Warde, Pat, and Bogue Ford. They are an example of a family that handed down American, British, and Irish ballads, singing them in a traditional unembellished style.
Some older ballads derive from songs composed by traveling minstrels who made their living through song in the houses of noblemen. Minstrels composed narrative songs describing love stories, historical battles and events, legends, and journeys to far off lands. As these songs were intended as entertainment, they had meters and melodies appropriate for dancing and were often sung with musical accompaniment. Early ballads, which in English date to before 1600, may also be derived from other medieval sources, including metrical romances, folk tales, and apocryphal gospels about the life of Jesus. Some early ballads from this tradition traveled to North America with the first European settlers. Margaret MacArthur, a folklorist and singer, performed some examples of the earliest known ballads brought to North America in her concert at the Library of Congress in 2005.
"King John and the Bishop of Canterbury," tells a story about King John of England, who ruled from 1199 until 1216. Similarly, "The Death of Queen Jane," sung for the Library's Archive of Folk Song by Bascom Lamar Lunsford in 1949, recounts the story of the birth of King Edward VI of England, and the death in childbirth of his mother, Jane Seymour, third wife of Henry VIII. Such historical ballads are often assumed to have been composed not long after the events they describe, although usually this is difficult to prove. "Mr. Frog," a folktale ballad about a frog who marries a mouse, which was sung for the Library of Congress by Pearl Nye, derives from a ballad that was first mentioned in 1548, and for which a full text survives from 1611.
The earliest ballads were often composed for the entertainment of the wealthy, but as printing became available, they were spread through printed lyrics, inexpensively published on one side of a piece of paper. Such a sheet was called a broadside or song sheet. Song sheets contained both lyric songs and ballads and were often sold by street vendors at cheap prices. Typically, such sheets contained only the words to the song, with no musical notation. Sometimes, the name of the intended melody was given, and the buyer was assumed to know the tune already. Vendors were frequently also singers who could demonstrate the proper melody to a buyer. Finally, purchasers of broadsides were also free to compose their own tunes, or to fit the song to any existing melody. In this way, the same ballad text often entered the oral tradition with many different tunes attached. The most common singing style was a cappella, perhaps because ordinary people had limited access to musical instruments.
By the late nineteenth century, scholars had begun studying the ballad tradition, both in Britain and America. Harvard Scholar Francis James Child collected early ballads from manuscript sources, and attempted to identify the earliest versions. His collection and documentation's final form was published as The English and Scottish Popular Ballads. In this influential book, published in ten volumes between 1882 and 1898, Child created a system of numbers for the ballads he collected, which some scholars still use today as an indexing tool. For more on this, see the essay, "Francis James Child and The English and Scottish Popular Ballads."
Unlike epics, ballads are typically remembered word-for-word and sung to fully developed melodies. They became distinct from epics and acquired the features we recognize today during the Middle Ages. The word "ballad" is derived from a Latin root meaning "dance," which has led to the theory that early ballads were used for dancing. Some support for this theory comes from the fact that ballads are sung for dancing in some parts of Europe today, but how old and widespread a tradition this is has never been established with certainty. 59ce067264