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The woman they’re singing about, Oates told Classic Rock, is actually New York – a bustling city of “greed, avarice, and spoiled riches” – and the sax solo has a kind of neon-lit sleaze, like a wet pavement glowing outside a Meatpacking district dive bar. The SaxHolder is around one third that.Originally ‘Maneater’ started life as a reggae track, before Daryl Hall suggested shifting the groove into Motown territory. Initially, I bought a very cheap thing on Amazon and it was a huge pain to put on and didn't stay in place at all Maybe that's why the above 'soft harnesses) cost nearly 100. Love to hear your experiences with the different harness-type straps.
Oddly, ‘Baker Street’ shares another link with the similarly sax-heavy ‘Careless Whisper’ – guitarist Hugh Burns plays on both. Soon the song was in constant rotation on radio, and led to what has been dubbed the ‘Baker Street’ phenomenon – mandatory sax solos everywhere in ‘80s pop. When Raphael Ravenscroft turned up to record a few bits on baritone sax, he suggested playing it on the spare tenor sax in the boot of his car, and the hit was born. The padded leather neckpiece is similar in shape to the Cebulla and has the similar groove in the padding, in order to keep weight from pressing on your spine, which is a good thing.Without its wailing saxophone, ‘Baker Street’ might’ve been just another bang average soft-rock number – the original demo features the iconic hook played on guitar. I stumbled upon this very interesting saxophone strap at the Frankfurt Musikmesse this year (2012). Gerry Rafferty, ‘Baker Street’ (1978)4.
Adorence Saxophone Strap Professional Heartbreaker At
Deliciously sleazy alto winds its way through the entire song in a pair of velvet loafers (probably with no socks, and slightly clammy feet). Melting hearts from “ coast to coast”, this fairly unsavoury character may have eyes like angels “ but his heart is cold”, warns Sade Adu. Sade, ‘Smooth Operator’ (1984)Outrageously slinky, ‘Smooth Operator’’s parping sax is as suave as the professional heartbreaker at the heart of the song. He injects an effortless sense of fun that felt missing from other mainstream pop music at that time – and Lady Gaga dug back into ‘80s pop revival long before it was everywhere again.
Adorence Saxophone Strap Movie The Bodyguard
Kendrick Lamar, ‘Alright’ (2015)Drawing on a series of genres including funk, jazz, and soul, Kendrick Lamar’s third album ‘To Pimp A Butterfly’ draws heavily from Black music tradition and explores a broken America fuelled by racism and inequality. And just when you think things can’t possibly get any more dramatic, in comes a yearning-filled sax solo from Kirk Whalum – who over the years has also lent his talents to Luther Vandross, Everything But The Girl, and Al Green. Whitney Houston, ‘I Will Always Love You’ (1992)A cover of Dolly Parton’s country-tinged original, Whitney Houston’s version of ‘I Will Always Love You’ – recorded for 1992 schmoozy movie The Bodyguard – amps up the ballad factor and makes belting use of Houston’s powerhouse vocal.
Fun fact: his horns are also featured on Floyd’s ‘Money’. Offering pockets of reflection between the increasingly epic choruses, Richard Parry’s tootling solos cut through the wall of sound. Pink Floyd, ‘Us and Them’ (1973)Melancholy and beautiful, ‘Dark Side of the Moon’’s jazz-influenced epic sees the band reflect on the needless nature of war, which rips apart the lives of ordinary people while those in positions of power sit back and painstakingly move border lines around on a map. To create the famous rock’n’roll moment, Bowie booked his childhood saxophone teacher Ronnie Ross and turned up to surprise him at the session. Lou Reed, ‘Walk on the Wild Side’ (1972)Produced by David Bowie and Spiders With Mars member Mick Ronson, Lou Reed’s twangy anthem for Andy Warhol’s Factory superstars fades out with a honeyed sax solo, which could happily keep going into infinity. It’s underpinned by far-ranging, jazz-influenced sax from collaborator Terrance Martin, giving the track a classic cinematic quality.
Given even further welly by two trumpets, the song features a pair of saxophonists who deliver some of the best known sax lines in music. Stevie Wonder, ‘Sir Duke’ (1996)One of the horniest songs on earth – in the most literal sense of the word – Stevie Wonder’s ‘Sir Duke’ is a brass bonanza, celebrating the influence of the late jazz composer and musician Duke Ellington. Framed by two similar sax solos by Richie Cannata, ‘Scenes From an Italian Restaurant’ is one of Joel’s greatest everyday epics, inspired by the stories that unfolded inside said establishment. “ A bottle of white, a bottle of red / Perhaps a bottle of rosé instead ?” begins ‘Scenes From an Italian Restaurant’, borrowing a line Joel heard a waiter say in the since-closed Fontana di Trevi, an Italian restaurant opposite the Carnegie Hall. A concept record of a kind, it hinges around various characters from around New York City and their fruitless pursuits of the American dream. Bolstered by a new go-to live back, he wanted to write an album that showcased his musicianship.
So, OK, sax solos aren’t all good news. The inescapable main melody later cropped up on Jason Derulo’s mildly irritating cowbell fest ‘Love Hangover’. The parping solo itself was recorded in a single take.
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