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John Fogerty says his new tune Weeping in the Promised Land was the hardest song he ever wrote

The Kelly Clarkson Show, and during his appearance, the former Creedence Clearwater Revival frontman chatted about his topical new tune “Weeping in the Promised Land,” and explained why it was “the hardest song [he] ever wrote.” Fogerty revealed that he actually came up with the song’s title more than 30 years ago, recalling that at the time, “I went, ‘Wow, that’s pretty cool…That sounds biblical, and it sounds really sad,’ adding, “That’s about all I did with it [then].” The 75-year-old Rock & Roll Hall of Famer then noted that last June or July, with the world engulfed in the COVID-19 pandemic and Black Lives Matter protests happening across the U.S., “that title, ‘Weeping in the Promised Land,’ came across my consciousness again, but this time, it was…more like ‘Bam!’…and I thought, ‘Oh, wow,’ ’cause now it meant this.”

Orange Juice: The Glasgow School: Released – 2005 Scotland s favourite albums by Billy Sloan

THE first time I interviewed Orange Juice was terrifying. I still bear the scars. Facing Edwyn Collins, James Kirk, David McClymont and Steven Daly must rank as one of the most intimidating encounters of my career in music journalism. The location was a dingy flat above a kebab shop in the West End of Glasgow. Orange Juice were promoting their 1980 debut single, Falling And Laughing, on indie label, Postcard Records. They wanted to talk. Or did they? Guitarist Kirk and bass player McClymont barely said a word. Singer Collins spoke on behalf of the band, his condescending brickbats expertly teed up by drummer Daly.

Godzilla vs Kong: Monster mash-up a cut above the rest

Godzilla vs Kong: Monster mash-up a cut above the rest In a puzzlingly uneven franchise, this one’s worthy of the price of admission Film Title: Godzilla Versus Kong Director: Adam Wingard Genre: Action The MonsterVerse franchise (yes, it really is called that) has, to this point, had an erratic history. Gareth Edwards’s boring Godzilla unintentionally offered a case against swinging such a project towards dimly lit reverie. In startling contrast, the smashing Kong: Skull Island – all Creedence Clearwater Revival and jungle hell – convincingly argued that art should always aspire to the form of Apocalypse Now. Godzilla King of the Monsters could only have been more irritating if it had been scored to massed bagpipes.

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