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422 Sentences With "fades out"

How to use fades out in a sentence? Find typical usage patterns (collocations)/phrases/context for "fades out" and check conjugation/comparative form for "fades out". Mastering all the usages of "fades out" from sentence examples published by news publications.

type: All Declarative Interrogative Exclamative

structure: All Simple Compound Complex Compound-Complex

length: All <=10 words 10-20 words 20-30 words 30-50 words

If Biden fades out, Buttigieg stands to take his place.
"It's crazeeeee," Lauren squeaks as their Fantasy Suite footage fades out.
As the clip fades out, we hear a gunshot and a thud.
"Move with the spirit!" chant the backup singers, and the song fades out.
So you should replay all three songs as soon as "Fly" fades out.
A light slowly dims and fades out for a natural progression toward sleep.
Byrne begins to croon a tender admission of love, and the track fades out.
This penalty, based on conventions since 1980, fades out over the next few weeks.
As the lowest bass tone starts to fade in, the higher treble tone fades out.
Pzizz will lull you to sleep with some really soothing music that fades out over time.
Before you hit the "next episode" button, listen to each song as the show fades out.
"I don't know if I know love no more," Holden sings before "Piano Player" fades out.
Then, if the romance lasts, the avatar fades out and the person behind starts to appear.
Opening on a note of quirky vitality, "Goldie" fades out on a sigh of bittersweet ambivalence.
Then, as the song fades out, just drums, more urgent now, the bass guitar heavier, diabolical, almost.
When the bass completely fades in and the treble completely fades out, the sequence loops back again.
The video then fades out to someone yelling in the background, "That was amazing" with loads of enthusiasm.
"Don't it beat a slow dance to death?" a forlorn and disembodied voice repeats as it fades out.
As this woman fades out, her breathing becoming more labored and her states dropping, Amelia hugs her head.
I thought sex meant kissing under a duvet, because that's what happened in movies before the scene fades out.
Then, the reddish-orange glow fades in gradually, peaks and fades out in a matter of roughly 10 minutes.
Then both hands return to disassemble the house as the swampland fades out, leaving a thin puddle of water onscreen.
It flares up almost mysteriously in some fortunate place or another, and then fades out, it seems, just as mysteriously.
There is no room for him in the capital of monotheism, and he soon fades out of Adonis's poem as well.
As Dyson introduces new models, it fades out the older ones and the V7 is ostensibly next on the chopping block.
But here in the dark, in a domain generally far from human habitation, language fades out like a radio signal slowly being lost.
Skeptical researchers have contended that it doesn't really matter, that preschool provides only short-term educational assistance that fades out after a few years.
Monocle registers Lyle's intention to tune in to the extra-terrestrial drama, fades out his vision, and throws him into a shiny, minimalistic news studio.
In some places, the rubbery material is as thick as the slab itself while in other areas it bubbles up, skips or fades out entirely.
The app's cleverest feature is its "focus mode," which fades out everything else in your document other than the line or paragraph you're working on.
When most people try to whistle their favorite song, you can maybe catch a few notes before the whistle fades out and becomes incoherent breathing sounds.
The song fades out with an accelerated version of the red dwarf's lightcurve, the star's oscillating brightness over time, based on data collected by the Kepler space telescope.
But at the very end, as your score is tallied, the game fades out, telling you it's "too bad" that you'll never spend any of that hard-earned cash.
Brown is introduced in the second act of the film, and though his character is meant to have a huge impact on the plot, Marc fades out of the spotlight.
For three minutes there are no drums, just keyboards and chamber strings; a supportive beat comes in but fades out, as she begs, "Please don't abandon me" and sounds genuinely bereft.
I'll remember thinking and writing about this music long after it fades out of the public eye, and sharing those memories with you feels like the best possible way to say goodbye.
"When implicit guarantee fades out ... demand for off-balance-sheet WMPs may partially switch to similar products such as money market funds or bond funds," said Sophie Jiang, banking analyst at Nomura.
It's not afraid to have people talking to each other while gasping for breath, or having a music-like ebb and flow that crescendos, diminuendos, fades out and sparks back up again.
But Chance can jump back into the album's harmonic roots whenever he wants without it coming across as jarring, as "All Night" fades out into three rich minutes of "How Great"'s gospel choir.
We will undoubtedly see an enormous number of AR-related launches, regardless of how quickly (or not) the Pokémon Go craze fades out, but the vast majority will have little to no impact whatsoever.
"Retune" builds from a single cycling pattern into a chaotic, tumbling climax, one that sounds like a bunch of toy pianos being thrown in a blender; closer "1804" fades out with hopeful, pointillist bursts.
The set transforms into the digital realm as he channels beams of neon lights through his fingertips and the dazzling art car appears as the bass-heavy hip-hop beat fades out in the background.
As the episode fades out, it has become obvious that if the show is going to continue to make these broad statements about marriage and relationships, it needs to be more consistent in its messaging.
"I felt like if I painted over this, it makes everything go quiet and it just kinda fades out like everything else does," Ken Jenkins, who co-owns the property with Devin Meade, told The Denver Post on Tuesday.
When that fades out, there's a surprise coda: a minute-long instrumental from Trombone Shorty, a local hero in New Orleans, overdubbing his trumpets and trombones into flamboyant free jazz and then a grooving horn section, unmistakably from Louisiana.
After the video fades out, soul singer Leela James comes to the stage and begins singing The Greatest Showman's triumphant empowerment anthem "This Is Me." Some context: In The Greatest Showman, "This Is Me" is the climax of the movie.
But best of all, White Noise Free has an alarm that fades out the white noise and plays something to wake you up, which can be either a different white noise, a traditional alarm sound, or something you record yourself.
The sound of the videos fades in and fades out as you scroll through your News Feed, and the videos are not supposed to be audible at all if you have the main volume level on your phone set to silent.
Whether the Kardashian dynasty holds for decades or abruptly fades out of the spotlight, as long as the media continues to chronicle each new outfit, baby and makeup line for hungry fans, academics will keep slaving away to decipher the meaning behind it all.
Clay stashes Justin at his parent's house, while, unbeknownst to Clay, Justin brought with him a stash of black tar heroin and tin foil, which he smokes next to the window as the episode fades out to the typically dramatic pop music that pervades the show.
JC: I think at the moment, maybe there's some gimmicky features on some of these phones, and I think we will see gimmicky versions of these phones, but I think folding technology inherently is not necessarily going to be a tech that fades out pretty soon.
By the end of the song the message has changed, but he's not the one who delivers it, and during the final chorus, the chipmunk's voice drowns out his own: "To tell you that I'm finally over you," with echo: "Finally over you, finally over you…" He never chimes back in; the song fades out.
By contrast, when she attempts ordinary celebratory love songs, the tone collapses: "Want You In My Room," a jaunty, glittering dance romp, fades out with yet another saxophone solo that panders to received ideas about '80s retro (the only '80s saxophone solo that manufactured such corny forced enthusiasm was Clarence Clemons's on Aretha Franklin's "Freeway of Love").
To be sure, some of this is probably statistical noise, but I think the surge in popularity during last year's repeal crusade points to a real phenomenon here: When the ACA faces an existential threat, the public will come to its defense; when it fades out of the news, it can slip to a more divisive status quo.
Sometimes, as on an album, one track simply fades out and makes way for the next, with events onscreen bustling to keep up; most telling of all is the sequence in which Baby, listening intently to a tune of his choice, advises his comrades, poised to jump out of the car and to start robbing, to wait until the beat kicks in.
That would leave Britain lagging again behind the world's developed economies which are expected to grow by 1.9 percent in 2019, down from 2.3 percent in 2018, according to HSBC, adding to the challenges of life outside the EU. "When that growth fades out, it's pretty bad news for the countries that need to be carried along," James Pomeroy, an economist with HSBC, said.
The version of the lead track on Future Love EP contains an extended vamp and breakdown which fades out later. The album version is shorter and fades out before this section takes place.
The video fades out with the cowboy staggering into the sunset.
The video ends with Raine Maida going insane and kicking around the bird nest before the video fades out. The video version of the song is edited so that it fades out before the actual ending.
As the scene fades out, there is the trace of a smile upon Starbuck's face.
The song also fades out on a loop whereas the original has a hard ending.
The mono version fades out sooner, giving it a total running time of 2:33.
The Admiral wins in spite of taunting by the Count and the scene fades out.
As the song fades out, the horns play part of Ochs's own "I Ain't Marching Anymore".
After the last verse, there is a guitar solo by Latimer until the song fades out.
Ahn sadly recalls her friends in the Resistance, Hawaii Pistol and Buddy before the screen fades out.
Another run of the verse/chorus follows, and the song then fades out with repeated I-IV cadences.
Morissette then walks up towards the camera, pleased, and the video fades out with a smile on her face.
He starts begging for mercy, but his voice fades out as she draws closer; it is implied that she kills him.
Schweitzer, Sarah (November 4, 2004). "Defeated after 1 term, N.H. governor fades out". The Boston Globe. Retrieved on February 6, 2011.
The documentary fades out showing the launch of STS-2, nodding at the fact that Columbia was indeed a reusable SpaceShip.
Rajee presents him a flower. He accepts it and fades out of her life with joy without identifying himself to her.
While many songs fade out, "The NeverEnding Story" not only fades out but also fades in, thus making it "never-ending".
The camera cuts back to Jordan singing and then fades out. It was directed by So-TM and clocks at 2:53.
As the scene fades out, a voiceover states that Terry, Bill, Ken, Patricia, and Kathy were apprehended and are in a state penitentiary.
The video fades out with Trina and Keyshia making seductive motions, gesturing that they want to be caressed, and pointing to the camera.
Thus the forest fades out, except on some rivers, north of about 7 N in the east and 9° N in the west.
As the screen fades out, the words 'The End' with a question mark at the end, appear on the centre of the screen.
There are two versions of the song. The single edit version fades out earlier, in order to avoid repetition, due to its length, following the repeated lyric line: "Oh with you by my side". The longer version goes on, finishing up the verse, and following the repeated guitar riff, repeats the sung introduction of the scatting, before the song fades out.
Jan says that he wants to know everything and then yells "Start now! Start now!" The film fades out on Juliane's face looking at him.
The song fades out with a repeated chord sequence – which returns at 11:56 in Book II – along with the sound of a beating heart.
The film fades out with beams of sunlight in the clouds still visible, showing Blake is either in the Spirit World or has been reborn.
Scenes of the bear attacking and dragging the Hunter are shown. As the video fades out, the singer continues singing in the stomach of the bear.
More and more instruments join in, until the vocal again takes over. As it fades out, it segues into the Middle Eastern-inspired violin of "Livin' Thing".
The show's encore was cut from the CD, which is evident as the end of the CD fades out while the crowd chants the phrase "One more song!".
A woman approaches, and the music slowly fades out, while Matthews walks off with her. This song was also used as a teaser for the movie Black Hawk Down.
Minogue commences a dance routine with the partygoers involving a pool table, until the clip fades out over images of a pinball machine featuring the "Light Years" album cover.
The colours of the video repeatedly fades out into black-and-white or opposite. Some scenes also shows the dancers looking into or they are seen through a glass sphere.
At that point, the light causes him to fade out as he begins to turn into dust as he edges closer to a white light and the song fades out.
At (3:45), the glockenspiel melody is played one last time, accompanied by organ and drums, until (4:09), when everything finishes playing, except the organ, which slowly fades out.
The radio edit fades out the song's extended outro a minute in advance and deletes part of the second chorus. The music video makes use of the complete album version.
The radio version of the song fades out before the phone dials, while the clean album version of the song still has this part only with the explicit words censored out.
After the tape slowly fades out, the brass entry at 15:30 marks the start of what Nono himself called the "'long march', from the low to the high register: 'highest tension'". The piece finally ends with a succession of "waves" full of tone clusters followed by the tape reminiscing the prologue and the central part while it slowly fades out. Nono specified that the tape can end either at 29:03, 29:18 or 30:04.
Second motive: 8 semiquavers grouped 2x4 The second pianist then fades out, leaving the first playing the original twelve-note melody. The first pianist adjusts the bottom part to a four-note motif, which changes the pattern to an 8-note repeating pattern. The second pianist re-enters, but with a distinct 8-note pattern. The phasing process begins again; after the full eight cycles, the first pianist fades out, leaving one eight-note melody playing.
The history buff stares sadly at his phone, whispering "Aaron Burr...!" The ad fades out with a baritone voiceover asking, in a near-mocking tone, "got milk?" as the tagline appears onscreen.
The single version fades out after the first key change, more than a minute earlier than the album version (which features two more key changes and "oom pa-pa mow mow" choruses).
The painter gets upset and bangs his head against the mailbox outside. The Pink Panther then walks into the house as the sun (also turned pink) sets and the cartoon fades out.
Mýa opens the song with the first verse, followed by the chorus leading her into the second verse. The song continues to the bridge, chorus, then fades out until its run time.
However, few things remain the same. Soon, Israel fades out of being, his name out of memory, and he dies on the same day the oldest oak on his native lands is blown down.
The version that appears on the single releases and the compilation The Very Best of The Smiths (2001) fades out slightly sooner and has the vocal track lasting until the end of the song. The backing vocals in this version are also mixed differently and are louder. The version that appears on all albums (save for the one listed above) fades out later (though the end of the track is audible, albeit at a very low level) and has the vocal track ending before the fade begins.
Then, Q-Tip realizes that his wallet is missing and he rounds up the group to get it back. When they get back to El Segundo, they want to stay longer, and the video fades out.
The last scenes show Bailey in the workplace when she sees Levine standing outside and she smiles. Levine then goes into the store to talk to her and the pair reconcile as the song fades out.
At the very end of the episode, a car is dropped into a compactor at a salvage yard and crushed. As the camera fades out, Ray's eye is seen, still alive as the car is crushed.
Applause concludes the album and the song fades out. During the fadeout, Trucks begins playing the tympani intro to "Mountain Jam" which would not be released in its entirety until its inclusion on Eat a Peach.
The song is in the key of E major and the 4/4 time signature. On the recording issued on The Beatles, its structure comprises two combinations of verse and chorus, followed by an instrumental passage and a third verse–chorus combination. This is followed by a prolonged ending during which the performance stops, picks up again, fades out, fades back in, and then fades out one final time amidst a cacophony of sounds. The stereo mix features one more section that fades in and concludes the song.
It also has an "entrenched population of whites, many of whom are related and have some historical connection to cotton."PETER T. KILBORN, "A Vestige of King Cotton Fades Out in Mississippi"], New York Times, October 18, 2002.
Duration: 78.5 minutes The electronic music from the opera is played in the lobby as the audience exits the theater. The lobby is engulfed in a thick orange mist. The music fades out after the audience has left.
Dawn then falls from the wall and is caught by the crowd below and her clothes suddenly change to a black jacket, T-shirt and leather trousers. Dawn and the crowd then dance until the song fades out.
In the end, Dave compliments the Chipmunks for their performance. However, the Chipmunks want to sing the song again, to which Dave tells them not to overdo it. The Chipmunks and Dave argue as the instrumental music fades out.
The sound starts off sharply and then fades out within one fifth of a second. The fish will produce sounds when it is scared, in pain, when it has aggressive behavior and attacks other fish, and when it's spawning.
Once unconscious in the shower, Kathy's body is moved by Lt. Donner to the bathroom floor. As Lt. Donner takes the money and flees, we see Kathy on the floor calling for help on the phone as the scene fades out.
There is no lateral cephalic border. The posterior border furrow fades out a little in front of genal angle. The pygidium has a long axis (of about eight rings). The pygidial border is narrow and defined by equally narrow border furrow.
The AllMusic review by Scott Yanow awarded the album 4½ stars and stated, "this obviously commercial effort (every song fades out before it hits the five-minute mark) can only be recommended in comparison to Ronnie Laws's later more inferior recordings".
A censored version of the song appears with the original album recording on the Summer EP, a four song CD released by Passenger/Caroline to promote the band to radio programmers. The censored (or "clean") version fades out the word "shit".
The single version (which can be found on Greatest Hits, but not the 1992 US "Red Cover" version) omits the extended guitar interludes between the verses and fades out before the ending.Fat Bottomed Girls. Ultimate Queen. Retrieved 4 September 2011.
While laughing at the sight, Speedy is unaware that salt is pouring on his tail, until it also falls off. Chasing after Sylvester and Malcom, he cries "Amigos, wait, wait, save some glue for me." and the show fades out.
As the song moves towards the chorus, the piano sounds stop and the cello plays with Madonna belting out the lyrics: "Deep in my heart, I'm concealing, Things that I'm longing to say", when the piano and the orchestra sounds come back again. It proceeds in the same way and gradually fades out. The final track, "Lament", finds Madonna singing in a whispered tone, about Eva looking back at her life on her deathbed. Accompanied by classical guitar and harp, Banderas also sings over Eva's grave, and the track gradually fades out as an anti-climax.
There is also the sound of a military snare drum that plays drum rolls, first quietly, and getting louder and louder, until the fifth time, an unusual sound effect brings the song to the third verse. The Jazz combo plays an improvisation, first taken up by the clarinet, and followed by the piano, until it fades out. The beating of a heart is then heard until it fades out as well. Each of the three verses uses surreal imagery to deal with emotions (emptiness of fame, teenage angst, hopelessness), and contains self-references to Buffalo Springfield and Young.
They undulate the succeeding suture but are obsolete on the base and anal fasciole. On the early part of the spire the peripheral cord is duplex, but the posterior thread gradually fades out. The aperture isnarrow. The anal sulcus is deep and rounded.
Again, the Vocoder is used at the end of the track where, at the 4:54 mark, one can hear "Please turn me over" as it fades out. It is the only piece from the Concerto to be excerpted as a single.
The last scenes have all the members closing their electronic screens which appeared at the beginning of the video, the camera zooming out of the window, a final lookat the spaceship, then the N-Dubz logo appears once again then fades out.
Scene switches to a farmhouse in the country. Dan finds out Dr. Rutherford and has bought a small farm with enough pasture to take care of all the fire horses; Dan will become the caretaker. It fades out with Dan holding Bullet.
Samantha flees the house. As she drives, she fades out of consciousness and is involved in a car crash. She emerges from the wreckage transformed fully into a zombie. Her mother, who has arrived at the scene, begs the police not to shoot Samantha.
Army Ajith who looks at the bus starts to laugh hysterically. Almost suddenly his laugh stops and he looks at the audience questioningly....... the scene fades out. A symbolic toy acrobat jumper that switches hands from time to time, is seen right throughout the film. .
Pearl Jam's song "Rats" refers to the film Ben; the last line of the song is an obvious reference to the Michael Jackson song "Ben". The line, "Ben, the two of us need look no more", is repeated multiple times as the song fades out.
The track was written by bassist/vocalist Gene Simmons and guitarist Vinnie Vincent, although some versions of the album mistakenly credit Paul Stanley and Vincent. The latter had been working with songwriter Adam Mitchell when he discovered that Mitchell had connections to Kiss, and Vincent made it a point to meet Simmons through Mitchell. After meeting and exchanging phone numbers with Simmons, the two got together and wrote "I Love It Loud" in addition to another song called "Killer", which appeared on the Creatures album during the same writing session. The song fades out, only to come back even louder, and then fades out a second time.
The group was able to spend more studio time on this album than on their debut, combining strong song material by Bryan Ferry with more elaborate production treatments. For example, the song "In Every Dream Home a Heartache" (Ferry's sinister ode to a blow-up doll) fades out in its closing section, only to fade in again with all the instruments subjected to a pronounced phasing treatment. The title track fades out in an elaborate blend of tape loop effects. Brian Eno remarked that the eerie "The Bogus Man", with lyrics about a sexual stalker, displayed similarities with contemporary material by the krautrock group Can.
Bunton and Brown sing the first and second verse respectively. The bridge and third chorus follow. Then a choir, arranged by Mark Beswick, supplements the group during the last part of the song. "Mama" ends with the group repeating the chorus until the song gradually fades out.
We then also see DeAraugo in a glamorous brown dress with shoulder-length earrings, as well as a black dress, in front of a backdrop of paintings. Her partner finally arrives at her motel while she is reminiscing, and they embrace as the video fades out.
Badman, p. 39. The song features solos shared between Russell, Horn (on tenor sax) and Harrison (slide guitar), and fades out with the ensemble playing in double time,Clayson, p. 312. similar to a fast gat section (or drut) used in Hindustani classical music.MacDonald, p. 172.
The Playoff Megacasts for 2017 introduced a new statistical ticker, which shows info about the current drive, and stats about plays made. Unlike the others, it just fades out stats, instead of flipping. For the 2018 semifinals, a newly redesigned version of the statistical ticker was unveiled.
The complex also includes laminated argillite and volcanic conglomerate, which is easily confused with the Roxbury Conglomerate. The complex is up to a kilometer thick in central areas of Boston, 600 meters thick in Hyde Park, close to Milton and fades out entirely eastward toward Hingham and Nantasket.
The album materials sat unpublished for fifteen years. The album contains a Kiss cover-song "Almost Human". In Lordi's version "Almost Human"-song fades out, only to come back even louder, and then fade out a second time. This idea was taken from Kiss' song "I Love It Loud".
The song then fades out as it ends. It is influenced by lounge piano and Outkast snare patterns, and features some synthesizer. The final track of the album is "Give a Man a Rod". The song is driven by claps sounding like drums, and vocals akin to Flying Lotus.
The song spent 11 weeks in the Top 40. It was edited for its single release with one less repeat of the chorus at the end. When it appeared for the first time in CD format through the compilation Andy Gibb it fades out early at 3:41.
The climax of the work is built up, where gestures from the first movement are returned, now having undergone a different experience. This climax fades out on a timpani roll, which leaves a short, witty coda where fragments of the music are broken up and disappear into thin air.
The lyrics of "Free" are composed in the traditional verse-chorus form. Mýa opens the song with brief spoken lyrics. She begins the first verse, followed by the chorus leading her into the second verse. The song continues to the bridge, chorus, then fades out with Mýa's chant.
The scene fades out as the lights draw up so close that they distract and blind her, preventing her from seeing the road ahead. The scene fades in again on the aftermath of her fatal one-car crash. There are no documents to be found in the car wreck.
Kuze fades out, then a Hanka sniper kills him. Batou and the team rescue Killian, while Aramaki executes Cutter with Killian's consent. The next day, now repaired and embracing her true identity as the Japanese Motoko, Killian reconnects with her mother and returns to work with Section 9.
Query the FCC's FM station database for WHJM-FM WHJM's current signal fades-out north of Lima at Beaverdam where WJTA's FM translator (W204CU) in Findlay fades in, followed by CIMX in Windsor, Ontario which begins to fade-in north towards Bowling Green and Toledo. Its signal also fades out to the south near Tipp City where listeners can switch to 1600 AM (WULM) in Springfield or 103.3 FM (WULM's translator W277AO) in Enon. Friends of Radio Maria also helped acquire the construction permits of new repeater stations WOLM in D'Iberville, Mississippi near Biloxi and WRMW licensed to Peshtigo serving the Door Peninsula region of northeastern Wisconsin. These stations are now licensed to Radio Maria Inc.
The southwest monsoon starts towards the end of May or the beginning of June, heralded by thunderstorms and remains until September when the rain fades out. October brings in the northeast monsoon. Dry weather sets in by the end of December. January and February are the coolest months of the year.
The pair then head to County Clare, where Michael intends to reconcile with his mother. The narrator, implied to be the Reaper, ponders as to whether the experience has made Michael a better man, possibly an enlightened man. He is shown waving at his mother before the camera fades out.
On top of that loop, rich harmonies played by a live ensemble are built, always increasing in density, before the whole thing gradually fades out. A new recording of this work was made in 1993 with Tom Waits singing along with the original recording of the vagrant during the final section.
In the first, the face fades out thanks to play of shades, where it is only the eyes or the eyes and lips to stand out with bodily arrogance. In the second, she has tried to develop a technique between painting and drawing, with signs of grease pencil on oil paints.
The video to "I Ain't Gonna Stand for It" fades out to another rehearsal section, as the music does also, to the end. It was published under license of the Warner Music Group originally in 2001 for TV broadcasting and was made available legally via various Internet platforms in 2007.
The video fades out on a shot of Grant singing ad-libs in front of a sepia-toned background. Off in the distance is the man, and further off, presumably the woman. Behind them all are four large letters which spell the word "LOVE". There are two versions of this video.
The camera cuts away from the scene, showing both Hanson and Williams dead and only a few feet from each other, before Hanson fades out of picture. Following the funeral and visiting Hanson's grave once more with Minerva, Kelso, Mandy and the Lady Chablis go off together for a picnic with Uga.
She hands in her sneakers, hugging Serch before she leaves. Serch tosses her shoes up on the clothesline, saying, "Alright, G-Child, be easy." The show fades out with a shot of G-Child on a milk box (labeled with "Sour Milk" and "You Ain't Fresh"), as if she's a lost child.
"Oh, my Gawd," the lad says in horror, "I've hit The Flying Doctor!" The lad and the witch doctor argue over payment ("you still owe me fourteen chickens!") as the record fades out. The record was produced by George Martin, who went on to even more enduring fame by producing the Beatles.
I dream freedom, no longer needing to ask or witness what happens to dreams deferred? As the text fades out the film concludes with gay African Americans expressing their dreams for kinship and the right to be included in the Black community. While they reveal their wishes, Hallelujah! plays in the background.
Mathias laughs and boasts that he cannot be killed because he is already dead. Jacob says grimly that he is not there to kill Mathias; instead he will torture Mathias for all eternity. The movie fades out with Jacob repeatedly slashing Mathias with his sword and the sounds of Mathias's screams filling the air.
The album version ends with a coda entitled "We are One" which according to a US promo CD from February 2008 was meant to be a standalone track on what was to become Silent Cry. The single edit fades out before this section begins and shortens some of the instrumental sections after the second chorus.
The ending of the song fades out with a tape loop of the band members laughing reversed and played at double speed. The song was written for Barrett's then girlfriend, Jenny Spires. She is also mentioned as "Jennifer Gentle" in the song "Lucifer Sam", which is also on The Piper at the Gates of Dawn.
In Ultimate X-Men, Cable is a future version of Wolverine who goes back to the past to capture Professor Xavier, returning with him to the future in order to train him for the coming battle with Apocalypse.Ultimate X-Men #75–76 (Dec. 2006 – Jan. 2007) After Apocalypse's death, Cable fades out of existence.
On The Eminem Show, "Sing for the Moment" segues into "Superman". On Curtain Call: The Hits, the segue also fades out as "Superman", since Superman is not included in the compilation. In a clean version of the video, the word "handguns" is omitted from the second verse ("any dispute won't hesitate to produce handguns").
The third verse lasts from 2:31–2:57, and the third chorus fades out from 2:58–3:38. "People of the South Wind" takes a greater pop approach than other Kansas songs to appeal to a larger audience. The single brought Kansas modest success, as it peaked at twenty-three on the Billboard Hot 100.
The song is in 4/4 time and in the key of F minor. It uses combinations of other styles such as electronic music and blues. During the breakdown, there's an electronic chord progression in F major while the lyrics' melodic line is in F minor. It fades out with the electric chord progression in the tonic major.
The snout is moderate in length and blunt. The tail regenerates if broken off. A yellow-brown stripe extends behind the eyes and over each temple, and then fades out at the base of the head. The dorsal scales are generally small, acute, keeled, imbricate, and flattened, while the throat and pectoral (chest) scales are keeled.
They make up, and hug each other, and Smoke and Shawn Jay had gotten them both a gift: a puppy and a necklace. The song then fades out and we see a shot of Smoke and Shawn Jay dancing in the same urban neighborhood setting that Ciara was singing in at the beginning of the video.
It is probably best known for its chorus: After the third line of the chorus, in the natural break in the phrasing, audiences familiar with the song often call out "Poor Old Charlie!" or "What a pity!" As the song fades out, the words "Et tu, Charlie!" is heard, meaning "You too, Charlie!" spoken by Bob Shane.
The song's last line "I promise I'll do anything you ask... this time" therefore seems both futile and ironic in that there apparently is not going to be an opportunity to make amends. After the lyrics finish lead singer Gary Lightbody walks up and inverts the hourglass. The video fades out to the song's guitar riff repeating.
Those who objected to the Culture's subsequent militarisation broke off from the meta- civilisation, forming their own separate civilisation; a hallmark of the Culture is its ambiguity. In contrast to the many interstellar societies and empires which share its fictional universe, the Culture is difficult to define, geographically or sociologically, and "fades out at the edges".
After that, the show's logo appears over the end of the cold open, and then, each character is introduced as a horseshoe flips, followed by the show's logo again, and then, the opening sequence fades out. Each episode ends with an instrumental version of the show's theme song while the credits roll over stills from the episode.
"Song of the Seas" is mellow sequencer-based track, which fades out to the surf sounds that began the album. The album includes effects which sound like whales, ships horns, porpoises, seagulls and even chimes. The album showcase melodic orchestration, and by sound is more similar to the New-age music rather than his experimental albums.
The music video for "Christbait Rising" is a compilation of live recordings from the band's 1989 tour opening for Loop. The music being performed does not match up with the track itself. The audio fades out, cutting away a minute and a half of the song. Robert Garfield directed the music video for "Slavestate" in Hyde Park, London.
The album version of the song, timed around 4:10, fades out at the end. However, the music video game Guitar Hero World Tour features the song's original studio ending, where the band revisit the intro riff and end with a talk box solo; this version ends at 4:53. The original ending is also playable on the similar video game Rock Band 2, though edited in this case (thereby eliminating the talk box solo at the end). The version included on the 2005 DualDisc edition of Slippery When Wet has an extended version of the original ending, with a different talk box solo playing over the riff (possibly taken from an outtake of the song); this version, which fades out at the end like the standard version of the song, ends at 5:06.
"Black Diamond" begins with Stanley singing the intro accompanied by a twelve-string acoustic guitar. After he yells out "hit it!", the full band kicks in and Criss assumes lead vocal duties for the two verses. After the chorus, the song slows down for Frehley's guitar solo, after which it gradually slows down further and fades out after a series of distorted chords.
Lynne, Groucutt and touring musician Dave Morgan provided backing vocals on the pre-chorus and chorus; Morgan later recalled in an interview that he was mimicking the vocals of John Lennon. No orchestral strings are featured on the song in its entirety. At the end, the sounds of a cheering audience are heard as the chorus fades out, closing the track.
The single is split into parts one and two on its A and B sides, respectively. The jam session during the coda is omitted in part one. Instead, it fades out with the guitar solo right before the coda, which fades in with part two on the B-side. Fogerty plays the main riff from "Smokestack Lightning" after the second verse.
The movie takes place in late 1920s Berlin. It opens with Paul being questioned by police about a note he had written. The scene then fades out, and the movie shows what happened. Paul, a shy virgin poet who is tired of being alone and heartbroken, is friends with an openly gay aristocrat boy, Guenther, who is suffering unrequited love for Hans.
Meanwhile, in the lockup, Qureshi tells Sanjay that death sentences are light penalties for a criminal like him. He wishes that Sanjay gets a bigger punishment. After Qureshi leaves the darkened cell, Sanjay finds himself face to face with Manjeet. He starts begging for mercy, but his voice soon fades out as Manjeet draws closer; it is implied that she kills Sanjay.
Two singles were released from the album, "The Music Never Stopped" and "Franklin's Tower", both backed with "Help on the Way". "The Music Never Stopped" is shorter than the album version, with a differently-recorded ending. "Franklin's Tower" is an edited version and "Help on the Way" fades out before the segue to "Slipknot!" (though fading later on the second single).
Stone and Lloyd, suffering oxygen deprivation, cannot understand the cosmonaut's gestures or obey Keith's orders. Dougherty arrives and he and the cosmonaut transfer the two surviving and mentally dazed Ironman astronauts into the rescue ship. Both the Soviet ship and the X-RV return to Earth, and the final scene fades out with a view of the abandoned Ironman One adrift in orbit.
A plot twist then occurs towards the clip's ending with the use of fire and technicolored imagery, where Del Rey gently brushes her hair off her shoulders in the middle of superimposed flames. The singer sports a red dress in the Sunset Boulevard-styled scene and sings "I'm in love" continuously while up in flames, until the music video fades out.
It features Grande's whispering vocals, while also having "sultry, breathy falsetto singing and belted-out vocal runs." In the chorus, her vocals are stuttered. Wayne appears halfway through the track, and near the end they sing back and forth until it fades out. Ariana's vocals on the song span from the low note of E3 to the high note of D5.
Towards the end of the song, Morrison imitates a saxophone. The song also features a piano solo, played by Jeff Labes, which is immediately followed by an alto saxophone solo by Jack Schroer. The song ends with a trill on the flute during the cadenza that fades out. Schroer's solo is often noted as one of the most influential saxophone solos in popular music.
Country music writer Tom Roland noted that the song "featured a barrage of unique sounds," including a "strange drum effect" (the echo for each snare drum beat would end with a pop, instead of "decaying"). Also, the album version of the song featured a false ending (much like Elvis Presley's "Suspicious Minds"), whereby the song fades out before returning to full volume and then fading back out.
The album's 11th track, listed as the last song, "Forget", tracks for (12:09). "Forget" actually fades out at (4:22) and is followed by (3:45) of silence. Then an unlisted track, titled "Empty", begins to play and tracks for the remaining (4:02). This hidden track features the background vocals of the Water Sisters, and a piano accompaniment played by Gary Sula-Goff.
Immediately after "Amazing," a snippet of "Who Threw the Whiskey in the Well," by Lucky Millinder, is heard as if being tuned in on an old radio. Tyler says, "So from all of us at Aerosmith to all of you out there, wherever you are, remember: the light at the end of the tunnel may be you. Good night." The music then fades out.
The track begins with a quiet recording of the chorus of "Summer", with much reverb. At (0:40), it fades out and the bass riff of "Summer" kicks in, accompanied by an Organ. At (0:54), it is joined by the drums, and a glockenspiel playing the melody. At (1:24), the distorted guitars are brought in, playing a heavily distorted E5 chord along with heavy drumming.
Ocasek has long had a habit of using well-known titles and lyrical references, such as the Cars songs "Good Times Roll", "Bye Bye Love", "Think It Over" and "Maybe Baby", among others. Before the last song, the title track, has quite faded away, it abruptly switches to an instrumental, synthesizer-dominated reprise of "True Love", which gradually fades out to end the album.
They embrace and he accuses her of having done something with his daughter, and he starts to choke her. His daughter is eventually found wandering in the forest, and is reunited with her mother. In the final scene, Ania waits for him at the bar but Tom ascends the stairs once again to Margit's apartment. The movie fades out as the door to her apartment opens . . .
That, at least, is another minor miracle". In JazzTimes Mike Shanley noted "Vertigo, presents a streamlined performance by the trio, since it fades out after 43 minutes. At the same time, they use the shorter length to toy with their usual minimalist approach".Shanley, M. JazzTimes Review, accessed January 23, 2010 Tiny Mix Tapes' Simon Chandler observed "Vertigo somehow manages to absorb for its entire running time.
At summer's end, Red Hook closes and Frank accepts a job at a bar owned by his best friend, Dave. In Frank's final scene, Leslie comes into the bar, and she and Frank talk animatedly over drinks as the camera fades out of the scene. Sam moves to the West Coast to begin her studies and sings “Hearts Beat Loud” solo during an open mic event.
When all the animals have been collected into the pile the beret wearers bow their heads and the woman puts her arms around the pile and smiles at the camera. In the final shot the woman places her hands on the table and stares at the camera as the video fades out to show the same Super Furry Animals' 'SFA' logo which appeared at the very beginning.
It was re-recorded during the second session under the completely different title of "Virgo Clowns". In its final form, Morrison and John Platania duet on acoustic guitars. As the song fades out laughter is heard performed by Dahaud Shaar and Larry Goldsmith . "Crazy Face" evolved from "Going Around with Jesse James", a song Morrison first recorded for Astral Weeks on 15 October 1968.
The song continues to the bridge, singing: "I'm not myself, lately I'm foolish, I don't do this, / I've been playing myself, baby, I don't care / 'Cuz your love's got the best of me, / And baby, you're making a fool of me, / You got me sprung and I don't care who sees." She then sings the chorus again and the song fades out with the horns.
The shell color is a brown-tinted whitish; the base is copiously dappled with oblong spots, and more or less spirally clouded with dull reddish brown. The upper surface has a broad reddish-brown band above the periphery. This band is often mottled, and fades out at its upper edge. There is a narrow dark spiral band bordering the suture below, fading on the two earlier whorls.
Shortly after sending the heroes after Izanami during their final attempt to stop her, Celica finally fades out of existence with a tearful goodbye to Ragna and Noel. Celica's weapon is , an automaton that was created by Kokonoe and copied from the Nox Nyctores, Deus Machina: Nirvana. Its purpose is to protect Celica and amplify her powers. Celica's Drive, Minerva, enables her to control Minerva in battle.
All this is mixed with footage of water rushing down a section of the maze. This is how the video continues until the end, which shows Ian kneeling in front of what looks like a giant mirror. A transparent hand reaches out of the mirror, and just when Ian's hand is about to touch the other hand the song ends and the video fades out.
It attains a maximum thickness of up to to the north and west of Northampton where it lies in a subterranean basin. In the south, it fades out around Towcester. Northward from the edge of the basin in the upper Lias, under Northampton, it lies progressively lower beneath the Jurassic Lincolnshire limestones. A little to the north of Corby Glen () it is at about from the surface.
As it was not an international release and was only sold in Australia, it is considered a rare release for NIN memorabilia collectors. The version of "The Perfect Drug" included on this single is slightly longer than the one released on the Lost Highway soundtrack. It fades out at the end instead of ending abruptly. It is the same version found on the We're In This Together PT. 3 single.
"The Intro and The Outro" is a recording by the Bonzo Dog Doo-Dah Band. It appears on their debut album, Gorilla (1967). It is not so much a song as a comic monologue in which the speaker introduces the musicians who ostensibly appear on the recording. The recording fades out before the emcee completes the introductions and without the "orchestra" being able to play anything more than a vamp.
It contains a conclusion that features a garage rhythm, with Hebden wanting the end of the album to feature "the most hectic, percussive part" to emphasise an evening's relationship with nightclubs. The song fades out "to implicate that the music went to infinity." Hebden recorded the album between August 2014 and February 2015, using a laptop running the digital audio workstation Ableton Live to control VST synthesizers and manipulate found sounds.
The BPM of the music video is also slightly slower than that of the album version, and the music video version has an ending after the last time "My future" is sung, whilst the album version fades out at the end. The video for "Clint Eastwood" won an award at the Rushes Soho Short Film Festival Awards in 2001, defeating entries by Blur, Fatboy Slim, Radiohead and Robbie Williams.
Bell; Harding 2009, p. 57 In October and November, the band toured Europe as part of The Eastpak Antidote Tour. It was re-pressed on vinyl in June 2016. There are multiple versions of this album, with notable differences being the arrangement of the "Fly" cover by featuring Travis McCoy, and the "Spider Webs" cover, which fades out on one version and does a straight cut on another.
It plays for us as it will be seen in the finished movie, and the identity of the mysterious figure chosen by Paul is revealed. The ending Paul devises is everything the producer asked for. It is unexpected, satisfying, and for Codename: Dragonfly even astonishing, carrying in its plot twist an emotional heft and genuineness that lifts the otherwise cheesy movie. The final scene finishes for us and fades out.
As was usual for albums on Sarah Records, no singles were released from it, though the title track did appear on a split 7" on the Bring On Bull label. Although the 7" fades out early, it is otherwise the same version as appears on the album. The album was well received by critics but sold poorly at the time. It was reissued in 2005 with five bonus tracks.
Bad breathing habits (or bad posture, or even bad thoughts) may cause the wheel not to turn, or move backward, inhibiting the circulation of essential breath energy. In contemplation, one watches thoughts as they arise and recede."Only one must not stay sitting rigidly if worldly thoughts come up, but must examine where the thought is, where it began, and where it fades out." Page 36, 1962 edition.
The room where the band is playing keeps getting darker and somehow foggy. When the man finally shows up in the beach the songs reaches its climax and most intense and heavy part with the guitar and bass getting louder as a countdown begins, the young man then gives the diamond to the girl and then blacks out. The song reaches its lowest part right after this and the man seems to have died as the girl softly closes his eyes while crying then walks away, with Taka singing softly and saddening the moment more. The girl walks away and then the band enters the last chorus while headbanging to the melancholic melody accompanied by a subtle piano beat that indicates the close end then Taka sings out 'It finally begins' as the end, the noise of the guitar fades out and the band members stand still looking down while the image fades out.
A typical track consists of three elements, though later tracks labeled vocal trance may not include all of them. A track begins with an intro of progressive beats. The melodic part starts incrementally, combining vocals, usually female, a melodic sound (for the most part high pitched and fast), and a bass pattern. Towards the end of the track, the melody fades out and the intro rhythm returns, usually with some minor changes.
For an outro that fades out, the arranger or songwriter typically repeats a short section of the music over and over. This can be the chorus, for example. An audio engineer then uses the fader on the mixing board to gradually decrease the volume of the recording. When a tribute band plays a cover song that, in the recorded version ends with a fade-out, the live band may imitate that by playing progressively quieter.
The B-3 and C-3 models introduced the concept of "Harmonic Percussion", which was designed to emulate the percussive sounds of the harp, xylophone, and marimba. When selected, this feature plays a decaying second- or third-harmonic overtone when a key is pressed. The selected percussion harmonic fades out, leaving the sustained tones the player selected with the drawbars. The volume of this percussive effect is selectable as either normal or soft.
When making a call, the iPhone presents a number of options, including FaceTime on supported models. The screen is automatically disabled when held close to the face. The iPhone allows audio conferencing, call holding, call merging, caller ID, and integration with other cellular network features and iPhone functions. For example, if music is playing when a call is received, the music fades out and fades back in when the call has ended.
Replaced by "Adore" on Sign 'O' the Times, "Crucial" also features Prince falsetto vocals and an intricate drum machine pattern. The song fades out with a guitar solo. Outtakes of this song continue for several more minutes and one replaces the guitar solo with saxophone by Eric Leeds. "An Honest Man" existed as an instrumental in Under the Cherry Moon but a circulating rehearsal exists where Prince sings the lyrics to the tune as well.
In the night of February 2019, a mysterious light was sighted every night in Pulupandan, Negros Occidental, where the residents suspected that it was an UFO. When it is captured by the professional camera, it shows the object in bright yellow and it moves to the right while the light fades out. The mysterious light which captured on the camera appeared on the top of the Crocodile Island. At 10:30pm, the light reappeared.
The piece has a steady tempo in at ♩ = 60, meaning each bar lasts five seconds. Even though the movement separation is not clear, Nono left some specifications in the original score. The composition starts with a small introduction by the winds, the tape and the violins, which fades out after the two minute mark. The first numbered section starts at 2:30, marked and features the soprano singing "Luciano" with the tape.
As with the Ballades No. 3 and No. 4, the Ballade No. 2 is written in compound duple () time. It opens quietly on the dominant of the F major key, with repeated Cs in both the left and right hands. This quickly progresses to a melody and development with the performance instruction sotto voce – literally "under the voice", or "quietly". This section fades out with several repeated As in the right hand.
Succeeding whorls 2, having growth- wrinkles and a dense but rather irregular spiral granulation which fades out upon last whorl, which is more coarsely sculptured by lengthwise wrinkles and has generally more or less- coarse spiral malleation. Sutures are deep, the last decidedly more oblique. The aperture is about half the shell's length, trapezoidal, white with a livid tint within. Outer lip is well reflexed, white (or light-brown edged), convexly curved.
The Ultimate Technique concept has slightly changed in the form of Ryu's cursed right arm known as the Grip of the Murder. When he kills a specific number of enemies his arm glows red. Then, the player can charge up for an ultimate attack that is fueled by absorbing nearby fallen bodies instead of essence. Unlike past games, the HUD appears only when Ryu is engaged in battle, then fades out later.
Others see it as him getting rid of his alter ego "Slim Shady", and coming back as a whole new rapper. Eminem had stated that, at that moment in time, he was not certain about the future but that he would still be involved in the music industry. The edited version fades out before the shooting segment begins. It was later confirmed that the shooting was meant to represent the death of Slim Shady.
A magician displays an empty picture frame against a stage backdrop, including posters on the wall. Unrolling this backdrop to reveal another, he places a neutral canvas and a stool inside the picture frame. With a gesture, the magician makes his own image come slowly into focus in the frame. It comes immediately to life, and the magician and his image hold a conversation before the image fades out of focus and disappears again.
"Paradise by the Dashboard Light" is one of the longest songs to be released uncut on one side of a 45 RPM record. The only difference between the single (45 RPM) and album versions is that the single version fades out almost immediately after the final line is sung. In some countries, a shorter 5:32 edit was released. The largest change is the complete removal of the "baseball play-by-play" section.
In the originally planned version of the closing credits, seen in the alternative version of "The Chimes of Big Ben", Rover is not shown. Instead, the image of the bicycle frame fades out to leave only the wheels. The wheels then begin to spin faster and faster transforming into Earth (little wheel) and the Universe (big wheel). The Earth, spinning on its axis, flies toward the camera and explodes into the word "POP".
The Arista version of "Partyline" omits an extra repeat of the chorus near the end. Vocals have been re-recorded, and there are additional overdubs. "My Careful Hands" fades out earlier on the Arista version, and is a significantly different mix, but is made from the same basic recording as the Y version. "Midnight Maps" is the only track that is essentially the same on both editions, although the Arista version is probably a remix.
It is a two- bar phrase song, and laughter is again added as the song slowly fades out. Madonna sings in her lower register at the beginning, and shifts to the higher one in the line "I can see it in your e-e-e-eyye-e-s". The line was taken from the song "Death Disco" (1979), by the British musical group Public Image Ltd. According to the sheet music published at Musicnotes.
The video begins with Fantasia singing on a rooftop, with scenes of her taking a bath in a tub interceding. After that, she walks to meet her love interest (NFL running back, Larry Johnson, who at the time played for the Kansas City Chiefs). At the end of the music video, she finally meets him and they embrace and, eventually, kiss. The video fades out on a shot of the stars and moon.
After the second chorus, Sooyoung sings a rap bridge line "One, two, three, here we go! Oh!," which is followed by a dance break performed by Hyoyeon. The bridge continues with vocals by Yuri, Sunny, Sooyoung, Jessica, Tiffany and Taeyeon, after which there are more alternating shots between the two scenes (yellow and black outfits) for the final chorus, ending with the girls freezing in position in their yellow uniforms as the light fades out.
This orchestral passage expresses keyboard flourishes, wailing synthesizer, twinkling Chinese bells, whistles and jangling berimbau percussion before the song fades out. Despite sounding light-hearted, the subject matter of "Heard 'Em Say" is dreary and bitter. The introspective lyrics of the melancholic song express a gentle lamentation on poverty and income inequality. It follows a brooding political path, and the lyrical content harbors thought-provoking moral soliloquies that touch on social issues.
The song commences with a quiet introduction, containing a guitar playing notes from chords. Rick Parfitt and Francis Rossi used chorus, fuzz and flanging effects on their guitars. This lasts for approximately 26 seconds, and fades out towards the end. After this, the guitar picks up once more with a D-minor riff, and 40 seconds into the piece, the familiar D-major riff of the song begins, accompanied by drums from the 56 second mark.
After the 26 bars of the verse and chorus repeat, the band resumes the Bm11 vamp that backed the solos in the instrumental break. This continues for 34 bars while the song fades out. Fagen plays synthesizer fills while Gadd continues his solo, more in the tradition of jazz drum solos than rock. "Gadd peppered the rhythmic grid with short, complex bursts of activity, including several signature sixteenth-note triplet figures incorporating the kick drum and toms", Breithaupt writes.
Yuji attempted to give her the best last day of her life, and persuaded Ike to hang out with her. They took a photo together, but Yukari's image fades out when her flame burns out. Her last moment in her life was when she sat on a hill watching the sunset, her favorite view. The fading of her existence teaches Yuji some very valuable lessons about both the world around him, and his own inability to affect it.
An outro (sometimes "outtro", also "extro") is the opposite of an intro. "Outro" is a blend as it replaces the element "in" of the "intro" with its opposite, to create a new word. The term is typically used only in the realm of popular music. It can refer to the concluding track of an album or to an outro-solo, an instrumental solo (usually a guitar solo) played as the song fades out or until it stops.
The track fades out on tremolo-picked 32nd note double stops.; . The scheduled release date for Axis was almost delayed when Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi. With the deadline looming, Hendrix, Chandler, and engineer Eddie Kramer remixed most of side one in a single overnight session, but they could not match the quality of the lost mix of "If 6 Was 9".
According to Lukather, this final instrumental section was a spontaneous jam during the recording session: "... the song was supposed to end but Jeff carried on and Dave started playing the honky-tonk piano and we all just followed on." The single edit goes right into the melody at the beginning, then the song fades out during the first singing of the chorus at the end. Steve Porcaro and Lukather describe it as "the ultimate Toto track".
In between shots we have Alex singing with the girlfriend crying. Into another verse the car slowly begins to fill with water as it then begins to pour in faster. It then goes into another mix shot between Alex and the girlfriend as the water rises in the car. At the end of the music video Alex is nearly submerged before he opens the car door letting out the water inside the car as the video fades out.
There was no outro/send-off for this film, because after the third and final act, Bugs, at first, does the "That's all Folks!" send-off, but then Porky tells Bugs that it was his line. Bugs then allows Porky to do the send off, but sadly, before he could do the chance, the Iris-Door used in the opening credits, instantly closes on him, Porky just grumbles and says, "D-D- Dirty Guys" as the film fades out.
122 In the United States, the song reached number 47 on the Billboard Dance Music/Club Play Singles chart.The Cure – Awards. Allmusic.com. Retrieved 27 January 2013. The version included on 1986 compilation Standing on a Beach/Staring at the Sea is neither the album version (which was also on the 12" single), nor is it the 7" single edit (which removes a few bars between verses and fades out part way through the guitar solo ending).
The original lyric was "Gotcha with the cocaine, found with your gun." The alternate lyric, included on the compilation, was "You shady lookin' loser, you played with my gun." "Sweet Emotion" also used the single version; it begins with the first chorus, cutting out the now famous talk box intro and the coda was replaced with a repeating chorus and fades out. "Kings and Queens" was also edited down, cutting the intro and certain other parts.
Lyrically, "Laugh, Laugh" describes a rejected lover who takes pleasure in revenge when someone rejects the one who had rejected him. The song features a harmonica, played by Declan Mulligan, throughout the tune. The single version of "Laugh, Laugh," universally heard in 1965 when it was a hit, fades out during the second iteration of the line "Lonely/Oh so lonely." The full version does not fade out, but rather ends "cold" on an E chord.
Felix reveals that, at the car crash site, he had also found the torn- out final page of Ãngel's prophetic sketchbook, which seems to indicate that only Eva will survive. They go to sleep that night on the yacht, expecting that Felix will vanish, but they awake the next morning both still alive and together. The final scene shows the boat sailing into an unknown future as it fades out of sight into a luminous mist.
Mentally stricken, he takes a gun placed on the wall and aims the barrel into his own mouth and starts screaming. The camera then fades out and back in, showing Draiman restrained in a straitjacket, showing that he could not bring himself to commit suicide. The edited version of the music video, which does not feature any suicidal themes whatsoever, simply depicts Disturbed playing the song in a dark room, with the band members occasionally covered in blood.
What follows is the sound of the needle going round on the inside groove of the record until 11:21 when the needle jumps back and plays an approximate 30 seconds reprise of the track which fades out (at 8.27 a muffled Weller saying "bring back vinyl" can be heard). On the 2009 deluxe edition the track finishes at 5:48 as well, but the reprise already kicks back in at 5:57, making the track 5:22 shorter.
You Axed for It! is the first studio album by American heavy metal band the Mentors. On its original vinyl and cassette release (and the reissue in 2009 on Stool Sample Records), the track "Judgement Day" fades out after the final line, "Hallelujah, we're here to stay", is sung. On the 1997 CD reissue by Maximum Metal, the full version of the track is restored and includes an extra guitar solo and an extra lyric, "Mentors, all the way".
The proportions of the concerto are unusual: the first movement – customarily the longest and most symphonically structured movement of a concerto – plays for only three and a half minutes. The other two movements run about seven minutes each. ;Allegro moderato Using the notes of the tonic triad (D, F and A), the Allegro opens with a burst of energy, but after 75 bars it "simply fades out just when one is expecting the second subject".Andrew Lamb.
The song begins with a fingerpicking section combined with an interpolation of a melody strongly based on Beethoven's Ode to Joy. As the song progresses, it builds into a march, with the introduction of trumpets and horns. Near the end, everything fades out as Oberst delivers the final verse, and then all of the instruments come in at once in a loud frenzy, and continue for about 30–45 seconds before fading out and ending the album.
It is recognized for its distinct and memorable flute melody. Additionally, some of this melody can be heard at the end of the song, "Loved by the Sun," as it fades out. It can be theorized that the band originally intended that outro to be the "epilogue," reprising the opening melody as a means of continuity - to end the story in the place where it began. The reason for its exclusion from the official soundtrack album is unknown.
Toward the end of the video, Kristyn pulls the car over by sliding it into place, at this time the car overheats and her boyfriend is angry with her. Kristyn decides the best way to say she is sorry is by giving him a long kiss, which eventually ends up with him kissing her on the hood of the car. The trio finishes up their performance and the video fades out. The video was directed by Trey Fanjoy.
The video contains interviews of both Tupac and Notorious B.I.G. It is the only song from the album to feature a music video. The video version mutes all language, violence and drug references, even Biggie's comment about two cops being shot (the radio version only censors all profanity except the word "bitches" in 2Pac's verse). In the video, it has past images and videos of 2Pac and Biggie, and once their verses end, the song fades out.
For most of the song, the verses are in the key of C♯ minor and the choruses are in the relative major key of E major. The final chorus has a key change to F♯ major. The song's prominent instruments are electric piano and acoustic guitar, with record scratching sounds layering the production in the chorus in a style akin to Hanson's "MMMBop". The final chorus repeats with ad-libbed background vocals until the song fades out.
Bourne pursues the assassin into a church undergoing construction and a brief gunfight occurs before an explosion knocks the assassin off balance, allowing Bourne to tackle him into the graveyard behind the church. Bourne is almost strangled to death but uses a shovel as a club to send the assassin over a rock face, breaking his neck. The game ends in Greece, where Bourne and Marie are reunited in the shop Marie has opened—they embrace as the game fades out.
Jake then continues to talk to Edith, getting angrier and angrier at her as she continuously taunts and mocks him. Maggie then enters and Jake fixes her a drink, Edith 'fades out' while telling Jake that he always has options and to listen to his wife. Jake and Maggie then launch into a discussion of how Maggie can't seem to stop "running." She explains that she needs time for herself, and after six months they will see if things are any better.
Through the pre-verse interludes and instrumental bridge, "Over the Hills and Far Away" stands out as an example of Jones and Bonham's tight interplay. Following the final verse, the rhythm section fades out, gradually replaced by the echo returns from Page's electric guitar and a few chords played by Jones on Clavinet. In the final 8 bars, Page executes a linearly descending/ascending sequence and then concludes with the idiomatic V-I cadence on synth imitating a pedal steel guitar.
The outro starts at 1 minute 32 seconds with Rhys singing "Ring ring, ring ring, rings around the world" over the chords B, D and F♯ backed by harmony vocals. A guitar counter-melody begins at 2 minutes 2 seconds and excerpts from phone calls the band made to random people around the world, including calls to the United States embassies in Madagascar and Moscow, a record shop in Osaka and a record company in Australia, play as the track fades out.
The music video opens up with Nishikido sleeping on a leather couch in an empty apartment. The video then cuts to the band performing in an empty field before jump cutting between each member singing against a white wall. The video then continues to alternate between band scenes, solo shots against the white wall, and scenes of each member interacting with each other in the apartment or outside the apartment. The short version of the music video fades out during the instrumental break.
Foghorn obliges, the shack explodes, and the chicken hawks are blown back into their nest. Pappy then decides that they must settle on (literally) black-eyed peas. Though victorious, Foghorn isn't completely unscathed—all his tail feathers have been blown off, though he doesn't seem to notice this. He comments about getting back to enjoying his vacation, which he calls a "Southern exposure", blithely turning about to reveal his buttocks (with the boxer shorts) to the audience as the picture fades out.
During the movement Schnittke interweaves ideas from the first movement with an array of other musical references - dance-band music, film music, Soviet military marches - typical of Schnittke's brand of polystylism. Further iterations of the opening music lead to the viola's cadenza and, finally, a march-like theme which slowly fades out. The final movement returns to the slow tempo of the first. Its mood has been described as "bleak" and "funereal", the music formed of disjointed fragments from the first two movements.
The Souar Formation dates to the end of the Eocene and is made up of marine clay, marl, sand and gypsum. The Fortuna Formation in the Cap Bon area records the Oligocene with sandy limestone and marls, overlain by coarse sandstones and quartz pebbles, although it fades out in southern Tunisia. Other Cenozoic units include the Ain Grab Group and Oum Domil Formation. Quaternary stratigraphy, from the last 2.5 million years, includes quartz sands, rich in bivalves, as well as oolitic sands.
In the bridge section, Dave sings the first part and Sam sings the second part, which is followed by a brief instrumental passage. Sam sings the third verse and is joined by Dave for the chorus. The introduction is repeated in the chorus, with both Sam and Dave singing until the song fades out. A revamped version of the song, "Hold On, Edwin's Coming", was recorded by Sam & Dave as a promotional single for Louisiana Governor Edwin Edwards' third election campaign in 1982.
In addition, they go after Logan, who dies when his Toyota Land Cruiser crashes into a burning building. At this point they turn their attention solely to Hail, who tries to shoot them in the hope that he can restore order. However, after finding out his gun wasn't loaded, he is thrown into solitary confinement, to be left for the police to arrest. As the film fades out, we see images of the teenagers celebrating freedom and swimming in the ocean.
The wrestler darts their hand under an opponent's chin and grabs ahold of a pressure point above the throat, squeezing the nerve. This cuts off the air supply and the opponent fades out, yet this is not considered an air choke as it is not squeezing the windpipe. This hold is unique in that it can be used as a sleeper-like submission or, should the "unconscious" opponent end up lying on their back, a pinfall. Used as a finisher by Haku.
The song features Jim Gordon on drums, as does the bulk of the Pretzel Logic album. The guitar solo is by Jeff "Skunk" Baxter who would soon go on to join The Doobie Brothers. Victor Feldman's flapamba (a variant of the marimba) introduction to the song, which opens the album, is cut from the original ABC single version. The MCA single reissue (backed with "Pretzel Logic") includes the flapamba intro but fades out just before the actual end of the track.
The viewer then realizes that she was in on the operation, as she gets up and rides off with an accomplice on a motorcycle at the end. The presumed owner of the pawnshop displays a look of realization, and the song ends with the band admiring their new acquisition, holding it up to the light and projecting red light-rays onto the ceiling. The accident's "victim" is also present. They then hear police sirens from above, and the video fades out.
The scene continues to shift between the singer, the band playing, the actors and the ice skaters moving and turning. The video fades out in the same sequence it began, changing from the characters to the blocks against the sky, and then to the distant moon and shifting clouds. An alternate edit of the video features more of the band playing instruments (e.g., Currie playing percussion and Bailey playing the synthesizer while the ice skaters dance) and less interaction with the other characters.
The song fades out in the end to the same howling wind that occurred throughout. The original and a new "acoustic" version of this song, with piano as the dominant instrument and without the sound effects, appears on the 2004 U.S. version of the three-disc compilation album The Ultimate Yes: 35th Anniversary Collection. This new version is on the third disc, which consists of material newly recorded for the album, while the original version of the track appears on the first.
Ken reports back to the citizens' committee that instead of throwing out the migrants, they should help them. Sallie listens with pride as Ken sets forth his plan of action. Even though the town is slowly warming to Ken's ideas, the final scene shows the Ashby family on the move again, hoping that the next town they come to will be welcoming. Ma Ashby's voice is heard intoning Psalm 23, "The Lord is my Shepherd", as the film fades out.
The single mix differs from the album version by having Liz Mitchell singing all of the verse "Let the words of our mouth ..." with Frank Farian; on the LP, Farian sings the first half of this as a solo part. Additionally, it edits out the instrumental passage before the last "humming" part and fades out a little later ("Oooooh, have the power... yeah yeah yeah yeah" can only be heard in full in the single mix) despite being slightly shorter overall.
Limited Edition bonus acoustic CD. All songs recorded live in Rome at Palazzo dello Sport, 27 October 1989. ;Notes : "Would I Lie To You" abridged version that fades out at 3:35. Originally part of a medley that segued into a cover of The Beatles hit "Day Tripper". : "The Miracle of Love" is incorrectly credited as recorded in Paris, September 1989, though it was actually recorded in Sydney, Australia on 14 February 1987 and was featured (in full) on their Eurythmics Live video.
With dogs this can lead, in extremely rare cases, to the birth of puppies with green fur; however, the green color fades out soon after birth. In the garfish (Belone belone) and related species, the bones are bright green because of biliverdin. Biliverdin is also present in the green blood, muscles, bones, and mucosal lining of skinks of the genus Prasinohaema, found in New Guinea. It is uncertain whether this presence of biliverdin is an ecological or physiological adaptation of any kind.
The album reached Gold status in July 1972.Super Seventies On the liner notes to the LP version of this 1971 album, Joe Walsh is credited with "guitar, vocals, and train wreck", the latter for his work on the song "Walk Away" as a wry commentary on the multi- tracked, cascading lead guitars that clash as the song fades out. The Walsh period of the band came to a close with the release of the next album James Gang Live in Concert.
When performed live, the guitar solo in the middle of the song is performed by Bouvier. Lead guitarist Jeff Stinco plays a semi-acoustic guitar until the end of the solo, while rhythm guitarist Sébastien Lefebvre and drummer Chuck Comeau come in at the beginning of the solo. Bassist David Desrosiers' main role is backing vocals, with his bass taking a backseat until Bouvier's solo and the final chorus. Stinco also plays a second solo as the song fades out.
Using a special device he, GLaDOS, and X-PO designed, the heroes are able to seal Vortech in an endless rift prison for all eternity, saving the multiverse. In a post- credits scene, an unknown figure finds a piece of Vortech's giant body in the remains of Foundation Prime's palace. He picks it up and instantly becomes corrupted, yelling in pain as he converts into a Vorton being. Vortech's laughter is heard as the scene fades out, suggesting that the figure has been transformed into another Vortech.
The shoots and flowers of infected ryegrass have especially high concentrations of lolitrem B, and when livestock eat too much of them, they get perennial ryegrass staggers. At low doses the animals have tremors, and at higher doses they stagger, and at higher yet doses the animals become paralyzed and die. The blood pressure of the animals also goes up. The effect of the lolitrem B comes on slowly and fades out slowly, as it is stored in fat after the ryegrass is eaten.
He tells it that he has decided to set fire to himself, having doused himself in petrol, to prevent being taken by it. However, before he can do so he sees the image of Kate in the pattern of light and stands in awe, reaching out to her. The scene fades out as Stephen's lighter slips out of his hand and hits the ground, igniting the petrol. In the final part of the game the player is transported to the inside of the observatory's locked entrance gate.
The music fades out for a moment as Gaga continues to sing, before the addition of an organ and Gaga closes the song. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, "Born This Way" is written in the time signature of common time, with a moderate dance beat tempo of 124 beats per minute. It is composed in the key of B major (in the F Mixolydian mode) as Gaga's voice spans the tonal nodes of F3 to C5.
It continues with "Moulty" achieving his dream, and the song shifts into a ballad-esque structure in the third verse when "Moulty" realizes he is still lacking love. A chorus ensues and fades out, leaving the question of whether or not "Moulty" managed to find his love. With the uncertain conclusion, a mystique remained around Moulton, which played a role in his enigmatic persona. Originally, the song was only intended to be released under the consent of Moulton, who was opposed to its distribution.
Here, Chopin incorporates variations on the melody not present in the initial expository stage of the piece. This development progresses until the Presto con fuoco theme is naturally reintroduced and recapitulated. This time, it is elaborated on as well, and ends abruptly, until the theme is echoed once more and the piece fades out. The original F major theme is echoed, but now in A minor, the key of the Presto; it is thus that the piece ends, without returning to its tonic key.
The branding of "Enfants (Chants)" as a "DJ tool" is due to its unusual structure, incorporating "no development over its seventeen minute length". The song is based on a repeating sample of "Baba Yaga La Sorcière", a track from Christian Vander's 1995 rework of his band Magma's Mekanïk Destruktïw Kommandöh (1973). With the addition electronic drums and hi-hat, it "turns snippet of a prog rock classic into a minimal techno classic." The sample simply fades in at the beginning, and fades out at the piece's conclusion.
The Vagabond lasted as a movie theater for several decades but finally went out of business in 1985.John M. Wilson, "Vagabond Theatre Fades Out" Los Angeles Times, November 28, 1985 For a time the site was occupied by an evangelical church. The La Fonda Restaurant Building was designated Historic-Cultural Monument No. 268 on June 24, 1983.City of Los Angeles Office of Historic Resources "Historic-Cultural Monument List" Accessed 14 March 2014 This restaurant, established in 1968, shared the building but closed in early 2014.
1992–2012 is notable for including an extended version of "Jumbo", which was previously only available on select promotional copies of Underworld's previous greatest hits collection, 1992–2002. Though the full version of "Moaner" is featured on 1992–2012, it quickly fades out at the end instead of ending abruptly. Along with previous soundtrack contributions "Born Slippy .NUXX", "Dark & Long (Dark Train)", "Cowgirl", "8 Ball" and "Moaner", this collection also includes "To Heal", which was used in Sunshine under the name "Capa Meets the Sun".
"I Feel Love" is in the key of C major, with electronic dance flavor, and choruses and interludes. The album version has a length of 5:53. It was extended to 8:15 for release as a 12" maxi-single, and is included on the 1989 compilation The Dance Collection: A Compilation of Twelve Inch Singles. The song was edited to 3:45 on the 7" format, the fade-in opening sound reaching maximum volume sooner and fades out before the third verse and final choruses.
As the instrumental track fades out, an incessant buzzing bee which has been heard throughout the song is chased after by an unidentified person (represented by the sound of footsteps) and finally swatted, cutting abruptly to the next track. This song was one of several to be considered for, but ultimately excluded from, the band's "best of" album, Echoes: The Best of Pink Floyd. A live version of the song was released as the first single to promote The Early Years 1965–1972 box set in 2016.
At (6:11), a violin solo begins to play and the guitars begin playing a counter-melody. This is repeated until (7:54), when the drums cease playing, the guitars repeat the counter-melody and the violin solo continues improvising. At (10:06), the sound of the tape being wound back by hand is heard.Mogwai Q+A: Old questions and answers: #184 of 193 The violin ceases playing at (10:42), followed soon by the guitars, which end on a C♯, which fades out.
"20th Century Boy" was recorded on 3 December 1972 in Toshiba Recording Studios in Tokyo, Japan at a session that ran between 3:00 p.m. and 1:30 a.m. Backing vocals, hand claps, acoustic guitar and saxophones were recorded in England when T. Rex returned to the country after their tour. The single version of the track fades out at three minutes and thirty-nine seconds; however, the multi-track master reveals that the song ended in nearly a full three minutes' worth of jamming.
Contrary to identical timings being printed on the 7" and 12" labels, the 12" version is slightly longer as the coda comes to a sudden stop, as opposed to the 7" version which fades out. The group recorded a version of "Red Frame/White Light" for a John Peel radio session in 1979. This version was made available on the Peel Sessions 1979–1983 album release (2000). A Remastered Version appeared on the 2019 compilation album and box- set, Souvenir: The Singles Collection 1979-2019.
Oddly for an instrumental piece, "Nathan's Reel" simply fades out. The most peculiar decision was the inclusion of an unrehearsed version of "Camptown Racetrack"; years later Maddy Prior remarked, "I can't think what we were thinking of with that." This was the band's ninth album in five years, and many feel that their exhaustion is evident. Peter Knight has said that the band was being pressured to write and adapt music for the commercial market, which led to considerable dissatisfaction among the band members.
Kate delicately performs a solo of the Wham! song, "Last Christmas," intertwined with flashbacks of her so-called "encounters" with Tom until revelry ensues when the curtain rises and she is joined by the band of performers. Later, Kate and the family celebrate Christmas together joined by Alba, Marta's girlfriend, for the first time. The Christmas celebration fades out and a bright light transitions to a summer scene where a visibly healthier Kate is seen writing in her journal in the garden to which Tom introduced her.
It ended with him returning to the present, sighing wistfully, then pulling out a balero (the only toy he'd ever had on a regular basis) made of a stick, a tin can, and a piece of string. He begins to play with it as the camera slowly fades out. Some episodes also have educational endings, teaching, for example, that it's good to take a shower and to not judge a book by its cover. El Patio, the central courtyard, is the setting for most of the episodes.
The first section is in D major, with the tonality anchored in place by a persistent pattern of D and A in the bass. Then that pattern slowly fades out, leaving a B minor tonality which serves as a short transition to the second section in E Dorian. A sudden transition leads to the third section in B natural minor. Six Marimbas follows the same structure, but is transposed down by one semitone so that the piece opens in D flat major and concludes in B flat natural minor.
The Lincolnshire Limestone Formation is a geological formation in England, part of the Inferior Oolite Group of the (Bajocian) Middle Jurassic strata of eastern England. It was formed around 165 million years ago, in a shallow, warm sea on the margin of the London Platform and has estuarine beds above and below it. The maximum known thickness is 40.2 metres, at around TF9730, while four kilometres further west it is 18.3 metres thick at its outcrop in the upper Witham valley. It fades out in the south, around Kettering in Northamptonshire.
Tweedy was excited about writing an album this way:Kot 2004. p. 241 An unusual feature of A Ghost Is Born is the fifteen-minute long track "Less Than You Think". The first part of the song begins as a ballad which references belief systems and atheism which after 3 minutes, fades out. The second part begins at this moment and consists of electronic drones and noise, intended to audibly represent the migraines that lead singer Jeff Tweedy had been suffering from while addicted to pain killers during the recording sessions for A Ghost Is Born.
"The Widow" is notably the only short, pop-structured song on Frances the Mute, although the album-version features a lengthy, non-radio-friendly, atonal outro of organ and electronic spasms, taking up the later half of the track. The edit of "The Widow" cuts the last instrumental part of the regular album track and fades out when the vocals start to become distorted. It is also the only Mars Volta song to chart in the United States. The song is notable for its consistently high lead vocals which never go below the alto register.
On the released recording, the second and third verses are introduced by a descending, raga- esque melody played on an Indian board-mounted zither, known as a swarmandal. In the middle of the second chorus, the "funereal brass" is introduced, stressing the ominous lyrics. After three verses and four choruses, the line "Strawberry Fields Forever" is repeated three times, and the song fades out, with interplay between electric guitar, cello and swarmandal. The song fades back in after a few seconds for what musicologist Walter Everett terms a "free-form coda".
At the end of the song, Kelly gives the listeners "a lil' preview of the remix", which includes only the first verse then fades out. The "remix to Ignition" was released weeks later to urban and Top 40 pop stations, and it gained significantly more attention. While many stations never played the original but opted for the remix only, others played both songs, merged, at six minutes total; it was structured that way on the Chocolate Factory album. The song contains a minor sample from the intro of R. Kelly's 2001 hit song "Fiesta (Remix)".
In 2000 it was re-issued, under its original title of Divine Madness, with the further 1999 singles "Lovestruck" and "Johnny the Horse" included, but once again omitting "The Sweetest Girl". The album versions of "The Prince", "One Step Beyond...", "The Return of the Los Palmas 7", "Cardiac Arrest", "Shut Up" and "Tomorrow's Just Another Day" were replaced with the single versions, although the heavily edited version of "Shut Up" was used, which, at 2:51, fades out more than 30 seconds short of the actual single version.
An example is the radio edit of 'Heroes' by David Bowie, which fades in shortly before the beginning of the third verse and fades out shortly before the vocal vamping at the end of the song. Another example is B.o.B's song, "Nothin' On You" featuring Bruno Mars, whose radio edit skips the first five seconds & starts with the sixth second in which Bruno Mars starts singing the first chorus. The second half of the first chorus is sometimes skipped, along with the last 24 seconds which is the normal fade-out part in which B.o.
The agreste (, "countryside") is a narrow zone of Brazil in the states of Rio Grande do Norte, Paraíba, Pernambuco, Alagoas, Sergipe and Bahia between the coastal forest zona da mata and the semiarid sertão. The agreste fades out after it reaches Rio Grande do Norte due to the break of the mountain-chain that blocks air currents from the Atlantic ocean. This barrier is what induces high rainfalls in the coastal Atlantic forest zone. Most of the agreste is hilly, its hills becoming higher at south, except near the narrow valley of São Francisco River.
The camera zooms out to show the full hotel suite when the entire cast performs a brief, synchronized dance sequence. After this exchange, a hotel employee comes by the door with room service as the occupant is still dressing himself. The employee dances briefly as the occupant turns away to grab a pen to sign for the meal. As the song fades out, the dancers vacate when the occupant sits down to dinner in front of the television, with George Michael turning out the lights and leaving the room last.
Adam Schaeffer, a policy analyst with the Cato Institute highlights research shows that students make some gains in the first two years after preschool but it fades out after. Recent literature also reveals positive, short-term effects of early childhood education on children's development that weaken over time. Even more substantial is the narrowing of educational achievement levels in the US compared to those of higher-achieving nations, such as Finland and Korea. McKinsey & Company estimate a $1.3 trillion to $2.3 trillion, or a 9 to 16 percent difference in GDP.
There is also a 2-LP version with "Perfect World" and another, LP-exclusive track, "Feel So Low"; the latter is a cover of a Porcupine Tree song from Lightbulb Sun with the first verse sung in Hebrew. Steven Wilson's SoundCloud page features an extended version of the title-track as a streamable and downloadable WAV file. This version has an extra minute and a half at the end, where the outro groove turns into acoustic guitar strumming and a new vocal line before the song fades out.
The opening scene features a family observing Shabbat. Spielberg said that "to start the film with the candles being lit ... would be a rich bookend, to start the film with a normal Shabbat service before the juggernaut against the Jews begins." When the color fades out in the film's opening moments, it gives way to a world in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end, when Schindler allows his workers to hold Shabbat services, do the images of candle fire regain their warmth.
Then the group sings the bridge, the pre-chorus, and repeats the chorus until the song gradually fades out with Mel C singing "Groove It!", while Chisholm adds the high harmony—"Swing it, shake it, move it, make it". The inspiration for the lyrics comes from some of the people the group met in the music industry, and are about the presumptuous superstar life, and how someone can get trapped in the world of fame,Spice Girls, 1997. pp. 44–45. much like the Temptations' 1971 classic "Superstar (Remember How You Got Where You Are)".
The first half of track has McMahon playing the piano and singing in a falsetto before the piano speeds up and fades out, prior to the full-band performing. The second half of the song addresses the aftermath of him leaving the hospital. "Cell Phone" is an outtake tracked at the end of the Everything in Transit sessions but was left unfinished at the time. Its theme is relationship-centric; while recovering from his illness in the studio he re-listened to the song and re-wrote it.
In the version developed by Ondekoza, the piece begins with two shime-daiko players playing the background, and soon after, a single and lead chu-daiko player begins playing the main rhythmic pattern. After going through this pattern twice, the next chu-daiko player begins while the first player fades out. This sequence is also repeated by the second player when the third chu-daiko player begins. When the third player completes the rhythm, the lead chu-daiko player transfers to a shime-daiko to perform a solo.
The final song on A Trick of the Tail, entitled "Los Endos", quotes from this segment near the very end. As the band fades out, Collins can be heard singing "there's an angel standing in the sun" twice in succession, followed by "free to get back home" as the last notes disappear. These are the only lyrics heard in the song, which is otherwise instrumental; this quote has generally been omitted from live versions (except for Steve Hackett's Genesis Revisited: Live at the Royal Albert Hall and Genesis Revisited: Live at Hammersmith in 2012).
Charlie Whitney's acoustic guitar and a brief riff from the soprano saxophone of Jim King provide a pleasant backdrop, but the energy of the song is from the bass of John Weider, playing as a member of Family on record for the first time. Weider also provides a lilting violin solo in the middle eight. The song fades out with a quickly paced jam, with plenty of "pickin' and grinnin'" country and western guitar from Whitney. Roger Chapman's relaxed vocals add to the gentle nature of the lyrics.
Fink was then tasked to learn and perform the solo at the album's speed. On versions edited for radio, either the song fades out as the long guitar and synthesizer solo begins, or the solo is eliminated altogether and the song skips to the ending with Prince's harmonizing and classical finish. During live performances of the song on the Purple Rain Tour, Prince's bass player Brown Mark added bass lines to the song as well as to other songs without bass lines. The song is in the key of A minor.
The album version of the song ends after the second chorus with a dramatic cut to a coda representing the man's heart thudding and then stopping. The single version replaces this with a repeat of the more optimistic first chorus, which fades out. The music video for "Cardiac Arrest" featured Chas Smash as a person having a heart attack and the remaining band members playing roles of people advising him not to work so hard. The video follows the single version of the song rather than the album version.
The song was recorded on January 1, 1964, at United Western Recorders Studio 3. Vocals and additional overdubs followed on either January 8 or 9. The stereo and mono mixes stem from the same recording but have a significant difference: the fadeout on the stereo mix fades out early into the song's outro, with the instruments fading away before the vocals (and an overdubbed drum part). The mono mix, as heard on the 45 as well as mono copies of Shut Down Volume 2 has an extended outro.
Bodywork now came in brighter colours than before, as well as now having a black decal border running along the bottom of the car which fades out plus a single orange pin stripe running front to rear in the centre of the car. With the Rialto hatchback now in the range the Rialto saloon was the cheapest car in the whole range but by 1995 the saloon had been deleted from the range. The MkII Robin of 1989 replaced the Rialto SE hatchback. By 1990 a roller bearing clutch was also introduced on all models.
Singer Bono includes snippets of the Frankie Goes to Hollywood songs "Relax" and "Two Tribes" at the beginning and end of the song. "Beshno Az Ney/Windfall", performed by Iranian singer Sussan Deyhim, is sampled at the end as the track fades out. The David Holmes remix of "Beautiful Day" was included on the "Elevation" single. Produced by Lanois and Eno, the track was remixed by David Holmes and features additional keyboards by Darren Morris, additional guitar and bass guitar by Phil Mossman, and additional drums by Zac Danziger.
Many splinter groups have formed out of MOD that eventually became defunct or still exist as rival gangs. However, as with many gangs today, there is a dwindling membership within MOD as gang culture slowly fades out of appeal with urban Hmong youth due to growing prosperity from increased economic resources and opportunities in the Hmong communities. In addition, Hmong youth today have assimilated very well into American society by following the examples set by their parents who toiled through the migrant era for a better future for their families.
The music is delivered via backwards-played tape loops as the vocals pan from one side to the other across the stereo image. The other two pieces include a section comprising Barham's piano and flutes, followed by a trumpet solo, harmonica interspersed with a police siren, and more backwards tape loops. The song fades out with a slowed-down spoken voice over the sound of church bells. Leng notes that "Dream Scene" was recorded several months before Lennon's experimental sound collage "Revolution 9", released on the double album The Beatles.
The show begins with a video showing stars in outer space. The camera begins to zoom in on earth and down into a house where Gomez has fallen asleep after looking at star charts. The video then fades out to white, enlarges Gomez's face and shows her looking around at 4 mysterious doors that have appeared around here. She enters one containing stairs that lead to the stage and the real Gomez appears at the top of the real staircase in the center of the stage, performing "Bang Bang Bang" and dressed in white.
The song is rife with experimental features including a "jungle" drum-vocal introduction and some new guitar playing techniques from guitarist Eddie Van Halen. The drum-vocal interlude or breakdown section has an improvised feel, with Roth ad-libbing conversational dialogue; for example, he begins the section by saying “I like…” before being cut off by Eddie striking a guitar chord. At the very end of the song, Roth says, "Look, I'll pay you for it, what the fuck?" However, the song fades out to where the obscenity is not audible.
"Mother" opens the album, starting with a funeral bell tolling slowly, four times. The song ends with Lennon repeating the phrase "Mama don't go, daddy come home", each time increasing in intensity until he screams the line as the song fades out. Lennon was inspired to write the song after undergoing primal therapy with Arthur Janov, originally at his home at Tittenhurst Park and then at the Primal Institute, California, where he remained for four months. Lennon, who eventually derided Janov, initially described the therapy as "something more important to me than The Beatles".
All songs written by Clutch. Published © 1998 Freon Justice Music, Inc. (ASCAP) The last track, "The Dragonfly", runs to 12:01 on the album itself; this is because each copy of the album contains one hidden track, which is after a few minutes silence, though it is not known which song you will get by the album cover itself. This gives most versions a run time of 51:03, instead of 45:21 minutes without the extra track (as the song itself fades out at the 6:19 mark).
The music video for Lo Siento is just a background, shot on a green screen, with a variety of graphics and back up dancers. There is a part where Belinda has a long black dress and a pair of converse shoes and there is another scene where she wears a pink shirt. The video ends with a scene where Belinda is spray painting the words "Lo Siento" onto an imaginary wall, seeming as if she is writing on the television screen. She then walks away and the video fades out.
360 degree shots around the band are also shown. Close-ups of the band members against a dark backdrop, separated from the camera by fluorescent lights, which provide the shots' only light, are inter-cut. During J's vocal part, the English lyrics appear flashing over the video in a typed font. Instead of ending with the English phrase "I'm the trigger" as heard on the released track, the video's audio fades out while it climaxes with a shot zooming in to the coffin's supposed glass window and a hand reaches out grabbing the camera.
A six-and-a-half-minute edit of "Turn On Your Lovelight" was issued first on the Warner/Reprise Loss Leaders album The Big Ball in 1970, and later on Skeletons from the Closet: The Best of Grateful Dead. A two-and-a-half minute edit of "Dark Star" was released on the soundtrack album for Zabriskie Point, an Antonioni film for which Garcia created additional music. The album's version of "St. Stephen" appears on the 1977 Grateful Dead compilation What a Long Strange Trip It's Been, but fades out during the final verse.
The song opens with an African- style drum beat by Brian Downey, which gives way to twin-guitar harmonies characteristic of Thin Lizzy's sound.Ken Brooks, "Phil Lynott & Thin Lizzy: Rockin' Vagabond", Agenda, 2000, p.82-83. The lyrics include heavy use of rhyme and alliteration, such as the first three lines which include the words 'investigate', 'insinuate', 'intimidate', 'complicate', 'wait', 'hesitate', 'state', 'fate' and 'awaits'. The song fades out with lead singer Phil Lynott doing an impersonation of Elvis Presley which seemed to have little to do with the meaning of the song.
The scene for the video is set in a club with a bar and sees Jade and all her girls with their boyfriends hanging out, as Jade follows the camera as it changes angles. The video then fades out to Jade singing with her band behind her at the same club, before fading out a second time to Jade's fellow R&B; star Israel who also produced her album, as he adds his rap to the track, before going back to Jade as she performs to the crowd.
The following shot sees Anggun in Roberto Cavalli camo-print caftan swinging the elongated sleeves against the incoming wind. The band-aided singing scene repeated until the next, where she, dressed in an embellished black tulle ballgown, plays with fire lit from the tips of her silver finger caps. As the video enters its second half ending frame, the shots were mixed with Anggun and her band performing in the rain. The video ends with a pan shot of Anggun catwalking while extending her elongated sleeves, and fades out.
At other times, Jenny Berggren appears singing with Linn for a moment. The background images continue to appear during this part, along with scenes of Buddha typing on a stationary computer, Jenny reading from an old book, Joker singing the background vocals, and other short clips featuring the band members. Old movie footage is also shown during Linn's section, such as an atomic bomb exploding, people walking, and a tree falling down. When the music fades out, the lit candle shown at the start of the video is blown out.
The track uses a typical pop song structure and arrangement for most of each verse, but utilizes a spelling out of some words to match the cadence of the vocal; as in the end line of the second verse ("The S-E-X is just too good"). After the second verse, the chorus is repeated twice and leads into a bridge. This promptly melts into a screaming guitar solo. Nearly twenty seconds later, Rogers institutes a rap vocal, which dissipates into the chorus that repeats until the song fades out.
He makes a transition back to the key of E as the song fades out. Bare's version also features a spoken recitation following half of the second verse, before singing the refrain before the song's fade. The song's peak in popularity during the summer of 1963 came during a time when Tillis was still experiencing most of his success as a songwriter. He had previously written hits for Webb Pierce, Brenda Lee, Stonewall Jackson, and others, but this was one of his earliest major hits as a songwriter outside of those artists.
The song was written by band leader Francis Rossi and roadie / harmonica player Bob Young on a table napkin in the dining room of a hotel in Perranporth, Cornwall, in 1971. A demo was cut with Rossi playing guitar and bass, with Terry Williams on drums. The group changed the arrangement from a slow blues song, doubling the tempo, and recorded it mostly live using their stage gear and amplifiers. On the single release, the song fades out, while the album version is about thirty seconds longer and has a conclusive ending.
The next day at the ceremony, as celebrated orator Edward Everett (Gordon Hart) concludes his two-hour speech, Lincoln receives a telegram from Mary informing him that Tad is "much improved", news that noticeably relieves the president. He now stands and delivers his own speech, which lasts less than three minutes. At the end of his brief but historic address, the image of Lincoln's face fades out, gradually replaced by an American flag fluttering in the wind and accompanied musically by a rousing excerpt from the "Battle Hymn of the Republic".
Edgecrusher is constantly watched by the monitors of Securitron so he descends underground, into the shadows below street level where apparently the refuse is, but he knows that he is safe from incident from any enforcer among the trash. The song is about the police of this dictatorial regime, the Police 2000: how oppressive they are and how they are everywhere not giving any privacy or freedom to citizens. In the end of the scene Edgecrusher is forced to surface and the scene fades out with him running down a deserted street into the night.
It fades out under north Lincolnshire as the strata rise towards the Market Weighton Axis. Fossils found in it indicate that it dates from the early Bajocian (beginning 171.6 million years ago) and formed in an extensive, shallow sea on the northwestern margin of the London-Brabant Massif. Dinosaur remains are among the fossils that have been recovered from the formation, although none have yet been referred to a specific genus.Weishampel, David B.; Dodson, Peter; and Osmólska, Halszka (eds.): The Dinosauria, 2nd, Berkeley: University of California Press . pp. 517-607.
The game starts off with the end of Dark Castle, where Prince Duncan toppled the Black Knight's throne. In the original version, after toppling the throne, the Black Knight stands up shaking his fist, and a gargoyle drops Duncan in Trouble 3. In the newer version by Delta Tao Software, Color Dark Castle, after defeating the Black Knight on advanced, the Black Knight's throne falls down, off the bottom of the screen, and Duncan does a victory dance as it fades out. When starting a new game in Beyond Dark Castle, the player sees Duncan approaching a fireplace and mantle.
The track has a psychedelic quality, due to the first two verses, where acoustic guitar chords were played in reverse order then tape- reversed to provide instrumental backing. The middle section features a solo on a dulcimer played through a fuzzbox, similar to the solo on another Grave New World Track "Benedictus". There follows a short section of special effects which then leads into a third verse, this time with a backing of conventional acoustic guitars. The song continues with a middle 8 section and an instrumental closing section, leading to a drum solo which fades out.
After Bugs and Willoughby fall through the sky in a lengthy sequence, they "put on the brakes" and make a soft, feet-first landing on the ground. Bugs says to the audience, "N'yah, fooled you, didn't we?!" The dog follows with, "Yeah!" just as the cartoon fades out. Willoughby's line and the fade out to the end card are usually cut in TV versions (mostly those shown on the Ted Turner-owned cable networks TBS, TNT, Cartoon Network, and Boomerang) to cover up the fact that the cartoon had been edited in such an abrupt manner prior to release in theaters.
This ocherous hue overspreads the whole apical half of the wing. On the disc, before the middle, margining the creamy white anterior part of the wing, is an oblique black transverse spot which is narrowly separated by ocherous-yellow scales from a large somewhat diffuse brownish patch which covers the end of the cell and fades out gradually into the ocherous hue of that part of the wing. The extreme costa is marked throughout its length by small purple brown spots, which also extend around the apex at the base of the cilia which are greyish ocherous.Cincinnati Q. J. Sci.
This final encounter is what had appeared and now appears at the end of the aforementioned drive-in movie. As the camera pulls back, the couple in the convertible now has two children in the back seat while the song fades out with the children's nursery rhyme "it's raining, it's pouring..." The five members of Supertramp all appear in the video. At the beginning, John Helliwell is a street musician playing an alto saxophone. Before the first chorus, Dougie Thomson appears as the bus driver (this was the last filmed video where Thomson would appear with his then trademark moustache and beard).
If the player chooses to reject the asylum, Jackie will jump from the roof and fall into Hell. The Darkness, in a fit of rage, sends demons to stop Jackie from reaching Jenny, but Jackie manages to release Jenny from her bindings and the couple embrace. In a post-credits scene, Jenny is revealed to have become the new host for the Angelus, who has seen the destruction Jackie and the Darkness have caused, and states Jackie has become too powerful and leaves them trapped in Hell; leaving an enraged Jackie screaming as the screen fades out.
Impressed, he handed the tape over to the music department without any further involvement from Knight. Unaware if the song would be used, she was surprised to find it serving as the film's introductory theme. The song starts just as the revitalized 1988 New Line Cinema logo fades out (the first Elm Street to feature said logo), and plays over the opening credits, featuring a girl on a sidewalk, drawing with chalk. The camera pulls back from the Elm Street house to introduce Knight's character, and the song fades into Charles Bernstein's score from the original film.
Reluctant, but quickly dying, Reika accepts the deal. Moments later, Hiroko, having managed to free herself, hurries down to the basement, only to find that the ritual had ended, and that the members of Rose Cross (Nami, Rie, and Saki included) have all been savagely slaughtered. The series ends with a visibly disturbed Reika, naked and bloodied from head to toe, roaming the town at dawn, looking blissfully towards the sky. The scene fades out with a shot of her still walking through the town, on her way to becoming the woman that Kurumi Imari and Taki Minase would meet twelve years later.
The song is about a young man who is attempting to hitchhike, since he has no money. The song is noted for its two recorders, first heard in the introduction as well as in the sections between the choruses and the verses. The song is also noted for its instrumental section, featuring an electric piano, that plays a bass line in repetition, which is accompanied by the piano's upper register, bass, drums, and guitar, which is later heard before the song's fade. The U.S. single edit shortens the ending by eliminating the final repeated lines of "ride, ride" before the song fades out.
The video progresses to show subliminal imaging of advertising and hate campaigns blaming youth for various things. Later in the video, images of doves are shown to be spray painted over the advertising in a rebellious fashion. The dove is the second part to the Hollywood Undead's symbol, "The Dove and Grenade", with the grenade standing for war and the dove for peace. The video pinnacles when all the images of fan's masks are shown in close up on the wall and fades out to the band ripping them all down and breaking free of the room.
First the words picture Cortés and his "galleons and guns" on their quest of the new world shores. There lived Montezuma, emperor of the Aztecs, inconceivably rich and full of wisdom, but in a civilization doomed despite its beauty and amazing achievements. By immense human toll of building, their huge and still existing pyramids had been erected, and are praised in the song. Also of note is that the song fades out after nearly seven and a half minutes, as (according to Young's father in Neil and Me) an electrical circuit had blown, causing the console to go dead.
In the end, the walls of the house collapse, and all three scenes break out daylight with the teenage girl returning to the place where the duo were caught, the elderly man drinking to his wife in a graveyard, and an SMS from the pregnant woman's husband, with the text "I'm okay. I miss U." Lavigne is then seen running in a field once more until the screen fades out. Portions of the video were filmed at California State University, Northridge's Botanic Garden. The video was premiered on MuchMusic in Canada on 6 June 2007 during the 5 pm broadcast of MuchOnDemand.
Critic Marc Hill of PopMatters wrote that the song "provides as clear a depiction of ghetto life as a Gordon Parks photograph or a Langston Hughes poem." In other songs on Illmatic, Nas celebrates life's pleasures and achievements, acknowledging violence as a feature of his socio-economic conditions rather than the focus of his life. "Life's a Bitch" contains a sample of The Gap Band's hit "Yearning for Your Love" (1980), and has guest vocals from East New York-based rapper AZ. It also features Nas's father, Olu Dara, playing a trumpet solo as the music fades out. A columnist for OhWord.
Episode 2 starts out with Bigby staring in horror at Snow White's crime scene, but quickly fades out and is revealed as a flashback whilst being questioned by the mundy police. Later on in the episode, in the middle of an interrogation, Snow is shown to be alive and well, to the Fables' shock. She is upset with Bigby's apparent treatment of the prisoner, Bigby attempts to defend himself and then questions how she is still alive. It becomes apparent that someone was glamoured to look like her and killed while she was out working on the case.
The evil Black Knight terrorizes the townspeople, our hero Prince Duncan decides to topple his throne, but in order to do that, he must travel to the four sections of the castle: Fireball, Shield, Trouble, and Black Knight. After collecting the Fireball, and Shield, Duncan makes his way to The Black Knight's Throne room, where he topples the Black Knight's Throne. On Novice, Beginner, and Intermediate the Black Knight stands up shaking his fist, as a gargoyle takes Duncan to Trouble 3. On advanced The Black Knight's throne falls off the bottom of the screen, while Duncan dances, and it fades out.
The unauthorized MP3 version is not an additional remix or a variant of the song, despite its shorter track length of 5:25. The seven seconds of missing audio are from the very end of the song where it fades out and are nearly inaudible when listening to the actual vinyl record. Both the 7" and 12" versions of the Midnight mix were later included as bonus tracks on the expanded edition of Branigan, released by Gold Legion in 2014. This is the first time any version of the song has been officially released on an album.
Concrete dyes take many different forms and compositions and can be used on both residential and commercial concrete applications, including sound/retaining walls, bridges, countertops, floors, etc. Early concrete dyes consisted of generic printing inks that were dissolved in mild solutions of alcohol and applied to concrete surfaces to add a wide array of color to plain gray concrete. When alcohol- based dyes are exposed to sunlight, the color either lightens or fades out completely. Therefore, alcohol-based dyes were more prevalent in interior applications where direct sunlight or other forms of ultraviolet (UV) lighting was not present.
The subjective effects of 4-fluoroamphetamine include euphoria which some find similar to the effects of MDMA and amphetamine, increased energy (stimulation), mood elevation, feelings of warmth and empathy, excessive talking, bruxism, and suppressed appetite (anorexic). The general course of effects involves primarily empathogenic effects for the first few hours, which fades out as increased stimulation develops over the next several hours. The dopamine reuptake inhibition produced by 4-FA is stronger than that of either 4-CA or 4-IA. 4-FA also produces less hyperthermia than similar compounds such as PMA, 3-MTA and 4-methylamphetamine.
Water Dances forms the score of Peter Greenaway's 1984 film, Making a Splash, a short documentary about synchronized swimming. It is the same recording used in the film, although for the film it was heavily edited and fades out at the end rather than reaching its conclusion. Eventually, Nyman expanded the piece into an eight-movement concert work lasting approximately 40 minutes, although the complete version has never been released on a commercial recording. "Stroking" is Movement 2, "Gliding" Movement 5, and "Synchronizing" Movement 8—Nyman describes Movement 5, a slow movement, as a "remake" of Movement 2.
The effect is like that of the sun breaking through the midst – the midst here being the softly sustained tranquil dissonance in the background and the sun represented by the tender violin line. After some moments a lyrical trumpet chorale, marked ‘tranquillo’, enters above the texture. The violin line is taken up by the horns and the repeating cyclic figure from the Meno mosso in part 1 enters the texture. Tension is built up briefly, but fades out to reveal the most deeply contemplative music in the entire work – sustained sounds in the background as the strings pass lyrical fragments between one another.
From that show also come the vocals "We're 'bout ready to rock steady" that appear on "Block Rockin Beats". It was used in the PlayStation game Wipeout 2097 and appeared on the accompanying soundtrack. It was also included on the bonus disc of Singles 93–03, and as a B-side to the Japanese edition of "Setting Sun". Because the song segues into the next track on the EP, the ending is edited on compilation releases; it fades out on compilations of various artists, while on Singles 93–03, it is interrupted by a vinyl scratch.
The slower album mix is shorter because it fades out much sooner, 4 seconds sooner at the speed given, or 11 seconds sooner at corrected speed. At 2:45 (correct speed) fans hear a spoken ‘save your voice’ in the stereo album mix, and also less distinctly in the Tales from the Brothers Gibb mix. During preparation of The Studio Albums 1967-1968 box set, another mix from 1968 was discovered, a mono mix that sounds like the 1968 stereo mix. Since the North American Idea LP was released only in stereo, this companion mono mix was never released.
The opera is one in which the arms of the mother—the Virgin Mary—embrace/bless the dying Rodrigo. Overlaid on a sparse background of two alternating chords formed by the repeated spoken syllable "Ha" created by looping with an Eventide Harmonizer, the text of "O Superman" is spoken through a vocoder. A saxophone is heard as the song fades out, and a sample of tweeting birds is subtly overlaid at various points within the track. The two chords of the song are A major and C minor, the repeating "Ha" syllable (a C note) acting as a drone.
At (6:29), a violin solo begins playing quietly in the background; the reason for the quietness being the song using the same solo as recorded by Luke Sutherland for "Xmas Steps", which was played significantly faster. At (6:34), the guitars begin the last counter- melody of the song, doubling each other with noticeable variations. The drums cease playing at (7:10), leaving the guitars playing their melodies, and gradually slowing down in a diminuendo with the violin solo playing faintly in the background, until (10:28), when the guitars cease playing, ending on a C♯, which fades out.
"London Dungeon" was first recorded in August 1980 at Master Sound Productions in Franklin Square, New York, and was released as the A-side of the Misfits' EP 3 Hits from Hell in 1981. On their 1982 album Walk Among Us, as the track "Mommy Can I Go Out & Kill Tonight?" (which was recorded on December 17, 1981 at the Ritz in New York City) fades out, the opening of "London Dungeon" can be heard. "London Dungeon" was later reissued on the 1986 compilation album Misfits (also known as Collection I), which would later be included in the 1996 boxed set The Misfits.
"Not Now John" was released as a single on 3 May 1983. The words "fuck all that" were overdubbed as "stuff all that" by Gilmour, Waters, and the female backing singers, while the "Where's-the-bar?" lyric is sung in Italian, Greek and French, as the single fades out before the English iteration. "The Hero's Return" was released as the B-side, featuring an additional verse not included on the album. A 12" single was released in the UK, featuring the two 7" tracks on side 1 and the album version of "Not Now John" on side 2.
In Fuse's original state as a rock and alternative station, the same versions of the video were shown as on MTV. However, in later Fuse airings, more lines and words are silenced than on the clean version of the LP; half of one of the beginning verses are cut out, and then the song fades out about halfway through the second verse, after playing for approximately two minutes. "Stan" was also released on track 17 of Curtain Call: The Hits; on the clean and explicit versions, the live track censored only the profanity, unlike the clean version of the studio track.
All titles credited to Andy Irvine, Dónal Lunny, Christy Moore and Liam O'Flynn; except where indicated. # "True Love Knows No Season" (song) - 5:29 (Norman Blake) # "Out On The Ocean / Tiocfaidh Tu Abhaile Liom" (double jigs) - 3:20 # "Roger O'Hehir" (song) - 5:33 # "The Tailor's Twist" (hornpipes) - 3:14 (Traditional; arranged by Liam O'Flynn) # "Kellswater" (song) - 4:59 # "Johnny of Brady's Lea" (song) - 6:31 # "The Woman I Never Forgot / The Pullet / The Ladies Pantalettes" (reels) - 4:19 # "Little Musgrave" (song) - 9:38 # "Paddy Fahy's Reel" (reel) - 1:48 (Played on flute by Matt Molloy, with keyboard accompaniment, as the album fades out).
It has the same Cmaj7 and Fmaj7 chord progression once again. The pre-chorus is extended for a few extra bars this time, and includes an Fmaj7 chord in addition to the F major of the previous pre-chorus. A synth fill transitions to the chorus, but this time it only has a synth playing the chorus chord progression behind Parker's delayed vocals, which have had the delay time shortened and the feedback amount extended. The full band then comes back in to play the chorus a couple of times more before the song completely fades out at 4:24.
After they lift off from the roof, several warheads hit and the nuclear electromagnetic pulse from the detonations causes the helicopter to crash into the La Brea pits. As the helicopter sinks and the cabin fills with natural asphalt tar, Harry tries to comfort a hysterical Julie by saying someday they will be found and they will probably be put in a museum, or maybe they will take a direct hit and be turned into diamonds. Julie, accepting her fate, calms down and takes comfort in Harry's words, and the movie fades out as the tar fills the compartment. A final explosion seems to imply a direct hit has taken place.
The album was panned by critics upon release, with reviewers criticising the lack of original content and the clumsiness with which the band attempted to emulate popular acts of the 1990s. On Metacritic, the album received a score of 34/100, indicating "generally unfavorable reviews". Alexis Petridis of the Guardian likened the band to a tragicomedy and remarked that "Viva Brother haven't got a new idea in their heads – as every song fades out, you somehow imagine the theme music from TFI Friday fading in". Martin Headon of musicOMH praised certain aspects of the album, but noted that overall it was clichéd, had "few arresting melodies" and lacked courage.
Usually, Chris is supposed to warn the viewers that a commercial break is coming, and says so before the fade-in. Fortunately, this scene is shown in the middle of each episode, which is a perfect place for a commercial break for Teletoon, but not for Cartoon Network. On the other hand, when the show airs in Australia on ABC3 and on DVD releases, there is no commercial break (as the ABC is a public broadcaster and hence is funded by the Australian government and not by commercials) so when there would be a commercial break the screen simply fades out, and then instantly fades in again.
When the film was re-released in 1948, it was thought these scenes were dated and the film fades out on a single long shot of the modern business district. However, the TV and 16mm versions of the film seen in the 1950s and 60s were struck from the original version which includes the montage. The current DVD and cable version features the shorter, 1948 version. Gable and Tracy also made two other films together, Test Pilot and Boom Town, before Tracy eventually insisted on the same top billing clause in his MGM contract that Gable had enjoyed, effectively ending one of the American cinema's most famous screen teams.
Like a number of successful Paul McCartney songs, "Beware My Love" is made of several disparate elements. The song begins with a brief harmonium melody followed by a repeated acoustic guitar figure. (The song's album version has the previous song, "She's My Baby", fading out into the harmonium intro; "Beware"'s single version fades in as the harmonium part fades out into the acoustic guitar riff.) This calm intro provides a contrast with the propulsiveness of main body of the song. Linda McCartney sings the intro and outro movements, with her voice multi-tracked, effectively singing on behalf of Paul McCartney—who sings the lead vocal in the main song.
The third verse includes an instrumental solo, that closes with a coda, which consists in the group singing the chorus repeatedly until the song gradually fades out, while Melanie Chisholm adds the high harmony. Absolute played the instruments, except for the harmonica, which was played by Judd Lander, who also played on Culture Club's "Karma Chameleon". The lyrics, according to Brown are about relationships, and to be there for each other. That it does not matter to say merely that you love them, the only thing that they care is that their lover give his promise that he will be there for them whenever they need him.
"Mogwai Fear Satan" begins with a guitar melody riff consisting of three chords by Stuart Braithwaite and John Cummings, which is soon joined by bass played by Dominic Aitchison and a frantic drumbeat played by Martin Bulloch, which gradually fades in. The same guitar riff is repeated throughout the song, at times heavily distorted. During the quiet parts of the song, in the buildup to the explosion of sound and feedback which Mogwai are known for, there is a quiet flute melody played by Shona Brown (who was thirteen at the time of recording) over tribal-sounding drums. The song slowly fades out into feedback and noise.
"; when translated, it says "Jesus, I want this world to know You."Henderson: Everything... The song "And Shot Each Other" from The Fiancée fades out into a Sacred Harp choir singing the song 'Child of Grace', which features the lyrics "How happy is a child of grace, who feels his sins forgiven / This world, he cries, is not my place / I seek a place in Heaven." The Chariot is frequently called a Christian band, which Scogin agreed with in a 2005 interview: "We are Christians in a band therefore we are a Christian band. We are not ashamed of our beliefs but we don't force feed people what we believe either.
The seventh and only live track on the album, "Mommy, Can I Go Out & Kill Tonight", was recorded on December 17, 1981 at the Ritz in New York City. As the track fades out, the band can be heard beginning to play the song "London Dungeon", which was not included on the album in its entirety. In January 1982, overdubbing took place at Quad Teck in Los Angeles, California, where Misfits vocalist Glenn Danzig would also mix the tracks with both Chris Desjardins of the Flesh Eaters and Pat Burnette. The track "Astro Zombies" takes its name from the title of the 1968 film The Astro-Zombies.
"Sweet Cherry Wine" is a song by Tommy James and the Shondells from their 1969 album, Cellophane Symphony. It hit number seven on the Billboard Hot 100Tommy James and the Shondells, "Sweet Cherry Wine" U.S. Chart Position Retrieved February 7, 2015 and rose to number six on the Canadian charts. This psychedelic song was released at the height of psychedelia, right after one previous 'mind expanding' song by Tommy James and the Shondells, "Crimson and Clover", and before "Crystal Blue Persuasion". It begins with the use of an organ, adds brass instruments, and ends with a solo flute that fades out at the end.
Artist Biography by arwulf arwulf, Allmusic.com. Retrieved 10 November 2015 It was recorded as a single for Deram Records by record producer Noel Walker, using studio musicians together with the Mike Sammes Singers. The whistling on the record was, according to most sources, by John O'Neill, a trumpeter and singer with the Mike Sammes Singers who was known for his whistling skill, though other sources credit Noel Walker. The song is noted for its false ending: after the song ends its last chorus, a male voice shouts "Oi" (on the album version) and "Hey" (on the single version); the tune starts up again with the repeated chorus, and fades out.
The fundamental motive behind her move was to "highlight the pressure exerted on women to look perfect". In 2014, Hungarian pop vocalist and songwriter Boggie produced two music videos that achieved global attention for its stance on whitewashing in the beauty industry: the #1 MAHASZ chart hit "Parfüm" (Hungarian version) and "Nouveau Parfum" (French version) from her self-titled album Boggie, which reached two Billboard charts (#3 Jazz Album, #17 World Music Album). In the videos, the artist is shown singing as she is extensively retouched in real-time, ending with a side-by- side comparison of her natural and manipulated images as the song fades out.
The traditional Philadelphia accent is considered by some linguists to be the most distinctive accent in North America.New York Times Sunday Review, Loose Ends "The Sound of Philadelphia Fades Out" Daniel Nester March 1, 2014 The Philadelphia dialect, which is spread throughout the Delaware Valley and South Jersey, is part of a larger Mid-Atlantic American English family, a designation that also includes the Baltimore dialect. Additionally, it shares many similarities with the New York accent. Owing to over a century of linguistic data collected by researchers at the University of Pennsylvania under sociolinguist William Labov, the Philadelphia dialect has been one of the best-studied forms of American English.
Soon afterwards Lount moved to Santa Clara, California with his girlfriend, and from there sent Dinger the tape, which includes an audio message of Lount speaking as well as several songs recorded by Lount. During "Message from California" Dinger plays Lount's tape to the audience; primarily the 'message' part, in which Lount explains who he is and why he is sending the tape. A short snippets of Lount's song "Arkesden" and one other song are also played, with added tape effects and ambient drones provided by La! Neu?. Eventually Dinger fades out the tape, leaving the synthesizer drones, which make up the next track - "Rheinarita".
When the band reaches the "scream your heart out" refrain near the end of the song, the teenagers start to scream suddenly: the girl shatters every wine glass on the table as her mother covers her ears, the boy in the kitchen blows plates off the shelf in front of him, and the boy in the car shatters the car's windows. Another group of teenagers are then shown on the helicopter pad, in front of the same flag the band members were in front of at the beginning of the video, during the final chorus. The band then finishes the song, and the video fades out.
Typical of javari on an instrument with preferably long strings, is that on the soundboard the strings run over a wide bridge with a very flat parabolic curve. The curvature of the bridge has been made in a precise relation to the optimum level of playing, or more exact, a precise amplitude of each string. Any string, given length, density, pitch and tension, wants to be plucked within the limits of its elasticity, and so vibrate harmoniously with a steady pitch. When a string of a tanpura is plucked properly, it produces a tone with a certain amplitude that will slowly decrease as the tone fades out.
The track fades out with a short saxophone solo by John Helliwell. Roger Hodgson has said that the song was written to be an equivalent to "Gone Hollywood", looking at how Americans live, though he confessed that he had only a limited familiarity with US culture at the time of writing. He also said there is a slight possibility that he subconsciously had Rick Davies in mind while writing the lyrics. Each song was credited to a single musician on the inner sleeve, but on the central vinyl label was printed "Words and Music by Roger Hodgson & Rick Davies", combining the two and confusing the issue of composition credit.
By the time that sessions for their debut album began in March 1965, Melcher was satisfied that the band was competent enough to record its own musical backing. Much of the track's arrangement and final mixdown was modeled after Brian Wilson's production work for the Beach Boys' "Don't Worry Baby". The Byrds' recording of the song opens with a distinctive, Bach-inspired guitar introduction played by McGuinn and then, like Dylan's version, goes into the song's chorus. Although Dylan's version contains four verses, the Byrds only perform the song's second verse and two repeats of the chorus, followed by a variation on the song's introduction, which then fades out.
The song is not about the African country, but rather about two people who cannot get along with each other, leaving them to want to be rid of each other and as distant as possible. Musically, the song opens with a Caribbean drum beat while an African-style tribe is heard chanting "Congo the Congo", before the song launches into a darker guitar-driven melody. Appropriately, part of the song's refrain takes its lyrical meter from the conga (Latin American rhythm). The album version features an alternative synthesizer ending that fades out, while the single version has an earlier fade-out that excludes the ending.
Author Chris Welch praises the rhythm section of Sting and Stewart Copeland on the song, particularly the way they go with the flow and groove with ease. Sounds critic Phil Sutcliffe commented on its "expression of melancholy", noting that it maintains a restrained, dry tone that is able to project sadness without being overly demonstrative. RAM magazine critic Greg Taylor criticises the lyrics for not doing "anything with its potentially political message" but praises the music, particularly Andy Summers' "long ringing" guitar chords. Mojo critic John Harris regards it as one of several formless jams on the album, complaining that it "randomly fades out as if simple boredom finally won out".
Both radio edit and full-length album versions of "My Home's in Alabama" were released. The single version is 4:02, and fades out just as the album-version's extended guitar bridge begins. This version is available on The Essential Alabama, released as part of RCA's Essential Series (not to be confused with the repackaged For the Record). The full-length RCA album version (and title track) — which includes the guitar bridge (that lasts about a minute and a half), a repeat of the refrain and the song-ending bridge reprisal — is 6:27, and is available, among other albums, on My Home's in Alabama.
The music video opens with a brief shot of the Deacon Blue logo, which moves into a line of various people against a white background queuing up to use a photo booth. This then cuts to the band, also against a white background, playing the song. The video consists of alternating shots of photo booth usage and the band playing, featured therein are a gay kiss between two photo booth customers, a scuffle behind the photo booth curtain and Ricky Ross jumping off the piano. Shots of the photo booth being used by the band members are intertwined in the last shots as the song fades out.
During the bridge and final chorus, the robbers make their way through the crowd and approach the band, before tossing money from the robbery into the air as the video fades out. The blonde woman of the three criminals, who disguises herself as bassist Mike Dirnt, is portrayed by Ukrainian actress Ivanna Sakhno. Rancid frontman Tim Armstrong, who directed the video, also makes a cameo appearance as a punk during the song's bridge. It is Green Day's first video since "21st Century Breakdown" not to feature Jason White performing with the band, as he dropped from his role as an official member earlier in the year.
The music video was shot on October 8, 1999 in New York City and was directed by Marcus Raboy. An alternate version of the music video features Elton John playing the piano. "Deep Inside" premiered on November 10, 1999 on MTV during a season finale of the adults-only animated TV show, Beavis and Butt-head. In the beginning, Blige steps in the stage, wearing a blonde glitter dress, before the screen fades out, flashing back all of the music videos that starred Blige herself, including "Love Is All We Need", "Seven Days", "Everything", "Be Happy", "I'm Goin' Down", "You Bring Me Joy", "Real Love" and "I Can Love You".
About halfway through the song, Lennon gives a mock-bass voice spoken interlude about how, when the woman brought him toast one morning, he looked into her eyes and saw a "National Health Eyeball", then proceeded to love her like he has never done before. The song rises to a crescendo of wailing and bellowing, then fades out in laughter. To add to the confusion, the song is very difficult to understand; clicks, buzzes, fuzz, giggling, and the baritone voice obscure the lyrics. Recorded in the McCartney family bathroom in 1960, it is the earliest song attributed to the Lennon–McCartney songwriting partnership to be officially released.
Next, Bugs plays Goldilocks in The Story of the Three Bears. Big Bad thinks that he has Bugs trapped again, and tries to get revenge by using hot coals on the bed that Bugs is supposed to be in. But instead Big Bad lights a dynamite stick attached to fake rabbit ears and the dynamite explodes in his face. Bugs then proceeds to explain to the exasperated Big Bad how he can have a rabbit for dinner, and the cartoon concludes with Big Bad and his nephew sharing dinner with Bugs, who says, "If you can't eat 'em, join 'em", as the cartoon fades out.
In 2007, the 1995 album The Best of Branigan was re-released, as part of Rhino's 2007 "Greatest Hits" series of CDs. In 2009, Rhino/WEA authorized the re-release of three out-of-print Branigan albums: Touch, Laura Branigan, and Over My Heart. In June 2010, Shine On: The Ultimate Collection was released, which, for the first time, incorporated a PAL only format DVD (will not play on most American DVD players) featuring official Atlantic music videos for 10 of Branigan's songs, in addition to an 18-track CD including "Forever Young", which made its return to the greatest hits compilations. The CD contains edited version (fades out early) of most songs.
"The Rosanna Half Time Shuffle by Jeff Porcaro" Youtube.com The overlapping keyboard solos in the middle were created by David Paich and Steve Porcaro recording a multitude of keyboard lines (some of which were cut from the final recording) using a Micro-Composer, a Minimoog, Yamaha CS-80s, Prophets, a Hammond organ, and a GS1, among other instruments. Paich credits Porcaro with both coming up with the concept for the segment and playing a majority of the parts. The album version starts with the drum beat only then kicks into the rest of the melody, then ends with two renditions of the song's chorus and goes into a musical interlude and fades out from there.
Before the final section there is a harmonized vocal section which features vocables- rhythmically precise vocal stabs and no actual words, sung with nonsense syllables. The coda section is similar to the introduction, returning to the main instrumental theme with a guitar solo on top of it, which fades out to the end of the track. In live performances of the period, when it was regularly used as the opening number, the final chord of the pre-recorded "walk-on" music (the closing passage of Stravinsky's The Firebird) was cross-faded into a bridging minor-key Mellotron passage, followed by the opening guitar riff, and was usually concluded with a reprise of opening riff.
"Psychedelic Shack's" LP mix begins with the sounds of a person entering a psychedelic shack and dropping the needle on a record, "I Can't Get Next to You" which was the Temptations single that immediately preceded this one. The use of the recording of "I Can't Get Next to You" from its 45 RPM single makes "Psychedelic Shack" one of the first songs to use sampling, a technique that would become a staple of hip hop music in the coming decade. The song ends, after its fourth verse, with the Funk Brothers backing band going into a jam session as the song fades out. Keyboardist Earl Van Dyke remembers "Psychedelic Shack" as one of his favorite recording sessions.
During the second verse, a broken-down and dilapidated set is seen, with Nancy playing the piano within it. Nancy is then seen riding atop a black horse and jumping out on stage with her guitar as the instrumental section kicks in. It then shows Ann, in the all-black outfit within the broken set and thereby resembling a witch, before cutting directly back to the stage performance as the song reaches its climax. As the song fades out, a shot of Ann and Nancy together is shown, with each one looking directly into each other's eyes, before finally finishing with a quick shot of Ann's face as the screen goes black.
The lyrics also reflect desperation of the band's situation in 1979 struggling with high debt, without management and arguing with their record label over whether the London Calling album should be a single- or double-album. The lines referring to "Now don't look to us / Phoney Beatlemania has bitten the dust" reflects the concerns of the band over its situation after the punk rock boom in England had ended in 1977. The song fades out with a Morse code signal spelling S-O-S, reiterating the earlier urgent sense of emergency, and further alluding to drowning in the river. "London Calling" was recorded at Wessex Studios located in a former church hall in Highbury in North London.
Billboard ranked it as the No. 1 song for 1959, it was very popular with teenagers in the late 50s/early 60s in an era mostly dominated by rock and roll music. Horton's version began with the quoting of the first 12 notes of the song "Dixie", by Daniel Emmett. It ends with the sound of an officer leading a count off in marching, as the song fades out. In Billboard magazine's rankings of the top songs in the first 50 years of the Billboard Hot 100 chart, "The Battle of New Orleans" was ranked as the 28th song overall and the number-one country music song to appear on the chart.
Three young friends, Bhavesh (Priyanshu Painyuli), Siku (Harshvardhan Kapoor) and Rajat (Ashish Verma) come up with a YouTube channel Insaaf TV, creating an online show about Insaaf (justice) trying to expose to people some common wrongdoings and corruption which are rampant in the city. Initially, their show garners success, where they, wearing paper-bag masks, help to solve or confront some small scale corruptions in and around their neighborhood. Time soon flies; Siku and Rajat get jobs at corporate sector after passing out from college. Their interest for Insaaf TV gradually fades out except for Bhavesh, who gets obsessed about eradicating corruption from society and continues with his vigilante acts despite a fall in their channel viewership.
Leng suggests that the musical arrangement was influenced by the Delaney & Bonnie song "Comin' Home", following Clapton and Harrison's guest roles on the band's European tour in December 1969. "Wah-Wah" also features prominent percussion, including uncredited maracas and congas, and, in Leng's description, a "rollicking horn chart" from Price that helps define the middle-eight sections. Adding to the musical tension, Janovitz notes, Harrison sings high in his range throughout, "almost drowned out" by Spector's Wall of Sound, which sees keyboards, horns and the many guitar parts competing for space in the mix. The song fades out on the single-chord main riff, accompanied by the sound of a car engine changing gear.
In this new version, a phone message was introduced at the beginning in which Jackson explains the composition of the song to longtime collaborator, Brad Buxer, and in which he sang the hook and described the drum arrangement of the track. The song has been re-arranged and more vocals have been added, and the treatment of "(I Like) The Way You Love Me" has created a counter-rhythm from a leftover bit of vocal play. Compared with the 2004 version, the 2010 mix has different instrumentation, such as having a piano backing instead of a synthesizer. The song's structure is the same but Jackson's lead vocals return as the song fades out.
During the second verse the brass section rejoins, playing the same melody line from the intro. After another chorus the song's extended "play-out" section begins at 2 minutes and 13 seconds with Rhys repeating the lines "Don't worry me, or hurry me, blow me far away to the Northern Lites" accompanied by harmony backing vocals. The track breaks down to just drums and vocals at 2 minutes and 40 seconds after which the band and brass section rejoin. A prominent lead guitar melody begins after 2 minutes and 47 seconds and plays alongside the vocals, acoustic guitar, brass and drums until the track fades out and ends at 3 minutes and 31 seconds.
Most violence in labor troubles is committed by > conservative unionists or by the unorganized. Hoxie continues, > In short, violence in labor troubles is a unique characteristic of no kind > of unionism, but is a general and apparently inevitable incident of the rise > of the working class to consciousness and power in capitalistic society. > Secondly, revolutionary unionism is not to be marked off from other kinds of > unionism by its employment of sabotage as an offensive and defensive weapon. > It is true that sabotage is a weapon whose use is highly characteristic of > revolutionary unionism, but the notion that its use is confined to > revolutionary unionists fades out the moment its true character and varied > forms are known.
There is a minor pause before the outro (which is just the chorus repeated four to five times) begins. The end of the song consists of a final strum of the guitar followed by Paulzen bending one of the strings as the song fades out. Lyrically, the song is about McDonald's and is sung from the point of view of Ronald McDonald (who is only referred to as a "big yellow clown" in the first verse and is not explicitly named until the end). When Tlot Tlot played the song live, the between-verses bit was played in the intro in place of the heavy guitars, which were placed behind the verses instead of bare keyboards.
It is with this "stepped" characteristic that Reich's "live" process compositions most conspicuously differ from the "pure phasing" of the tape compositions, which have a slow and regular rate of change . In the second section, a second instrument is added to the tape in a second channel, offset by one eighth note from the first recorded instrument. The live instrumentalist then performs a second cycle of phase shifts, reaching unison with channel 1 of the tape, and then moving ahead by one more eighth note to achieve unison with channel 2. At this point, the second channel fades out and the soloist continues the third section as a repeat of the first, until coming back into phase with the tape once again.
Sings Evergreens contains cover versions recorded between the years 1977 and 2005, including the most recent single "Copacabana" and the re-recorded duet version of "I'll Miss You" with German-Spanish singer Manuel Sanchez from his 2005 album Ambitious (ZYX Music). The only non-cover version is "Dreamer (South Pacific)", recorded by Lear for her album Never Trust a Pretty Face in 1978. The track fades out and finishes at 3:04, although liner notes state it is the full 5:13 album version. The Sings Evergreens compilation was issued shortly before the release of With Love, Lear's 2006 studio album consisting exclusively of new recordings of evergreens and jazz standards, originally performed by some of her favourite female vocalists.
The species has a preocular transverse bar (a line of coloured scales in front of the eyes at the base of the snout), although this can be hard to see in some individuals. Along each side and directly behind the eyes, a narrow, dark-edged, yellow- brown postocular stripe crosses the temple and fades out near the base of the head. In the occipital region, on top of the head behind the eyes, an almost oval-shaped, dark-edged, yellow-brown bar stretches from one side of the head to the other and sometimes connects with the postocular stripes. The dark brown scales on the dorsal side cross over to the ventral side (underside) and fade out, although many scales retain dark edges.
Then the key suddenly changes to its relative major, F. Madonna's vocal range spans almost one octave from F3 to D4. As she begins to sing the first verse, the bass pedal changes to C major, changes back to F during the chorus, and back to D minor during the chorus closure. This process is repeated during the second verse and chorus, which abruptly ends in a silence, with only the low and lifeless sound of the synthesizer, set in D minor. Madonna then starts to sing the bridge (or middle part)—"If I ran away, I'd never have the strength"—between the tonal keys of D and F, closing with the repetition of the chorus until the song gradually fades out.
Whereas the original version of "One Very Important Thought" was taken directly from the ending of the 1982 pornographic film A Brief Affair, the version on Music Has the Right to Children was re-recorded with a reference to Boards of Canada inserted. The original speech was spoken by Lisa DeLeeuw, while the Music Has the Right to Children version was re-recorded by a voice actor — this may have been due to DeLeeuw's alleged death from AIDS in 1993 (she was, in fact, still alive). The song "Timeless" by John Abercrombie used in the background of the original speech can be faintly heard in the background as the song fades out. "Niagara", "Red Moss", "Concourse" and "Whitewater" are exclusive to this release.
"Statement" is a single by Japanese experimental band Boris. The A-side "Statement" was a preview of things to come on their full-length album Smile, which was released on Diwphalanx Records and Southern Lord Records in 2008. The B-side "Floor Shaker" is an unreleased song from the Smile sessions exclusive to this single and its own single available free with purchase from the Inoxia Records store;Inoxia Records shop page for Floor Shaker promo single this single version fades out early. The logo on the cover is a tribute to the American black metal band Von, who use the same font and insert the same pentagram into the O. "Statement" reached number 23 on Billboard's Hot Singles Sales for the week of March 29, 2008.
Central to both these elements is the note C, which is scored in the middle range between these two extreme registers of the orchestra, giving the note a magnetic quality. Throughout the work, the cluster moves to a variety of pitches, always with its central note having a magnetic quality. The opening fifth leap of the work is productive in many ways. One of these ways is to cause doublings at the fifth of various harmonies and even melodic lines. After the initial dramatic opening, marked ‘Sostenuto, marcato’, swells of unusual sonorities derived from the characteristic harmony outlined above are presented, the music fades out to reveal the note G, sustained in the strings and clarinets in the same octave over a gradual diminuendo.
The Rolling Stones have never performed "Dandelion" live;Rocks Off Setlists – Rolling Stones song live debuts nonetheless it has been included on several compilations, including Through the Past, Darkly (Big Hits Vol. 2), More Hot Rocks (Big Hits & Fazed Cookies), Singles Collection: The London Years, and Rolled Gold+: The Very Best of the Rolling Stones. The original single release fades out with a brief section of the Nicky Hopkins piano intro from the A-side, “We Love You”. The coda is missing on most versions of “Dandelion” appearing on compilation albums, which include the song in a 3:32 edit, but it may be heard, for example, in the 3:48 version included on Singles Collection: The London Years and Through The Past, Darkly.
The music video for "Smokin'" features a woman dressed in black with a blonde bob haircut watching over a group of people wearing berets while they make origami animals. In this screenshot the woman piles up the origami creatures while the beret wearers, shown in the foreground, bow their heads. The music video for "Smokin'" was directed by Peter Gray and also appears on the DVD version of Songbook: The Singles, Vol. 1. The video begins with a shot of the Super Furry Animals' 'SFA' logo which appears on the cover of the Ice Hockey Hair EP. The logo fades out and the camera pans through a crowd of dark figures wearing berets towards a woman standing behind a long, black table.
"Eigg Man" is a more traditional, midtempo track with jazz and rock influences, whilst "The Manali Beetle" was described by Anderson as "ably demonstrating" the band's "technique of painting with sound". The track was described by Anderson as where an "electronic cicada introduces a solo chanter before Caribbean rhythms and an arrangement of bagpipes, synthesiser and echoic guitar chords are joined by a strong percussive dance beat which all fades out in an atmospheric swarm of insects." "Macedonian Women's Rant" is Eastern music-influenced, whilst "Angus McKinnon" features reggae rhythms that "unveil additional disparate tendencies" to the album. "Weary We've Been/Dancing Feet" is one of the album's most upbeat tracks and features the brief injection of a mbaqanga guitar line.
The episode fades out without the viewer knowing if Tommy lives or survives. ;Season 6 Season 6 deals with the aftermath of Tommy's near-death experience, including his ongoing battle with alcoholism, his oldest daughter's own drinking problem, and an increasingly strained relationship with his wife. During this season, Tommy struggles to make things right and become a better person, having realized that he went to hell after what he saw during his near-death experience. Tommy's firehouse is temporarily closed by the city due to budget cuts, but after Needles gets into a quarrel with one of the Chiefs and tells about the bravery of his men, the firehouse is re-opened after the men's heroic actions in saving children trapped in a burning school nearby the firehouse on their day off.
The song pays homage to King Crimson's "21st Century Schizoid Man", even incorporating some of its lyrics towards the end: :Cat's foot iron claw :Neuro-surgeons scream for more :Innocents raped with napalm fire The line "everything I want I really need" that follows is a play on "21st Century Schizoid Man"'s "nothing he's got he really needs." The principal difference between the two versions is after that line. On the original Against the Grain version, as the song fades out, Graffin sings the title of the song four more times with a different word instead of "digital" (including "21st Century Schizoid Boy" in reference to King Crimson's song) backed with another guitar solo. Stranger Than Fiction's version ends with one final "Ain't life a mystery?" line.
Lake wrote that the "almost majestic theme" that fades-out at the end of the song "echoes through the brain long after the album's finished." He saw this "echo" as symbolic, stating that "[t]he struggle for freedom is, after all far from finished." In another review of the album in New Musical Express, music critic Ian MacDonald wrote that "Living in the Heart of the Beast" begins well, but despite "a remarkable instrumental interlude", it "run[s] out of cool" towards the end with some pretentious lyrics and "sinks awkwardly to earth beneath the would-be climactic exhortations of the finale". MacDonald added, however, that Henry Cow's use of a wide range of instruments gives the song a "genuinely orchestral sound" evoking shades of Stravinsky, Varèse, Messiaen and Weill.
Outside Alliance territory, the player is likely to find more lucrative areas, but the contracts will be more dangerous. After following the clue trail and obtaining all of the artifacts (which lead the player on a wild goose chase to locate the rest, the last giving the location of the RiftSpace portal), the player may progress through the red wormhole leading to RiftSpace. Once there, 9 Vonari guardians must be fended off, at which point the game will initiate a cutscene showing the player and any wingmen that accompany the player flying towards the planet, at which point a few lines of text appear at the bottom-left of the screen concluding the storyline. The screen then fades out, and the player is returned to the pilot selection screen.
The series finale finds several of the members from the Bionic Six trapped for a time in a dimension where the "cartoon characters" (with an animation style highly reminiscent of Tiny Toons and Animaniacs, an animated series TMS would, during this time, soon work on) of their favorite TV shows exist; after I.Q., Rock-One and Karate-One escape, I.Q notes that in the cartoon dimension, the characters were unaware that they were imaginary characters; he then wonders if it is at all possible that he and everyone else in the "real" world are cartoon characters themselves. His family dismisses his thoughts as meaningless babbleas a bunch of characters from the cartoon dimension walk outside the Bennett family's residence and break the fourth wall as the episode fades out.
Instead of shorten the original LP version to a suitable length for a radio edit, this song was re-recorded for the German release with slightly different vocal parts, however, the drums were laid down new completely and in difference to the album version here the track fades out. The Austrian edition "Waterproof" (distributed by Penzing Records with a different cover) contains 12 tracks incl. the full-length album version of the original tune "Don´t Believe", the single edit of this song and a cover of Unchain My Heart which due copyright complaints of GEMA (a performance rights organisation in Germany) was banned from the German release. The year 2013 brought the next lineup changes when Fo and Schirl were replaced by vocalist Doris Krsko and bassplayer Robert "Gigl" Schmidt, furthermore Josef Gröller (guitar) was added to the lineup.
Tom then sells himself into slavery just to buy her an extremely old, outdated and rickety automobile, which is a car, while Butch arrives with his train like red limo, runs over and flattens Tom and his car. Tom starts drinking (milk) uncontrollably, completely ignores Jerry's pleas, and eventually nearly goes down the literal gutter, but is saved just in time by Jerry, and gets even more depressed when Butch and Toodles drive in the same limo by with a "JUST MARRIED" sign on the back, much to his and Jerry's nasty surprise. As the flashback ends, Jerry kisses a picture of his girlfriend before she drives past, having married to a rich mouse; heartbroken, Jerry meets Tom, and joins him on the tracks, just as the train whistle becomes audible as the cartoon fades out.
The song also reached the top spot for one week on the West Coast's biggest Top 40 radio station, Los Angeles' KHJ- AM. The B-side, "Turn That Thing Down", features the remainder of the musical track from the point of Marin's monologue about his wealth, without the actual dialogue, complete to its conclusion. It is possible to assemble the full- length version of the song by editing the two sections together. The version featured on Cheech & Chong's Greatest Hit fades out before reaching the skit as it appears on the single and the Wedding Album LP. Once the song hit its peak on the charts, radio station managers and owners, especially the AM stations, pulled the song off the air following multiple complaints. Phone calls and angry letters came from parents, teachers, psychologists, clergy, principals, school administrators and counselors.
For some historians, it corresponds to the Alebus incidentally mentioned by Avienus in his Ora Maritima. Three comarcas (districts) in the Alicante province are named after it: Alt Vinalopó, Vinalopó Mitjà and Baix Vinalopó which mean, respectively, Upper Vinalopó, Middle Vinalopó and Lower Vinalopó. Its source lies in a mountainous part of the northwest part of the Alicante province, between Bocairent and Banyeres de Mariola in an area known as Els Bruchs.Mapa Topográfico Nacional de España, Banyeres de Mariola, 820 IV, 1:25.000, 2004 It does not currently discharge into the Mediterranean Sea, but due to its diminished flow in the lower part of its course, it fades out into a series of small irrigation channels (séquies) which flow south of Elx/Elche into the marshes known as El Fondo Natural Park and the Salines de Santa Pola Natural Park.
" Matthew then kidnaps Eminem, throws him in the trunk of his car, and then drives around Detroit listening to The Marshall Mathers LP. Just like in "Stan", Eminem raps the second to last verse in his perspective. Throughout the song he also makes references back to "Stan" and The Marshall Mathers LP. Into the second part of the song, the production fades out and Eminem battles his alter-ego Slim Shady in his head. Eminem spoke on the song saying; > "Making the 'Bad Guy' record I felt like I want to make sure that I make > something that ties in with The Marshall Mathers LP. You know, the first > one. And I wanted to make it make sense that if I’m gonna go down this road, > this could be—be ready for what’s about to happen.
An actor imitates Johnson's voice reading the lyrics, later joined by a choir, with each instance of the word "truth" being bleeped out with a cuckoo sound. As the song goes on, Johnson's nose slowly starts to rise in phallic fashion. When fully erect, the nose begins to shake and then violently explodes as images of the Playboy Bunny, bare breasts, hot dogs, copious amounts of meat, Billy Graham, John Wayne, Doris Day, Coca-Cola, beer, Aunt Jemima, Lassie, Superman, Little Orphan Annie, S&H; Green Stamps and cigarettes flash on the screen in rapid succession amidst images and sounds of explosions, followed by a similarly rapid succession of military decoration, ending on the Purple Heart (the medal for those wounded or killed in combat) as a single clock chime is heard. The cartoon fades out by having the statue crack into pieces.
After turning her head to look at her unresponsive husband, she fades out of the scene, which shifts to a montage of rioting scenes, with people tipping over cars and throwing Molotov cocktails at riot police. After the montage, a hand is shown clawing at a window (the colour version of this is actually shown at the end of "The Trial") followed by a large group of maggots (the "worms" eating into Pink's brain). After a shot of Pink in an infirmary bed and his screaming wife superimposed over the image, the scene takes back to the riot, where a long line of police officers hold back a mob of rioters who have barricaded themselves behind a pile of desks and mattresses. The scene ends with Pink against his wall, having given up on finding a way out.
The song is played during the opening credits for Toy Story, Toy Story 3, and Toy Story 4, establishing the importance of Woody and Andy in the first film and the importance of all his toys in the third and fourth. Toy Story 3 also uses it for irony and dramatic effect, as the opening credits harken back to the first film and the song abruptly fades out with "As the years go by, Our friendship will never die", before showing that Andy's remaining toys in the present day are boxed up and unused. When they were unused, Andy was 17 years old. In Toy Story 4, the song is heard during the opening montage, that features Andy playing with Woody, giving him to Bonnie as a teenager, and Bonnie playing with him, but soon starting to neglect him.
Relics was most noted for its inclusion of the band's first two Syd Barrett- era hit singles, "Arnold Layne" and "See Emily Play". Due to the lack of available stereo masters, both tracks were reprocessed into Duophonic stereo for the album's original release (the 1996 CD release reverts to the original mono mixes). Also included were the B-sides of the three follow-up singles, with the tracks "Paintbox", "Julia Dream" and "Careful with That Axe, Eugene" appearing in true stereo. Relics has the only CD release of "Paintbox" that has the same length (3:33) that the original single version had; on the albums The Early Singles (1992, part of Shine On), 1967: The First Three Singles (1997), and the 40th anniversary edition of The Piper at the Gates of Dawn (2007), it fades out about 13 seconds later.
This is repeated until (3:28), when the guitars fade out into the background, and the drumbeat ends, leaving only the ride cymbal to keep the beat, and the main melody, which is repeated until it gradually fades out, leaving ambient guitar noise. At (4:30), the second of two prank calls begins, between Martin Bulloch and Colin Hardie, who have a conversation in which Bulloch plays a joke on Hardie, saying that Aitchison and Braithwaite had a disagreement, causing the former to punch the latter, and leave. Hardie, who was in a bookmakers at the time of the call, suggests that Bulloch and Paul Savage continue mixing the song, and says he will try to contact Braithwaite. This ends at (7:04), leaving the sound of ambient guitar noise to fade out and end the song.
The very first release in this series was a single LP titled Join Together - Rarities issued by Polydor in Australia and New Zealand in 1982. It had the same contents as the later released Rarities Volume II with the exception of a shorter version of "I Don't Even Know Myself". The short version of this song fades out about twenty seconds early instead of having a full ending. In the early 1980s, after the announcement of the Who's Last Tour, Polydor UK expanded on the original concept by compiling two albums of hard to find tracks, mostly obscure B-sides, on Rarities Volume I and Volume II. These albums were originally released on two separate LPs and then re-released on a single CD. Some copies of the CD version were defective and were replaced by the manufacturer.
The video ends with Haywood leaving a voicemail message to her lover that they have been "going on far too long", with the words appearing on her computer screen in the same way that video started out with her settling down on to her computer seat. An alternate video was shot a few months later in Barcelona where Haywood enters a modern house full of advanced technological surroundings which is transformed into a large garden maze during the second chorus. The garden maze then reverts into the modern-tech house before changing into a forest with Haywood during the bridge of the song. Towards the climax of the video, there are shots of a wet Haywood singing under a waterfall just as the video fades out of her walking across a room in the modern-tech house.
Using Zaret's predominantly English adaptation to record the song, with the title "The Partisan", left Cohen dissatisfied, and he suggested to Johnston that French voices were needed on the track. Johnston reportedly arranged to fly with Cohen to Paris, for "authenticity" according to Maurice Ratcliff, to record a trio of female singers and an accordion player, whose work was overdubbed on to the track. The song fades into an intro, followed by nine verses and an outro that fades out; the first five verses are sung from Zaret's English, followed by verses six, seven and eight being sung in French, and the final verse nine being a repeat of the English verse five. In May 1969, CBS released the album track, "The Partisan", in Europe as a 7-inch single with, in the initial format, "Bird on the Wire", and in a later format, "Suzanne" on the B-side.
The music video depicts, in between the band playing the song, a chess game played by two hooded beings. One is dressed in white and represents Life and all Mankind's accomplishments (a baby developing in a womb and a Moon landing (Apollo 11 ?) is seen in two clippings), while the other wears black and is meant to represent Death and Destruction (as seen by clips of a military landing (war) and a nuclear explosion). The pieces in the chess set are characters from J.R.R. Tolkien's The Lord of the Rings. At the end of the video, the chess piece that is the rook, on the side of the figure in white, makes a move across the board to the king piece of the figure in black; putting him into either check or checkmate, as the camera zooms out and the black figure pauses, before the video fades out.
Each version of the opening crawl ends with a four-dot ellipsis, except for Return of the Jedi which has a three-dot ellipsis. When the text has nearly reached the vanishing point, it fades out, the camera tilts down (or, in the case of Episode II: Attack of the Clones, up), and the film begins.Star Wars Episode I: The Phantom Menace DVD commentary Several words are in all-capital letters to stress their importance: "DEATH STAR" in Star Wars, "GALACTIC EMPIRE" in Return of the Jedi, "ARMY OF THE REPUBLIC" in Attack of the Clones, "FIRST ORDER", "REPUBLIC" and "RESISTANCE" in The Force Awakens, "FIRST ORDER" and "RESISTANCE" again in The Last Jedi, and "REVENGE", "EMPEROR PALPATINE", "GENERAL LEIA ORGANA", "REY", "FIRST ORDER", and "KYLO REN" in The Rise of Skywalker. Each line of the text spans the width of the screen when it enters from the bottom.
" It fades out with the same drumbeat as the beginning, which "allows the listener to catch his or her breath" before another beat begins the next track, "Soul Love". Later in the 1970s, Bowie claimed to have chosen the length of time, five years, as a result of a dream in which his deceased father told him he must never fly again and would die in five years, in response to a question about his fear of flying. Pegg notes another inspiration for the track is a poem Bowie had kept as part of his cabaret act in 1968: Roger McGough's "At Lunchtime A Story of Love", which tells the story of a "sexual abandon" that erupts on a bus when news arrives that the world will end at lunchtime. It contains imagery that Bowie adapted for "Five Years": the bus suddenly stops "to avoid a mother and child in the road", while the bus conductor strikes up "some sort of relationship with the driver.
It consists of four monothematic movements and has a perfectly symmetrical structure: music slowly emerges from silence (first movement—a passacaglia) and builds towards a fast climax (second—a scherzo and moto perpetuo), keeps its momentum (third—"a continuous melodic line that never goes back on itself"), and finally slowly fades out (fourth—a theme and variations). In 1953, Dutilleux wrote the music for the ballet Le loup ("The Wolf"). In his Second Symphony, titled Le double (1959), the orchestra is divided into two groups: a small one at the front with instruments taken from the various sections (brass, woodwind, strings and percussion) and a bigger one at the back consisting of the rest of the orchestra. Although this brings to mind the Baroque concerto grosso, the approach is different: in this piece, the smaller ensemble acts as a mirror or ghost of the bigger one, sometimes playing similar or complementary lines, sometimes contrasting ones.
There are a few differences between the US and UK issues on the first disc of this compilation. In the US Harvest Records and its distributor Capitol Records reconstructed their edition from tapes that had been previously altered for the debut 1967 US album Pink Floyd (the original U.S. title for Piper) and other recordings, which were cut from the UK version. As explained in a note on the back cover of the US edition of A Nice Pair, songs dropped from the US 1967 Pink Floyd album, "Flaming", "Astronomy Domine" and "Bike", are restored for this re-issue. However, some of the restored songs appear in versions that are different from the UK Piper release: the eight-minute live Ummagumma recording of "Astronomy Domine" replaces the original four-minute studio recording; "Interstellar Overdrive" fades out slightly early (as it did on the US debut album) and adds a few seconds of silence before "The Gnome", rather than using a segue between these songs as found on the UK version; and "Flaming" is an alternate mix and edit which previously appeared on a US single, and the only track to appear on this album in mono.
United Artists released the record in America, and, not wanting to deal with complaints like the ones in Britain, issued a 45-only version that not only featured the line "blue in the face" but was considerably shorter than the UK version (which was 3:32), clocking in at 2:44 (the middle part was tightened up and the entire final bit about "The Flying Doctor" was excised, assuming American audiences would be unfamiliar with this service; after the sound of the flying boomerang, the song goes back into the chorus and fades out). The US version first hit the Billboard Hot 100 in January 1962 and peaked at #21 (a rare pre- Beatles hit for a British artist in the US) for what would be Drake's only American chart appearance (oddly, yet another version turned up on an American LP release, which was the same length as the US 45 but again contained the line "black in the face"). The K-Tel compilation entitled "Looney Tunes" (K-Tel NU9140, 1976) contained the full 3:32 version, with "black in the face" included. The record also did well in Canada, reaching #3 there.

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