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"Highway Don't Care" is a song recorded by American country music singers Tim McGraw and Taylor Swift on vocals, featuring Keith Urban on guitar. [3] It was released to US country radio on March 25, 2013, as the third single from McGraw's first album for Big Machine Records , Two Lanes of Freedom (2013). [ 4 ]
"It Won't Be Wrong" is a song by the American folk rock band the Byrds, which appeared as the second track on their 1965 album, Turn! Turn! Turn! [2] It was also coupled with the song "Set You Free This Time" for a single release in 1966, [2] resulting in "It Won't Be Wrong" charting at number 63 on the Billboard Hot 100. [3]
The "power chord" as known to modern electric guitarists was popularized first by Link Wray, who built on the distorted electric guitar sound of early records and by tearing the speaker cone in his 1958 instrumental "Rumble." A later hit song built around power chords was "You Really Got Me" by the Kinks, released in 1964. [8]
Guitar Songs EP by Billie Eilish Released July 21, 2022 Recorded 2022 Length 8: 17 Label Darkroom Interscope Producer Finneas O'Connell Billie Eilish chronology Happier Than Ever (2021) Guitar Songs (2022) Hit Me Hard and Soft (2024) Billie Eilish singles chronology "Male Fantasy" (2021) "TV" / "The 30th" (2022) " Hotline (Edit) " (2023) Guitar Songs is the second extended play (EP) [a] by ...
The guitar solo was played over music similar to the chorus, but with some sections extended to give Elliot Easton more measures on the chords E minor, F major, and G major, to build his flashy, melodic solo which resolves to a C major seventh chord.
"Won't Get Fooled Again" is a song by the English rock band the Who, written by guitarist and primary songwriter Pete Townshend. It was released as a single in June 1971, reaching the top 10 in the UK, while the full eight-and-a-half-minute version appears as the final track on the band's 1971 album Who's Next , released that August.
The poignant number "Worthless" is a track filled with piano, strings, guitar, and vocals which are abruptly cut off when the singing cars are crushed. The junkyard sequence's climax evokes feelings of desperation, danger, suspense and real-world peril. Newman "reprises the score's subtle and varied themes over the end credits". [1]