![]() Note that you need permission to use Turtles All the Way Down for commerical purposes. You can also find concert tickets and details. This song is an instrumental, which means it has no vocals (singing, rapping, speaking).įor more information on this song or artist, check out SoundCloud or Last.fm. Turtles All the Way Down is unlikely to be acoustic. ![]() Around 5% of this song contains words that are or almost sound spoken. In our opinion, Turtles All the Way Down is somewhat good for dancing along with its moderately happy mood. It is composed in the key of E Major in the tempo of 92 BPM and mastered to the volume of -9 dB. ![]() The duration of Turtles All the Way Down is 3 minutes 8 seconds long. Turtles All the Way Down is a song recorded by Sturgill Simpson for the album Metamodern Sounds in Country Music that was released in 2014. Your browser does not support the audio element. Download our royalty-free games music instead.ĭid you know you can find songs based on topics? Some examples of topics searched by other users include role models, heroine, joy, medieval, and vigilantes. Note that you need permission to use Having A Party - Live for commerical purposes. This song is was recorded in front of a live audience.įor more information on this song or artist, check out SoundCloud or Last.fm. Having A Party - Live is likely to be acoustic. Around 24% of this song contains words that are or almost sound spoken. In our opinion, Having A Party - Live is has a catchy beat but not likely to be danced to along with its content mood. It is composed in the key of G♯ Major in the tempo of 122 BPM and mastered to the volume of -4 dB. The duration of Having A Party - Live is 6 minutes 47 seconds long. Having A Party - Live is a song recorded by Nathaniel Rateliff & The Night Sweats for the album Live At Red Rocks that was released in 2017. “You Worry Me,” the album’s first single, has a solid musical grounding, but it’s not likely to evoke the passion that came with a show-stopper like “S.O.B.” Lightning doesn’t strike twice in the same place, and somewhere between the genuine singer-songwriter vibe of “Hey Mama” and the band’s ground stomping workouts like “Intro,” is a middle ground where Nathaniel Rateliff & The Night Sweats might achieve something akin to greatness.Find Similar Songs Get BPM and Key Play on Spotfy ![]() While I’m sure this is more effective in a live setting, in a sweaty club with fans digging the band’s groove, it is less compelling on the home stereo.īut on a few tracks, the songwriting seems to dig a little deeper, strikes a more original tone, like the acoustic leaning ballad “Hey Mama,” and the softer rockers that close out the album, “Still Out There Running” and the title track. While Rateliff is a soulful, energized vocalist, often his lyrics settle into repeating lyrics with growing emotional intensity. The sound leans toward the big band R&B that has moved music fans to the dance floor for decades, with songs like “Be There,” “A Little Honey,” “Say It Louder,” “Babe, I Know,” “Coolin’ Out,” and “Baby I Lost My Way (But I’m Coming Home)” that follow the predictable patterns of previous soul hits, reminiscent of better songs from days gone by. They are especially effective on the big band rave-ups like the opener “Shoe Boot” and the sax solo rave up, “Intro.” The band’s sound is fleshed out by keyboardist Mark Shusterman and lead guitarist Luke Mossman, but for my money their soloing skills are under utilized in the often repetitive riff-driven compositions that Rateliff & the Night Sweats are drawn towards. Rateliff’s got a big voice, in the vein of Sam Cooke or Van Morrison, and can hold his own against the driving rhythm section of bassist Joseph Pope III and drummer Patrick Meese, and the horn section of Andreas Wild, Jeff Dazey, and Scott Frock. shakes and struggling with the demon alcohol, rocked crowds who ignored the implied hopelessness in the cry “give me a drink.”Īfter touring the songs from that 2015 self-titled debut for a couple years, the band returned to Richard Swift”s (The Shins, Foxygen) Oregon studio to deliver more of the same. Nathaniel Rateliff returns to his roots in R&B and Americana on the strength of the horn-driven Night Sweats.Īlbum Review: After several years of experimenting around the Denver music scene with alternative rock and folk music combos, Nathaniel Rateliff came to national attention with the R&B horn sound of the Night Sweats on a single that moved from a gospel vocal rave-up to a big band party anthem, largely rooted in the simple pleasure of shouting out the title, “Son of a Bitch.” Ironically, a song that details an individual waking up with the D.T.
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