This is based on a song sung at the Jewish holiday of Passover about the freeing of slaves.
I just learned it in the last 1/2 hour.
Have some patience: like God had with the Egyptians through 10 plagues and Moses and the Jews had with God’s promise.
“José Peña Suazo (born January 18, 1967) is a Dominican Merengue singer, arranger, composer and musician. Peña Suazo has played the trumpet, composed and arranged in many Dominican merengue music groups like Cuco Valoy's orchestra and La Artillería. He is currently the lead singer of La Banda Gorda.”
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“Merengue was first mentioned in the mid-19th century with the earliest documented evidence being newspaper articles. Some of the articles inform about a "lascivious" dance, and also highlight merengue displacing the Tumba. The genre had originated within the rural, northern valley region around the city of Santiago called the Cibao. It later spread throughout the country and became popular among the urban population.[7]
The oldest form of merengue was typically played on string instruments. When the accordion came to the island in the 1880s, introduced by German traders, it quickly became the primary instrument, and to this day is still the instrument of choice in merengue típico. Later, the piano and brass instruments were introduced to the genre.
“
Band
https://en.wikipedia.org/wiki/Brothers\_and\_Sisters\_(album)?wprov=sfti1#
“Brothers and Sisters is the fourth studio album by American rock band the Allman Brothers Band. Co-produced by Johnny Sandlin and the band, the album was released in August 6, 1973 in the United States, by Capricorn Records. Following the death of group leader Duane Allman in 1971, the Allman Brothers Band released Eat a Peach (1972), a hybrid studio/live album that became their biggest-selling album to date. Afterwards, the group purchased a farm in Juliette, Georgia, [IN THE SOUTH] to become a "group hangout". However, bassist Berry Oakley was visibly suffering from the death of Duane, excessively drinking and consuming drugs. In November 1972, after nearly a year of severe depression, Oakley was killed in a motorcycle accident (not dissimilar from Duane's), making it the last album on which he played.”
If the link doesn’t take you to specific portion, fast forward to 13 minutes in.
https://en.wikipedia.org/wiki/Music\_for\_the\_Royal\_Fireworks?wprov=sfti1#Music\_and\_instrumentation
:
“The Music for the Royal Fireworks (HWV351) is a suite in D major for wind instrumentscomposed by George Frideric Handel in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. The music celebrates the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle (Aachen) in 1748. The work was very popular when first performed and following Handel's death.
…
On 21 April 1749 an audience, claimed to be over twelve thousand people, each paying two shillings and six pence (half a crown) rushed to get there, causing a three-hour traffic jam of carriages on London Bridge, the only vehicular route to the area south of the river.[1]
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The work is in five movements:
Overture (Adagio – Allegro – Lentement – Allegro)
Bourrée
La Paix (Largo alla siciliana)
La Réjouissance (Allegro)
Menuets I and II
“
I hear a lot of similarity to the Ying Yang Twins.
https://en.wikipedia.org/wiki/Crunk?wprov=sfti1#:
“Crunk is a subgenre of hip hop music that emerged in the early 1990s and gained mainstream success during the mid 2000s.[1][2] Crunk is often up-tempo and one of Southern hip hop's more dance and club oriented subgenres. An archetypal crunk track frequently uses a main groove consisting of layered keyboard synths, a drum machine clapping rhythm, heavy basslines, and shouting vocals, often in a call and response manner.[2]The term "crunk" was also used throughout the 2000s as a blanket term to denote any style of Southern hip hop, a side effect of the genre's breakthrough to the mainstream.”
https://en.wikipedia.org/wiki/I'd\_Love\_to\_Change\_the\_World?wprov=sfti1#Release\_and\_reception:
Background and composition
The song was written and sung by Alvin Lee and features a folk-inspired chord pattern to support the melody. It discusses the confused state of the world, covering a wide variety of societal complaints, until it finally addresses the Vietnam War.[2]
Release and reception
"I'd Love to Change the World" was the band's highest charting single. It peaked at number 40 on the BillboardHot 100 in 1971.[3] When it was released, "I'd Love to Change the World" was a staple of both FM and AM radio, a rarity for the time.[citation needed]
Billy Walker of Sounds wrote that the "acoustic guitar, echoing vocals, and electric guitar build up the tempo with very good cool electric passages by Alvin [Lee], and while there's nothing new developing it's a very nice track".[4] Matthew Greenwald of Allmusichighlighted Lee's guitar work as the "most expressive—and most tasteful—electric guitar performance of his career", and added "if there is a single song that can describe the overall vibe of the counterculture in 1969/1970, this may very well be it. The band and Lee never quite matched the song's supple power in their later efforts, but this song is representation enough of their awesome artistry."[2]
https://en.wikipedia.org/wiki/Isma%C3%ABl_L%C3%B4?wprov=sfti1# :
“Lô was born in Dogondoutchi, Niger on 30 August 1956, to a Senegalese father from wolof ethnic group and a Nigerien mother. Shortly after Lo’s birth the family returned to Senegal where they settled in the town of Rufisque, near the capital Dakar. He plays guitar and harmonica, and has been called “the Bob Dylan of Africa”.[citation needed]
In the 1970s, Lo studied at the School of Art in Dakar. He later joined the popular group Super Diamono, but left in 1984 to start a solo career. Over the next four years Lo recorded five popular solo albums.”
Wikipedia:
Foghat are an English rock band formed in London in 1971.[1][2][3] The band are known for the use of electric slide guitar in their music.[4] Their best known song is the 1975 hit "Slow Ride". The band have released 17 studio albums, including eight gold albums and one platinum, along with one double platinum live album. Despite several line-up changes, the band continue to record and perform.
https://en.wikipedia.org/wiki/Cubismo?wprov=sfti1#
“Cubismo is a Croatian music band of eleven members playing salsa and latin jazz. The band was formed in 1995[1] by a gathering of eight eminent musicians from various Croatian music bands. They also featured a Venezuelan vocalist Ricardo Luque.
Overview
The name Cubismo was created from Dizzy Gillespie's piece "Cu-bi Cu-bop", which represents one of the first music mixes of jazz and afro-Cuban music. The name is associated with Cuba as well, which has a music tradition known as the cornerstone of entire music genre made and performed by Cubismo.
Their sound is characterized by multiplicity of instruments and expressively strong dance rhythm produced by a multi-member rhythm section. Besides remakes of standard jazz pieces, popular and traditional Cuban songs, they perform their own pieces.”
https://www.newworldencyclopedia.org/entry/Solomon\_Burke#google\_vignette:

“Burke's powerful singing and stage presence were well-received by live audiences, as well as both peers and critics. However, he was not able to break through into the mainstream. He moved to the Bell label in 1969, and recorded for Dunhill, MGM, and Chess labels in the 70s.
In the 80s and 90s, Burke was one of the chief exponents of classic soul music, touring and producing record albums in a style that merged his gospel and R&B roots. As a result, his music was mainly marketed to an audience that appreciated Burke's musical roots rather than pop music. Burke's live and recorded music remained a favorite of those who wanted to experience a legendary soul singer who had maintained his original style. In 1987, he appeared in the movie The Big Easy as Daddy Mention. He would continue to tour with a 21-piece band through the 1990s.
“
https://sonichits.com/video/Carlos\_Montoya/Jota\_(Remastered)#google\_vignette:
“Montoya's playing style was idiosyncratic. He once said, according to Brook Zern:
"I do not play the way I do to please the public, though it certainly does, on five continents so far, and no other flamenco guitarist will ever fill the Houston Astrodome as I have. No, I play the way I do because to me, that is exactly the way the flamenco guitar should sound. It seems strange to me that the unknowing public should agree, while the real flamenco aficionados clearly do not...but that's the case."
His style was not particularly appreciated by serious flamenco students, who considered it less brilliant than many others, including that of Montoya's uncle Ramón. Carlos's own favorite flamenco guitarist, it was reported by Zern, was the obscure Currito de la Geroma. That he was unpopular among aficionados owes largely to the fact that Montoya learned in a non-traditional way and that he abandoned the compás which has evolved within flamenco over hundreds of years. Many of his works do not even keep perfect tempo, increasing and decreasing in speed almost whimsically. He was admired for the speed of his picados and undoubtably found popularity on the international stage as a result of this obviously impressive pace, but to an aficionado speed is nothing without compás, the trick being to play rapid, beautiful falsettas without straying outside the framework of the rhythm.”
https://en.wikipedia.org/wiki/Come\_On-a\_My\_House?wprov=sfti1#:
“The song was first performed during a 1950 off-Broadway production of The Son. It did not, however, become a hit until the release of Clooney's recording. Saroyan was a novelist and playwright. The song was one of Bagdasarian's only successes before adopting the pen name David Seville, under which he found success with the song "Witch Doctor" and as the creator of Alvin and the Chipmunks.
Rosemary Clooney version
Clooney's version of the song was the first of a number of songs she recorded which were influenced by accents or dialects. She recorded it in early 1951 with Mitch Miller leading an ensemble of four musicians including harpsichordist Stan Freeman. The single reached number one on the Billboard charts for six weeks.
Clooney also sang the song in the 1953 film The Stars Are Singing.
Although she performed "Come On-a My House" for many years, Clooney later confessed that she hated the song and only recorded it because Miller threatened to fire her if she refused. In a 1988 interview, Clooney said she could hear anger in her voice from being pressured to perform a song she disliked.
https://www.allmusic.com/album/get-in-union-recordings-by-alan-lomax-1959-1966-mw0002753831
“Get in Union: Recordings by Alan Lomax 1959-1966 Review by Steve Leggett
The music of the Georgia Sea Islands is unlike any other in the world, and its uniqueness is due to an extraordinary collision of events in American history. Once the site of large plantations, the islands, strategic in blockading shipments by sea to the rebel Southern states, were seized early in the Civil War by the Union. Since the plantation landowners then fled, leaving some 10,000 now-free slaves (some of African descent and some from the Bahamas) behind, the Union, much occupied elsewhere, allowed the islands to self-govern. It was an almost accidental, but still radical, social experiment, given further cultural dimension by the blending of the two former slave cultures, the African and the Bahamian, with American folk music, particularly its gospel and blues. It led to a freshly envisioned tradition of sparsely rhythmic folk and religious music unlike any other, and given the islands' relative isolation, it developed on its own path without undue intrusion from mainland pop.
This is where Bessie Jones comes into the story. Born on the Georgia mainland, she settled on St. Simons Island as a young woman, and already familiar as a singer with American and African folk music, she absorbed the islands' own skewed Caribbean spin on things, and was soon singing with the loose confederation of local singers and musicians who came to be known as the Georgia Sea Island Singers. The music they made, a mix of traditional call-and-response work songs, hymns, ring songs, rope-skipping rhymes, and other cultural flotsam drawn from a blended trio of folk traditions, was sparse, joyous, and vital, often accompanied by just handclaps, foot stomps, and the occasional cane fife.
Jones was fully aware of the preservationist side of the music she led and directed, and she understood its educational aspect as well, as did cultural archivist Alan Lomax, who visited the Georgia Sea Islands twice to make field recordings of the island singers, once in 1959, and again in 1966. Lomax also recorded over 50 hours of tape with Jones alone on the mainland in 1960 and 1961, and it is from these three bundles of field recordings that this wonderful two-disc set is drawn.
It's difficult to pull out highlights, since the feel here is so tightly focused, interwoven, and intimate throughout, but "Sheep Sheep Don't You Know the Road," the joyous "O Day (Yonder Come Day)," and the powerful and haunting "Diamond Joe" are typical, each falling gracefully into emotional clarity. Then there's "Elephant Fair," a skipping set of rhymes that is by turns silly, surreal, and violent, although most of the tracks here are transcendent and fall more to the side of the angels. This set makes a marvelous in-depth introduction to the poise and balance of Bessie Jones, and to the treasure that is Georgia Sea Island folk music.”
https://www.hellorayo.co.uk/magic/entertainment/music/abba:
“
How did ABBA start?
ABBA were formed in Stockholm in 1972 and made up of Agnetha, Bjorn, Benny and Anni-Frid (Freida). The band met as two sets of couples and, on holiday in Cyprus in 1970, performed an impromptu cabaret performance to UN soldiers on the island.
All four members were musically talented, with Benny previously being in the band Hep Stars who were billed as the Swedish Beatles. When Bjorn was a teenager, he fronted popular Swedish pop-folk band Hooternanny Singers and it was here Bjorn crossed paths with Benny as both bands toured the country.
Agnetha sang with a dance band in the 60s, as well as having solo success in Sweden. It was during her solo career that Agnetha met Bjorn and they were married in July 1971.
As for Anni-Frid, the Norwegian born performer sang from the age of 13. In 1967, Anni-Frid won a competition with the prize being a recording contract with EMI and the chance to perform on live TV. Anni-Frid first met her future ABBA band members in 1969 and the group officially got together in the early 70s.
“
https://en.wikipedia.org/wiki/Late_in_the_Evening?wprov=sfti1#:
“The song has received praise for Simon's lyrics, the horn interlude, and the distinctive drum part, a New York City-style Cuban Mozambique drum groove[2] by Steve Gadd. Gadd performed the part using two pairs of drumsticks – one in each hand – in order to give the impression of two drummers playing together.[3] Simon performed the song twice with Art Garfunkel during their 1981 reunion concert in Central Park in New York City.
…
Billboard described the hook consisting of a "percussive and bass duet" as being "irresistible".[17]Record World said that it's highlighted by "spirited brass, percussion & guitars".
“
“This song was born on a tour bus going to Portsmouthin 1971 when a reporter asked the band how they wrote songs. To demonstrate, guitarist Ritchie Blackmoregrabbed an acoustic guitar and began playing a riff consisting of a single "G" repeated over and over, while vocalist Ian Gillan improvised lyrics over the top. The song was refined and was performed that same night.[7] The song first appeared on the 1972 LP Machine Head and remained one of the band's live concert staples, being the set opener even before it was released on any album.
…
The guitar solo gained recognition in 2015, when readers of Guitar World voted it No. 15 in their list of the "100 Greatest Guitar Solos".”
https://grokipedia.com/page/The\_Beginning\_of\_the\_End\_(band)
“The Beginning of the End was formed in 1969 in Nassau, Bahamas, by three brothers—Ray Munnings on organ, Roy Munnings on guitar, and Frank Munnings on drums—along with bassist Fred Henfield and occasional guitarist Livingston "Lively" Colebrook.[6]The group drew early inspiration from the vibrant local Bahamian music scene, incorporating elements of traditional goombay and rake-and-scrape rhythms alongside American soul and funk sounds that permeated the islands through radio broadcasts and touring acts.[7] This fusion helped shape their energetic style as they emerged in the late 1960sNassau music environment.
The band quickly established itself by performing in local Nassau clubs and hotels, where they honed their sound and built a dedicated following among Bahamian audiences.[6] Their sets often featured high-energy grooves that blended Caribbean flair with soulful grooves, attracting attention from both locals and visiting performers who frequented the island's venues. These early performances solidified their reputation in the regional scene, setting the stage for broader opportunities.
In 1971, the group's trajectory shifted when they recorded demo tapes that reached U.S. music executive Henry Stone during his scouting trips to the Caribbean.[8] Impressed by their unique sound, Stone signed them to his Alston Records label, marking their entry into the American music market and culminating in the release of their debut album Funky Nassau.[9]
“
https://ourpastimes.com/history-of-the-la-raspa-folk-dance-12357901.html
“La Raspa is said to have begun in Veracruz, a state that has a major port city off the Gulf of Mexico. With shipments of trade goods also came music and dance from around the world. Modern Mexican folk dances, like La Raspa, are mixtures of Aztec, Mayan, Yaqui, African and European movements--sacred and secular--which were forged together as many cultures intermingled over the centuries.”
https://en.wikipedia.org/wiki/MC\_Hammer?wprov=sfti1#Let's\_Get\_It\_Started\_(1988):
“Not entirely satisfied with this first multi-platinum success, Hammer's music underwent a metamorphosis, shifting from the standard rap format. "I decided the next album would be more musical," he said at the time. Purists chastised Hammer for being more dancer than rapper. Sitting in a leopard-print bodysuit before a concert, he defended his style: "People were ready for something different from the traditional rap style. The fact that the record has reached this level indicates the genre is growing."[7]
Hammer was close friends with Arsenio Hall (as well as a then-unknown teen named Vanilla Ice, despite later rumors that there was a "beef" between the two rappers which was addressed during the height of both their careers on Hall's show, and whom he would later reunite with in a 2009 concert in Salt Lake City, Utah),[82][new archival link needed][83] and as such, Hammer was first invited to perform the song "U Can't Touch This", prior to its release, on The Arsenio Hall Show in 1989.”
I keep posting Santana because the bands early period is probably my favorite classic rock.
Check out the scene of the rain bouncing off the drums.
https://www.songlyrics.com/santana/toussaint-l-overture-lyrics/
“Toussaint L'Overture is a sprawling, instrumental-driven track from Santana's landmark 1970 album Abraxas, showcasing the band's ability to fuse Latin percussion, blues guitar, and psychedelic rock into something genuinely transcendent.
Thematically, the piece honors Toussaint Louverture, the revolutionary leader who guided Haiti's successful slave rebellion in the late eighteenth century, becoming a symbol of liberation and Black resistance throughout the Americas. The music itself embodies that spirit of defiance and freedom, surging forward with relentless energy and refusing to be contained by conventional song structure.
Musically, the track demonstrates Santana's mastery of Afro-Cuban rhythms layered beneath rock instrumentation, with Carlos's guitar wailing expressively over a foundation built by percussionists Michael Carabello and José Areas. The interplay feels both disciplined and wildly spontaneous.”