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"William, It Was Really Nothing" is a song by the English rock band the Smiths. It was released as a single in August 1984, featuring the B-sides "Please, Please, Please, Let Me Get What I Want" and "How Soon Is Now?", and reached No. 17 in the UK Singles Chart.
Johnny Marr wrote the music to "Please Please Please Let Me Get What I Want" shortly after its eventual A-side, "William, It Was Really Nothing".Marr commented, "Because that was such a fast, short, upbeat song, I wanted the B-side to be different, so I wrote 'Please Please Please Let Me Get What I Want' on Saturday in a different time signature—in a waltz time as a contrast". [9]
The guitar track was sampled, with the Smiths' approval, in 1990 by indie-dance band Soho on their UK Top 10 single "Hippychick". Artists to have covered the song include UK indie band Hundred Reasons , US post-hardcore band Quicksand (bonus track on their Slip album) in 1993, US post-grunge band Everclear , and US punk band Meatmen (on the ...
In their early years, the band purposely rejected synthesisers and dance music, [10] until Meat Is Murder, which contained keyboards as well as rockabilly and funk influences. [11] The Queen Is Dead was notable for featuring harder-rocking songs with witty, satirical lyrics of British social mores, intellectualism and class. [12]
Hatful of Hollow is a compilation album by English rock band the Smiths, released on 2 November 1984 [11] by Rough Trade Records.The album features tracks from BBC Radio 1 sessions, their first single "Hand in Glove" (a different mix of which had been included on their first album) and two new singles and their B-sides.
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The music review site ThisisfakeDIY gave the single a 5-star rating, citing that its popularity stemmed from its abstraction from a typical Smiths song, resembling a "sweeping, orchestral pop song with horns to boot … soulful, evocative vocals ... a stirring mix". [16] This song was number 80 on Rolling Stone ' s list of the 100 Best Songs of ...
The Smiths' "non-rhythm-and-blues, whiter-than-white fusion of 1960s rock and post-punk was a repudiation of contemporary dance pop", [5] and the band purposely rejected synthesisers and dance music. [65] From their second album Meat Is Murder, Marr embellished their songs with keyboards. [64]