The Netherlands: they don’t call it the Lowlands for no reason. As the Intercity train hurtles from Rotterdam towards our destination, outside our window, ribbons of water dissect the fields, creating small islands of green where cows and sheep are stranded grazing. But this weekend isn’t some rural retreat. We’re heading for Utrecht, home for the 12th year running to, a self-described 'city celebration of global sounds.' This year’s lineup had a helping hand to crack this brief, with stages curated by 'slaveship punk' promoter Moor Mother, who brings us a special collaboration between Saul Williams and King Britt, plus New Age and folk-jazz explorer Beverly Glenn-Copeland; and director Asia Argento, who issued invites to alt-rock icons The Breeders, Lydia Lunch’s Big Sexy Noise, and the cinematic Americana musician Vera Sola. (In August, Argento following.). Taking place across 20 different venues and with a long list of 'must-sees,' the medieval city featured genre-defying sounds.
Here are some of our favorite performances from the weekend.Drinks, by Eric LuytenDRINKSThe first night of the festival kicks off with at the TivoliVredenburg venue Pandora. Nope, not that kind. This is the project of Welsh singer-songwriter Cate Le Bon and White Fence's Tim Presley. Their sound is very Raincoats in all its repetitive refrains and varying vocal tones. But there’s also skronking guitars and discordant riffs that conjures up similarly turbulent bunch Duds, which is wholeheartedly welcome.Emel Mathlouthi by Jelmer de HaasEMEL MATHLOUTHITunisian songwriter and producer slowly ascends to the Cloud Nine stage against a backdrop of glugging synths. She moves, a mere shadow through the darkened stage, and by the time she reaches the mic stand, you think it would be lights up, but no. Her vocals resonate through the crowd as she tackles a Jeff Buckley cover—a bold opener, but with a voice that has an almost operatic grandeur about it, she’s the woman to take it on.
Pulsating synths hemorrhage into the next song as she introduces a song for the children of Yemen called 'Kaddesh,' which means 'how many.' It’s this kind of hard-hitting commentary that carves an important space for Mathlouthi in this fraught landscape. Her songs capture the hopes and fears forged through years of repression, injustice, and economic hardship.Vera Sola by Melanie MarsmanVERA SOLAFrom revolution to reprieves, vocalist and multi-instrumentalist brings her spellbinding storytelling to the three-tiered concert hall, Hertz. An upright bass, scant drum kit, and full-bodied guitar lay waiting as the band makes their way onto the stage. It quickly becomes apparent within her country-tinged Americana that Sola is a proper raconteur, painting a picture of humdrum suburbia, jilted lovers, and countrymen that capture real stories. She talks about how she based one one song, 'Honey,' on a true story about a woman she met in Mississippi (unsurprisingly, she was called Honey).
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Though Sola peforms with her band members this evening, it’s interesting to note that she crafted the whole of the new record on her own—she even admits to learning a few new instruments to pull it off. But the whole trio is skilled when it comes to clever handiwork, whether that’s intricate finger plucking, cross-hand jazz snare skills, or slap bass. With her first record hitting shelves this month, Sola jokes, “It’s been a faith-based economy with my fans': up until now, she has only released a Misfits cover EP.
It only makes her more endearing to think of her Cramps vibrato vocal line and shoop-shoop swagger rocking out to 'Skulls' in her room.Lydia Lunch by Ben HoudijkLYDIA LUNCHYou can already tell from the smacks of the snare as the band tries to get the levels for the guitars right (i.e., louder than that kick) that this is going to be a loud one. Flanked onstage by a two-pronged powerhouse of the '80s, Brit band Gallon Drunk, charges onto stage with a glass of white. This is a woman who made a name for herself in the no-wave scene of New York and has since crafted an impressive back-catalog of provocative and confrontational noise music. Tonight is no exception. As soon as noughties number 'Trick Baby' rounds off its Death From Above scuzz guitar tones, Lunch is barking at the soundman that he’s going to have to work with her on the soundcheck—less treble, more mid, more bass, emphasising this last one with a guttural roar through the mic.But you know what? She’s nailed this, as the rest of the set, the lyrics cut through, and so do her on-stage put-downs. As she edges towards standout number, 'Your Rent Don’t Pay My Rent,' Lunch calls out to the ladies, 'This one’s for you.'
The rest of the track is punctuated with moments of outrage as she prowls the stage, snarling and snapping at anyone who dares make eye contact in the crowd: “You with the T Rex curls. I hope you go home and shave your face.' The theatrics continue as she flips the bird mid-set to unsuspecting audience members. The soundman gets a fair hit of it, too: “Bring the lights down a bit, moody blue and red, not white.' In the sixty minutes she’s with us, Lunch is volatile, rude, and outspoken.
And it’s a total joy to watch. As she takes a moment out to brush her hair, re-apply her lipstick, and dab some perfume on—throat and yeah, downstairs for good measure—she asks, “Do you know anything about Southern boogie? You’re about to get a lesson.' She bows out with a rousing rendition of 'The Gospel Singer.' We’re all converted.ROBOTS MAKE MUSICis like no other museum I’ve been to before. Boasting an extensive collection of automatically playing instruments, Speelklok is home to some pretty progressive tech when it comes to making music. Featuring musical clocks, barrel organs, and carillons, the collection is a charming journey through the ages, but it’s the future thinking where it starts to get really exciting.
The current exhibition, 'Robots Make Music,' showcases an impressive slew of worldly 'robots' that have developed the ability to mimic human movements, compose, and even improvise music, just as we can. Most remarkable of all of them is hypermodern and sympathetic US-built robot called Shimon, who listens like a human but plays like a machine. We see him performing alongside exhibitor Zac Whittaker as they play off one another’s riffing like they're jamming at a mate’s house. Sure, he can play, but what are a robot's thoughts on the future of feminism?Future Feminism by Melanie MarsmanFUTURE FEMINISMNYC artist and feminist has come to this year’s Le Guess Who? Festival to discuss just that, alongside DJ and dance artist Johanna Constantine. Back in 2014, together with English-born singer, composer, and visual artist Anohni (formerly of the band Antony and the Johnsons, and not present at today’s performance), the trio conceived Future Feminism: originally an exhibition-cum-performance series bringing together, ending in possibly their most widely-known tenet, 'The Future is Female.'
In their talk, they bring Future Feminism to life in two sections: the first, a dance piece that finds Constantine emerging from a black net shroud, her body clad in metal and bloodied scars. The second piece is led by Pfahler.
She’s joined by fellow band member Christian Music, both tottering under the weight of full black beehive wigs for a few hearty punk renditions from Pfahler’s back catalogue. The performance ends with them coming together on stage and taking the audience through the 13 tenets of Future Feminism, with a blown-up PDF of them thrown onto the screen for good measure.
Pfahler sort of sings us through them against a ropey '80s romp track with off-the-cuff asides about hippie colonies of California, Planet of the Apes, and being the “Switzerland of feminism.' Yes, it really was as mad as all of that.The Breeders by Ben HoudijkTHE BREEDERSEarlier this year, Kim Deal quite literally got the band back together for a reunion record, All Nerve— the first release from the original '90s lineup, featuring Kelley Deal (guitarist and co-vocalist), Josephine Wiggs (bass), and Jim MacPherson (drums). Unsurprisingly, then, their set at Tivoli's rock venue Ronda is peppered with numbers from 1994 release, Last Splash. Sunshine ballad 'Saints' kicks off proceedings, while 'Divine Hammer' and indie club staple 'Cannonball' sets off the pit in the front rows. There’s a nod to breakthrough Pod with its signature stop-and-start guitar refrains in 'When I Was A Painter,' and even a hat tip to lesser-spotted Title TK for a rousing rendition of 'Driving on 9,' complete with Kelley having a crack at the violin solo with her mouth after Kim shares, “Carrie Bradley is normally the violin player for this song, but she’s back in upstate New York, so Kelley’s going to sing the violin solo.'
But alongside the fond flashbacks, there is more than enough room for the new stuff. The fact that these tracks can stand up against their twenty-something-siblings is testament to The Breeders' longstanding knack for writing stone-cold indie hits. All Nerve opener 'Nervous Mary' sidles in with that classic Breeders build.
'MegaGoth' mixes things up, with Josephine landing lead vocals and Kim’s Les Paul. It's a prime opportunity for the Deal sisters to kick into some of the bass back catalogue as they plough into a 'Gigantic' Pixies closer. You can’t help but leave on a wave of big, big love for that.Katey Red by Erik LuytenKATEY RED.
By Cherry N/mcvey C/sharp J and produced as a backing track for Hit Trax by The MIDI Karaoke Backing Tracks Production Team. The music genre and style category for this MIDI File backing track is Hits of the 1990's.
Neneh Cherry Hiv
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Chart (1966)PeakpositionCanada Top Singles912U.S.9U.S. Top 1009Year-end charts Chart (1966)RankU.S. ('s Pop Annual)108Versions by Frank Sinatra Sinatra first sang the song on his weekly radio show in 1946 as the second part of a medley with 'Easy to Love'. He sang it with a big band in an. Riddle was a fan of and said that this arrangement was inspired by the. Sinatra aficionados usually rank this as one of his finest collaborations with Riddle's orchestra. The slide trombone solo is.
Sinatra usually included the song in his concerts, —a tradition carried on by his son,Sinatra re-recorded 'I've Got You Under My Skin' for the album (1963), an album of re-recordings of his favorites. This time the trombone solo was by Dick Nash because Bernhart was unavailable.A live version of the song appears on the 1966 album with Count Basie and his orchestra.Another version of the song is an electronically assembled duet featuring Sinatra and lead singer on Sinatra's 1993 album. Neneh Cherry version 'I've Got You Under My Skin'byfrom the albumReleased1990 ( 1990)Format.,Length3: 46Circa, Neneh Cherrysingles chronology'Inna City Mamma'(1989)' I've Got You Under My Skin'(1990)'(1992)Neneh Cherry's hip-hop interpretation of the song in 1990 was the lead single for the charity album, and reached number 25 in the UK Singles Chart.
The music video was directed. Cherry replaced most of the lyrics with a rap on victims and how society reacts to them. Of the original Cole Porter lyrics, she kept only the first four lines and 'Use your mentality, wake up to reality'.Weekly charts Chart (1990)PeakpositionAustralia 61Belgium ( Flanders)27Germany 23Greece 6Netherlands 14Netherlands 14New Zealand 32Sweden 16Switzerland 25(Official Charts Company)25. Joel Whitburn's Top Pop Singles 1955–1990 -. Retrieved 2019-02-09.
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Joel Whitburn's Top Pop Singles 1955–1990 -. Whitburn, Joel (1999). Menomonee Falls, Wisconsin: Record Research Inc.
Levinson, Peter J. Taylor Trade Publications. Retrieved 29 November 2018. Obituary: Milt Bernhart, trombonist who got under Sinatra's skin, The Guardian, London, 4 February 2004.
Erlewine, Stephen Thomas. Retrieved 29 November 2018. Erlewine, Stephen Thomas. Retrieved 29 November 2018. May 15, 1998. Retrieved April 4, 2019.; Granata, Charles L.
Windows 10 fax and scan not detecting scanner. Pp. 5, 89. ' (in Dutch). Retrieved 22 March 2018.
(PDF). December 22, 1990. Retrieved March 22, 2018. ' (in Dutch).
Retrieved 22 March 2018. ' (in Dutch). Retrieved 22 March 2018.
'. Retrieved 22 March 2018. '. Retrieved 22 March 2018. '. Retrieved 22 March 2018. Retrieved 22 March 2018.External links.
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This is a woman's world.This is my world.This is a woman's worldFor this man's girl.There ain't a woman in this world,Not a woman or a little girl,That can't deliver loveIn a man's world.My blood flowsThrough every man and every childIn this godless landThat delivered meI cried so many tears even the blind can seeThis is a woman's world.This is my world.This is a woman's worldFor this man's girl.There ain't a woman in this world,Not a woman or a little girl,That can't deliver loveIn a man's world.Oh, this is a woman's worldWomanWomanWoman.
WWW.AZCHORDS.COM Neneh Cherry - Everything Tabs Ver.