This is another exciting element of Sprint's Super Bowl XL sponsorship reserved for our customers. Last year, Sprint introduced the first wireless music store in the United States. We want our customers to be able to replay the fantastic songs from the halftime show whenever they want.
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This is a folk culture constantly revived. People think it's nostalgia for baby boomers, but the shows are always being recycled. We're now looking back on five decades of music, so it's representative of several generations... These songs are a great unifier.
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He's a bluegrass fanatic and loves acoustic music. He approached us, and it was a mutual thing. We did it through Ricky, and it worked out to be a great situation. We had a wonderful time in the studio. It was a mutual love affair with the music, and he brought us so many great songs.
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I really believe Phil Lewis and myself, we are lifers. Before we joined L.A. GUNS, Phil and I had done a lot of stuff other than him just being in GIRL, and me being in W.A.S.P. We are a little bit older than the crowd. We have been playing since the mid-'70s. We are really gypsies; there is no doubt about it. We have to be on the move, we have family lives, and personal lives in L.A., but we are two gypsies. I think our families are gypsies now too. (Laughter) That is the secret to L.A. GUNS. It doesn't matter if we are playing a small club, or on a big tour. We have to play, and we have to record new music. I think that is the difference between us and other bands. We must record for ourselves. If we don't do new material there is no point. We love our old repertoire. We have to play a lot of it every night. We just love it all, but we can't live off that. We have to be writing new songs all the time.
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We try to do a couple of songs off of each album we've done
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The best way to become a better songwriter is to keep writing songs.
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I've now been adding some of the songs from 'The Last Great Traffic Jam,.. So I cannot possibly play (all) these songs in three hours but I do change the set up every night. We always enjoy playing.
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Stuart was insisting (we contribute songs), which I thought was a pretty disastrous idea. The first couple of records were very self-contained worlds with a style that was all their own. It struck me as being insane to muddle what was so distinctive in the first place. I thought there would be a decline in quality. And I think there was.
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Actually, it's just the opposite. Stuart is still the main guy, obviously, but he now draws more from the group than ever. In the old days, people would come in with their finished songs. Now, everyone in the group contributes ideas? A chord sequence or a riff or a rhythm or anything.
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We did pre-production for the first time. He listened to the songs and made suggestions on structure and other things. We're such control freaks, we never let anyone hear anything in the past. But when we recorded, we were prepared? We tried really hard to nail every part, every vocal, every guitar. And I think that lends it a certain urgency.
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It was my 16th birthday - my mom and dad gave me my Goya classical guitar that day. I sat down, wrote this song, and I just knew that that was the only thing I could ever really do - write songs and sing them to people.
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People didn't buy these records because they wanted a history lesson. One of the best experiences I ever had was buying Del Shannon's greatest hits. I had only heard the song 'Runaway' because of the 'American Graffiti' soundtrack. I thought he was just a one-hit guy. Then I found 20 other songs that excited me and blew me away. That habit of discovery is what Rhino is about.
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It feels like a new opportunity for us. We're proud of the songs, and we think they have a chance to do a little better commercially.
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He delivered, but at first I had my doubts. He was quite brutal about taking a machete to songs if he thought they had too many verses; one song he completely halved. And he didn't like my acoustic guitar playing. Did you notice that, Chris? He would accidentally lean on the mute button. But I'm surprised and delighted with the way the record has turned out.
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I wanted to make a record where the songs could stand up to the records we loved on the dance floor while keeping the strong and punchy melodies.
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It's not just Appalachian music, like it was a history lesson. We're inspired by the history of the regional music from the Pittsburgh area, but we're writing new folk songs about life now, universal stuff.
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I do wonder if people aren't just interested in music that has meaning,.. Because there's been an exhaustion through forms and genres, like rock and electronica, doing away with melodies, and I think maybe we're always interested in songs - folk songs, hymns, whatever. Patriotic songs with strong melodies. It's the basis of what I'm doing, just focusing on traditional songwriting.
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A lot of it (Leader) is about situations that led her to write these songs.
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Mel has written 10 new songs, and they're very funny. It's a year and a half away from opening on Broadway.
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These are catchy songs the kids will take to their math class and remember what three times four is.
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Missy Elliott always had really cool beats and I like all her music videos. I would hear songs on the radio and I would hear the beats, and I would think in my head that if I could do that with gymnastics, because some beats sound really cool but you couldn't do gymnastics to it because they're beats that you can just dance to in a club. In gymnastics, you have to be able to breathe and move at the same time.
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That didn't feel quite right. I wanted to do something fresh, to capture the spirit and emotion. When I saw the lineup and the songs and the concept (of the New Orleans Social Club), I knew right away it would be a great show.
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It's all over the map, but there's one thing that runs through it all: They all write their own songs, perform their own songs and record their own songs.
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If your friends are telling you to listen to these songs because they heard it from someone else, that's exactly how things catch on.
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Years ago, I used to be surprised at how popular the songs are today. But now I'm not. I understand that this music has just permeated American society. It seems like it has no expiration date to it. I look out at audiences and I see four generations. It's new to some of them. Even 40 years later, these songs are still in demand. It's a testament to the music of this era.
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