It's catchy as hell, heavy on the handclaps, and pleasingly repetitive.
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In place of a highly produced track, there's beatboxing and handclaps.
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Its buzzing, low frequencies, urgent high hats, echoing handclaps, and distorted vocals swirl seductively.
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The drums, garage whacks, and pretty handclaps are sneakier and more layered, yet the rhythms gallop.
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Here be guitars and handclaps, thick electronics and stuttering glitches, guest singers who can actually sing.
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Instead, syncopations are sketched in the midrange by handclaps, keyboard chords, electronic plinks or bits of guitar.
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She added rhythmic handclaps and nonverbal gospel singing, and projected the work simultaneously onto five large screens.
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The soundtrack alternates between sustained chords played on the organ and syncopated drum rhythms, handclaps, and joyful singing.
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His brief flights into falsetto—even the handclaps he lays in at the end—can't cover-up his depression.
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Handclaps and a breezy, bluesy guitar riff conceal still another story of romantic woe, this time coupled with resentment.
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"No One There," which features Casablancas on vocals, is a louche, gutsy cut, full of melancholic harmonies and snappy handclaps.
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" Professionalism reigns, as the Jonas Brothers and their team update the syncopations, handclaps and gospel thump of George Michael's "Faith.
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Those handclaps from the 808, depending on your generation, are either an awkward-cool detail or powerful calls from the past.
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"Tôn hotel" ("Your hotel") is the album highlight, an irresistible glam romp led by handclaps, piano, and even BWAA BWAA BWAAAA airhorns.
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The latter album is something of a collaboration between father and son, with Casey Waits on decks, drums, percussion and added handclaps.
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It's quantized, minimal cyber-funk with a hopping bass line and one percussion sound highlighted at a time: triangle, bongos, handclaps, cowbell.
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We even talked to Usher, above, who put his own spin on the song by deconstructing it with beat-boxing and handclaps.
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Since the song was intended to be a demo, there are no drums in the song but handclaps providing the drum beat instead.
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There are forcefully folksy handclaps where the music doesn't call for them; later, when the music develops a folk atmosphere, Mr. Gomes ignores it.
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PARELES Modal guitar riffs, handclaps, dryly urgent voices: this is what Tinariwen has been doing since the group emerged from the North African desert.
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The Scottish wunderkind turns Young L's minimal post-hyphy anthem inside out, stuffing it with a bright menagerie of crystal synth shards and hyperventilating handclaps.
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The handclaps and chorus of "uh oh-oh ohs" show that the influence of Peter Bjorn and John is alive and well across the north.
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For "Whatever I Want," warm liquid tones and swaying handclaps buoy Auto-Tuned crooner T-Pain as he celebrates the power of doing your thing.
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One of the plug ins is a clapping drum machine—think of flamenco handclaps—and a lot of hip-hop producers like to use that.
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"Brick" is a splurge of howled, industrial post-hardcore; "Sportstar" plays with pitched-up R&B; "Horse" is an unclassifiable clatter of keys, synths, and handclaps.
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PARELES Marie Davidson, from Montreal, builds dance tracks from brittle, synthetic, percussive sounds — taps, beeps, handclaps, blips — that keep appearing, looping and then ping-ponging around.
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" But he calmly destabilizes Metro Boomin's trap rhythms, entangling them with flute sounds in "Mile High" and fitfully swapping them for flamenco handclaps in "Tell Them.
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The title track's buoyant, stuttering melody and syncopated handclaps mask an eerie undertone, while the carnivalesque "Gex" has the feel of a carousel spinning off its sprocket.
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And it's got song craft: handclaps in the final chorus, and a guitar solo, which sounds like a meat slicer, neatly fitted into a four-bar break.
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YouTube recordings from the Royal Festival Hall performance aside, on January 21st Harvey debuted "The Wheel," a bluesy maelstrom of brass, ferociously pounded drums, and insistent handclaps.
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He hit some dead ends — "Terrible!" he observed at one point — but persisted, adding handclaps (his own, sampled), a reedy synthesizer improvisation and a keyboard-simulated saxophone section.
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CARAMANICA Handclaps are all that accompany Jacob Banks's deep, husky baritone as "Be Good to Me" begins, making it sound as if it could be an old traditional dirge.
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The beat is neo-rockabilly, pounded on tom-toms; the guitar riffs use just a handful of notes; there are handclaps on the backbeats; and the subject is lust.
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As he tells it, the 2808's signature sound of thwacking snares, staccato handclaps and that unmistakable whomping kick was sort of a fluke—the byproduct of a defective semiconductor.
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"Om Rama" feels as if you've walked into the middle of a daylong ritual—it's all handclaps, tambourines, and blissful chants chasing after the occasional erratic whoosh of a synthesizer.
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A couple months back the Boston newbie dropped his first ever song, the slinky-cool "danger_us"—a tune that hinges on handclaps, an occasional booming bass and some swampy synth womps.
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The defining sounds of Morricone's scores – electric guitar, handclaps and nonsense vocal syllables – were reportedly borne out of budget constraints for the films, but quickly became the genre's most recognizable sounds.
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" In the Voice, David Colon wrote a scathing critique of the song's depiction of a New York "where anything interesting or difficult is smoothed away into digital handclaps and Auto-Tune.
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Yet as he complains, the instruments are working desperately to please, their sounds swarming around him: multiple varieties of handclaps, little ribbons of countermelody, tones that hover and undulate, quiver and plink.
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Mate, you don't need to credit the handclaps to yourself at the end of a video that already features a massively influential producer, a newly woke pop star and a big-time rapper.
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The rhythmic foundation is an electronic take on Kuti's Afrobeat; along the way it adds handclaps, strummed and plucked strings, clattering cowbells, synthesizer blips and more women's voices, like a movement gathering momentum.
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"Traffic" opens the album with a dance track pulling against itself; as Yorke sings scornfully about rich people's indulgences, blurry, viscous bass tones do their best to drag down perky drumbeats and handclaps.
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Between the group handclaps, a gang of guitars and the whooping, wailing backup vocals, it's a far cry from the early Black Keys' two-man-band austerity — but with the old wallop intact.
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There are also handclaps from a flamenco group — Mr. Simon recorded the whole group together and isolated the clapping, then slowed it down digitally — along with percussion and horns from Mr. Simon's touring band.
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She followed this up with "River"—a pop song seemingly birthed by witches off the Bayou, bearing handclaps like reddening thigh slaps and boasting a topline that allows Bishop to truly exercise her range.
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J.C. Flamenco handclaps propel "Pienso en Tu Mirá" ("I Think of Your Gaze"), and images of flamenco performers show up throughout the video clip, though one is a figurine that gets smashed by vandals.
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As recognized by Pitchfork's Chris Dahlen at the time, it was their "slickest, catchiest" to date, with handclaps and hypnotic hooks, not to mention some tracks funky enough for you to shake your ass to.
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Maybe it's just that this ground has hosted so many protests and rallies over the years, but "Let's Go Warriors" with synchronized handclaps would rise up and sink back as if it were being conducted.
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JON PARELES The new single by Rosalía sets aside flamenco tragedy for pure braggadocio, flaunting "Aute Cuture" (that's haute couture cheerfully misspelled) and female ascendance over syncopated synthesizer chords and, tucked neatly within, flamenco handclaps.
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I liked it a lot when it first came out, as it has a lot of elements that appeal to me in a song: a strong female voice, handclaps that drive the pace, and choral singers.
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Rosalía, a major star in Spain, writes up-to-the-minute songs infused with bits of tradition; the six-beat buleria rhythm of those handclaps is meshed with staccato trap percussion and her breathy, intimate vocal.
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There are weirder songs on Hudson Mohawke and Lunice's joint opus (note the baby coos on "Buggin'"), but none of them hit harder than "Higher Ground," with its delirious vocal sample, thunderous handclaps, and synthesized tuba blasts.
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The Silver Lake Chorus, which devises elaborate arrangements of indie-rock songs, makes it a communal a cappella piece full of ethereal oohs and ahs, making way for handclaps and la-las as it prettily revs up.
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To learn more about him and his life, read his welcome post here -- Paul Simon: Stranger to Stranger (Concord) Backwards street gospel, flamenco handclaps and heelstomps, and Harry Partch microtones move and color an obsessive craftsman's insomniac lullabies.
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Perhaps the best, or only, way to make contemporary classical music palatable to audiences beyond hard-core fans of four-minute handclaps is to embed it in a Gesamtkunstwerk, which can encompass lighting design and unorthodox performance spaces.
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I wouldn't be surprised if we started seeing videos with lots of fist pumps, bright colors (red, blue—maybe yellow), handclaps, very frantic dance routines and words like "yay" and "woo" experiencing a huge resurgence in the charts.
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Elsewhere, Gardiner did not skimp on the kind of rollicking rhythms favored by early-music revivalists such as René Jacobs and Jordi Savall; the chorus augmented the wedding rites of Orpheus and Eurydice with syncopated handclaps and foot stomps.
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"Loving you the way I do — it hurts," she belts in "Hurts," the album's first single and one of its very few up-tempo songs, a burst of post-breakup rage and recrimination propelled by relentless handclaps and cinematic orchestral crescendos.
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In "Zala Mayele," a strutting bass line faces pushback from drums, bells and electronic handclaps; meanwhile, the lead vocal is warped by electronic quavers, there are bursts of distorted guitar and a saxophone wanders in now and then to offer melodic solace.
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The longest songwriting credits list on "Romance" belongs to "Liar," a nutty, style-hopping song that takes a reggae-ish beat from Ace of Base and a vocal line from Lionel Richie, and also throws in some flamenco handclaps and mariachi horns.
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Painstaking construction went into this track; listen to the way the handclaps deliberately lag behind the bass drum, the way the percussion later lags behind the guitar, the way the voices are scraggly or sweet, the rising and falling buzz in the background.
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Among these is "F9mily (You & Me)," which comes with certified pop-punk credit: Blink-182 drummer Travis Barker provides the song's driving percussion beat, and combined with the handclaps strewn throughout, it's the song that's perhaps the most primed for Gen Z-friendly radio.
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Oh No is love at first arpeggiator, a world of new wave energy with contagious handclaps, drum machine beats, and synth hits that live up to the charm of pioneering Japanese electronic group Yellow Magic Orchestra, Lanza's greatest source of influence on the album.
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The upbeat tunes of songs like "You Can Call Me Al" and "Kodachrome" carry tidings of desperation and disillusionment; driven by flamenco handclaps, the snappy "Wristband," from Mr. Simon's 2016 album "Stranger to Stranger," warns about the rising anger of people who feel shut out.
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The swinging beat harks back to rockabilly, and so does Pink's belted-with-a-grin vocal, but the production expects a minuscule 21st-century attention span, springing a new sound — handclaps, backup voices, gunshots, bell tones, synthetic horns — every four bars if not sooner.
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Ages ago, I watched a Behind the Music episode on John Mellencamp and they spent a solid ten minutes of that installment talking about the iconic handclaps on "Jack & Diane" (they were in the rough track to keep time and were meant to be removed from the final mix).
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Beginning with lickety-quick handclaps and a brooding bass line, her song "S P A C E" keeps the instrumentation and beats unforgivingly spare so that the 22-year-old's vocals—layered and looped and swirled like a strands of hair round a fidgety finger—are the central focus.
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PARELES With a post-punk bass line backing her up, K.Flay methodically tosses aside feminine stereotypes — "I used to think about the way that I dressed/Like was I pretty enough, and am I good at sex" — and stacks up handclaps, guitars and noise behind her gleeful autonomy.
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Don't call it a comeback, but Green Day borrows the look of Elvis Presley's 1969 TV comeback special for the video clip of "Father of All …," which transmogrifies the band's old punk-pop into 21st-century mutations: processed vocals and artificial-seeming handclaps over vintage Beatles-tinged chord progressions.
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Producer El Guincho, who has previously specialized in dense junkyard collages, here contributes a calmer, more exacting sound, as sparse electrobeats, syncopated handclaps, rapid guitar plucking, and weird overlaid samples — background cheers, revving motorcycles — provide a mechanical pop functionalism while also creating the illusion of an interactive live setting.
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Rolling Stone's Jonathan Bernstein noted how the album felt "burdened" by the success of "Take Me to Church," Hozier's breakout single, with "songs that can feel like they're merely piling on feel-good folksy handclaps and grandiose gospel choirs in the hopes of landing on a chill-coffeehouse Spotify playlist."
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One Direction brought boy-bandom back into the UK and US mainstream in 2011, singing about being overwhelmed by hair flips, loving imperfections, as well as less chaste fare ("If you don't wanna take it slow / And you just wanna take me home / Baby say yeah") masked by handclaps and na-na-nas.
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Opener "Closing Shot" was lauded upon its release as a single back in March, and that praise holds up today: it's the perfect marriage of power and playfulness, a rock-solid groove decorated with exultant synth stabs — seriously, they're like something out of an 8-bit game about the Olympics — and splashy handclaps.
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There are kick drums and high hats, tambourines and claves, handclaps and foot stomps, the staccato stabs of a singer's voice; I also felt as if I were hearing the sound of change clattering around in a bowl or a car door being slammed, someone dropping a drum kit down a flight of stairs.
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It's all unaffected vocals, acoustic guitars, and handclaps, beginning with the tongue-and-cheek "Happy Singing Band" and lulling into a sort of dream state before snapping back into "Covered in Frogs" and a cover of Nirvana's "On a Plain"—one of two Nirvana covers they did during this era ("Polly" was the other).
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" That plays out with both venom and humor, often at the same time, like on "Fake Bitch," a light-sounding ballad with sprightly handclaps that opens with a horrifying—and depressingly familiar-sounding image: "I felt you press your dick against my thigh / When we hugged / I didn't ask for it / You're not the one I want.
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Since she moved to Portugal in 2017, she has been exploring the sounds of the Lusophone diaspora, as is audible on the most intriguing tracks on "Madame X". "Batuka" riffs on batuque, a traditional dance music from Cape Verde notable for its call-and-response structure, but adds syncopated handclaps and crescendoing drums to hypnotic effect.
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With her songs on "El Mal Querer" (which could translate as "Bad Desire" or "Bad Love"), produced by the electronic musician El Guincho and others, she explores passion, jealousy and betrayal while handclaps interweave with minimal trap beats and the arabesques of flamenco singing segue into Auto-Tuned quavers: age-old sentiments expressed in the present tense.
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As she sings about how a certain kiss makes her lose control despite herself — "Clothes are on the floor," she notes at the end — the ultra-canny track segues from mariachi horns to the stark electronics of Latin trap to flamenco handclaps (hello, Rosalía!) to a ska-pop chorus: border-hopping at the speed of pop.
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That side of Mr. Kiwanuka's music reappears in "One More Night," a Stax-style soul song about clinging to hope, and in the album's first single, "Black Man in a White World," a complex declaration of identity, with a field-holler-like melody set to handclaps, tricky funk syncopations from Mr. Kiwanuka's own guitar and bass tracks and jabs of disco strings.
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You let your ass fall into the central bounce path carved out by the bass and the handclaps, and then the rest of your body can align with whatever you want for however long you want: the half-tempo crooner, the squeaking synth, the chuckling guitar monologue, the drum fills, the whistles, the calls and interjections by what sounds like two dozen different voices.
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Handclaps: The handclaps in Agbadza are used to add human interaction to the song and create a dense musical texture of high energy.
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"The Loco-Motion" was the first release by the new Dimension Records company, whose releases were mostly penned and produced by Goffin and King. There are two common versions of the song in circulation: one includes handclaps during the verses; the other has no handclaps. King performed the backup vocals in the recording.
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"Lazer Beam" then breaks down for the last time to handclaps and keyboard swells and ends with a few seconds of isolated keyboard noise.
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NME praised the track, describing it as "a synthetic chatter of robotic handclaps and tweaky guitar fuzz, creamed off with a squeaky-clean chorus delivered in alarming falsetto".
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Richard's singing veers from restraint to expressions of yearning, with a quavering timbre. "Return of the Queen" posits Richard's virtuosic vocal undulations against trip hop and operatic flourishes. The songs are mostly midtempo, have strong grooves, and occasionally emphasize drums, with various percussive sounds that include bass drums, handclaps, and timpanis. Beginning with an eerie music box loop, "Northern Lights" builds gradually over a drum machine beat and layered, stereo-panning handclaps.
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In an album review, Jon O'Brien from AllMusic liked the "'wooh- ooh' harmonies and infectious handclaps of the driving country-rock" song. Larry Heath from The AU Review said he "enjoys" the song.
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The instrumentation on the track consists of acoustic guitar, electric guitar, drums, bass and overdubbed handclaps. The fade-in and coda both include guitar overdubs, played by George Harrison on his Rickenbacker 12-string.
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"155" is a heavily layered synth- driven track that contains handclaps and "Cure-esque guitars." The handclaps were Barker's idea, who noticed its prevalence in hip-hop songs and wanted to incorporate into a rock song. "Lillian" features programmed drums and acoustic guitars, and was inspired by Hoppus' residence in San Diego, before the move to Los Angeles. "I lived in a part of San Diego that's one of the most beautiful places in the country, but it's also one of the most evil sickening places," said Hoppus.
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On 10 October, McCartney and Ringo Starr finished the song, Starr adding drums and handclaps, McCartney adding more vocals, bass guitar, and lead guitar. Lennon and Harrison were again occupied, supervising string overdubs for "Piggies" and "Glass Onion".
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Ken Scrudato from BlackBook found the Arthur Moon remix off of the Replanting Family Tree EP release to be well aligned with the progression of autumn, noting its use of "electro-handclaps, jittery beats, and piercing synth-blasts".
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Several critics felt "Smile" was reminiscent of Meghan Trainor's sound. "Smile" is an upbeat bubblegum pop and doo-wop song. Its instrumentation consists of a saxophone rift, electric guitar, synth, handclaps, harmonies and backing vocals. Jessica Morris of Fdrmx.
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After signing with Wichita Recordings, the band began re- recording many of the songs from the original demo, as well as several new tracks for what would be their debut record. Sessions began in London with Chicago based avant-garde musician Bobby Conn producing, after the band had supported him on some UK dates and impressed him "They had this cassette demo they had recorded on a boom-box, I suggested overdubs, they were too kitchen- sink for overdubs. I tried handclaps, they were 'not sure about handclaps'. It was all 'Keep it real'" – Bobby Conn.
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The recording session was scheduled for 27 January, but the Beatles were reluctant to attend it. "" was the first song to be recorded. The Beatles recorded eleven German vocal takes, so they were mixed with the original instrumental. The handclaps were overdubbed.
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"Throw it up / throw it up / watch it all fall out / Pour it up / Pour it up / That's how we ball out", she chants over a "hypnotic" beat and "handclaps". Rihanna's vocals span from the low note of F3 to the high note of A4.
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"Sexual Healing" has been described as a post-disco, soul and funk song. It begins with a deep bass drum followed by "tinny" handclaps, "ticky" snare, and "tishy" hi-hats generated by a Roland TR-808 drum machine.Anderson, Jason (November 28, 2008). . CBC News.
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Convict Pool is an EP released by Arizona band Calexico. Among its tracks is a cover version of the Minutemen's classic, "Corona," with an arrangement featuring mariachi horns reminiscent of Johnny Cash's "Ring of Fire," and a cover of Love's "Alone Again Or" featuring flamenco handclaps.
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The music of "Europa and the Pirate Twins" is a deliberate merging of past and present, combining modern synthesizers with blues harmonica playing and electronic percussion with handclaps. The central character in "Radio Silence" is a personification of Radio Caroline, a 1960s British pirate radio station.
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He was first played a stripped-down version of the song, featuring just his drum line and the handclaps. He was surprised to hear them and asked, "I wonder if they're in the mix. Is that the demo?" He was then played the final version of the song.
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"Always Be" utilizes finger snaps and handclaps; its melody was compared to the Shins and Shout Out Louds. It discuses co- dependency, alongside exploited weaknesses. "Carry You" originated as a track from Adkins' side project Go Big Casino. Its acoustic guitars evoked the Futures song "Kill"; Fields contributes keyboard.
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Most of the group's members play multiple instruments and their music makes use of a wide range of instruments, from analog synthesizers, samplers, the glockenspiel and handclaps; to concert band instruments like the trumpet, tuba, trombone, saxophone, clarinet and recorder; and the more standard guitars, bass guitar and drums.
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Musically, crunk borrows heavily from Miami bass and 1980s-era call-and-response hip hop. Heavy use of synthesized instruments and sparse, truncated 808 handclaps are staples of the crunk sound. Looped, stripped-down drum machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular.
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The Little Ones is an indie pop band based in Los Angeles, California. The music of the band, which features tambourines and handclaps, has garnered comparisons to 1960s pop bands such as The Beach Boys, The Zombies, The Kinks, modern-day pop group The Shins, and the Elephant Six collective.
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"The Great Adventure (Re:created)" omits the opening guitar riff of the original and replaces the backing vocals of the original with strings and percussion, while "Dive (Deeper)" tones down the upbeat vibe of the originals and adds in a flute and percussive handclaps. "Do Everything" features a more upbeat feel.
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Most of Tartit's songs are simply structured. The female members of the band play the traditional instruments, imzad and tinde, and are supplemented by the teherdent ngoni and/or electric guitar played by the men. To these instruments are added chants and percussive handclaps. The result is a sort of desert blues.
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"Halo" is a contemporary downtempo power ballad that features a pop production. It has elements of gospel and soul music. Instrumentation is provided by a piano, a keyboard, big drums, a synthesizer, strings, and percussion instruments. The cascading piano work is accompanied by percussive beats that alternate between handclaps and foot stomps.
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Retrieved January 15, 2015. It also felt that vocalist Stump's vocal melody played off the music well. Idolator wrote that The Munsters sample added a 1960s surf-rock vibe to the "impossibly catchy" song.Fall Out Boy’s New Song “Uma Thurman” Blends Handclaps, The ‘Munsters’ Theme & An Undeniable Chorus: Listen Idolator. Retrieved January 15, 2015.
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All three musicians added handclaps. Other overdubs included McCartney's bass, Harrison on six-string bass, and Lennon playing a snare drum. Harrison played the guitar solo in the instrumental break, while McCartney contributed a high-pitched, single-note solo over the final verse. MacDonald describes the musical arrangement as a "thunderous wall of sound".
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"There's Nothing Holdin' Me Back'" is a "dance-y" pop rock track. A Billboard editor noted it features some electric guitar and "strained" vocals on the chorus. As the upbeat track progresses, it incorporates handclaps, funky guitar riffs, and foot-tapping bass. The pre- chorus was inspired by early works of Timbaland and Justin Timberlake.
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Before the second verse, additional instrumentation enters; including a heavy bass-line, metallic percussion, and 808-handclaps. The studio album's final track "Good Night" exhibits the production characteristics of West's next musical evolution. West juxtaposes the glitchy, mechanical sound of an 8-bit beat with the more elegant, traditional sound of a classical piano.
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Mikael Wood from Los Angeles Times felt that "G.U.Y." helped the Artpop album have a "fresh" sound. Annie Zalenski of The A.V. Club praised it as one of the album's highlights. The song was called an "instant hit" by Mike Driver from Clash who found the usage of handclaps and the chorus as addictive.
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"House of Jealous Lovers" is a dance-punk song. Its percussion section features disco hi-hat patterns and snare drums doubled with handclaps. The DFA reshaped the percussion by layering and reversing the hi-hats and chopping the drums. The song includes prominent cowbell rhythms that grow louder through the course of the song.
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Today, the music primarily springs from three women with an emphasis in the body—voices and vocal percussion, handclaps and heartbeats, sex-breath and silence. The work grows from diaspora consciousness: both Jewish and African. Stylistically, Charming Hostess incorporates doo-wop, Pygmy counterpoint, Balkan harmony and Andalusian melody. Contemporary influences on the band include Meredith Monk and Reinette l'Oranaise.
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New Glow embraces much more elements of mainstream styles such as hip hop and electronic dance music than Matt and Kim's previous punk-influenced works, through there are still components punk featured on the record. It opens with "Hey Now", containing a pounding drum beat, handclaps, low-octave brass instruments, group chants and an air horn in its instrumentation.
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The song is propelled by a strong bass line and contains live drums and handclaps. A raunchy guitar solo provides a rock element to the funky track. "Get It Up" is basically an ode to sex and Day's attempts to get some. Prince's vocals are very apparent in the song, both in the background and the lead at times.
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He subsequently upgraded to an ARP 2500. The synthesizer did not play any sounds directly as it was monophonic; instead it modified the block chords on the organ as an input signal. The demo, recorded at a slower tempo than the version by the Who, was completed by Townshend overdubbing drums, bass, electric guitar, vocals and handclaps.
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The song's official remix, produced by Cid Rim, removes the "pop rock" edge of the song in favor of an electronica and hip hop-influenced sound. In this version, the verses display handclaps underneath Ferreira's vocals, which are more pitched than in the original and "cut up" as well. Carl Williott of Idolator billed it as "an intriguing listen".
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"Focus" features horns (saxophone, trumpet and trombone), with cowbells and handclaps as percussion. The song received generally mixed reviews from music critics. Some praised Grande's vocals and the song's brassy production, and others criticized its similarity to her 2014 song "Problem". "Focus" debuted at number seven on the US Billboard Hot 100, with 113,000 downloads in its first week.
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Each, judging by this, must be a stunner, as there is nothing here that qualifies as anything less. The opening “Burnin’ Up” offers handclaps, dancing (Ritmo Flamenco is a Toronto based Flamenco dance company), violin and bass – at least. Unfortunately, there is no credit given to the accompanying players on the disc. The violinist is especially stunning.
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He was advised to have George Martin play the piano solo because it was believed that the solo was beyond Paul's competency, but Paul persisted. George Martin's brass and string arrangements were overdubbed later that day. The next day, McCartney re- recorded his vocals, added handclaps, and overdubbed bass and guitar parts, completing the song that day.
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The song was remixed by Shep Pettibone, with additional mixing done by John "Jellybean" Benitez. "Spotlight" features instrumentation from drums, bass synths and handclaps, accompanied by vocal echos, a piano segment and violin phrases in the musical interlude. The lyrics talk about how one can be famous if one sings about it. The song received mixed reviews from critics.
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"Tell Me You Love Me" received acclaim from music critics, who mostly complimented its production and Lovato's vocals. Elias Leight of Rolling Stone called the song "a swelling ballad full of horns and handclaps". Mike Wass of Idolator described the song as "a fiery mid-tempo anthem". Jeff Benjamin of Fuse called the song a "booming ballad".
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The lyrics depict a man's frustration with a woman who is dating his best friend after the man dated her. The narrator coolly notes, "She's my best friend's girl, but she used to be mine." Billboard Magazine described the song as a "melodic youth-oriented rocker" that uses "catchy handclaps" to generate the feel of an early 1960s song.
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Musically, "Therapy" is an uptempo pop song with strong influences from doo-wop and rhythm and blues. Influences of gospel genres were also found in the song. It consists of a spacious beat, handclaps, a Hammond organ and the multitracked humming of co-writer Sam Smith. The instrumentation includes thumping drums, guitars, bass guitars, organs, and a piano.
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The EP utilizes dance and pop music, with each song being influenced by pop rock, electronica, and trip hop music. Like Rainbow, it contains ambient-influenced sounds such as handclaps and cheering. The lyrical content deals with freedom, fun and sadness, continuing themes seen on her previous album. The EP received mostly positive reviews from music critics, who commended the production value.
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The music video was released on May 11, 2009 on MTV.com, MTV2, MTVU and MTV Hits. On June 2, the day New Again was released, "Sink Into Me" was performed on Jimmy Kimmel Live!. The band performed with a third guitarist, Isaac Bolivar, as well as having backing vocals and handclaps supplied by members of Envy on the Coast and Anberlin.
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The following day, they added overdubs, comprising vocals, percussion and handclaps. In addition, according to authors Ian MacDonald and Kenneth Womack, Harrison also played lead guitar on the track. MacDonald characterises the 25–26 May sessions as "chaotic" and typical of the group's drug-inspired efforts after completing their album Sgt. Pepper's Lonely Hearts Club Band late the previous month.
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"Where Were You in the Morning?" is a hybrid of pop and R&B; with an "atmospheric" production, featuring a "bluesy, soulful guitar" and handclaps. It also resembles Mendes's idol John Mayer's work. According to Billboards Lars Brandle, the song is "Mendes' melancholy tale of a one-night stand who bailed on him the next morning without so much as a good-bye".
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"Play" was written by Robyn, Ulf Lindström and Johan Ekhé. Lindström and Ekhé recorded Robyn's vocals and produced the track at Lifeline Studios in Stockholm, Sweden. Almnils Erson, Pär-Ola Claesson, Gunilla Markström and Olle Markström played the strings, and Niklas Gabrielsson provided handclaps, while Lindström and Ekhé played all other instruments and managed arrangement and mixing. Britta Bergström and Angela Holland sang backing vocals alongside Robyn.
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"Slumber Party" was written by Mattias Larsson, Robin Fredriksson, Julia Michaels and Justin Tranter, with production being done by Mattman & Robin. Spears' vocals spans from the low note D3 to the high note E5. Mattman & Robin were also responsible for vocal production, along with Mischke, as well as programming, drums, percussion, snaps, handclaps, synths, guitars, bass, marimba and brass. Michaels, on the other hand, provided background vocals.
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"Back To The Life" features a tambourine and handclaps that "come in at the exact right moments". The song "opens with a demented cackle, then laying on heavy rhythmic sampling and melodic trickery". The closing track "Vittorio E" has been described as "an undulating, vaguely psychedelic ballad" and an "anti-ballad", the aforementioned Pitchfork article describing it as "a 3-minute synopsis of the album's emotional heft".
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"Raising Hell" fuses pop, pop rock, gospel, EDM and bounce into a "Pink-esque" composition. It has been compared to the single "Timber", which Kesha was featured on. Described as combining the musical styles of Kesha's first two studio albums and her third, Rainbow, it features beat drops accompanied by "soaring synth beats", gospel choirs, handclaps, a church organ, horns, and a post-chorus by Freedia.
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"Green Light" represents a departure from Legend's previous musical works. Nathan S. of DJ Booth noted that the song still uses the "same smooth vocals and spare melodies" present in his previous ballads. Musically, the song is an uptempo and light electro-funk club banger. The song utilizes horns, saxophone, trombone, trumpets, double time drum loops, synthesizers, computerized handclaps, and busy hip-hop beats.
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The song's musicscape features a church organ riff, tribal drum-circle groove, and minimal handclaps. Towards the end of the track, it builds into a "rhythmically soaring, Edge-like" guitar solo. Coldplay's use of "exotic" instruments for majority of tracks in the album, including "Lost!", was a result of a goal in wanting to present their songs differently, something "which have never been heard" in previous releases.
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The single version has sparse instrumentation: guitar (played by Bowie) and arco bass (by Paul Buckmaster). The album version, recorded in July/August 1969, features a full orchestral arrangement by Tony Visconti and is said to be the debut on a Bowie record of Mick Ronson, contributing uncredited lead guitar and handclaps midway through the track.David Buckley (1999). Strange Fascination – David Bowie: The Definitive Story: p.
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"Birthday Cake" is an R&B; interlude which lasts for one minute and 18 seconds, appearing as the sixth track on the album. The instrumentation of "Birthday Cake" consists of a heavy bass, schoolbells, engine sounds, claps, and electro beats. It also samples the song "Dominator" by Human Resource. The track also consists of hoover synths, synth handclaps, an Eastern-inspired tone and chants.
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The Patrick Wolf EP is the debut EP of English-Irish singer-songwriter Patrick Wolf, limited to 1000 copies. The songs, "Bloodbeat" and "A Boy Like Me" would go on to appear on Lycanthropy, Wolf's debut album. "Empress" features a music box playing the lullaby Frere Jacques throughout. This EP features Leo Chadburn (recorder), Joe Zeitlin (cello) and handclaps from ‘the Special Lady Crew’.
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Recorded on and off over two years, No Ceremony was issued in November 2008. The album contained perhaps the band's two most famous songs, "With Handclaps" (which was championed by Tom Robinson on BBC Radio 6) and Punk Rock Disco. Primarily recorded in Tosh's living room and Adam Stafford's parents' living room and bathroom, the album was issued to 4 and 5-star reviews in November 2008.
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The Rivingtons had originally been known as The Sharps and had had success in the charts with Thurston Harris's "Little Bitty Pretty One" in 1957. They then appeared on Duane Eddy's 1958 hit "Rebel Rouser", providing handclaps and rebel yells. They also recorded on Warner Brothers Records as The Crenshaws in 1961. Their first hit as the Rivingtons was "Papa-Oom-Mow-Mow" (Liberty #55427, 1962).
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The vocals and handclaps were processed using automatic double tracking, so allowing these parts to be split across the stereo image. For this version, the song was edited down from the original eight minutes to a running time of 6:28, making it the longest officially released Beatles track written by Harrison.Gold, Gary Pig (February 2004). "The Beatles: Gary Pig Gold Presents A Fab Forty". fufkin.com.
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Critics mainly praised the song for Rowland's vocals, as well as an infectious and refreshing production which uses Europop melodies, guitar riffs, and Glee-like handclaps. An accompanying music video, directed by Sarah Chatfield, features the iPad interface and scenes of Rowland partying with friends in Los Angeles. The single was considerably less successful than its predecessor, "Commander", only managing to peak in the UK at number forty-nine.
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"Beat Goes On" is a disco song with hip-hop influences, featuring instrumentation from bells, handclaps and whistles. Lyrically, "Beat Goes On" encourages people to say whatever they like and do whatever they feel. The song received generally favorable reviews from music critics, who commended the disco environment, while also praising Williams' production. However, some felt that the leaked version was better than the final version featuring West.
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The deluxe edition includes five bonus tracks – four new songs and an acoustic version of "I Am" entitled "I Am (Stripped)". "Monday Morning" is a new wave track, which is accompanied on a funk guitar and handclaps. "Bobblehead" is a hip hop-inspired song that features a "clattering, chanting" beat. It berates women who, encouraged by a sexist culture, want to be valued more for their appearance than for their intellect.
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According to music journalist Paul Tingen, "Happy" is "a mid-tempo ... song in a faux-Motown style, with an arrangement that is, by modern standards, very sparse: programmed drums, one bass and one keyboard part, and handclaps both programmed and played, all topped off by Williams's lead vocals and a whole posse of backing vocals". Jody Rosen viewed the song as a "standout" with a "sprightly neosoul funk groove".
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The song was blend of the adult-oriented urban pop of her former albums, and the more ambient, bluesy work she was dabbling with. "Should I Go", based upon Coldplay's song "Clocks", is built on percussive beats, syncopated handclaps and a piano riff. Lyrically, Norwood as the protagonist openly talks about contemplating stepping away from the music business, admitting that she's trying to figure out where she fits in today.
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The music video for JC's electronic song "All Day Long I Dream About Sex" was directed by Todd Kellstein. The video mixes 80's synths, handclaps and Jaggeresque attitude. Written after a late night out, JC played around with some old synths he'd just borrowed and discovered the distinct sound. Sounding like "Dead or Alive meets Duran Duran" the single is firmly placed within the retro electronica sound.
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It is rare for a married, or any older woman to dance it. It is even rarer, but not impossible, to be performed by men. However, men can assist the dancing girl by mimicking her movements in an exaggerated and clownesque way, which is supposed to make her beauty more striking. The assistance of older women is usually limited to only handclaps on the rhythm of the music.
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The following song is "Do It 2 Me". It marks a return to Jackson's conversational style; in the song, She is searching for her lover: "My first and only call is to you, time after time, babe, throughout my life". Its music is punctuated by handclaps and by low swoops of a string section. Sixth song "This Body" lyrically is about men who have appreciation with Jackson's appearances in magazines.
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"Call on Me" is the ninth song and lead single from 20 Y.O. It features Nelly, and samples The SOS Band's 1983 song "Tell Me If You Still Care". It includes whispered vocals from both Jackson and Nelly. Second interlude finds Jackson remembering her Good Times days as Penny. "Daybreak", the eleventh song, begins with fairy tale infused chimes before introducing electronic soul handclaps before Jackson starts singing.
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It has an airy production, containing a tropical R&B; beat, 1980s grooves, electropop riffs, layered melodies, calypso synths, handclaps, a vinyl hiss, and a guitar arpeggio. Lipa uses sensuous alto vocals, spanning a range of F3 to D5. Described by Lipa as about "self belief, perseverance, and fighting for what you want," the song sees her pleading for a romantic redemption after a falling out with her boyfriend.
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He also played the electric guitar, bass, acoustic guitar and synthesizer on "Title". Mastering was handled by Dave Kutch whereas David Baron played piano and organ. "Title" is a doo-wop song which runs for a duration of 2 minutes and 54 seconds. It blends horns and background vocals with ukulele folk-pop and island percussion morphed into a programmed beat, further containing handclaps and subtle modern sound effects.
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The song's instrumentation is synthesized, consisting of drum machine loops, organs, strings, gurgles, handclaps, as well as a digitally-altered "homophonic" choir. According to sheet music published by Musicnotes.com, "Bedtime Story" is written in the key of G minor and has a moderate tempo of 108 beats per minute. Madonna's vocals span from the nodes of A3 to G5 and follows a basic sequence of Gm9–Dm–E–A–G as its chord progression.
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"Shelter" was released as the third single on Finneas' debut EP Blood Harmony for digital download and streaming through his record label OYOY on August 22, 2019. The track was written and produced by Finneas. Critical commentary described the track as a pop-based track. "Shelter" features electric guitar, Latin-based guitars, drum beats, gospel choir effect[s] during the chorus, reverb’d handclaps, bluesy vocal embellishment and rapid phrasing in the bridge.
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The EP opens with "I Lost a Friend", an electropop ballad. It features minimalist consisting of bass guitar, piano, drums, layered harmonies, an aggressive beat and synthesizer. Lyrically, it addresses the pain and confusion when losing a friend. The following track, "Shelter" is a pop-based track. It features electric guitar, Latin-based guitars, drum beats, gospel choir effect[s] during the chorus, reverb’d handclaps, bluesy vocal embellishment and rapid phrasing in the bridge.
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It has numerous 1980s and disco tropes in its production, including handclaps, a crowd noise, cowbell, synth bursts and accented strings. Its lyrics find Lipa celebrating her independence and instructing a former lover to forget about their past relationship. The track received positive reviews upon its release; many reviewers noted significant growth in Lipa's sound and vocals. Critics also favoured its 1980s and disco elements for standing out among pop releases at the time.
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It also uses a cowbell in the middle of the chorus, laser weapon sound effects and handclaps. The song additionally incorporates elements of dance- pop and Eurodance genres, as well as 1980s synth-pop in the chorus. It channels several modern antecedents of disco, such as Italo disco and French house. The song opens with a three-chord piano intro from the first part of the chorus and a fuzz sound of a spinning record.
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The single received favourable reviews from critics upon re-release, with the NME describing it as "no-flab electro-pop nugget", while Q magazine described it as "a snatch of Hey Mickey-style handclaps and a gobbily staccato vocal, stitched together to fashion a groove that's as instant and familiar". Digital Spy compared the single to a "well-shaken can of cola", and added "[the track is] brimming with sticky, yummy, fizzy goodness".
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Josiah Hughes of Exclaim! viewed Lu Cont's remix as an "exciting fist-pumper", writing that it "quite possibly surpass[es]" the original. MTV's Sam Lansky described Gartner's uptempo take as "aggressive", and noted the addition of handclaps and "grimy" synthesizers, which the writer believed fit well with Wyatt's vocals. A writer for Pigeons & Planes wrote that Gartner "flips the tune with some heavy bass, some heart-wrenching build- ups, and hard-hitting thumps".
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The song's smooth, muffled beat climaxes as a euphoric crescendo. The densely textured title track features expressive bass playing by Thundercat, continuous gong and handclaps, and J Dilla-like keyboard. "Only If You Wanna" is a futuristic jazz trio piece with both digital and analog sounds. AllMusic's Andy Kellman delineates the songs from "See Thru to U" to "Only If You Wanna" as the album's most musically connected and "least divisible" section.
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Stipe compared the song's theme to "Every Breath You Take" (1983) by The Police, saying, "It's just a classic obsession pop song. I've always felt the best kinds of songs are the ones where anybody can listen to it, put themselves in it and say, 'Yeah, that's me.'"Black, p. 180. In a 2020 interview for Song Exploder, a Netflix series, Bill Berry was reminded that handclaps were introduced later in the song.
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The song contains echoing handclaps and a "Diwali Riddim" with a "blaring" chorus. "Anaconda" is a hip-hop and pop-rap song that heavily samples "Baby Got Back" by Sir Mix-a- Lot. The song's lyrical content is described as "raunchy" and noted for containing a "heavy dose of 2014 sex lingo". "The Night Is Still Young" is a pop song with verses revolving around a routine night out at a club.
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A Cappella is a 1985 album by Todd Rundgren. The album is one of Rundgren's most unusual in that every sound is the product of the artist's voice. Rundgren employed overdubbing techniques and an E-mu Emulator (an early sampler), electronically manipulating the sound of his voice to mimic conventional rock instruments, handclaps, and other sounds. This approach to music making was later explored by artists such as Mike Patton and Björk.
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According to Adam Greenberg from AllMusic, Ecstasy "share[s] some ideation with Lady Gaga concepts, mixing sultriness with oddity and playing with the instrumentation and voicing along the way." The album's second interlude, "12:35PM", is another instrumental piece with "slow-paced" handclaps, and subtle urban undertones. Hashire! is a "distorted" midtempo dance song with influences of rock and pop music, and the EP is closed with a final instrumental interlude, "12:00AM".
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"Smile" is a single by Australian recording artist Dami Im, released on 26 May 2015. It was written in Solna, Sweden by Im, Hayley Aitken and Olof Lindskog, and produced by the latter under his production name Ollipop. "Smile" is an upbeat bubblegum pop and doo-wop song that consists of a saxophone rift, electric guitar, synth, handclaps, harmonies and backing vocals. Several critics felt its production was reminiscent of Meghan Trainor's sound.
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"Express Yourself" begins with the sound of brass tinkling along, as Madonna chimes the opening line: "Come on girls, do you believe in love? 'Cause I got something to say about it, And it goes something like this." Handclaps and drum beats start as Madonna moves into the chorus of the song, with a thick vocal texture and high-pitched background singing. The chorus is aided by instrumentation from a saxophone and percussion.
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Composed in E minor with a time signature of , "Wings" is a bubblegum pop, R&B; song with a tempo of 112 beats per minute. The music comprises syncopated, double-timed handclaps, and a varying kick and snare drum arrangement. Other instruments include guitar, keyboards, as well as woodwind and brass types: alto, baritone and tenor saxophones, trombone and trumpet. Brief use of wobbly bass synthesizer during the verses add a contrasting dubstep element.
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In 1994, the Supremes were recognized with a star on Hollywood Walk of Fame at 7060 Hollywood Blvd. Later in 1960, the Primettes signed a contract with Lu Pine Records, issuing two songs that failed to perform well. During that year, they kept pursuing a Motown contract and agreed to do anything that was required, including adding handclaps and vocal backgrounds. By the end of the year, Berry Gordy agreed to have the group record songs in the studio.
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The reviewer said the songs contain "classic cock-rock sonic tchotchkes: handclaps, talk-box guitar breaks, rainbow keyboards. The overall effect is something akin to ZZ Top with glitter in their beards." Melissa Maerz of Entertainment Weekly gave the record an "A–", writing that the group "make a small-room racket that sounds massive enough for a bigger-is-better world". Maerz said that "El Camino trades the soulful stylings of Brothers for harder-driving, faster-riffing rock & roll".
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In a review Alex Denney of The Guardian, he described the music of "Lost!" as "tabla-assisted gospel- hop". Kitty Empire of The Guardian wrote in a review that "Lost!", "a great organ-driven tune, alive with handclaps and foot-stomps", is the most obvious homage to Canadian indie rock band Arcade Fire among other tracks off the album. According to Chris Willman of Entertainment Weekly magazine, the lyrics to "Lost!" are "a lament about spiritual bereftness".
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The piece Hart wrote for that scene ended up including all the instrumentation heard throughout the film: strings, brass, mandolin, cimbalom, droning banjo, and percussion. The banjo sound heard throughout the film was intentional. Hart claims its sole purpose is to ring and drone continuously in an attempt to create a slightly unsettling feeling. 60% of the score was scored at Hart's home studio, where most of the banjo, mandolin, handclaps, guitar, and solo violins were recorded.
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Literary journalist Alec Wilkinson writes that the song's narrator is "looking for refuge in the part of town where the wind always blows at your back and the ground tilts in your favor." "Guantanamo" features cascading guitar by Cooder and handclaps. The song is about the nadir of human depravity. A slow, 12-bar blues lament, "Cold Cold Feeling" features juke joint, bottleneck guitar, and lyrics placing Barack Obama as the narrator singing his blues in the White House.
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"Bésame", (Kiss Me) is an evocative theme, expressing the need to go to the dance floor with the guy she like. "Me Acostumbré" (I Got Accustomed) and "Dile Que Ya" (Tell Him Okay) are "hip-hop ballads". "Alerta" (Alert) features "choppy rhythms, handclaps, and vaguely nefarious horns, plus an ingratiating synth line played by a one-fingered android". "Venganza", (Vengeance) speaks up against the mistreatment of women, which embodies what Queen represents within her musical compositions.
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The recording of Get Back took place over four days. The band acted as their own producers for the recording sessions, while Michael McClintock and William Bowden served as Balance Engineer and Mastering Engineer respectively. The album was mostly recorded live, with occasional overdubs including additional percussion and handclaps. De Backer, Hubbard, and Schroeder were also joined by John Zutic, who contributed piano parts for "I Could Go On", "Gone... Gone... Gone...", and "You're Already Gone".
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The music video of the song is an excerpt from the film. Musically, "Gambler" is an upbeat synth-pop and disco song, featuring instrumentation from drums, electronic handclaps and percussion, which is accompanied by a bass synth and keyboards. The lyrics talk about Madonna asserting her self-independence. Critics gave a mixed review of the song, but it was commercially successful, reaching the top-ten in the charts of Australia, Belgium, Ireland, Netherlands, Norway and the United Kingdom.
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Shaad D'Souza from Vice Magazine said "'Clumsy Love' showcases the warmth in Plum's voice, underpinning it with handclaps and tambourine. Despite the track's wispy production, Plum's songwriting still cuts deep." Thomas Bleach called the song "shiny" and "quirky", describing it as "deliver[ing] a euphoric layered with a very emotional and reflective storyline" and as "bold and exciting". auspOp described the song as "an addictive little indie pop gem" and said the song has a "gorgeously sunshiney gloss".
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" The album was recorded in London and Chipping Norton, and mixed in New York by Andy Wallace. David Simutis of Phoenix New Times concurred that the record is an upbeat affair. He wrote that "the main emotion captured on Friends & Lovers is happiness. From the up-tempo power chords, organ and handclaps of 'I'd Do It Again If I Could,' to the bouncing beat and guitar textures of 'What Happened to Me,' it's a powerful record of hope.
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In the movie, the song is performed by the main character, Beca Mitchell (Anna Kendrick), during an audition for a college a cappella group, the Barden Bellas. She plays the song on a plastic cup and handclaps the rhythm. The composition of "Cups (When I'm Gone)" is credited to A. P. Carter and Luisa Gerstein. The song was initially released on January 1, 2013, as part of the soundtrack for Pitch Perfect, with a length of 76 seconds.
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On 29 August, McCartney overdubbed bass guitar and Lennon sang his lead vocal, doubled for effect, to which McCartney and Harrison added harmony vocals. The other contributions were handclaps and percussion, including Harrison and McCartney on tambourines, and more backing vocals. For these additions, the Beatles were joined by Mal Evans, Apple Records artist Jackie Lomax, and McCartney's cousin John McCartney. Although cut from the released recording, the performance originally ended with the backing singers all cheering and applauding.
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The rest of the production consists of funky synth beats, a squelchy bass, rubbery basslines, syncopated handclaps, nu-disco rhythms, wonky and bizarre synths, funky guitars, talk box vocals, a hypnotic synth line and disco strings. Lipa's vocals range from F3 to B4. The middle eight includes a Blondie-influenced rap, where Lipa exerts her British accent. "Levitating" has many outer space references, using the metaphor of love as a spaceship to transmit radiant euphoria and happiness.
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In Rainbows incorporates elements of art rock, experimental rock, art pop, and electronica. The opening track, "15 Step", features a handclap rhythm inspired by "Fuck the Pain Away" by Peaches. Radiohead planned to record handclaps by a group of children from the Matrix Music School & Arts Centre in Oxford; when the clapping proved "not quite good enough", they recorded the children cheering instead. Radiohead recorded a version of "Nude" during the OK Computer sessions, but discarded it.
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Perfume were Paul Weller's special guests at his Lazy Sunday Afternoon in Finsbury Park. Jo Whiley joined the band on stage at BBC Camden Live Festival to add handclaps to Lover, a song she described as "The sweetest song in all the world." Steve Lamacq and Jo Whiley included the interview with Perfume when the band surprised Jo for her birthday as one of their highlights in the 20 Years of The Evening Session programs in 2014.
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According to the NME, "Lotus Flower" combines the electronic instrumentation of Radiohead's fourth album Kid A (2000) with the "sonic warmth" of their seventh album In Rainbows (2007). The song features Yorke's "Prince-like" falsetto over syncopated beats and a "propulsive" synthesised bassline. Though the main beat is in common time, the handclaps are in quintuple meter, creating a metric dissonance. "Lotus Flower" has a more traditional song structure than other songs on The King of Limbs.
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Musically, "Can I Get a Moment?" is an up- tempo funk and soul song that consists of a percussion, horns, "chunky beats" and handclaps. Upon its release, the song received positive reviews from various publications, who praised its production and Mauboy's vocal performance. "Can I Get a Moment?" debuted at number five on the ARIA Singles Chart and became her eighth top-ten single. It was certified platinum by the Australian Recording Industry Association for sales exceeding 70,000 copies.
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Messi changed the electric guitar by linking the strings together with pieces of paper, thus giving the instrument a damper tone which emitted a "thudding" sound similar to the balafon. Messi's style was immediately popular, and his hits, like "Mengalla Maurice" and "Bekono Nga N'Konda," became radio favorites throughout the country beginning in the early 1960s. Further innovations followed, as Messi replaced the handclaps and sanza with a synthesizer and the foot-stamping 6/8 rhythm to drums.
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The song features handclaps and maracas and does not have a traditional guitar solo, unlike most other AC/DC songs. On the first pressing of the UK version of Powerage, "Rock 'n' Roll Damnation" does not appear; side 1 opens with "Gimme a Bullet". Some later UK and European pressings tacked the single version of "Rock 'n' Roll Damnation" on as the opening track of the album. Eventually the full version of the song became the standard.
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At this session, Harrison added his lead guitar parts (treated with Leslie effect), McCartney recorded the lead vocal, and Lennon, McCartney and Harrison supplied backing vocals; handclaps were also overdubbed. With two reduction mixes having been carried out since 2 October, to free up space on the four-track tape for these and later overdubs, the master take was now nominally take 16. This version of the song appeared on the 1996 outtakes compilation Anthology 2.Lewisohn, Mark (1996).
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Lyrically, it tells listeners that true love can defy all circumstances and the obstacles that it can overcome. "As long as you love me/ We could be starving/ We could be homeless/ We could be broke," Bieber sings over a staccato beat and handclaps, with an undercurrent of a swirling-sounding synth. "As long as you love me/ I'll be your platinum/ I'll be your silver/ I'll be your gold," he adds. Big Sean drops a rap exalting a lady love, too.
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According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an especially tense vocal sound. The style also occasionally uses improvisational additions, twirls and auxiliary sounds.
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Brian Holland, Lamont Dozier and Eddie Holland were rarely out of the charts for their work as songwriters and record producers for The Supremes, the Four Tops and Martha and the Vandellas. They allowed important elements to shine through the dense musical texture. Rhythm was emphasized by handclaps or tambourine. Smokey Robinson was another writer and record producer who added lyrics to "The Tracks of My Tears" by his group The Miracles, which was one of the most important songs of the decade.
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The sound quality of African-American music distinguishes itself because of its African sentiments that are foreign to Western patterns. Maultsby describes how in Africa and the black diaspora, black musicians have managed to cultivate an array of unique sounds that imitate nature, animals, spirits, and speech into their music. Mechanics of delivery involves improvisation of time, text, and pitch to deliver Black audiences a variety in performances. Textures can be increased through solo voices or adding layers of handclaps.
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The song is composed in common time and written in the key of D♭ major with a fast tempo of 128 beats per minute. Petricca, described as "flaunt[ing] his emotive yelp" over the track, has a vocal range that spans from D♭4 to F6. The song makes use of jangling guitars, thunderous pounds, and retro synths that play over a grumbling disco bass. It additionally includes an open and closed hi-hat pattern, handclaps, and a synth solo.
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Locking may be done in solo or in unison with two or more dancers doing steps or handshakes together. A locker may smile while performing to emphasize the comical nature of the dance; other times, a serious demeanor will be maintained to place emphasis on technique. Other important stylistic features are waving of arms, pointing, walking stationary and grabbing and rotating the cap or hat. Don Campbell created the original freezes, incorporating his unique rhythm and adding gestures such as points and handclaps.
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"He's Misstra Know-It-All" is a single by Stevie Wonder for the Tamla (Motown) label, from his Innervisions album, which reached number 10 on the UK Singles Chart in May 1974. The song takes the form of a mellow ballad with a steady beat, principally a solo performance with Wonder providing lead vocal, background vocal, piano, drums, handclaps and congas. Ethereal flute-like sounds are provided by his TONTO modular synthesiser. Willie Weeks, on electric bass, is the only other musician.
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The verses are in the key of B major and modulate up one step to B major for the main chorus and modulate once more to C major during the final repetition of the chorus. It is originally 98 beats per minute and features a sparse bass line and heavy handclaps. The music video version of the song differs in a few ways, most noticeably in the longer length and brass synth introduction absent in the album and single variations.
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Instrumentation was provided by Stewart, who played drums, percussion, bass guitar, synth bass, synthesizers, pads, piano, electric guitars, programmed horns and programmed strings, and Johnny Thirkell, who played live horns. The upbeat production consists of "snapping" handclaps, bounces, grooves and "infectious" beats. The track features a funky bassline accompanied by vocal harmonies, falsetto hooks and a disco rhythm that is "ready-made for the dancefloor." It utilises "layered vocals, echo-y synth, and celebratory horns" to recreate the '70s retro sound.
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Beyoncé's vocals are accompanied by clicky and castanet-sounding beats, synthesized handclaps and slaps. According to Roger Friedman of Fox News Channel, "Baby Boy" is based on the reggae song "Here Comes the Hotstepper" (1995), performed by Jamaican singer Ini Kamoze. "Baby Boy" is considered to be a sequel to Jay-Z's song "'03 Bonnie & Clyde" (2002) featuring Beyoncé. The lyrics detail a woman's fantasies, and in keeping with the album's overall theme, Beyoncé's deemed them as personal to her.
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The song is in the key of C major. The song form is standard AABA (verse-verse-bridge-verse), without a chorus as such, but including the refrain "No reply". The main instrumentation on the Beatles recording comprises acoustic guitars (played by Lennon and Harrison on their Gibson J-160Es), bass guitar and drums. In addition to handclaps by all four members of the group, the overdubs included a piano part by their producer, George Martin, and electric guitar played by Harrison.
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I'm a Believer and Other Hits is a budget-priced Monkees compilation released in 1997. It contains 10 of The Monkees' greatest hits. Many tracks are in their stereo single mixes; thus, "A Little Bit Me, A Little Bit You" is without handclaps, and "Listen to the Band" has a shorter organ bridge. The album includes one track from the 1980s reunion, along with one previously unreleased track "Ceiling in My Room", taken from The Birds, The Bees & The Monkees sessions.
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These endings of Georgian surnames indicate which area of the country they originated from. The usual performance of Georgians began with the riders, all dressed in national outfit (chokha in Georgian), taking the stage while carrying their weapons and singing. First they marched around the arena, then stopped and dismounted on mid-stage, broke into a new song and started to perform one of Georgian native dances to the accompaniment of handclaps. Sometimes this dance was executed upon a wooden platform.
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Percussion (cowbell and guiro) by Mike Carabello and handclaps by Jagger, Chris Kimsey and Barry Sage were added during overdub sessions in April and June 1981. A music video was produced for the single, directed by Michael Lindsay-Hogg. According to Linday-Hogg's recollection, Jagger and Watts proposed the collaboration to him over lunch with Jagger particularly keen to emulate the style of video shown on MTV, which he regarded as "the future". The subsequent production became one of the most programmed videos of MTV's early years.
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According to Yorke, "We Suck Young Blood" is a "slave ship tune" with a free jazz break, and is "not to be taken seriously". With ill-timed, "zombie- like" handclaps,Forbes the song satirises Hollywood culture and its "constant desire to stay young and fleece people, suck their energy". Jonny Greenwood used the ondes Martenot, an early electronic instrument, on several tracks. "The Gloaming (Softly Open our Mouths in the Cold)" is an electronic song with "mechanical rhythms" that Jonny Greenwood built from tape loops.
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It has a retro sound, along with handclaps and a post-chorus chant reminiscent of "All About That Bass". The song's lyrics reference the latter with the line, "I gave you bass/You gave me sweet talk." The use of girl-group harmonies and bubblegum pop hooks has also been a point of comparison; Trainor has admitted they "follow the [same] formula". On "Lips Are Movin", Trainor assumes a Southern-inflected patois and delivers half- sung, half-rapped vocals over its retro melody and saxophone beat.
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Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps.
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The genre is based in a fusion of flamenco singing and the Afro- Cuban claves. It is in time, and consists of vocalists and handclaps, accompanied by guitar, bongos, and güiro; later groups also incorporate timbales, conga drums, small percussion instruments, piano, wind instruments, electric bass, and electric keyboard. Among the most important early artists in the genre were Antonio González "El Pescaílla", Peret, Josep Maria Valentí "El Chacho", followed by the duo Los Amaya. In the 1970s, Gato Pérez rejuvenated the Catalan rumba.
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"Mmm Papi" is a latin pop song that lasts for three minutes and twenty-two seconds. The song has dancehall elements and a 1960s go-go vibe, and incorporates into its melody handclaps and a rock guitar. Anna Dimond of TV Guide perceived influences of Madonna's "La Isla Bonita" (1987) in the song, and called it an "ode to the tropical life (and perhaps its masculine fruits)". It has been suggested that its lyrics deal with either her father Jamie Spears or paparazzi Adnan Ghalib.
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Don Palmer of Musician proclaimed that "Wanna Be with You" is a relaxed shuffle bump boogie based around a ten note piano vamp. The handclaps provide a solid back beat while the horns and altered vocal yelps exclaim the obvious". Tim de Lisle of Smash Hits called Wanna Be with You "a pleasant surprise, an excellent melody given a fresh jazzy treatment. "Wanna Be with You" won a Grammy Award in the category of Best R&B; Performance by a Duo or Group with Vocals.
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"Can I Get a Moment?" is an up-tempo funk and soul song with a duration of three minutes and twenty-five seconds. Its instrumentation consists of a percussion, horns, "chunky beats" and handclaps. Naomi Janes of Renowned for Sound noted that "Can I Get a Moment?" features "'Blurred Lines' style backing vocals" and compared Mauboy's vocals to Christina Aguilera. Mike Wass of Idolator wrote that the song "sounds like a winning mix of B'Day-era Beyoncé and Jessie J's 'Bang Bang'", while Kathy McCabe of News.com.
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Their version exchanges harmonizing for handclaps while emphasizing the pop aspects of the song with elements of R&B.; The cover was released as a single. Writing for idobi, Sam Devotta felt that The Cheetah Girls' version "lacks the power [and frustration] of the original", preferring Egan's interpretation. An abridged version of "I Won't Say (I'm in Love)" appears on stage in the jukebox musical Disney's on the Record, performed by Andrew Samonsky, with Meredith Inglesby, Andy Karl, Tyler Maynard and Keewa Nurullah providing backup vocals.
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Lou Rawls, former Keen assistant A&R; rep Fred Smith and J.W. Alexander join in to provide backing vocals and handclaps to the chorus. "Having a Party" became the closing song of Cooke's live performances from the time it was recorded to his death. These concerts would typically end with all other acts joining Cooke and company onstage, throwing confetti while Cooke worked the audience to "keep on having that party" after the show is over. A version can be heard on Cooke's posthumous live recording, Live at the Harlem Square Club, 1963.
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" He continued, "Ms. Feeney's music draws on sources across centuries. Her ensemble, including strings, trumpet and sometimes a recorder, often sounds like a Baroque consort, spinning contrapuntal arpeggios; it also hints at folk-pop, Minimalism and the metrical gamesmanship of progressive rock. "One More Tune" used syncopated handclaps reminiscent of Steve Reich and a trumpet line hinting at a village brass band, while a new song, "If I Lose You Tonight," which she sang accompanied only by a few notes from a mandolin, had the melodic purity of a traditional Irish ballad.
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In The Daily Telegraph, Neil McCormick found the lyrics to be of "depth, wisdom and experience", delivered in "a voice rich with musicality, all set in a sonic context that locates him in the present moment". Rupert Howe of Q said Russell's arrangements "brilliantly frame [Scott-Heron]'s rich burr and terse street poetry with brooding electronica and stark blues handclaps". In the opinion of The Village Voices Stacey Anderson, "it's more emotional, more optimistic, than his past political provocations, and he hasn't sounded this lively in ages".
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"When I Grow Up" is an uptempo electropop song that lasts four minutes and five seconds. Built around "bouncy synth lines" and a "thudding" bassline, the song features a heavy use of sirens, handclaps and pitch-shifted vocals. Scherzinger was cited as adopting Britney Spears' breathiness against the song's sirens, shouts and "pumping beat". Jaime Gill from Yahoo Music UK described "When I Grow Up" as a "dark, dissonant club banger", while Rudy Klapper from Sputnikmusic compared the song's composition to that of Basement Jaxx's 2003 track "Plug It In".
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English recording artist M.I.A. (pictured) "Birthday" was written and produced by Mike Del Rio, with additional writing by Crista Russo and Jacob Kasher Hindlin. Additional vocal production was handled by Matt Beckley. The three-minute and twenty-second track is an electropunk and club-ready song, which draws influence from dubstep and trap music genres. The beat is composed of deep electronic dance beats, and is built around the sound of police sirens and sexual moans, while containing purring, synthesized bass, snappy beats, handclaps, "oxygen- sucking" sub-bass and trap snares.
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"He was really keen on using all those devices: the big repeated end, the handclaps, the straightforward chorus, make it big and obvious." In an interview on the eve of the album's release, Anderson stated: "I wanted it to be a complete turnover from the last album, which was very dark and dank ... I wanted it to be communicative and understandable." Two songs which made it onto Coming Up had already been written in the early days of Suede. "Lazy" and "By the Sea" were two of Anderson's own compositions.
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Williams first collaborated with Cyrus while producing the tracks "4x4" and "GetItRight" for her fourth studio album Bangerz (2013). It was announced that Cyrus would appear on Williams' second studio album Girl when its track listing was confirmed on February 25. Their collaboration, "Come Get It Bae", was premiered through iTunes Radio on February 28 during an exclusive streaming of the record before its official release on March 3. "Come Get It Bae" is a funk song with playful beat, which sees the incorporation of a "throbbing bass and handclaps".
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Harvey, Steven "The Perfect Beat" The Face Magazine, October, 1983 Its unique percussion sounds like handclaps, open and closed high-hat, clave and cowbell became integral to the electro sound. A number of popular songs in the early 1980s employed the TR-808, including Marvin Gaye's “Sexual Healing,” Cybotron's “Clear,” and Afrika Bambaataa's “Planet Rock.” The Roland TR-808 has attained iconic status, eventually being used on more hits than any other drum machine. Through the use of samples, the Roland TR-808 remains popular in electro and other genres to the present day.
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It's the apocalypse as beach blowout, the meltdown as brodown." Mikael Wood wrote for Spin that the song is "a scratchy, festive tune set in a strip club, to take a 'long hard look at my last decision'." Rick Florino from Artist Direct described the song as "an up- tempo sunny rocker complete with handclaps at all the right times." Daniel Tebo from PopMatters wrote that "the unabashedly sleazy 'Look Around' remind fans that Flea is the world’s mightiest bassist and that Kiedis is probably the most insufferable lyricist of all time.
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At the end of the track when Jones sings the first two lines of "Amazing Grace", her mother Marjorie, a lyric soprano, can be heard singing the same hymn in church. The song's working title was "Keeping up with the Joneses", an idiom heard in the lyrics. Time Out London described the composition as "among the most personal songs she's ever recorded, celebrating the contradictions between Grace's religious family background and outré public persona". The Independent said the song "employs handclaps and choral refrain to build up an almost gospel fervour".
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The track features snapping handclaps, echoing synths, and celebratory horns, taking influence from 1970s music. Intended to soothe listeners during the COVID-19 pandemic, the song talks about joy and appreciation for the little things that make life valuable. Upon release, "Dynamite" received positive reviews from music critics, with praise towards its catchiness and broadly appealing retro sound. "Dynamite" debuted at number one on the Billboard Hot 100 chart, becoming the band's first number-one single in the United States and making BTS the first all-South Korean act to top the Hot 100.
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"King of Hearts" is a dance-pop and electro- dance song that runs for 3:37 (3 minutes and 37 seconds). The song incorporates elements of several musical genres such as electronic music, Europop, eurodance and contemporary R&B.; It features the use of echoing vocal effects Mix/Mastered by Its Hott 2 Productions (Lamis Carneiro) and a fast backbeat while running through a four-on-the-floor rhythm and playing over a bouncy beat. It begins with staccato electro synths and handclaps then follows with "thudding, slightly syncopated" drum programming.
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" Anderson went to say that "Caillat plays with rhythmic touches (the high-spirited handclaps on "Brighter Than the Sun") and adds a dollop of country heartbreak to both her voice and her lyrics. On the ruminative title track, for example, world-weary pathos practically drips off the line 'I'm no good at guessing.' Nothing here is a call to arms, but Caillat's soft revolution is rousing nonetheless." Gary Graff from Billboard was also positive, saying that "on 'All of You' she does so with a little more wisdom, balance and musical maturity.
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" "Hello" is an uptempo "rugged" track that "finds its groove in the chorus [and] handclaps on the bridge." "The War Is Over" was considered a "post-breakup song" with "pummeling" drums, while "Let Me Down" has Clarkson being "'dumb enough to linger' with a bad boy." "You Can't Win", a punch-guitar song, "reflects on the reality that there are always going to be critics, no matter what you say or do. It strives to encourage 'the one who doesn't quite fit in' not to internalize criticism too deeply.
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McGill was born in South Shields on industrial Tyneside and was aged two when his father Kenneth, who was a tailor, died suddenly. Consequently, his mother Janet sent him as a boarder to the former Warehousemen, Clerks’ and Drapers’ School in Surrey. Brian Angel, his oldest friend from schooldays, recalled in an obituary at their school website, now the Royal Russell: “At cricket Angus was a daunting umpire, renowned constantly for bad decisions. These drew slow handclaps from the Head, Mr Madden: “Oh, well done, McGill, another wrong call.
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Suzette Fernandez of Billboard pointed out the difference in sound compared to Rosalía's previous releases, saying that she "fusions her flamenco with contemporary global rhythms, stepping aside from the reggaeton beat from some of her other recent releases". Tom Breihan at Stereogum saw the song as Rosalía's return to getting "weird again" and described the singer's appearance as "snarling hard over a head-spinning, rippling beat". Jordan Darville of The Fader concluded that "the song itself chops samples, handclaps, and fat kick drums that easily puts it in banger territory".
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He also used the same technique on his 1965 song "If I Needed Someone", which shares a similar melodic pattern. The following day he taped his lead vocals, and he and McCartney recorded their backing vocals twice to give a fuller sound. Moog 3-series synthesizer used on the song A harmonium and handclaps were added on 16 July. Harrison overdubbed an electric guitar run through a Leslie speaker on 6 August, and the orchestral parts (George Martin's score for four violas, four cellos, double bass, two piccolos, two flutes, two alto flutes and two clarinets) were added on 15 August.
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"Hypnotico" is an up-tempo dance song that contains a "chunky beat" and retro-1980s synths, with an "old-school feel". Categorized as a "synth-heavy record", the dancehall-tinged track also contains handclaps and "boy-toying," with syllables and a "boricua shoutout", all running at 119 bpm. It opens with Lopez calling out: "All the girls that know they sexy, come on!". "They love me for my body / I'm original sexy," sings Lopez over the "bombastic bassline" before the chanting chorus kicks in: "All the boys are lovin' when we do our thing / We just some silly heartbreakers tonight".
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Regli wrote in its Dizionario biografico: "She was beloved in all theaters where she sang, but in Lisbon she became an idol. Here she received unceasing handclaps and delighted the audience with her noble manners and her fine style." ("Se fu l'amore di tutti i Teatri che calcò, fu l'idolo di Lisbona, ove non cessavasi di applaudire e di gustare gli eletti suoi modi e il puro suo stile") Later Fabbrica sang also in Madrid and Saint Petersburg, until 1850, when she ceased her activity. Isabella Fabbrica was very famous for her talents as an actress and for her powerful voice.
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The new wave-styled "Lost" is about a perplexed addict, who hopes for a better life for him and his drug-cooking girlfriend. "Monks", a funk rock song, is about finding nirvana and deals with topics such as casual sex and devout religion in a narrative that shifts from an exciting concert to a metaphorical jungle. "Bad Religion" features melodramatic, orchestral music and a series of figures, including strings, handclaps, marching band snare drums, and mournful organ chords. The lyrics follow an emotional confession to a taxi driver by a narrator brooding over a secretive intimate relationship.
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"Do You Wanna Come Over?" was written by Mattias Larsson, Robin Fredriksson, Julia Michaels, Justin Tranter and Sandy Chila, with production being done by Mattman & Robin. Mattman & Robin were also responsible for programming, drums, percussion, snaps, handclaps, synths, guitars, bass and kalimba, while Michaels and Jermaine Jackson provided background vocals. It was recorded at 158 Studios, Westlake Village, California, The Studio at the Palms, Las Vegas, Nevada, and at Wolf Cousins Studios, Stockholm, Sweden. "Do You Wanna Come Over?" is an electropop, and dance-pop song that lasts for three minutes and twenty-two seconds (3:22).
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The song's instrumentation is created by blending purring, synthesized bass, snappy beats, handclaps, "oxygen-sucking" sub-bass, and trap snares with sexual moans and elements of hip hop music. Sparse drum beats and vocal chants are woven throughout the song's composition, which has been described by critics as an electropunk and club-ready, with trap and dubstep elements. The song was originally announced as a single, but was never officially released from the album. Thematically, "Birthday" is a party song which discusses topics such as sexual appeal, self-entitlement, and girl power, while its risqué lyrics speak of a night of hard partying.
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Kanye then begins reciting the chorus of "Big Brother" in a rhythmic, half- sung manner, followed by him rapping its smooth, melodic verses. Approximately half-way through its first verse, the song suddenly adopts synthesizer sounds which replicate the melody of the string section. During West's second delivery of the chorus of "Big Brother", after the end of its first verse, the song incorporates more musical aspects, including handclaps, percussion, and a bassline. Throughout the song, the pacing of West's rapping varies, from swift raps typical of hip-hop music to a slower style reminiscent of spoken word.
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"Let's All Chant" is a disco song driven by a repetitive bassline, handclaps and numerous vocal hooks (such as "Ah-ah, eh-eh, let's all chant" and "Your body, my body, everybody work your body"). These typical disco lyrics are about dancing and working one's body. The song's instrumentation also includes Afro-Cuban drums, a "rollicking" piano line and an ensemble of wind instruments, marked by a piccolo trumpet solo which sounds "like it's straight out of the Dynasty opening theme song". The song's tempo is 121 bpm and is very close to the average tempo of a standard disco song (120 bpm).
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According to the sheet music published by EMI Music Publishing, it is composed in the key of A minor but changes to E major in the bridge and changes to A minor, and set in common time at a moderately slow tempo of 85 beats per minute. The instrumentation of "Ring the Alarm" includes drums, clattering percussion instrument, treble synthesizers, and bass instrument. It also makes use of a slapping backbeat, an air horn, titanic handclaps, plonks, and breathing noises. A blaring siren is used as the song's introductory sound, setting an aggressive tone, which is augmented by Knowles' throaty mezzo-soprano growl.
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Lennon played rhythm guitar and electric piano and sang the lead vocals, Paul McCartney played bass, George Harrison played lead guitar and Ringo Starr played drums. It was produced by George Martin and recorded in late July 1969 at EMI Studios in London. In the intro and after each chorus, Lennon says "shoot me", which is accompanied by echoing handclaps and a distinctive drum part by Starr as well as McCartney's prominent bass riff. The famous Beatles' "walrus" from "I Am the Walrus" and "Glass Onion" returns in the line "he got walrus gumboot", followed by "he got Ono sideboard".
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Musically, "Gambler" is an upbeat song that combines elements of synth-pop and disco, composed in the style of the songs on Madonna's self-titled debut album. The song features instrumentation from drums, electronic handclaps and percussion, which is accompanied by a bass synths and keyboards. The song starts with an initial four-chord chorus, and a brief three-chord verse, eventually reaching a middle eight, where Madonna's voice is in echoes. Near the end, the coda of the song uses a new musical sequence, with some whistling, and the line "You can't stop me now" ending echoes.
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Upon release, Matt Collar of AllMusic described the song as "buoyant '60s girl group-infused", which "retain[s] all of the duo's bright and infectious lyricism". David Smyth of the London Evening Standard commented that the song "sounds like a golden hit and a startling departure from the Gothic Americana that made their name". Molloy Woodcraft of The Guardian considered the song "catchy" and highlighted the "Florence-esque bass drum and handclaps". Lisa- Marie Ferla of The Arts Desk commented that the song was a "gorgeous drive- time radio ballad in the best of ways, all hand claps and huge choruses".
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"Why Don't We Do It in the Road?" is a song by the English rock band the Beatles, released on their 1968 double album The Beatles (also known as "the White Album"). Short and simple, it was written and sung by Paul McCartney, but credited to Lennon–McCartney. At 1:42, "Why Don't We Do It in the Road?" comprises 34 bars of a twelve-bar blues idiom. It begins with three different percussion elements (a hand banging on the back of an acoustic guitar, handclaps, and drums) and features McCartney's increasingly raucous vocal repeating a simple lyric with only two different lines.
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Crowe then proceeded to play a CD of the album, which seemed completely mixed and finished already. No one in the room seemed willing to comment on the songs, and it soon became apparent to Parker and Stone that Crowe simply wanted everyone to sit there and listen to the album. Parker said that while Crowe was "a very talented actor," he was a poor musician, describing his record as "Bon Jovi meets Hepatitis B." At one point, a song came along which featured handclapping. Parker, trying to think of something constructive to say, suggested that Crowe mix out the handclaps.
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The track follows in the chord progression of G–A–Bm in the first line, when Madonna sings "Holiday!" and changes to G–A–Fm–G in the second line, when Madonna sings "Celebrate!". The four bar sequence of the progression continues throughout the song and features instrumentation from guitars flicking in the background, electronic handclaps, cowbell played by Madonna, and a synthesized string arrangement. A side-by-side repetitive progression is achieved by making use of the chorus. Towards the end of the song, a change in the arrangement happens, where a piano break is heard.
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Accessed 2007-10-01. The drone is drowned by the music that arrives at the chorus, which is a conflation of ambient synths and an astral backing choir crafted from a non-verbal vocal sample of "Someone Saved My Life Tonight" by Elton John. "Good Morning" eventually concludes with the voice of Jay-Z reiterating lyrics from "The Ruler's Back", the rapper's own opening track of his sixth studio album The Blueprint. The production for "Champion" features intermittent drops and 808-handclaps and expresses a slight jazz-rock influence, eschewing guitars and trumpets in favor of breezy synths.
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"Boss" (stylized as "BO$$") is a song recorded by American girl group Fifth Harmony, released as the lead single from the group's debut studio album, Reflection (2015). Serviced to contemporary hit radio on August 19, the song was written by Eric Frederic, Joe Spargur, Daniel Kyriakides, Gamal Lewis, Jacob Kasher and Taylor Parks, and was produced by Frederic, Spargur and Daylight. Musically, "Boss" is a dance-pop song with additional instrumentation including trumpets, handclaps, horns and heavy bass that create a rhythmic militaristic sound. Lyrically, the song focuses on themes of feminism, female empowerment, confidence and reversed gender roles.
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I'm good now, and sorry I'm not sorry that you may not be loving where your life is at the moment." The title track is a gospel-influenced song described as a "booming ballad" by Fuse's Jeff Benjamin. It is instrumentally complete with horns, percussive drums, handclaps and wah-wah guitar lines. Lovato explained to Billboard that "Tell Me You Love Me" is about "the vulnerability of coming out of a very serious relationship and having a tough time with it," and further commented that lines as "You ain't nobody 'til you got somebody," "calls out a big misconception.
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The handclaps and drum loop that are buried in the mix of "Gleaux" yield an urgent half-time tremor and obscure chamber strings. The drumming on Goldenheart has a tribal, African-influenced sound, which Richard attributes to the music of her native New Orleans: "It's that marching band, second-line music, that Creole- influence in the kick, and the snare that drives everything for me." The album is bookended by stately marches in "Return of a Queen" and "[300]". "In Your Eyes" was inspired by the Peter Gabriel song of the same name, which Richard felt had a calypso and South African vibe.
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Jewlia Eisenberg is an American composer. As founder and bandleader of Charming Hostess she coined the term "Nerdy-Sexy-Commie-Girly" to describe her genre of music which spans an eclectic range of styles. Originally from New York City, Eisenberg became an integral member of the San Francisco Bay Area and the New York Downtown music scenes in the 1990s. Her music is both physical, using voices, vocal percussion, handclaps, heartbeats, sex-breath and silence and also intellectual, exploring such topics as Bosnian genocide in Sarajevo Blues (2004) and the political/erotic nexus of Walter Benjamin and his Marxist muse in Trilectic (2002).
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Written and produced by them, the song was a tribute to American funk and soul band Sly and the Family Stone. The main inspiration behind the song is female empowerment, urging women never to go for second-best and to always express their inner feelings. "Express Yourself" is an upbeat dance-pop and deep funk song that features instrumentation from brass, handclaps and drum beats, while the chorus is backed by the sound of saxophone and percussion. The lyrics talk about rejecting material pleasures and only accepting the best for oneself; subtexts are employed throughout the song.
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The brief and eclectic "Bambina" features vocoder and "crunchy" guitars. The musically bright and upbeat "This Life" contains handclaps and lively guitars, with Koenig's lyrics exploring "spiritual uncertainty" with levity, interpolating the line "You’ve been cheating on, cheating on me / I’ve been cheating on, cheating on you" from "Tonight" by American rapper iLoveMakonnen. It has been musically compared to "Brown Eyed Girl" by Van Morrison (1967). "Big Blue" ambiguously explores religious and cosmic uncertainty, with the concise track including ambient arpeggios, sporadic drum samples, "flowery" harmonies, a choir and detuned guitar riffs as it builds dynamically.
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"Good Kisser" is an uptempo "stripped-back soul-funk" R&B; song that has a "sensuous, sturdy bassline", "salsa drums", a "dusty vinyl pops", '"Rich Harrison-recalling" "cowbell-heavy percussion", "jazzy keyboards", "handclaps" and Usher's "loose vocal delivery". According to Rolling Stone writer Ryan Reed, the lyrics consist of "praising one particular set of lips", "setting the scene with lots of specific imagery". Consequence of Sounds "Good Kisser" described the lyrics as a mix between "[19]60s pop innocence and slightly naughtier, early ’90s R&B; fare a la Bell Biv DeVoe". There are also "awesome innuendos and racy metaphors" in the song as well.
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On 30 December, the four tracks were mixed together to form the first track of a new tape. On 4 January 1967, the Beatles' first session of the new year, Lennon and Harrison overdubbed contributions on piano and lead guitar, respectively, and McCartney added a lead vocal, which he then replaced the following day. Further overdubs, on 6 January, included Ringo Starr's drums, McCartney's bass guitar and Lennon's rhythm guitar, as well as handclaps, congas, harmony vocals and more piano. Following another reduction mix, brass and woodwind instruments, including four flutes, were added on 9 and 12 January, from a score by producer George Martin, guided by McCartney's suggested melody lines.
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In an interview with the German editor of her official website, Rowland has said that "On and On" (produced by Brian Kennedy) or the Pitbull- assisted "Take Everything", written by Jim Jonsin, were considered for release as second international singles. However, on August 18, 2010, UK station BBC Radio 1 announced that "Forever and a Day" was the name of Rowland's new single and subsequently played the record for the first time. "Forever and a Day" is an up-tempo Europop song which makes use of a "subtle guitar riff" and "Glee-like handclaps." The song was written by Rowland, Jonas Jeberg, Andre Merrit, and Sam Watters.
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The subsequent full-length album New York · London · Paris · Munich was recorded in Montreux, Switzerland, at Queen's Mountain Studio, with lead singer and guitarist Robin Scott and regular engineer David Richards, as well as Julian Scott, Wally Badarou and Brigit Novik. Additional musicians on the album included drummer Phil Gould, Gary Barnacle on saxophone and flute, and David Bowie (a friend of Scott and a resident of Montreux at the time) who provided occasional handclaps. The album was also released in the United States on Sire Records with a different track listing but it was not commercially successful, compared to the album's success in Europe.
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Before teaming with Clarkson to write "Already Gone", Ryan Tedder had co- written Beyoncé's song "Halo" for her album I Am... Sasha Fierce. Clarkson later heard "Halo" and noticed distinct similarities between the two songs, most notably in the melancholy piano, loud drums, and handclaps in their backing tracks. She confronted Tedder about using the same arrangement, claiming that people would assume she had stolen it from Knowles. Clarkson tried to have the song removed from All I Ever Wanted, but it was too late to make any changes; the album was already being pressed and it was not possible to make any changes to the track listing.
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2008 saw the band release their second album, Rescue Weekend, again to critical acclaim. The album was originally written and conceived as a separate project from the band, but when multi-instrumentalist Tosh joined in 2007, the band decided to issue it under the Y'all is banner on their own DIY Label, Wise Blood Industries. The band subsequently released "With Handclaps EP" on Glasgow punk label Winning Sperm Party in August 2008, "No Ceremony" in November 2008 and "Infanticidal Genuflector: Selected Film Soundtrack Work 06/07" in December, respectively (again on Winning Sperm Party). This notched the amount of releases in 2008 to four: one EP and three LPs.
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"Take Back the Night" received mixed to positive reviews from music critics. A reviewer of Fact wrote, "Horn-addled and packed with the kind of effortless swagger the singer exudes so well, 'Take Back the Night' will no doubt field comparisons to prime-era Michael Jackson, and that’s no bad thing at all." The comparison was echoed by Spin, New York Post and Showbiz 411, all of whom reacted favourably to the song. Writing for Vulture, Amanda Dobbins praised the "poorly named, pretty fun single" for being "a solid one, with a heavy disco vibe and the all-important handclaps" but also frowned upon its length.
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The song's intricately composed outro, with the right amount of flourish provided by new musical elements such as xylophones and bells, exemplifies the musical complexity of the album as a whole. "Touch the Sky" stands as the sole song on the entire album not to feature production by West. The song was produced by fellow Roc-a-Fella producer Just Blaze, who uses a slowed-down sample of Curtis Mayfield's "Move On Up" filled with jubilant Latin horn blares. "Gold Digger" contains an interpolation of "I Got a Woman" by Ray Charles and a bouncy beat formed from handclaps as well as scratches by West's touring DJ A-Trak.
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The original German and Spanish 4:30 single mix featured no percussion ad-libs and most notably, after the second verse it has a key- change to a drum / handclaps / a cappella chant before the song quickly fades. When producer Frank Farian remixed the song for the 12" single and a new 7" edit, he added more percussion and synth and deleted this key-change part and replaced with an outro with himself singing "Wimoweh, wimoweh" (deliberately borrowed from another African tune "The Lion Sleeps Tonight"). Lead Vocal: Liz Mitchell. Backing Vocals: Liz Mitchell, Marcia Barrett, Frank Farian, La Mama (Cathy Bartney, Patricia Shockley, Madeleine Davis).
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The band recorded five takes of the song before Harrison selected the third of these for further work. After reduction to a single track on the four-track master tape, their performance consisted of Harrison on lead guitar, treated with a Leslie effect, McCartney on piano and Ringo Starr on drums, with Lennon adding tambourine. The group then overdubbed vocals, with McCartney and Lennon singing parallel harmony parts beside Harrison's lead vocal. Further overdubs included maracas, the sound of which Pollack likens to a rattlesnake; additional piano, at the end of the bridge sections and over the E79 chord in the verses; and handclaps.
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Pitchfork Media stated with respect to the 2003 version of The Aislers Set: "Here, Linton's indie quintet becomes a pop orchestra. The band's music is denser than ever before, laden with sleigh bells, handclaps and horns piled atop the conventional guitars, drums, bass and keyboards-- and all are drenched in cavernous reverb, providing the ambiance and intimacy of a gigantic, empty concert hall". The band toured for most of 2003 including a month-long stint supporting Yo La Tengo and a week supporting The Shins. Since late 2003 the band has been on hiatus with Linton having moved to New York City and Cusick moving to Gothenburg, Sweden.
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"Holiday" features instrumentation from guitars, electronic handclaps, a cowbell, and a synthesized string arrangement, while its lyrics speak about the universal sentiment of taking a holiday. Receiving highly positive reviews from critics, the song became Madonna's first mainstream hit single in the United States, peaking at number 16 on the Billboard Hot 100 and number one on the Dance Club Songs chart. It also became her first top-ten single in several countries, including Australia, Belgium, Germany, Ireland, the Netherlands and the United Kingdom. Madonna has performed "Holiday" on most of her tours and it is generally included as a part of the encore.
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Compared to the single "Timber", which Kesha was featured on, it features beat drops accompanied by "soaring synth beats", gospel choirs, handclaps, a church organ, horns, and a post-chorus by Freedia. In the title track, Kesha makes fun of people "who think she's too much of an airhead to write hits or even spell her own name". "Shadow" is a piano ballad that "demonstrates Kesha's ability to cohesively present all facets of her talent" and questions her right to be happy. The song was compared to Kesha's 2017 song "Praying" and purposefully recalls "Spaceship" in the lyrics "I love tripping in the desert with my best friends, seeing spaceships in the sky".
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In early 2007, it was reported that Madonna was recording songs with American singer-songwriter Justin Timberlake for her upcoming album. Later, it was also announced that record producers Timbaland and Pharrell Williams were working with her on the album, and Timbaland confirmed that a song titled "Candy Shop" was being produced by Williams. A month later, a song called "The Beat Goes On", featuring Madonna's vocals and production by Williams, leaked online. The song started with Madonna saying, "Let's do something different, let's change things up," followed by DFA handclaps and cowbells, Bee Gees-like falsettos on the chorus and "Williams background interjections sprinkled throughout the track," as noted by Maura Johnson from Idolator.
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The Stax Museum in Memphis, a replica of the now-demolished Stax studio, where Whitlock spent part of his teenage years In an article for Mojo magazine in May 2011, music journalist Phil Sutcliffe described Whitlock as having been born in Memphis and learning to play the Hammond organ "peering over Booker T's shoulder at Stax studios". While still a teenager, Whitlock befriended acts associated with Stax Records, including Albert King, Sam & Dave, the Staples Singers and Booker T. & the M.G.'s,Whitlock, pp. 28–29. and was the first white artist signed to the label. His first contribution to a recording was in 1967, when he supplied handclaps on Sam & Dave's single "I Thank You".
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"Should I Go" is a song by American recording artist Brandy Norwood from her fourth studio album, Afrodisiac (2004). It was written by Walter Millsap III, his collaborative partner Candice Nelson, and mentor Timbaland, while production was helmed by the latter. "Should I Go" is built on percussive beats, syncopated handclaps and a piano riff that samples British alternative rock band Coldplay's song "Clocks", written by Guy Berryman, Jonny Buckland, Will Champion, and Chris Martin for their second album, A Rush of Blood to the Head (2002). Lyrically, Norwood as the protagonist openly talks about contemplating stepping away from the music business, admitting that she is trying to figure out where she fits in today.
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Daryl Easlea from BBC wrote, "their mixture of electronics and emotion led to some compelling moments, most notably their calling card and most enduring anthem, "You're the One for Me". With its sequenced handclaps, thundering synth bass and its fluttery, repetitive electronic melody, the song is enlivened by Williams' throaty delivery." He also notes on the gospel touch of Williams' singing, "[w]hen he sings the repeated refrain of 'With the love I have inside of me, we could turn this world around,' over the breakdown, it is like the world's most charismatic preacher encapsulating the remarkable purity and longing of the first flush of true love."Easlea, Daryl (2012) D-Train You're the One for Me Review.
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"This Life" bears strong similarities to Van Morrison's "Brown Eyed Girl" (1967), and has also been compared to Paul Simon's Graceland (1986), with the opening lyrics referencing "It Never Rains in Southern California" (1972) by Albert Hammond. The upbeat pop and pop rock song incorporates bright guitars, handclaps and brushed percussion with a Latin shuffle. The bright music is contrasted against Koenig's lyrics, which explore spiritual uncertainty and inevitable suffering. Koenig co-wrote the song with American rapper iLoveMakonnen, who originally wrote the line "you've been cheating on, cheating on me / I've been cheating on, cheating on you" for his song "Tonight" (2014), and English-American record producer Mark Ronson, who contributed to the song's bass line.
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"Break My Heart" has a retro-futuristic sound, with the production consisting of a bouncing-ball bass, handclaps, a funk guitar line, disco violins, and a Europop and dance beat. The song opens with a bassline and synths, both of which were categorised as bouncy, and a hi-hat drum. In the pre-chorus, the song features a funky baseline and sweeping strings, while the music drops out in the middle and abruptly crashes back shortly after for the chorus. As the song eases into its chorus, the instruments are stripped back with a swaggering guitar riff underscoring each lyric, while a techno- adjacent baseline is also included, alongside a staccato bass rhythm.
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When Madonna decided to create You Can Dance, she and Stephen Bray reworked the demo composed by Hudson and Madonna asked Shep Pettibone, who had remixed her songs from True Blue, to remix "Spotlight" and included it on the album. John "Jellybean" Benitez, who had recorded the original demo during the True Blue sessions, assisted Pettibone in remixing the song. Hudson, who was given credit as a songwriter since he had the demo copyrighted, recalled that much of the demo's production was changed in the final version, including the rhythm and the basic groove. "Spotlight" begins with the sound of drums, bass synths and handclaps, followed by Madonna uttering the words "Spotlight, shine bright".
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Lyrically, it deals with Minogue's view on death, with the lyrics "When I go out, I wanna go out dancing," describing how the singer wants to feel in that situation before death. "Stop Me from Falling" includes a similar sound, but "bristles with good-time handclaps and a goshdarn toe-tappin' basslines," alongside with instrumentation of a banjo. The title track, a self-empowerment anthem, was described as a take on soundtracks from Spaghetti Western films, namely referencing Ennio Morricone's theme song to The Good, the Bad and the Ugly with the yodeling. The fourth track, "A Lifetime to Repair", is one of the album's first tracks that talks about failed relationships.
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Hester also performs on the songs "It's Ok Now", "End Of The Line", "You Drive Me Insane" (percussion), "Better You Than Me" (handclaps and percussion), "Walking Away" (piano) and "Running In Place" (drums). In 2008, Hester was given credit for mixing and as an engineer on the Foo Fighters single "The Pretender", the first off of their album Echoes, Silence, Patience & Grace. He is also credited for playing percussion on the songs "Come Alive", "Let it Die", "Cheer Up, Boys (Your Make Up Is Running)", "Long Road to Ruin" and "Summer's End".Echoes, Silence, Patience & Grace In 2008, the Foo Fighters won two Grammys for Best Rock Album and for Best Hard Rock Performance.
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Twangin' From Phoenix To L.A.: The Jamie Years, Bear Family Records – BCD 15778 In 1958, Eddy signed a recording contract with Lester Sill and Lee Hazlewood to record in Phoenix at the Audio Recorders studio. Sill and Hazlewood leased the tapes of all the singles and albums to the Philadelphia-based Jamie Records. "Movin' n' Groovin'" reached number 72 on the Billboard Hot 100 in early 1958; the opening riff, borrowed from Chuck Berry's "Brown Eyed Handsome Man", was itself copied a few years later by the Beach Boys on "Surfin' U.S.A.". The follow-up, "Rebel 'Rouser", featured overdubbed saxophone by Los Angeles session musician Gil Bernal, and yells and handclaps by doo-wop group the Rivingtons.
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The score mixes chamber orchestral arrangements of strings and horns with more traditional folk instruments, such as the banjo, mandolin, kneeslaps and handclaps. Following the release of Ain't Them Bodies Saints, Hart scored half a dozen independent feature films over the next two years, including Comet (2014), Return to Sender (2015), Uncertain (2015), and Lost in the Sun (2015), Tumbledown (2015), and The Girlfriend Game (2015). Hart and Lowery next teamed up in 2016 for Disney's Pete's Dragon, an adaptation of the 1977 musical film of the same name. Hart's score was written for a 94-piece orchestra and 32-person choir, by far the largest ensemble for which Hart has written music.
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"Wings" is a song by British girl group Little Mix from their 2012 debut studio album DNA. The group wrote the track with production team TMS and songwriters Iain James, Erika Nuri, Michelle Lewis, Mischke Butler and Heidi Rojas. It has a message of empowerment inspired by Little Mix's overcoming of the doubt and negativity they felt during the eighth UK series of The X Factor, being a girl band and the favourites to be eliminated after the first week of live shows. Eschewing dance music popular at the time, "Wings" is an uptempo bubblegum pop and R&B; song composed of syncopated handclaps and a varying kick and snare drum arrangement.
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The member Dinah Jane then is introduced, backgrounded with handclaps, Normani Kordei performs the pre-chorus (which is then performed by Ally Brooke after the second verse), while the second verse is sung by Camila Cabello, who delivers the song's most suggestive lines, "Come harder just because/I don't like it, like it too soft/I like it a little rough/Not too much, but maybe just enough". Lauren Jauregui is the only member of the band that doesn't sing in the song. According to the sheet music published by Sony Music Publishing at Musicnotes.com, the song is written in the key of C minor and is set in a time signature with a moderate tempo of 100 beats per minute.
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" While clues concerning the album's troublesome background are apparent throughout Blemish, Andy Kellman of AllMusic said the messages being obscured by "meticulously organized sounds," like handclaps, rattling shopping trolleys and fragments of Bailey's delicate guitar work, as well as Sylvian's non-linear lyrics. While Sylvian's vocals are front and centre, with them being mixed extremely loudly until they took on a "confrotational" and "physical presence" when Sylvian played them back, Blemish is also the first album in which Sylvian distorted and chopped up his voice in a new, unnatural fashion. Bailey himself said of the album a year later that he felt Sylvian "works it quite well compared to what I do. He doesn't sing the same as what I play.
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Rubano had a bassline that, within an hour of playing it, became the track "New Again."Taking Back Sunday 2009, event occurs at 1:00–12 After writing it, Fazzi said it was a "no-brainer for an opener".Taking Back Sunday 2009, event occurs at 0:19–23 O'Connell called it "powerful" and said it "sets the mood" for the album.Taking Back Sunday 2009, event occurs at 0:25–29 One day during rehearsals, Fazzi played a guitar riff, then O'Connell played along, resulting in "Sink into Me."Taking Back Sunday 2009, event occurs at 4:11–19 The song begins with cheerleader-esque "hey!"s that Fazzi came up with,Taking Back Sunday 2009, event occurs at 4:19–26 as well as handclaps.
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New material on No Más includes the low-weight electro- funk opener "Vibrationz", which, with its handclaps, vocal samples, house- influenced piano and analog synths, is similar to an old half-remembered summer hit. The "8-bit B-Boy hip-hop" song "Oh! Centra" involves a chipmunk voice rapping over Sonic The Hedgehog-style keyboards, a NES-like beat, a flute-driven melody and a sample of Salt-N-Pepa's "Push It", and was described by Marisa Brown of URB as Madlib's animated alter ego Quasimoto trying to do a 1980s' sex rap song. The twisted 1980s-style electro new wave disco track "On It On It" involves Buskirk doing a falsettoed Prince impression backed by shaking beats and twirling synth riffs.
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Following the words "help us save some lives", the piano sets up the song's "driving groove", Lavezzoli continues, as the rhythm section and Harrison's electric guitar join in, creating the same musical blend of gospel and rock that Harrison had adopted on much of All Things Must Pass. In a review for the NME in August 1971, Derek Johnson wrote of "Bangla Desh": "Opens almost like a sermon, then the beat come is ... as George wails fervently to a backing of a solid rhythm section and handclaps."Hunt, p. 41. The track retains an "urgent 'live' mood", Leng notes, although it is possible that Starr's contribution was overdubbed after the main session, due to his filming schedule for the Western movie Blindman (1971), in Spain.
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The Music Box's John Metzger felt that Clapton's appearance on Saturday Night Live to promote the album was more powerful than From the Cradle and that the album had nothing that hadn't been done before on it. Robert Christgau compared Eric Clapton's work on the album to Son Seals and Otis Rush, saying that Clapton played better than the former, but sang worse than the latter and felt that "Motherless Child" and "Blues Before Sunrise" were stand-out tracks on the album. According to the liner notes, the album was recorded live in the studio with no overdubs or edits, the only overdubs being featured on "Hoochie Coochie Man" (guitar) and "Motherless Child" (percussion, likely handclaps).CD booklet, page 3.
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The chord sequence changes to Dmaj7–A–E in the pre-chorus, while Mabel's vocal increases from A to C. Conversely, she performs in a monotonous style in the chorus, and her vocals have a parallel lower octave with additional Auto-Tune. A reggaeton groove is introduced in the chorus with an extended reverberation percussive hit, and a single D chord is played for two full measures at the end. In the second verse, a high snare drum plays a frequent two and four backbeat before reintroducing the kick drum which dominates the second pre-chorus. Cabasa, handclaps and shakers are added in this section, ahead of the second chorus that includes a snare drum triplet fill in the final measure.
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Writing in the NME in July 1967, Derek Johnson commented on the song's modern qualities relative to the sing-along style of the A-side. He highlighted Lennon's falsetto singing, the recording's "Oriental instrumentation and … unusual shuffle beat, emphasised by handclaps", and concluded: "The whole effect is startling and packed with interest from the word go." Billboards reviewer described it as "an Eastern-flavored rocker with an infectious beat and an intricate lyric". In one of the first cultural essays to acknowledge the Beatles' impact on American culture in a meaningful way, for the journal Partisan Review, Richard Poirier cited both sides of the single as a "particularly brilliant example" of how contemporary British rock bands had "restor[ed] to good standing ... the simplicities that have frightened us into irony and the search for irony".
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'" He continued: "Halfway through, the track pauses, then offers another hymnlike verse; the dance beat returns, a little pushier with electronic handclaps, and the refrain and 'dolphin' carry the song to the end, with a final, echoing 'I need you the most.'" Lyrically, "Where Are Ü Now" talks about caring and praying for an ex who didn't return the favor, with Bieber yearning for compassion amidst a sea of loneliness. He sings: "When you broke down I didn't leave you/ … I was on my knees when nobody else was praying, oh Lord." In another part, he complains: "I gave you the key when the door wasn't open, just admit it [...] See, I gave you faith, turned your doubt into hoping, can't deny it, Now I'm all alone and my joys turned to moping.
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" But he did praise the lead single, "Ready or Not", describing it as "catchy" with "a big chorus, handclaps and fluffy lyrics that lack substance, but it works." Sherman Yang of MSN also gave a mixed review and gave the album two-and-a-half stars out of five; He praised "Ready or Not" for its "catchy chorus", and he described it and "Forgot to Laugh" as "fun and happy tracks that kids can party to but with sadly bimbotic lyrics." He also noticed that after listening to the first two tracks, "the tracks start to sound the same after a while with their seemingly similar melodies and arrangements." He concluded that "Mendler either needs to find some inspiration to write better songs or cover other artists' works because her songs sound the same after a while.
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After a promotional visit to Spain where the group found "Malaika" had become a Top 10 hit, the title was remixed and then promoted as the A-side. It was the second consecutive Boney M. single not to be released in the UK, and their first not to be released in Japan. The original German and Spanish 4:30 single mix featured no percussion ad-libs and most notably, after the second verse it has a key-change to a drum, handclaps and a cappella chant before the song quickly fades. When producer Frank Farian remixed the song for the 12" single and a new 7" edit, he added more percussion and synth and deleted this key-change part, replacing it with an outro with himself singing "Wimoweh, wimoweh" (deliberately borrowed from another African tune "The Lion Sleeps Tonight").
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Sure, there are still pie-eyed moments ('We go together like peanuts and paydays, Marley and reggae') as Caillat keeps one foot in contemporary Disney Channel and another in vintage Laurel Canyon. Nevertheless, it's hard to not appreciate the smooth craft of the Letters to Juliet film contribution 'What If,' 'Dream Life' and the title track-and the dynamic sophistication of 'Brighter Than the Sun' and 'Favorite Song,' her collaborations with Ryan Tedder and Common, respectively. She also allows for some ambivalence in such tracks as 'Shadow' and 'Before I Let You Go.' But rest assured that in the end, Caillat manages to get her man." Stephen Thomas Erlewine writer of Allmusic gave a favorable review about the album and wrote: "she’s not just strumming, she’s swinging, sometimes urged along by handclaps" but in the end called it "easily her best record yet.
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When it was released in the UK in early 1979, it became a hit, reaching No. 2 on the UK Singles Chart and No. 1 in the US, after which MCA Records, the label which had released the single, requested he record an accompanying album. New York • London • Paris • Munich was recorded in Montreux, Switzerland, at Queen's Mountain Studios, and using their regular engineer, David Richards as well as Julian Scott, Wally Badarou (who would later work with Stevie Winwood, among others) and Brigit Novik. Additional musicians on the LP included drummer Phil Gould (later of Level 42), Gary Barnacle on saxophone and flute, and (at the time) local Montreux resident David Bowie, who did occasional handclaps. Released in the UK at the end of 1979, the LP was also a sizeable hit in the U.S., where it was released on Sire Records.
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Beginning with an extended instrumental introduction (3:53 in length), each of the song's three verses is separated by extended musical passages, in which Whitfield brings various instrumental textures in and out of the mix. A solo plucked bass guitar part, backed by hi-hat cymbals drumming, establishes the musical theme, a simple three-note figure; the bass is gradually joined by other instruments, including a blues guitar, wah-wah guitar, Wurlitzer electric piano, handclaps, strings and solo trumpet; all are tied together by the ever-present bass guitar line and repeating hi-hat rhythm. While the official album version of the song is approximately 11:45, there are certain versions that extend the fade-out further, concluding with several sequential drum fills, pushing the length of the song over the 12-minute mark.The Temptations - Papa Was a Rollin' Stone (Vinyl) (full version) @YouTube.
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Seattle, Washington, US radio station, KEXP, a member of the NPR media organization, featured "Oh, MJ!" as its "song of the day" on November 28, 2006 and the band played the song live on KEXP prior to October 2007. Kevin Cole, writing for KEXP, then selected the Sing Song EP in a list of the eleven best debut albums of 2006. Cole described the band and the EP in the following manner: "This L.A. band makes its debut with a charming, sunny indie-pop EP, which combines pulsing rhythms with strong melodies in ways that recall Clap Your Hands Say Yeah, but with less of an obvious Talking Heads influence and a bit more Shins-style jangle." In 2005, NPR's John Richards featured the song "Lovers Who Uncover" as its "song of the day", explaining that it "skillfully combines handclaps with fists-in-the-air chanting".
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Tapping into the "gamer nostalgia" of Wonky music, Amidon described "Gooooo" as if "Samus Aran took a seat in the Total Recall chair and was planted in a Matrix-like goth club overseen by Shao Khan". The instrumentation of the song consists of a "keening, 8-bit lead, chanted whoops, death-spiral snare rolls and gabber-grade super saws". Pitchfork Media reviewer Larry Fitzmaurice opined that the "tight tonal coils" on the song "sound like hot knives slashing through metal by its high-anxiety conclusion". Carving the songs of English trio Nero "to their meatiest elements", as elements including looped handclaps and the signature synth rise of Drumma Boy are present, the bounce and juke-fused "Higher Ground" has only – or "obliterates", as Bosman puts it – two hooks, one with looped second-long female vocal samples and another with a synthesized Southern hip-hop-style "HBCU brass" popping "in and out to steamroll buildings" for humorous purposes.
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The album received generally favorable reviews, with Exclaim!s Chris Whibbs describing it "Sometimes it plods a bit...but at other times it's pretty awesome", while saying that the album is "full of lovely moments but the gimmick remains a gimmick."Whibbs, Chris (2007) "The Choir Practice The Choir Practice", Exclaim!, June 2007, retrieved 2011-05-14 Margaret Reges, writing for Allmusic, compared the album to folk acts such as The New Christy Minstrels, Peter, Paul & Mary, Fairport Convention, and The Mamas & the Papas, calling it "nostalgic, wise, inspiring stuff" and stating "The Choir Practice are at their best when they take the traditional chorale sound and gently twist it into indie rock shapes with the help of a lone electric guitar and some handclaps".Reges, Margaret "The Choir Practice Review", Allmusic, retrieved 2011-05-14 Cassandra Kyle of The StarPhoenix, described the album as "completely enjoyable and fun", describing the band's sound as "a 1960s easy listening vibe with a modern twist".
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The song starts with an introduction by keyboardist Sergio Conforti (a.k.a. Rocco Tanica), who uses a synthesized French horn timbre – similar to the one used by Quincy Jones at the very start of "We Are the World" – to play two short quotes from "Jingle Bells" and "White Christmas"; this is followed by a piano passage vaguely reminiscent of Roberto Vecchioni's 1971 song "Luci a San Siro", after which Romani starts singing in a deliberately hoarse voice and a dramatic tone. The lyrics to the song are written in an over-simplified form of English, with a few lines in Italian, as a satirical list of stereotypical Italian traditions during the Christmas holiday period. Elio sings three lines in the second verse, while the choruses are sung by Romani with the rest of the band – joined, on the final chorus, by various DJs and hosts from Radio Deejay (specifically uncredited), who perform in the style of a gospel choir, with additional percussion and handclaps.
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Robert Copsey of Digital Spy gave the song a positive review stating: > As if 2013 wasn't a good enough year for John Newman – he scored a number > one album and single back in October – it's looking increasingly likely that > things are only going to get bigger and better for him 2014. His debut > single 'Love Me Again' has, unsurprisingly, started making waves in the US > and recently entered the Billboard Hot 100, where it looks set for steady > ascent. As such, you'd expect that he's been losing out on a few hours' kip > in recent months, but it's actually a love interest that's causing him > sleepless nights on his latest offering. "It's 3am, I'm calling in to tell > you that without you here I'm losing sleep," he sings in his powerful yet > gravely tone over militant handclaps and a moody, soul-pop piano line – > before making a passionate plea for his lover not to forget about him.
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" "Ah, cheeky little scamps – MGMT save their most simplistic song for last, 'Congratulations' playing out like a sequel to the reckless decadence of 'Time to Pretend', the duo overlooking their success with a sneering, sarcastic eye. "Out with a whimper/It's no blaze of glory" sings Van Wyngarden over a folky, tender rhythm section. Ending with a round of (we imagine) piss-taking handclaps, it's a fitting close to an album that will test the patience of MGMT fans who were only into the 'HITS', but perhaps that's the point; in one big, imaginative sidestep, MGMT might have just leapt the hurdle of becoming a one-album wonder, carving out a career at the true heirs to Flaming Lips' throne in the process. It's not an album that will thrill on first listen – I listened about, umm, ten times before I wrote this, but it’s a record that deserves your attention nonetheless.
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Whatever Brandy decides to do, consider her mark made." Less enthusiastic with the track, Terry Sawyers from PopMatters commented that "Should I Go" sounded "exhausted and porously dull", and that "without the punch up of a good backbeat, Brandy can drift and drain, melting into the song without making more than a breeze of an impression [...] despite the limp handclaps, which seem placed more to keep you awake than to actually support the song." Andy Battaglia of The A.V. Club wrote that the song "floats over a clunky sample [...] that goes nowhere" and added that the song showed "Brandy in her best and worst form: Unmoored as a musical presence, she sounds most at home in pop-R&B; clothes that would seem to make her one of many stars that twinkle more than shine." Stylus Magazine's Josh Love called the song a "rarity in Brandy’s catalogue", while Keya Modessa from The Situation declared it a "spectacular close.
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Pepper ..." Richie Unterberger of AllMusic similarly considers Yellow Submarine to be "inessential" and describes the track as "the jewel of the new songs ... resplendent in swirling [organ], larger-than-life percussion, and tidal waves of feedback guitar" and "a virtuoso excursion into otherwise hazy psychedelia". In Mojos The Beatles' Final Years Special Edition (2003), Peter Doggett acknowledged the comparative rarity of "It's All Too Much" within the Beatles canon and added: "Yet it's one of the pinnacles of British acid-rock, its sleepwalking rhythm retaining a bizarrely contemporary feel today." Having included the track in his 2011 list of Harrison's "10 Greatest Beatles Songs", Joe Bosso of MusicRadar commented: "At times the song seems to drift away with Harrison's dreamy verses, but just as quickly it's chopping down trees with explosive percussion and thunderous handclaps. Wild guitar breaks by both Harrison and John Lennon help to make It's All Too Much a dizzying treat.
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Keys' piano tracks are played along with the electronic music, up to the chorus. Unlike Madonna's previous two lead singles, "4 Minutes" (2008) and "Give Me All Your Luvin'" (2012), "Living for Love" puts the emphasis on the lyrics and vocals, with the lines on the bridge going like "Took me to heaven, let me fall down/Now that it's over, I'm gonna carry on" and a "throbbing drop" in the middle. Sal Cinquemani from Slant Magazine described the song as Kiesza meets "Like a Prayer", and noted that there were many changes from the leaked demo version: the throwback house music being replaced by an 808 pulse sound and Keys' piano, as well as handclaps and gospel riffing being removed towards the end of the song. For Jon Lisi from PopMatters, "Living for Love" fitted with contemporary pop music releases and the DIY ethic they displayed, starting from Taylor Swift's "Shake It Off", to Ariana Grande's "Break Free" and Katy Perry's "Roar".
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" K. Ross Hoffman of AllMusic wrote that Li "hasn't entirely let go of her girlish sweetness, and she certainly hasn't lost her way with a melodic hook, but she's largely outgrown the more cloyingly precious, occasionally clumsy tendencies that sometimes plagued her debut, and her singing voice, while still appealingly personable and distinctive, has gotten considerably more forceful", while praising the album as "an inspired, rugged, smart, emotive, coolly modern piece of indie pop, and an improvement on Lykke Li's debut in just about every respect." Rolling Stone critic Jody Rosen dubbed the album "a weird-pop gem" containing "torchy love songs that nod to Sixties hits but are stretched into all kinds of shapes." The Observers Hermione Hoby lauded it as "a formidable collection of all-woman 21st-century torch songs that reverberate with vengeance and desolation. The arrangements are still stark and driven by syncopated handclaps and off-kilter drums, but now, voice creaking with heartache, she sounds like she's casting dark spells rather than serenading daydreams.
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Tom Breihan of Stereogum noted elements of "toothy Wire minimalism, mid-period Motown strut, Kinks-y melodic twinkle" in the album's sound, even going on to suggest the influence of Timbaland "since (his music) brought the same sense that empty space was a virtue, that a perfectly-placed sound-effect could be the most memorable part of a song". The opener "Small Stakes" features "Steve Nieve-style keyboards and (a) shoutout to Har Mar Superstar" with lyrics "alluding to class concerns". "The Way We Get By", the lead single from the album, is "built on a rollicking piano line and handclaps" with lyrics that "had its roots in the (Daniel)’s more recent memories of scraping together enough cash to go to shows, alter his mind and find salvation in Iggy Pop". In an interview with Pitchfork, Daniel revealed that the song initially started out as "off-the- cuff" before turning into "a glorified, fucked-up-relationship song about a scrappy couple getting high in the backseat, making love with the song ‘Some Weird Sin,’ seeking out people that don’t speak very much [...]".
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Special mention must go to Bradford Young's gorgeous sun-bleached cinematography, which coupled with Daniel Hart's ubiquitous score of nervy, tiptoeing strings and soft handclaps gives the film a dream-like quality." Peter Debruge of Variety gave the film a positive review, stating that "David Lowery's Ain't Them Bodies Saints landed with the excitement of a bold new voice, and yet, there's also something undeniably old-fashioned in his approach, suggesting a lost artifact freshly unearthed from the 1970s." Lukewarm reviews praised the ambition but questioned the execution and integrity of the film, with Peter Bradshaw of The Guardian commenting, "It's a poignant story of sundered love, earnest and intense, without being exactly tragic, and although writer-director David Lowery interestingly refuses certain romantic cliches, you wonder if he knows exactly where he's going with the narrative." The review in the Los Angeles Times was particularly critical of the narrative, stating that "[even]though Lowery is skillful with dialogue, there are ways he ties the events together that are knotty.
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A Christmas ballad, Meghan Trainor wrote and produced "I'll Be Home". Initially released on the Epic Records-issued extended play I'll Be Home for Christmas (2014), the song also later appeared on the Japanese and special editions of her debut major-label studio album Title (2015). Times Nolan Feeney included "I'll Be Home" on an article called "5 Depressing Christmas Songs from 2014 That Will Totally Bum You Out", and noted it as a positive change of sound compared to Trainor's other work, writing "there are no handclaps or upright bass sounds on 'I'll Be Home.' Instead, a simple piano ballad shows off the singer’s voice (the prettiest it has ever sounded)". Writing for Entertainment Tonight, John Boone also made note of the song's difference from Trainor's breakout hit "All About That Bass" (2014), highlighting "Santa called to make sure I'm prepared / He said ‘Wrap the gifts with all your love and care’ / The wind blows the snow up in the sky / But I won't let the wind delay my flight" as his choice lyrics.
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Gold – 20 Super Hits is a 1992 greatest hits album by group Boney M. Shortly after record label PolyGram had acquired the rights to the ABBA back catalogue and had issued the multimillion-selling hits package Gold: Greatest Hits, BMG and producer Frank Farian followed suit with Boney M.'s Gold - 20 Super Hits which resulted in their best chart entry in the UK (#14 - see The Greatest Hits) and most other European countries since 1980's The Magic of Boney M. - 20 Golden Hits. Producer Farian infamously edited most of the tracks and also overdubbed them with synthesized 1990s percussion such as disco hi-hats, sampled tambourines and handclaps specifically for this release. These mixes have since appeared on most Boney M. hit collections issued in the 1990s and 2000s without indication, most notably 2006's The Magic of Boney M., which featured nearly all of the tracks that appeared on this release in this form. Gold - 20 Super Hits/The Greatest Hits included a new "Boney M. Megamix", also issued as a single, which reached #7 in the UK in December 1992 and gave the group their tenth UK Top 10 entry.
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