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"Knockin' on Heaven's Door" is a song by American singer-songwriter Bob Dylan, written for the soundtrack of the 1973 film Pat Garrett and Billy the Kid. Released as a single two months after the film's premiere, it became a worldwide hit, reaching the Top 10 in several countries.
Notable for a rare authorised use of a Bob Dylan sample, it takes extensively from his 1973 song "Knockin' on Heaven's Door". Dylan liked "Rise" so much he allowed Gabrielle to use the sample free, while receiving a co-writer credit for providing the song's chord progression and vocal sample. [2]
Knockin' on Heaven's Door: Recorded as "Knockin' on Heaven's Door (A Sight to Rejoice)" Patti LaBelle: Most Likely You Go Your Way and I'll Go Mine [266] Ladysmith Black Mambazo: Knockin' on Heaven's Door [293] Klaus Lage: Three Angels Recorded as "Drei Engel" [294] Mark Lanegan: Man in the Long Black Coat [16] Stoney LaRue: Forever Young ...
Dylan himself appeared in the film as the character "Alias". The soundtrack consists mainly of instrumental music and was inspired by the movie itself. The album includes "Knockin' on Heaven's Door", which became a trans-Atlantic Top 20 hit. Certified gold by RIAA, Pat Garrett & Billy the Kid reached No. 16 in the US and No. 29 in the UK.
Knocking on Heaven's Door may also refer to: Knockin' on Heaven's Door, a 1974 album by Arthur Louis "The Beginning and the End, or 'Knockin' on Heaven's Door", a 1996 episode of the TV series Neon Genesis Evangelion "Knockin' on Heaven's Door", a 1997 song by Avalon from their album A Maze of Grace; Knockin' on Heaven's Door
She released the EP Knocking on Heavens Door in March 2015, which included three of her previous tracks and the new song "Knocking on Heaven's Door." Her cover of "Knocking on Heavens Door" was included on the soundtrack of the finale to season 2 finale of The 100 in March 2015. [2] In its first week of release the lead single reached No. 116 ...
Knockin' on Heaven's Door is a 1997 German crime tragicomedy film by Thomas Jahn, starring Til Schweiger, Moritz Bleibtreu, Jan Josef Liefers and Rutger Hauer.Its name derives from the Bob Dylan song which is also on the film's soundtrack.
The song is performed in the key of E minor [6] and Attwood sees the desolate lyrical landscape as being reflected in the descending chord progression of the music: "the chords of E minor and D rock back and forth, and the verse ends with a descent of E minor, D major, B minor, A major – and the descent is a descent in every respect. It feels ...