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The song received a nomination for Record of the Year at the 1998 Grammy Awards, losing to "Sunny Came Home" by Shawn Colvin. [4] Billboard and The Guardian both named it as Crow's second-best song. [5] [6] A music video for this song was directed by Peggy Sirota and filmed in New York City in sepia tone. It features a toy airplane flying from ...
An official music video was directed by Onda and released alongside the single. It sees Big Sean in a Dragon Ball Z-like diving chamber, [6] being measured by an attractive tailor, [5] walking on a treadmill, [5] [6] meditating in front of a green screen, [5] riding in an old-school convertible [2] and shooting hoops in a cartoonish setting. [5]
Folk songs adopt, adapt, and incorporate colloquialisms, slang, and occupational terms into verbal snapshots. In truck-driving country, such specialized words and terms as truck rodeo, dog house, twin screw, Georgia overdrive, saddle tanks, jake brake , binder and others borrowed from the lingo of truckers are commonly utilized. [ 10 ]
Questioned about the production of Convoy during an interview in July 1978, Peckinpah is quoted as saying: "In preparing Cross of Iron I kept hearing on Armed Forces radio this song about “We'll hit the gate goin' 98, Let them truckers roll, Ten-Four!” and I said “By God, I'd like to be out on that highway!” And so I got out there, but ...
Sheryl Crow recently took a guided magic mushroom trip with the Johns Hopkins University in Maryland. Only one thing spoiled it: the trip employed a carefully selected “playlist” designed to ...
Bill Mack Smith Jr. (June 4, 1929 – July 31, 2020) [1] was an American country music songwriter, singer, and radio host. While at WBAP Radio, Mack initiated the Bill Mack Million Mile Club for truckers achieving one million miles of accident-free over-the-road driving.
Sheryl Crow recently spoke to the BBC and slammed artificial intelligence being used in the music space to bring back the vocals of dead artists. She specifically called out Drake for using AI to ...
The song was covered with slightly reworked lyrics by Tom Waits in July 1975 at Record Plant Studios in Los Angeles and released in October on his third album, the pseudo-live double-LP Nighthawks at the Diner, under the title "Big Joe and Phantom 309". (To establish mood for the studio audience, Waits refers to the studio as "Raphael's Silver ...