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"Drift Away" is a song written by Mentor Williams in 1970 and first recorded by British singer Mike Berry on his 1972 album Drift Away. A version by John Henry Kurtz was released two months later in November 1972. [1] [2] Mentor Williams was a country songwriter, and John Henry Kurtz was an actor and swamp rock singer.
The song combines country and hip-hop elements, [1] opening with acoustic guitar strums and audio samples of people talking in a bar. Dustin Lynch recounts a romantic encounter in the opening verse and sings in the melody of "Drift Away" during the chorus, [2] in which he describes his ideal environment to spend time with a "country girl": a six-pack, some Brooks & Dunn and a Chevrolet.
"Drift Away" was released as a single on 16 March 2018. [6] A music video was released for the song in April, which featured a couple enjoying the end of summer at the beach. [ 4 ] The song was a commercial success, becoming the number one most performed song on New Zealand radio for 11 weeks, [ 7 ] and becoming double platinum certified.
His hit songs included "The 'In' Crowd" in 1965 and "Drift Away" (a cover of a song written by Mentor Williams). "Drift Away" was one of the biggest hits of 1973, has sold over one million copies, and remains a staple of radio airplay. [1] Dobie Gray was a member of the cast of "Hair" at the Aquarius Theater in Hollywood, CA from 1968 to 1969.
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Tim O'Brien was born on March 16, 1954, and raised in Wheeling, West Virginia, the youngest in a family of five children.At the age of 12, he first heard a Bob Dylan record, played by his older sister Mollie, afterwards deciding to take up music.
Between 6 and 11 January 1998, the tracks "Mindfield", "King of Broken Hearts" and "Drift Away" were mixed at A&M Studios. [3] Osbourne added a vocal track to "Vertical Man" on 16 January. [ 3 ] The following day at A&M Studios, saxophonist Joel Peskin overdubbed saxophone onto "Puppet", which was then mixed on 23 January. [ 3 ]
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.