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Tsubtsatagilidakeyn is a popular phrase Filipino children would blurt out playing 'Teks', a card game where the correct side of a flipped card wins. In the same year, Rocksteddy was also invited to join the tribute album Kami nAPO muna doing their version of Apo Hiking Society's "Blue Jeans".
A tribute concert sponsored by MYX Music Channel was held during the launch of the album, in honour of the trio's contributions to OPM Music. [3] A two-disc limited edition set of Kami nAPO Muna has been released, with the second disc containing Apo Hiking Society's original versions of the tribute tracks.
Just a few years after their hiatus, the tribute album Kami nAPO Muna was released in honor of the group. The Filipino musical artists who did their own unique renditions of APO songs includes: Imago, Orange and Lemons, Parokya ni Edgar, Kamikazee, Sandwich, Sugarfree, Itchyworms, Sponge Cola, Boldstar, Sound, Drip, Rocksteddy, Top Suzara, Barbie Almalbis, Kitchie Nadal, Shamrock, and The Dawn.
"Blue Jeans" is a song by Australian band Skyhooks, released in August 1976 as the third and final single from the band's third studio album, Straight in a Gay Gay World. The song peaked at number 12 in Australia and at number three in New Zealand.
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
The music video for "West Coast" was noted to share several similarities with Del Rey's previous videography. Its black-and-white, old-school imagery recall her video for "Blue Jeans" and the introduction to "National Anthem". While the home-recorded footage scenes were a technique previously used in "Video Games" and "Summertime Sadness", and ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Instead of extending the first section, one adaptation extends the third section. Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]