119 Sentences With "rave up" | Random Sentence Generator

Frequent collaborator Smino guests on "Bad Boys," prompting a proper rave up.

This gospel-psychedelia rave-up wears a big beautiful smile all over it.

With a low-tuned, menacing riff, the song begins as a folky rave-up.

It's a proper organ call and response rave-up where all shirts can finally and forever be untucked.

Martial drums, tinny digital choir samples, and propulsive batida rhythms transform Desiigner's celebratory jam into a complex, paranoid rave-up.

It's a rave-up—with all the communality and joy that that implies—complicated by the realities of the real world.

He'd recorded a 45, "You're Gonna Miss Me," a rave-up rock number that showed off his vocal wail and angry attitude.

In Dale's hands it became a furious rave-up that packed dance floors -- and has had a long life in pop culture.

They dabble in a few different styles here—ear-splitting acid, hazy ambience, anarchic breaks—making each track its own unique rave up.

Here we get touchstones from the period, including "Summertime Clothes," the Afro rave-up "Brother Sport," and a one-off version of Bleed.

Mahan was a huge fan of Uniform's Perfect World LP and Fisher knew Greenberg through fellow—and unjustly slept-on—purveyors of New York gothic rave-up, Bambara.

Their latest EP sinks their talons in deeper, offering moments both catchier (the grinning rave-up "SEXY VAMPIRE") and more crushing (the stuttering, scuffed, phlegm smeared title track).

When Dio first split from Sabbath after Mob Rules, Deep Purple's Ian Gillan was brought in to sing on the 1983 Spinal Tap-esque rave up Born Again.

Their 2017 self-titled EP includes "Spiders," in which an Eastern belly-dance groove crawls ominously out of the amps, and "Ram Jam," an unsettling rave-up about being stalked.

While Ben E. King's original, Top 10 take on the song had a romantic air and a faithful Latin lilt, Ms. Franklin turned it into a rumbling, funk-rock rave-up.

Both the pseudo-house rave-up of "Big Time Sensuality" and the chattery "Earth Intruders" snuck into the lower reaches of the Billboard Hot 100, and 2007's Volta peaked at #7 on the album chart.

Why: Prince and his band bring thunder to this traditional spiritual, knocking out a 10-minute jam that is briefly interrupted by a guitar rave-up that wouldn't be out of place at a Metallica concert.

He'll rap something as laugh out loud funny as "open up that incognito tab on Google Chrome / add in my Christian Mingle profile and my Black People Meet" on the MfnMelo-assisted rave up "Buck" but his delivery is so on point, he transcends any "joke rapper" designations that might be thrown at him.

" Recorded and written across several disparate sessions from his New York City apartment, as well as on tour stops in Chicago, Los Angeles, and Europe, Ricky Music is bursting with ambitious ideas, from the frantic, ecstatic 45-second punk of "PFB" (an acronym for "Pretty Fuckin' Bad") to the house-minded rave-up "Madonna.

Although the album is carried by a spirit that is equal parts Floyd and Zeppelin (see the rumbling low-end vibes of "Life's An Ocean" or the ecstatic rave-up "This Is Music"), it was the ballads, "On Your Own" and "History," that helped them crack the Top 30 and reveal Ashcroft, now referred to by Noel Gallagher as "Captain Rock," as one of the UK's most compelling songwriters.

Having a Rave Up with the Yardbirds, or simply Having a Rave Up, is the second American album by English rock group the Yardbirds. It was released in November 1965, eight months after Jeff Beck replaced Eric Clapton on guitar. It includes songs with both guitarists and reflects the group's blues rock roots and their early experimentations with psychedelic and hard rock. The title refers to the driving "rave up" arrangement the band used in several of their songs.

In total, it spent 33 weeks in the chart. Having a Rave Up remained in print until 1972, longer than any other Yardbirds album on Epic. Having a Rave Up or an equivalent was not released in the UK, where it was the practice at the time not to include singles on albums.

Keith Murphy of Vibe praised the song, calling it an "infectious rave-up" and "the soundtrack to endless summer cookouts".

The two performances are also included on the live CD of the entire 1978 Los Angeles concert Havin' a Rave-Up.

A hidden track starts at 3:11 into "Finale: It's a Fast Driving Rave-Up with The Dandy Warhols". It is a short reprise of "Dick".

Scottish heavy metal band Alestorm covered this song on their studio album Sunset on the Golden Age. Russian post-hardcore band Rave-UP! covered this song.

Yardbirds: The Ultimate Rave-Up. Floral Park, New York: Crossfire Publications. . Greatest Hits was the Yardbirds' best-selling US album release, peaking at No. 28 on the Billboard charts.

In January 1966, the Yardbirds' UK label, Columbia, pressed Having a Rave Up for export to Germany and Sweden. In Canada, the album was issued by Capitol Records in 1966.

Despite several favourable retrospective reviews, the album did not reach the UK album charts. It was not issued in the United States; however, four songs were included on the Yardbirds' second American album, Having a Rave Up.

The Yardbirds were a popular live attraction at music clubs. Much of their reputation was built on their use of a "rave up" musical arrangement, an instrumental interlude that builds to a climax. Clapton credits the rave up to bassist Paul Samwell-Smith and explains: "While most other bands were playing three-minute songs, we were taking three-minute numbers and stretching them out to five or six minutes, during which time the audience would go crazy". It was at such performances that Clapton often broke a guitar string.

Although just over two and a half minutes, critic Cub Koda calls the Beck version "perhaps the most famous Yardbirds rave-up of all" and Power asserts "it was the closest the group had yet come to capturing the sound of the 'rave-up' on tape". The remaining three live songs with Clapton feature extended instrumental improvisation. Bo Diddley's "Here 'Tis" and the Isley Brothers' "Respectable" are fast-tempo, rhythmic-based songs that are essentially rave ups. On "Here 'Tis", Clapton adds an uncharacteristically energetic rhythm guitar over Samwell-Smith's driving bass lines.

"Steeled Blues", a blues instrumental featuring Beck on slide guitar and Relf on harmonica, is included as the single's B-side. "Heart Full of Soul" saw its first album release on the Yardbirds' second American LP record, Having a Rave Up (1965). In Canada, Capitol Records included the song on both their first album, titled Heart Full of Soul (1965, also known as Presenting the Yardbirds), and second album, Having a Rave Up (1965). It was also chosen for the popular American compilation The Yardbirds Greatest Hits (1967).

A key element of the Yardbirds' live shows was an extended instrumental section during some songs. Clapton recalled, "While most other bands were playing three-minute songs, we were taking three-minute numbers and stretching them out to five or six minutes, during which time the audience would go crazy". Dubbed a "rave up", this musical arrangement usually came during the middle instrumental section, in which the band shifted the beat into double-time and built the instrumental improvisation to a climax. The rave up has roots in jazz and became a signature part of the Yardbirds' sound.

A version from 1963 with Eric Clapton was released on London 1963 – The First Recordings!; a 1965 recording by the BBC with Jeff Beck was released on Yardbirds ... On Air; and a 1968 version with Jimmy Page appears on Last Rave-Up in LA.

He received a credit as "Musical Director" for their first American album as well as Having a Rave Up. By the time Samwell-Smith left the group in June 1966, Koda notes, "he was shouldering most, if not all, of the production and arranging responsibilities".

Having a Rave Up was released in the US on 15 November 1965 by the Yardbirds' American label, Epic Records. The album cover photo shows the group posing in matching black suits in a mock performance; Yardbirds' biographer Adam Clayson compares it to "more of a tea dance than a rave-up". Clapton, who left the band eight months earlier, is not pictured on the album cover. The liner note reads like ad copy, with no mention of the band members or recording information. The album entered Billboard magazine's Top LPs chart in December 1965 at number 137 and reached number 53 in February 1966.

David Jeffries from Allmusic, on his review of Independiente, stated that the song "builds into a full-band rave-up during its choruses." A live version of "Te Quiero" was made and used on the music video for the song, and was included on the single release.

"Optical Sound: The Technicolor Tales Behind the Various Nuggets" (track-by-track liner notes) - Pg. 68-69. Rhino Records. Rhino Entertainment. 1998. R2 75466 The song features Danny Wheetman's furious ranting vocals, set to a backing which leads up to a violent high-speed rave- up.

Dreja co- authored many Yardbirds group compositions, especially those on the album Roger the Engineer. After the group broke up, Page offered Dreja the position of bassist in a new band he was forming (later to become Led Zeppelin).Russo, Greg (1998). Yardbirds: The Ultimate Rave-Up.

The last track of the album, "Still I'm Sad", is an instrumental cover of a song by The Yardbirds from their 1965 album Having a Rave Up with The Yardbirds. A version featuring vocals subsequently appeared on Rainbow's live album On Stage and their 1995 studio album Stranger in Us All.

The songs themselves also provoked a variety of responses from journalists. Jason Pettigrew of the Alternative Press writes: "For pure weirdness value, look no further than "Mollusc in Tyrol", a musique concrete rave-up on top of a Neubauten "Yu-Gung" rhythm track that's been buried alive".Pettigrew, Jason (1989). Review. Alternative Press.

At the turn of the millennium, a Detroit web site, MotorCityJams.com, chronicled the group's career and helped organize the 2003 release of a limited edition CD culled from some of the band's assorted demos and recordings entitled The Most Powerful Music on Earth. It was subsequently distributed by Italy's Rave Up Records on LP in 2005.

This rhythmic device, originally used in jazz improvisation, was the Yardbirds' signature arrangement. Dubbed a "rave-up", it was a feature of several of their songs. A key feature of the song is Beck's innovative guitar playing. Shadwick comments it "suited Beck's taste for shaping and sculpting guitar sounds through the control and manipulation of sustain and, on occasion, feedback".

The Yardbirds based their version of "The Train Kept A-Rollin'" on the 1956 rockabilly arrangement by Johnny Burnette and the Rock and Roll Trio. However, their recording adds a brief rave up section, new guitar parts, and a harmonica solo. Beck biographer Annette Carson notes, "the Yardbirds' recording plucked the old Rock & Roll Trio number from obscurity and turned it into a classic among classics".

His father was of Polish descent. Dreja was born in Surbiton, and raised in Kingston upon Thames, Surrey. His brother Stefan Dreja chanced to meet Top Topham, and introduced Topham to his brother. Topham and Dreja were influenced by folk/blues guitarist Gerry Lochran; he influenced them to switch from acoustic to electric guitars according to Greg Russo in his book The Yardbirds: The Ultimate Rave-Up.

The record quickly sold through a first pressing of 1,000 copies. The band recorded another record which would be the very first for a new label, Lisa Fancher's Frontier Records in early 1980, a seven-song EP titled Flyboys that included proto-type punk tunes such as "I Couldn't Tell" and "Dear John" as well as their "Theme Song", a surf inspired rave up that was covered by Jodie Foster's Army.

Their first American album, For Your Love, which included Beck's earliest recordings with the group and earlier singles and demos with Clapton, was rush-released in June 1965 as they were preparing for their first American tour. In November 1965, Having a Rave Up was released less than a month before the beginning of the Yardbirds' second tour of the US and also combined songs recorded with both Clapton and Beck.

"Rarities 1979–1981" releases all the tracks which appear on the vinyl LP released from Rave-Up records in 2009 plus rare "garage" recordings along with live tracks from the 1979 Spirit Night Club show not available on the vinyl releases.The CD contains 21 tracks. The second CD is a live show recorded at "LeStats West" in San Diego, Ca. on April 11, 2010. The CD contains 12 tracks.

Edwards was listed as the record's producer, although he had no previous experience in that field. The majority of the tracks were re-workings of older Chicago blues material, although the only true cover version therein was of Willie Dixon's "You Need Love". AllMusic described the set as a " less reverent, and altogether heavier update of The Yardbirds rave-up sound". In the United States, the album was released on the Sire label.

The record producers Winn and Hooven copied the rave-up section in the middle of the completed track and add it to the end as a fade out. To capitalize on the success of the single, Double Shot immediately pressured the band to record a full-length album. As a strategic decision, their debut album was also titled Psychotic Reaction, released in October 1966. including seven new songs composed mostly by John Byrne.

The four remaining live songs with Clapton were recorded in March 1964 at the Marquee Club in London – "Smokestack Lightning", "Respectable", "I'm a Man", and "Here 'Tis". These were taken from the UK debut album Five Live Yardbirds. The album was produced by the Yardbirds' manager Gomelsky with Samwell-Smith. Clapton acknowledges that Samwell-Smith was behind the group's rave up sound and on "For Your Love", Samwell-Smith assumed the role of de facto producer.

He also describes the break, inspired by the Yardbirds' rave-up technique, as "eerily presag[ing] the coming era of hard rock and heavy metal". The third part returns to the main motif with added guitar fills. The melody line is abandoned in the second section and replaced with multiple interwoven takes of guitar effects, including phasing, echo, and controlled feedback. It concludes with a few bars of hard blues rock-style lead guitar and an abrupt ending.

Formed in 1965, New Colony Six scored their first major local hit in Chicago with "I Confess" (WLS #2 on 4 February 1966), featured on their debut album, Breakthrough. Their sound was characterized by Richie Unterberger as "a poppier American Them with their prominent organ, wobbly Lesley-fied guitar amplifications, and rave-up tempos", later devolving into "a cabaret-ish band with minor national hits to their credit by the end of the 1960s."Unterberger, Richie.

Having a Rave Up was released before the advent of critical rock music journalism. A December 1965 staff review in Billboard indicated the album's potential to enter the Top LPs chart. Several retrospective reviews have been favourable. AllMusic's Eder gave the album four and a half out of five stars and describes it as "one of the best LPs of the entire British invasion, on a par with the greatest mid-1960s work of the Beatles and the Rolling Stones".

With the exception of "Still I'm Sad", the songs on Having a Rave Up were not composed by the Yardbirds. Two of the album's hits, "Heart Full of Soul" and "Evil Hearted You", were written for the group by Gouldman, who had composed "For Your Love". Both songs saw the group continuing to move beyond their blues-rock beginnings with Beck's experimental guitar work. "Heart Full of Soul" is one of the earliest rock songs to incorporate Indian musical influences.

It was filmed at the KABC-TV studios in Hollywood on 3 January 1966 and aired on 8 January. The song was part of the Yardbirds' concert repertoire and several live recordings have been issued. Three versions with Beck are included on Glimpses 1963–1968, a boxed set released in 2011. Versions with Page as the group's sole guitarist appear on the short-lived Live Yardbirds: Featuring Jimmy Page (1971), Last Rave-Up in LA (1979), Glimpses, and Yardbirds '68 (2017).

No album was issued during the Cardiac Kidz original run, however 30 years after the fact, Get Out!, a full album composed of the band's single and EP plus unreleased live and studio tracks, was put together by Italian label, Rave-Up Records. Released on October 15, 2009, the vinyl LP had a limited pressing of 1000 units. This was the Cardiac Kidz first release since their live "Playground" EP, after their previous label Lub-Dub Records was folded in 1978.

"You're a Better Man Than I", alternately listed as "Mr. You're a Better Man Than I" or "Better Man Than I", is a song first recorded by the English rock band the Yardbirds. It was written by brothers Mike and Brian Hugg, and became the opening track to the group's second American album, Having a Rave Up with The Yardbirds (1965). Three months later in February 1966, it was released in the UK as the B-side to the "Shapes of Things" single.

Love guitarist Johnny Echols claims that Love's and the Byrds' lyrics are the authentic ones. According to Echols, the Leaves (with whom they were friends) had heard Love performing the song and asked them for the lyrics. He rewrote them to play the Leaves a "dirty trick", accidentally authoring the version that everybody got to know. Also in 1966, the Chicago-based garage-punk band Shadows Of Knight released a nearly six minute long rave-up version of the song on their second LP, Back Door Men.

Several songs feature extended instrumental improvisation. Bo Diddley's "Here 'Tis" and the Isley Brothers' "Respectable" are high-energy tunes, which represent the use of double-time feature of the rave up for the entire songs. AllMusic critic Matthew Greenwald describes "Here 'Tis" as "driven by a furious "Bo Diddley" beat and rhythm ... Clapton's interplay with bassist Paul Samwell-Smith is one of the great moments in the band's recorded history". The instrumental spotlight was also shared with singer and blues harmonica player Keith Relf.

In 2004 twelve songs created by Charlie' Ungry in 1977 and two compositions from 1980 were compiled for a CD called The Chester Road Album. The album was released on a NWOBM compilation CD made by Obscure Records, which is based in Greece (creator – George Arvanitakis). Andy Demetriou also created a Charlie Ungry official website which promotes the band with many tracks featured on YouTube. In 2013 an Italian record company Rave Up Records released 10 of the tracks from the CD on a 12” Vinyl.

Although the song is listed on all pressings of the album as "A Saucerful of Secrets", some pressings of Ummagumma break the piece into four different sections. The first part, "Something Else", was logged as "Richard's Rave Up" when the song was recorded at EMI Studios. The second part was recorded as "Nick's Boogie" before being retitled as "Syncopated Pandemonium", while the last part is titled "Celestial Voices". Roger Waters once stated in a Rolling Stone interview that the song was about a battle and the aftermath.

When it was released 1October 1965 in the UK, "Evil Hearted You", along with the second side, "Still I'm Sad" became a double A-side hit. The Record Retailer singles chart counted both sides and reported it reached number three. The NME singles chart reported the two songs separately – "Evil Hearted You" at number ten and "Still I'm Sad" at number nine. There was no single release in the US, but the song was included on Having a Rave Up, which was released 15November 1965.

People who were gregarious party animals were described as "ravers". Pop musicians such as Steve Marriott of The Small Faces and Keith Moon of The Who were self-described "ravers". A huge bank of speakers and subwoofers from a rave sound reinforcement system. Presaging the word's subsequent 1980s association with electronic music, the word "rave" was a common term used regarding the music of mid-1960s garage rock and psychedelia bands (most notably The Yardbirds, who released an album in the United States called Having a Rave Up).

Five songs from Having a Rave Up, plus the following two singles, made up the core of the Yardbirds' concert repertoire: "Smokestack Lightning", "I'm a Man", "Heart Full of Soul", "You're a Better Man Than I", "The Train Kept A-Rollin'", "Shapes of Things", and "Over Under Sideways Down". Numerous live performances were recorded beginning in mid-1965 and include these songs. They were also recorded by the BBC on various dates for broadcast. In 1991, several were released on Yardbirds ...On Air (reissued in 1997 as BBC Sessions).

A rave up is used to describe a middle instrumental section of a song, when the beat shifts into double-time and the instrumental improvisation gradually builds to a climax. It was part of the Yardbirds' signature sound and "represent[s] some of the earliest psychedelic blues-rock, antedating Jimi Hendrix and Cream", according to Birnbaum. Beck's second guitar solo, which extends for two 12-bar sections, features an early use of a fuzz-tone distortion effects pedal. Birnbaum describes his work as "incendiary" and "riveting, relatively complex solos".

When preparing for a follow-up single to their first record chart hit, "For Your Love", the song's writer Graham Gouldman provided a demo for a new song. Music critic Richie Unterberger described Gouldman as "a genius at effectively alternating tempos and major/minor modes", which are used in "Heart Full of Soul". The shift in tempo and use of double-time was also a feature of the Yardbirds' live performances and was known as a "rave up". At the time, popular music at large was seen as becoming more experimental.

AllMusic reviewer Ken Chang stated "Wolf adamantly refuses to back down from his rivals, resulting in a flood of contentious studio banter that turns out to be more entertaining than the otherwise unmemorable music from this stylistic train wreck. Although Wolf and Waters duke it out in earnest on the blues standards, the presence of Diddley (and his rave-up repertoire) makes the prospect of an ensemble impossible; in the end, there are just too many clashing ingredients to make the mix digestible. ... At least it sounds like they had fun doing it".

Dave Marsh described "Day Tripper" as the most authentic approximation of a genuine soul recording the Beatles had yet made. Tim Riley deems it "Lennon's guitar heaven", with a mid-song "rave-up to end all rave-ups" and a "brilliant yet coolly irreverent" riff. He also admires Starr's drumming, particularly over the coda, saying that it serves as one of "Ringo's finest moments" on record. Less impressed, Ian MacDonald says the track suggests that wit in the form of musical jokes had become the band's "new gimmick".

"Good Girls Don't" was also released on The Knack's compilation albums The Retrospective: The Best of the Knack (1992), The Very Best of The Knack (1998) and Best of The Knack (1999). The band made a music video of the song as well. A live version also appears on the 2002 live album and DVD Live from the Rock 'N' Roll Funhouse and on the 2012 live CD Havin' a Rave Up, taken from a 1978 concert in Los Angeles. It was part of the Carnegie Hall concert that was released on Laserdisc.

Like many of They Might Be Giants' early releases, Flood features a range of stylistic eclecticism. The press release for the album notes the "rock rave-up 'Twisting' ... the [country] inflected 'Lucky Ball & Chain' ... the existential oom-pah of 'Particle Man'", and "tender night-light metaphor and melody" of the lead single, "Birdhouse in Your Soul". Jon Pareles wrote for The New York Times that the album "shrug[s] off most typecasting". He added that through releases like Flood, They Might Be Giants and a new wave of alternative musicians were gainsaying the standard practice of sticking to only one genre.

This line-up issued a cover version of "Jumping Jack Flash" in April with Meldrum producing, but it did not chart. McFarlane noted it was a "potent, six-minute rave-up fired by blazing guitars and crashing drums." The group broke up in September and de Castro formed a briefly existing band, Flite, with Capek on piano (by then ex-Carson), Barry Harvey on drums (Thursday's Children, Wild Cherries, Chain, King Harvest), Vince Melouney on guitar (Billy Thorpe and the Aztecs, Bee Gees, Fanny Adams, Cleves) and Barry Sullivan on bass (Thursday's Children, Wild Cherries, Chain, Carson).

1 and Live at the Cornerhouse – 1999. A 28 track compilation of live material was released on CD on 1 November 2013 on the Opportunes label, entitled "Live '77 & Beyond" (Opportunes OPIDCD003). A 16 track compilation of all their studio recordings, including six previously unreleased songs, was released on vinyl on 1 March 2014 on Italy's Rave Up Records, entitled "Studio Stuff" (Opportunes OPIDLP004). A 17 track compilation of rare studio and live material was released on 22 September 2014 on Sweden's NE Records, entitled "The Usual Suspects" in black, blue and yellow vinyl (NE Records NE024/OPIDLP005).

"(She's So) Selfish" was a staple of the Knack's live shows and was included in several of the band's live albums, generally towards the end of the set right before "My Sharona." It was included on the 2012 live album Havin' a Rave-Up! Live in Los Angeles, 1978, which was based on two concerts the band performed in Los Angeles, California in 1978, before signing their record deal that would lead to Get the Knack. The Knack performed it at the 1979 concert at Carnegie Hall which was used for the 1982 video disc The Knack Live at Carnegie Hall.

Several popular singles with Beck followed, including a second American album, Having a Rave Up with The Yardbirds (1965), that again was a split release featuring songs with both Clapton and Beck. In 1966, the Yardbirds recorded their first studio album of all original material. Released in the UK as Yardbirds and in the US as Over Under Sideways Down, the album acquired the nickname Roger the Engineer after a caption on the English cover (drawn by rhythm guitarist Chris Dreja). Shortly after its release, bassist Paul Samwell-Smith left the group and was replaced by Page.

In late May 1963, he formed The Yardbirds with Keith Relf, Anthony Topham, Chris Dreja, and Jim McCarty. He mainly used an Epiphone Rivoli bass. He played on the UK albums, Five Live Yardbirds and Yardbirds (also known as Roger the Engineer) and on the US albums For Your Love, Having a Rave Up, and Over Under Sideways Down (which was Roger the Engineer retitled for the US market), all released on Epic Records. He provided background vocals on many songs like "Good Morning Little School Girl", "For Your Love", "Heart Full of Soul", "Evil Hearted You", and more.

With the exception of "Still I'm Sad", the composition, like other tracks on Having a Rave Up with The Yardbirds, was not penned by any of the band members. Nonetheless, "You're a Better Man Than I", along with "Shapes of Things", is perhaps the best example of Jeff Beck's experimentation with distorted guitar instrumentals and use of feedback in the Yardbirds' recordings. Also like "Shapes of Things", the composition incorporated elements of psychedelic rock. Lyrically, the song makes a statement directed toward issues concerning the era such as judging others based on race, government intervention, and use of violence.

The album was Humble Pie's first following the departure of guitarist Peter Frampton, which placed singer and co-founder Steve Marriott as the band's de facto leader. Smokin' is the band's best-selling album, due in large part to the success of the single "30 Days in the Hole". Smokin' includes dramatically slowed down versions of Eddie Cochran's "C'mon Everybody", Junior Walker's "Road Runner", and the wah-wah laden slow blues "I Wonder". "You're So Good for Me", which begins as a delicate acoustic number, ultimately mutates into a full-bore gospel music rave-up, an element that would later influence bands like The Black Crowes.

The Morlocks began performing together in late August 1984 when the already assembled core band of Jeff Lucas, Tom Clarke, and Mark Mullen, were able to entice former Gravedigger Five members Leighton Koizumi and Ted Friedman into joining the band. The newly formed Morlocks' first performance came in September 1984 at the Rave-Up in Los Angeles; that same night, following their performance, the band received two separate recording offers, opting, after a time, to sign a deal with Midnight Records of New York City.Themorlocks.net "The Morlocks News". Accessed June 30, 2007 That December the band recorded their first mini-LP, Emerge, for Midnight Records.

The Yardbirds Greatest Hits is the first compilation album of songs recorded by the Yardbirds. It was released in the United States in March 1967 by Epic Records and included all six of the Yardbirds' American A-side singles up to that time, plus three B-sides and the live "Smokestack Lightning" from Having a Rave Up and Five Live Yardbirds. The album was the group's highest charting LP record in the US, peaking at number 28 on the Billboard 200 album chart. Despite the modest peak, it ranked number 73 on the magazine's year-end "Top LP's – 1967" chart because of its longevity.

Although most were not written by the group, the songs became a fixture of the group's concert repertoire and continued to be performed after Jimmy Page replaced Beck. Next to their 1967 Greatest Hits collection, Having a Rave Up is the Yardbirds' highest-charting album in the US and remains their longest- lasting release. The album continues to be reissued, often with bonus material, such as the next single "Shapes of Things", demo recordings for their follow-up album, and "Stroll On", featuring dual lead guitar by Beck and Page, from the Blow-Up soundtrack. Several music critics have cited the album's influence, particularly on hard rock guitar.

Kevin John Coyne of Country Universe gave the song a B- grade, stating that he would be "lying if [he] said [he] wasn't disappointed that this isn't a countrified version of the Juvenile hit. Alas, it's just a hillbilly rave-up that finds a country boy trying to get a city girl used to farm life, using backing up a truck as an awkward sexual metaphor" and that Moore "throws himself fully into the lyric like he was Joe Diffie singing a mid-1990s novelty number". In 2017, Billboard contributor Chuck Dauphin put "Back That Thing Up" at number ten on his top 10 list of Moore's best songs.

The song opens with Beck using volume swells on an overdriven guitar to simulate a train whistle and the band launches into the song with rhythm guitarist Chris Dreja, bassist Paul Samwell-Smith, and Beck following the riff from the Rock and Roll Trio's song. Two combined takes of Keith Relf's vocal, with some differences in the lyrics, come in after twelve bars. Following the vocal section, the rhythm changes to a shuffle and a 12-bar harmonica and guitar bridge sets the stage for Beck's first solo. After returning to the original rhythm for another double-tracked vocal section, a brief "rave up"-style section precedes Beck's second solo.

Shortly thereafter, this effort was picked up by garage / punk label Get Hip Records, and the CD was made available worldwide. In 2000 Italian label Rave Up Records released Hijack the Radio, a vinyl LP collection of singles, rarities and live cuts. After the departure of Mike and Bob in 1981, Paul Quigg and James Flory joined, and the band won the "Agora's Battle of the Bands" in Dallas. The prize was recording time at Pantego Studios, where they recorded a Thom Edwards/Mike Haskins original "Girls, Girls, Girls, Girls, Girls", along with an obscure Rolling Stones cover, "I'd Much Rather Be With The Boys".

The 45 was reissued by Sing Sing Records (New York, United States) in January 2012 and both albums are scheduled for reissue in October 2012 by Rave Up Records (Rome, Italy), all with worldwide (physical) distribution. Screaming Urge also released a remastered CD, Gory Years, of all 25 songs found on the single and both albums in July 2011. Though the band does not consider itself "active" they continue to play reunion shows. One of the first punk bands in central Ohio, Michael Ravage produced and invented the series of independent multiple-band music festivals called "Nowhere" (Nowhere '78, Nowhere '79, etc.) that continued into the late 90s.

In 1994, The Cardiac Kidz name received a boost on the worldwide collectors market when their song "Find Yourself A Way" was included on the compilation, Killed by Death No. 007. "Get Out" was later included on Killed by Death No. 12, while "I've Seen You Before" was on the similarly styled 2001 collection, "Hyped to Death" No. 51\. 1999 saw Lub-Dub Records reactivated for the release of a 20th anniversary Cardiac Kidz CD with the full live Spirit Night Club show and unreleased studio recordings. In 2009, the Italian independent record label, Rave-Up Records, released a limited edition vinyl LP compilation, collecting the single and EP plus rarities.

In May 2011, the Vines played on-stage with the Dandy Warhols at the Enmore Theatre in Sydney for the song "It's a Fast- Driving Rave-Up with The Dandy Warhols". The two bands had previously had dinner at the Warhols' studio The Odditorium in 2004, along with the bands Jet and the Strokes. In an interview with Music Feeds at Splendour in the Grass 2011, Nicholls talked about a late 2011 or early 2012 release date for their still unnamed sixth album. On 26 November 2011, rumours on the band's Facebook page suggested that the band had "pushed out" two of its members.

The Yardbirds played their final shows on 31 May and 1 June at the Shrine Auditorium in Los Angeles, and on 4 and 5 June at the Spring Fair at the Montgomery International Speedway in Alabama. The Los Angeles shows were documented in the bootleg release Last Rave-Up in L.A. The Yardbirds announced the departure of Relf and McCarty in a press release on 12 June ("Two Yardbirds Fly") and returned home to play one last show, on 7 July 1968, at the College of Technology in Luton, Bedfordshire,Buckley, Peter (ed.) (2003). The Rough Guide to Rock, p. 1198. . supported by the Linton Grae Sound.

"Iceblink Luck" is a single by Scottish band Cocteau Twins, released by 4AD Records in August 1990. It was the first single from the Heaven or Las Vegas album and the band's first single to be released in the United States. It was the band's second single to reach the Top 40 in the UK Singles Chart, peaking at No. 38. Featuring a more accessible, intelligible sound that AllMusic described as "almost a rave-up", the single managed to achieve airplay on the UK's national radio, and the album proved to be the band's highest-charting release in the UK. The song was listed in the musical reference book 1001 Songs You Must Hear Before You Die.

First arriving in Manhattan in 2005, Adams later reunited with Gene Davenport in Brooklyn to begin recording demos for what would be Swimclub’s NYC debut. After cutting their teeth at small clubs in the East Village and Brooklyn (and with Bryant back behind the drum kit) the band contacted Pete Donnelly from cult fave The Figgs and indie musician Brent Gorton to produce some studio tracks. By licensing their retro garage rock rave-up “Look Happy” to Project Runway winner Jay McCarroll's documentary “Eleven Minutes” the band was able to put the CD out themselves. In early 2009 they formed Seehurst Records and soon after obtained a distribution deal through the boutique label services company Virtual.

Although hailed by critics, when Johnny severely injured his hand and was unable to tour and promote it, the album did not sell well enough for Epic to renew the Jukes' contract. The group parted ways with its more famous Jersey Shore brethren for the next album, The Jukes, relying on songs written by members of the band. The first two tracks, the guitar-driven, syncopated rave-up "Got To Find a Better Way Home" and the horn-powered "This Time Baby's Gone for Good", are classic Van Zandt compositions, heavily anchored in '60s soul. The bouncy third track belies its lyric; "I Played the Fool" makes very good use of bass and horns to carve a distinctive sound.

Springsteen performed this song infrequently until the Sessions Band Tour of 2006, when it was transformed into an eight-minute "show-stopping rave-up" whose already surreal lyrics were made more strange by being rapped against a big band swing arrangement and a pseudo-Andrews Sisters female backing vocal trio. This is the version that appears on the Live in Dublin CD and DVD. During a show on September 14, 1984 in Philadelphia, Springsteen introduced the song as being "about the Golden Roadway of the East... the New Jersey Turnpike!" Before performing the song he tells the story of him being pulled over by a policeman right after getting off at Exit 8 in Hightstown while driving back home from New York City.

The Sugababes confirmed in January 2006 that the B-side to "Red Dress" would be a cover version of Arctic Monkeys' debut single "I Bet You Look Good on the Dancefloor", which replaced the group's 2005 single "Push the Button" at number one on the UK Singles Chart. Upon the recording of the B-side, the Sugababes said: "When our bosses asked us to think of covers for the B-side, we knew which song we would all love to do." Ben Thompson of The Observer praised Berrabah's "bluesy rasp" as a novelty, while Jimmy Draper of Time Out wrote: "It transforms the punky rave-up into a disco stomper that could make even the staunchiest pop-hater get up and dance".

Another group having dropped out, The Rolling Stones were given the first residency. The first night only attracted three people, attendance not being helped by Giorgio, in a typical malapropism, accidentally writing "Rhythm & Bulls" on the advertising sign outside the venue. Nevertheless, the talents of the Rolling Stones, and a promotional scheme that gave complimentary admission to any patron that brought two friends, soon led to healthy crowds. Also, in order to liven up the proceedings, he convinced the Stones, whose repertoire was stretched by the demands of two 45-minute sets, to incorporate a 20-minute rave-up version of Bo Diddley's "Crawdad" (originally on the 1960 album Bo Diddley in the Spotlight) as the finale of their show.

The album begins with "Nebraska", a first-person narrative based on the true story of 19-year-old spree killer Charles Starkweather and his 14-year-old girlfriend, Caril Ann Fugate, and ends with "Reason to Believe", a complex narrative that offers a small amount of hope to counterbalance the otherwise dark nature of the album. The remaining songs are largely of the same bleak tone, including the dark "State Trooper", influenced by Suicide's "Frankie Teardrop". Criminal behavior continues as a theme in the song "Highway Patrolman": even though the protagonist works for the law, he lets his brother escape after he has shot someone. "Open All Night", a Chuck Berry-style lone guitar rave-up, does manage a dose of defiant, humming- towards-the-gallows exuberance.

The song is one of the many songs quoted and parodied on the 1976 album The Third Reich 'n Roll by the avantgarde group The Residents. "Psychotic Reaction" was also covered during the 1970s by The Radiators from Space (B-side to "Enemies", 1977) and by Television, who included the song in their early sets which emphasized the "rave-up" section. Covers made during the 1980s include a live version by The Cramps on their 1983 live mini-album, Smell of Female and by artist Nash the Slash. The Nash the Slash version was released on his 1984 album American Bandages, inserting paraphrased excerpts of John Hinckley's letter to Jodie Foster, as well as lines from the movie "Taxi Driver", between the verses.

" Jim Farber of New York Daily News cited the album as a return from her previous studio album Memoirs of an Imperfect Angel (2009), which Fader described as a "disastrous", Farber noted the album's musical content as containing "grand balladry, and formal melodies." Melissa Maerz of Entertainment Weekly, noted "nostalgia" to be a big and recurring theme both lyrically and musically, continuing to comment on this saying the "arrangements that borrow from Inner Life's disco rave-up 'I'm Caught Up (In a One Night Love Affair)' and the O'Jays' Philly-soul classic 'Let Me Make Love to You'." Eric Henderson of Slant Magazine noted the album's lyrics to be "personal, crazy. Crazy personal," Henderson continued calling the album's lyrical content an "deliberately confusing innocence with insight, obliviousness with bliss.

Along with being an alternative term for partying at such garage events in general, the "rave-up" referred to a specific crescendo moment near the end of a song where the music was played faster, more heavily and with intense soloing or elements of controlled feedback. It was later part of the title of an electronic music performance event held on 28 January 1967 at London's Roundhouse titled the "Million Volt Light and Sound Rave". The event featured the only known public airing of an experimental sound collage created for the occasion by Paul McCartney of The Beatles – the legendary Carnival of Light recording. With the rapid change of British pop culture from the mod era of 1963–1966 to the hippie era of 1967 and beyond, the term fell out of popular usage.

"Long Live Rock & Roll," it's called – a defense, perhaps, against anybody claiming guys like him helped kill it." Glenn Gamboa of Newsday gave the album a grading of B-, saying "Daughtry takes some cool chances on his fourth album." He then commented positively on "Waiting for Superman," calling it "a sleek change of pace, rolling together bits of The Fray and Bon Jovi into the patented Daughtry sound;" and gave "Long Live Rock & Roll" a positive review, saying "he cleverly reminisces about Billy Joel and grunge in a country-style rave- up." However, he commented negatively on "Battleships" "with the stunningly weird chorus of "We love like battleships ... And the cannon goes, 'Boom boo- boom boom boo-boom boom boom,'" which is, well, crazy, and you wonder if he's gone too far.

James Montogomery from MTV commented: "[The song is] all pulsing sirens, wobbly bass and four-on-the-floor beat, with an expansive electro chorus that sounds like a truckload of Nintendo Entertainment Systems exploding in unison (only sexier)." Frase McAlpine from BBC gave the song three out five stars and said: "I can't be the only person in the world who is slightly disappointed that this song isn't a jaunty '80 syn-disco rave up, in which Madge skips around in a big pink wig, like she used to in the olden days." He went on to add that "Celebration" is a decent dance track for Madonna to play on her tours. Stephen M. Deusner of Pitchfork complimented the song, calling it "personality-driven pop" in which Madonna has never sounded more convincing.

Guitarist Slim Dunlap joined the project later, and may have participated less than Stinson did, but it is notable that Westerberg kept Dunlap around to add guitar and vocal overdubs after Stinson and Chris Mars finished their parts, and while the album has relatively few guitar leads, several songs feature Dunlap's distinctive lead style. Mars had already been replaced by session drummer Charley Drayton on a few tracks before he arrived at the sessions, and the band used two other session drummers before its completion, indicating that his role was limited compared to the other band members. The only track featuring the entire band performing together may be the acoustic rave-up "Attitude". Of the other musicians, notable contributors include John Cale, formerly of the Velvet Underground, who plays viola on "Sadly Beautiful".

Ringwald later invited director John Hughes to see the band at a club date where the band informally and successfully auditioned for an appearance in the movie Pretty in Pink. In the movie, the Rave-Ups play their song "Rave-Up, Shut-Up" on stage while Duckie (Jon Cryer) talks with Iona (Annie Potts) at a nearby table, just before Andie (Ringwald) and Blane (Andrew McCarthy) join them. The next song played by the Rave-Ups in this scene is "Positively Lost Me." The band also appeared on the MTV "Pretty In Pink" Movie Premier Special performing "Positively Lost Me". That song became a cult hit big enough that Rhino Records included the song on Rhino's Just Can't Get Enough: New Wave Hits of The 80's - Vol. 12.

In 1998, Sony Music released Tired of Waking Up Tired: The Best of The Diodes on CD, and in 1999, the band reunited in 1999 to perform one song on The Mike Bullard Show to promote that CD. On May 24, 2007, The Diodes (Robinson, Mackay, Catto) played the Cavern Club in Liverpool as part of the International Pop Overthrow Festival. On May 25, 2007, they did an afternoon concert at Lennon's Bar in Liverpool, also as part of the festival. On June 9, 2007, the original lineup from the first album (Robinson, Mackay, Catto, Hamilton) reunited for 30th anniversary concerts for the NXNE festival. They performed a free afternoon concert at Dundas Square and a midnight show at Sneaky Dees. A live vinyl album of a 1978 concert, Time Damage was released on Rave Up Records (Italy) in February, 2010.

The Yardbirds' rendition became the new standard that subsequent musicians would follow. The song was recorded by Sam Phillips at his Phillips Recording studio in Memphis, Tennessee, on September 12, 1965, with further recording by Roy Halee at Columbia Recording Studio in New York City on September 21 and 22, 1965. "The Train Kept A-Rollin'" was included on studio side of the Yardbirds' second American album Having a Rave Up, which was issued on November 15, 1965. The song, along with another American studio recording, "I'm a Man", was not released in the UK until the mid-1970s, well after the group had disbanded. The song was a staple of the band's concerts and they recorded several live versions with Beck, which appear on albums such as BBC Sessions (1991) and Glimpses 1963–1968 (2011).

In April 2013, the band announced the release of their first DVD, called The Animals in Screen, scheduled to be out on 26 June.Fear and Loathing in Las Vegas to Release New DVD "The Animals in Screen"; JPop Asia, 11 April 2013 On 26 October, they announced a new single, "Rave-up Tonight", expected to be released on 15 January 2014, which is to be the theme song for Gundam Extreme VS. Maxi Boost.Fear, and Loathing in Las Vegas Announces New Single for January; Jpop Asia, 26 October 2013 In September 2013, the founding bassist Mashu left the band, as a result, on their official website announced on 23 September 2013 that Kei replaced Mashu as the new bassist. On 23 March 2014, the band announced that they will be releasing a new album this summer.

Blender described it as a mix of soul music by Ike Turner and new wave music by Devo and later as an "electro/folk-rock/funk/power pop/hip-hop/neo-soul/kitchen sink rave-up". Rolling Stone compared André 3000's vocals to those of "an indie-rock Little Richard" and the backing arrangement to the Beatles' 1969 album Abbey Road, later ranking it at number 182 in their list of 500 Greatest Songs of All Time and ranking it at number four on their 2011 list of the "100 Best Songs of the Aughts". According to Acclaimed Music, it is the 27th most celebrated song in popular music history, and the best song of the 2000s. New York also likened it to the Beatles and found it to be one of the best singles of 2003.

There's even a drunk scene—that standby of 1950s farce—along with extended recitations of heavily-symbolic dreams and the bizarre street names characteristic of open-box-add-water subdivisions to escalate the atmosphere of dislocation." The London production received similar responses. Many praised D'Amour's writing and Michael Billington in The Guardian wrote: "D'Amour makes some interesting points in this two-hour play: especially about the lingering suburban dream of a post-Thoreau, back-to-nature existence that leads the two women to set out on an abortive camping trip, which is matched by the hard-up guys planning a nocturnal rave-up. But, although D'Amour registers the solitude and despair of the innercity suburbs, she only briefly relates that to the broader picture of American decline and consigns a lecture on the loss of communal values to an awkward coda.

As throughout the song, only major chords are used in this portion: F7 for four bars, and one bar each of A7, G7, C7 and B7. The bridge remains on the B chord for its entirety and takes the form of a "rave-up". The section begins with repetitions of the main riff and ends with a blues-inflected guitar solo accompanied by wordless harmony singing. A 12-note rising guitar scale sounds on the second beat of each bar, starting with a mid-range B note and climbing over an octave to F. In Everett's view, the intensity of the bridge – the bass pedal, rising scale, guitar solos, cymbal playing, and increased attack on the vocalised "aah"s – conveys the realisation that the singer is being used by the female day- tripper and "express a gradually-arising, yet sudden sensation of, enlightenment".

The Yardbirds are an English rock band, formed in London in 1963. The band's core lineup featured vocalist and harmonica player Keith Relf, drummer Jim McCarty, rhythm guitarist/bassist Chris Dreja and bassist/producer Paul Samwell-Smith. The band is known for starting the careers of three of rock's most famous guitarists, Eric Clapton, Jimmy Page and Jeff Beck, all of whom ranked in the top five of Rolling Stone magazine's list of 100 greatest guitarists. The band had a string of hits throughout the mid-1960s, including "For Your Love", "Heart Full of Soul", "Shapes of Things" and "Over Under Sideways Down". Originally a blues-based band noted for their signature "rave- up" instrumental breaks, the Yardbirds broadened their range into pop, pioneering psychedelic rock and early hard rock; and contributed to many electric guitar innovations of the mid-1960s.

These included the hit singles "Heart Full of Soul", "Evil Hearted You"/"Still I'm Sad", a cover of Bo Diddley's "I'm a Man" (US only), "Shapes of Things" and "Over Under Sideways Down", and the Yardbirds album (known popularly as Roger the Engineer). Beck's fuzz-tone guitar riff on "Heart Full of Soul" helped to introduce Indian-influenced guitar stylings to the pop charts in the summer of 1965. The follow-up, the reverb-laden "Evil Hearted You", furthered the Eastern influence, while its B-side, "Still I'm Sad", featured the band chanting like Gregorian monks. The Diddley cover, "I'm a Man", was hard blues rock, featured the Yardbirds' signature "rave-up", where the tempo shifted to double time and Relf's harmonica and Beck's scratching guitar raced to a climax before falling back into the original beat.

The band embarked on their first US tour in late August 1965. A pair of albums were put together for the US market: For Your Love and Having a Rave Up, half of which came from the earlier Five Live Yardbirds album, combined with new tracks such as "You're a Better Man Than I" and "Train Kept A-Rollin'", both recorded with legendary producer Sam Phillips at Sun Studios in Memphis, Tennessee, during the first US tour. There were three more US tours during Beck's time with the band, and a brief European tour in April 1966. left The single "Shapes of Things", released in February 1966, "can justifiably be classified as the first psychedelic rock classic", according to music journalist Richie Unterberger and heralded the coming of British psychedelia three months before the Beatles' "Paperback Writer" B-side "Rain".

After the commercially and critically successful Yardbirds' albums Having a Rave Up with The Yardbirds (1965) and Yardbirds/Over Under Sideways Down aka Roger the Engineer (1966), founder member and bassist/musical director Paul Samwell-Smith left the group to pursue a career as a record producer. He was replaced on bass by studio guitarist Jimmy Page, whom the Yardbirds had originally approached to replace Eric Clapton. Page's position as bassist was temporary and within a short while he switched to second lead guitarist alongside Jeff Beck, with rhythm guitarist Chris Dreja taking over on bass. In 1966, the Beck/Page dual lead guitar line-up produced the psychedelic "Happenings Ten Years Time Ago", "Psycho Daisies" and "Stroll On", the updated remake of "The Train Kept A-Rollin'" for their appearance in Michelangelo Antonioni's film Blow-Up.

The recordings with Beck for Having a Rave Up took place at various studios between April and September 1965. Three were recorded during the Yardbirds' first American tour – "The Train Kept A-Rollin'" and "You're a Better Man than I" were recorded 12 September 1965 by Sam Phillips at his Phillips Recording studio in Memphis, Tennessee, and "I'm a Man" (studio version) at the Chess Studios in Chicago by Ron Malo 19 September 1965. Further refinements to the three songs were recorded at the Columbia Recording Studio in New York City by Roy Halee 21 and 22 September 1965. Another three songs with Beck were recorded by Roger Cameron at Advision Studios in London – "Heart Full of Soul" 20 April 1965, "Still I'm Sad" 17 August 1965 (also at Olympic Studios by Keith Grant 27 July 1965), and "Evil Hearted You" 23 August 1965.

Musicologist Michael Hicks describes it: Several songs recorded at the Marquee show use this arrangement and are included on the debut album, Five Live Yardbirds, which was released in the UK in December 1964. Although AllMusic critic Bruce Eder calls it "the best such [British rock] live record of the entire middle of the decade", it did not reach the charts and was not issued in the US. Four songs from the album made their first American appearance on Having a Rave Up. After their first two singles, "I Wish You Would" and "Good Morning Little Schoolgirl", had limited success, the Yardbirds were under pressure to deliver a hit record by their label, Columbia Records. Samwell-Smith interested the group in recording "For Your Love", a new pop rock-oriented song written by Graham Gouldman. Clapton expressed displeasure over departing from the group's blues roots, and he left the Yardbirds two days before the song was released on 5 March 1965.

Others were drastically re-arranged takes on old material, such as "Atlantic City", "If I Should Fall Behind" (changed into waltz time), and "Ramrod". The most remarked upon of these was Nebraska's "Open All Night", whose already surreal lyrics about New Jersey's industrial landscape were brought to the level of a "showstopping rave-up" by being rapped against a big band swing arrangement and a pseudo-Andrews Sisters female backing vocal trio. On the third, European leg, the enormous reception the band had received earlier in the year was not lost in the larger shows, and with Springsteen's arrangements of over ten of his original works into folk-like performances to add to the ever-expanding repertoire of Seeger-influenced songs. "The Seeger Sessions Band [was] no longer the ragtag collection of fine individual players they were some months ago, but a tight unit here toward the end of the tour — a band", Backstreets.

The lyrics describe romantic longing and unrequited love: "I can't get your love, can't get a fraction / Uh-oh little girl, psychotic reaction." According to an interview with Byrne, the rave-up solo section of the song was influenced by the Yardbirds' frenzied 1965 treatment of Bo Diddley's R&B; classic "I'm A Man", while the rest of the song was contributed by the band. When Count Five, managed by singer Kenn Ellner's dad, Sol Ellner, a successful South Bay insurance salesman, played the song live a few weeks later at a dance at the old West Valley College in Campbell, local KLIV radio disc jockey Brian Lord, emceeing the show, was very impressed. After a few pointed suggestions on rearranging the tune for even more punch, Lord soon put the band in touch with a couple of friends in Los Angeles, Hal Winn and Joe Hooven, about to start their own record label, Double Shot Records.

Recording at one of Chicago's more happening venues, the Cellar, the Shadows of Knight's setlist for the performance — speculated to have occurred in December 1966 — is composed mainly of blues covers taken from the band's first album. The songs "Tomorrow's Gonna Be Another Day", "Hey Joe", and "Gospel Zone" that represent some of the Back Door Men album, also figure into the Raw N' Alive set. The band noticeably emits a more angst-induced and punkish grit, channeling their own musical stance through the style of the Yardbirds and the Rolling Stones. Raw 'n' Alive also serves as a well-drawn document for the Shadow of Knight's progression as musical artists, with music historian Richie Unterberger pointing to "'It Takes a Long Time Comin', an original that never made it to the studio, makes extensive elastic allusions to the Beatles' 'Taxman', Frank Zappa is quoted elsewhere and, most impressively, the group pushes 'Hey Joe' toward the stratosphere, finding a comfortable intersection between a Yardbirds rave-up and proto-psychedelic drone".

The Yardbirds recorded "I Ain't Got You" for the B-side of their second single "Good Morning Little Schoolgirl" with guitarist Eric Clapton."I Ain't Got You" was written by Clarence Carter and first recorded by Billy Boy Arnold With Jeff Beck, they recorded the Reed-inspired instrumental "Like Jimmy Reed Again", which was released on a reissue of their album Having a Rave Up. The Animals considered Reed one of their main sources of inspiration and recorded versions of "I Ain't Got You" and "Bright Lights, Big City". Van Morrison's group Them covered "Bright Lights, Big City" and "Baby, What You Want Me to Do", both of which are on the album The Story of Them Featuring Van Morrison. "Big Boss Man", sung by Ron "Pigpen" McKernan, was regularly performed by the Grateful Dead in the 1960s and early 1970s and appears on their live album Grateful Dead Elvis Presley recorded several of Reed's songs, having a hit with "Big Boss Man" in 1967 and recording several performances of "Baby, What You Want Me to Do" for his 1968 TV program.

The band dropped Napier-Bell and entered into a partnership with Columbia Records hit-making producer, Mickie Most, known for his work with the Animals, Herman's Hermits and Scottish singer Donovan, yet this move failed to reignite their chart success. After the disappointing sales of "Happenings", the single "Little Games" released in March 1967 flopped so badly in the UK (where it was backed by "Puzzles") that EMI did not release another Yardbirds record there until after the band broke up. A 1968 UK release of the "Goodnight Sweet Josephine" single was planned but cancelled. A version of Tony Hazzard's "Ha Ha Said the Clown" – on which only Relf performed – backed by the Relf–McCarty original "Tinker Tailor, Soldier Sailor", was the band's last single to enter the US top 50, peaking at No. 44 on the Billboard charts in the summer of 1967. Epic compiled the six earlier A-side hits and B-sides ("New York City Blues", "Still I'm Sad") with the heaviest material from For Your Love ("I'm Not Talking") and Having a Rave Up ("Smokestack Lightning"), and released The Yardbirds Greatest Hits in the US in March 1967.