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‘Fever’ Pitch: The Best Cover Versions Of The Classic Peggy Lee Song

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The multi-layered history of “Fever” incorporates some strange tales and unlikely bedfellows. They include the R&B star who died in prison, the man who wrote rock’n’roll anthems for Elvis Presley and Jerry Lee Lewis, the singer-actress whose voice starred in a Walt Disney classic, and hundreds of artists who covered the tune, from Tom Jones via Isaac Hayes to Madonna. Here we present some of the best versions of “Fever.”

Little Willie John version

The song was written, officially at least, by Eddie Cooley and Otis Blackwell, the latter composer deservedly recognised as the creator of Elvis’ “Don’t Be Cruel,“ “All Shook Up” and “Return To Sender,” Jerry Lee Lewis’ “Great Balls Of Fire”, Jimmy Jones’ “Handy Man,” and others.

The slinky “Fever” was first recorded in March 1956 by the perennially-underrated Little Willie John, the 5’ 4” soul man from Arkansas whose other notable sides included the first version of the blues-classic-to-be “Need Your Love So Bad.” That song, and its predecessor as a John single, “All Around The World,” had already given him soul hits when “Fever” went all the way to No.1 in the R&B market. Little Willie’s career, and life, would decline on a sad note, with his mid-60s conviction for manslaughter and his death in prison, in 1968. The cause of death, recorded as a heart attack at the age of just 30, has often been disputed.

Peggy Lee version

Artists including Sandra Meade, Earl Grant and Ray Peterson recorded early covers of “Fever” before Peggy Lee completely reinhabited it in 1958, investing the lyric with all the sensuous allure it called for. Charting just as Billboard introduced its new Hot 100 countdown, Lee’s version went Top 10 on both that list and, as a tribute to her performance, on the R&B chart, as well as in the UK, Australia, and beyond.

Elvis Presley version

Presley’s history with Blackwell made it perhaps unsurprising that The King would record his own, fingersnapping version of “Fever” as he did on the Elvis Is Back! album. Released in 1960, the LP marked his return to recording after his National Service.

James Brown version

Such is the undying attraction of the song, barely a year has gone by that hasn’t seen several new interpretations of “Fever.” In the 60s, they included takes by Ben E King, Dion, Quincy Jones And His Orchestra and Bobby Bland. James Brown tackled it on his 1967 album Cold Sweat, as did Buddy Guy the following year on This Is Buddy Guy!

Isaac Hayes version

In the 70s, the range of candidates keen to address the song ran the gamut from Rita Coolidge to Boney M. Isaac Hayes took it to the disco on an eight-minute workout for his Don’t Let Go album in 1979, the same year rock’n’roll original Link Wray did his. Among hundreds more versions, we’ll give special mention to those by Chaka Khan and Joe Cocker, as well as the one by Madonna, recorded, appropriately, for her 1992 Erotica album.

“Fever” is a song that spans the ages in every sense: in 2016, British entertainer Petula Clark recorded her version for the album From Now On, which charted a little before her 84th birthday. To quote the lyric, it remains a song to give you fever – be it Fahrenheit or Centigrade.

Listen to the best of Peggy Lee on Apple Music and Spotify.

 

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RIAA Addresses IP Protections in USTR’S 2024 Unique 301 Report

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[[{“value”:”“The 2024 Special 301 Report provides a vital snapshot of the environment for music creators globally as well as a critical blueprint for US engagement with countries around the world to support them,” commented RIAA Chairman & CEO Mitch Glazier. 
The post RIAA Addresses IP Protections in USTR’S 2024 Special 301 Report appeared first on RIAA.”}]]

WASHINGTON, DC ( April 25, 2024) — Today, the United States Trade Agent (USTR) provided its yearly Unique 301 Report relating to deficiencies of copyright and other kinds of copyright (IP) securities in specific nations. The Report examines the existing legal, regulative, judicial, and enforcement actions on IP in those nations and recognizes the effect on United States music developers while likewise highlighting systemic concerns for United States federal government engagement to advance imagination worldwide. Amongst the cross-cutting concerns that show the music neighborhood’s input into the Unique 301 procedure, USTR Ambassador Katherine Tai acknowledged the important value of American developers’ contributions to United States tasks and financial development, keeping in mind Stakeholders from both unions and business in the imaginative sectors have actually highlighted the value of copyright defense and enforcement to their incomes and companies.”

” The 2024 Unique 301 Report offers an essential photo of the environment for music developers worldwide in addition to a vital plan for United States engagement with nations around the globe to support them, commented RIAA Chairman && CEO Mitch Glazier ” We value acknowledgment of uncomfortable patterns in many areas that would hurt the American music neighborhood, consisting of constraints on streaming rights, inadequate enforcement, and stream-ripping piracy, and the recognition of favorable advancements relating to copyright defense and enforcement. We motivate the United States Federal government in future Reports to resolve appropriate copyright defense in the context of AI as dedicated to by President Biden in the G7, and to oppose broad exceptions consisting of text and information mining. We likewise advise the United States Federal government to engage with nations based on continuous trade examinations, and to resolve deeply bothersome propositions on copyright and agreement matters, especially in South Africa.”

” We thank Ambassador Tai and the whole interagency group for their vigorous deal with this essential procedure. RIAA highly supports the United States Federal government’s extensive technique to promoting American developers globally, consisting of through existing and future IP discussions with the European Union, India and the UK.”

The post RIAA Addresses IP Protections in USTR’S 2024 Unique 301 Report appeared initially on RIAA

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Year-End 2023 RIAA U.S. Latin Music Income Report/ Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos

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[[{“value”:”Latin music in the U.S. has increased in popularity and value over the last eight years, outpacing overall recorded music… Read More »
The post Year-End 2023 RIAA U.S. Latin Music Revenue Report / Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos appeared first on RIAA.”}]]

Latin music in the U.S. has actually increased in appeal and worth over the last 8 years, outmatching general documented music each year throughout this duration of strong development. In 2023, the category struck its greatest mark yet at $1.4 billion, representing 16% development over 2022. Changed for inflation, Latin music market profits in 2023 are now 14% above the previous peak in 2005.

LINK TO FULL ENGLISH REPORT HERE

INFORME DE FIN DE AÑO 2023 DE RIAA SOBRE INGRESOS DE MÚSICA LATINA EN ESTADOS UNIDOS

La música latina en los EE. UU. creció en cuanto a su popularidad y valor durante los últimos ocho años, superando a la música grabada en basic cada año durante este período de fuerte crecimiento. En 2023, el género alcanzó su marca más alta con $1400 millones, que representa un crecimiento del 16 % con respecto a 2022. Ajustados por la inflación, los ingresos del mercado de la música latina en 2023 ahora están un 14 % por encima del pico previo en 2005.

ENLACE AL INFORME COMPLETO EN ESPAÑOL AQUÍ

The post Year-End 2023 RIAA U.S. Latin Music Income Report/ Informe de Fin del Año 2023 de RIAA Sobre Ingresos de Música Latina en Estados Unidos appeared initially on RIAA

FlipsideMediaET Tampa Bay Music • Live Music & & Music News “Whatever Music”

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Live Music On I-Drive Orlando

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Live Music on I-Drive Orlando; Supper & & Dancing at Cuba Libra. Friday’s & & Saturday’s; DJ Night. Friday and Saturday; Live Acoustic Music. Fridays and Saturdays.

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The post Live Music On I-Drive Orlando appeared initially on Weekly Calendar

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