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American record producer Bob Crewe, best known for his work with the Four Seasons, had heard the Unit 4 + 2 hit version of "Concrete and Clay" while on a trip to the UK.. As a result, Crewe had a cover version of "Concrete and Clay" cut by Eddie Rambeau, a staff writer at Crewe's music publishing firm, which was the inaugural release for Crewe's own DynoVoice Recor
Sneakin' Sally Through the Alley is the debut solo album by Robert Palmer, released in 1974.It followed three album releases co-fronting the band Vinegar Joe. [5] [6]Palmer is backed by The Meters and Lowell George of Little Feat.
Joe McEwen of Rolling Stone critiqued the song choices and the attempt to please the commercial market. He said two tracks are in-line with the band's style: "Doodle Loop" and "Chug-a-Lug", and had a positive view of the title track "Trick Bag". [5] Robert Christgau also critiqued the song choices and had a positive view of the title track. [3]
Sgubhu, a variant of gqom and a type of South African electronic dance music, shares some traits with gqom but sets itself apart with its beat structure. Unlike standard gqom, sgubhu is characterized by a much steadier kick drum pattern although having a kick pattern reminiscent of the three-step rhythm, often adhering to a consistent four-on-the-floor rhythm, which aligns more closely with ...
He noted a stylistic divergence in tracks "Joog", "Hand Clapping Song" and the vocal tracks. He called the music enjoyable but noted a lack of coherence in the song collection. [ 1 ] Robert Christgau had a favorable view and wrote of the band's style: "The New Orleans M.G.'s swing, but not smoothly, the way a big band does--their Caribbean lilt ...
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Iambic tetrameter is a poetic meter in ancient Greek and Latin poetry; as the name of a rhythm, iambic tetrameter consists of four metra, each metron being of the form | x – u – |, consisting of a spondee and an iamb, or two iambs. There usually is a break in the centre of the line, thus the whole line is:
"Mardi Gras Mambo" is a Mardi Gras-themed song written by Frankie Adams and Lou Welsch. The song's best known version was recorded in 1954 by the Hawketts, whose membership included Art Neville, a founding member of the Meters and the Neville Brothers. It is one of the iconic songs frequently played during the New Orleans Mardi Gras.