Come On (Earl King song)
" Come On"( often called" Let the Good Times Roll") is a song written by New Orleans rhythm and blues artist Earl King.
He first recorded the song as" Darling Honey Angel Child" in 1960 for the Ace Records subsidiary Rex.
Later that year, he recorded it as a two- part song for Imperial Records using some new lyrics.
Retitled" Come On", it was released in 1960 with" Come On – Part I ” as the A- side backed with “ Come On – Part II ”( Imperial 5713).
The song's lyrics are based on" Let the Good Times Roll", the 1946 jump blues hit by Louis Jordan and his Tympany Five.
However, instrumentally, it is a showcase for guitar playing.
Music writer John Perry compares it to Freddie King instrumentals, such as" Hide Away" and" The Stumble".
He adds that it is performed in the" guitar- friendly key of E ... specifically designed to cram as many hot licks as possible into a single number".
" Come On" did not appear in" Billboard" magazine's R&B record chart, but gained a higher profile due to Jimi Hendrix.
The song was one of the earliest songs played by Hendrix, starting with high school bands at the Spanish Castle music club south of Seattle.
In 1968, he recorded" Come On" with the Jimi Hendrix Experience for their third album," Electric Ladyland".
Hendrix follows
King's rhythm guitar parts, but performs the song at a faster tempo, giving the song a more rock feel.
Bassist Noel Redding and drummer Mitch Mitchell also provide a more driving rhythm, which adds emphasis during Hendrix's guitar solo.
It was the last song recorded for" Electric Ladyland".
According to Redding," that was done to fill out the album ... We just played it live and they took it".
In 1977, King re-recorded an updated version at Knight Studios in Metairie, Louisiana.
Titled" Come On( Let the Good Times Roll)", it shows Hendrix's influence and was released by Sonet Records.
Several other musicians have recorded renditions of the song, including Dr. John( as" Let the Good Times Roll" for" Dr. John's Gumbo" in 1972); Freddie King(" Burglar", 1974); Anson Funderburgh and the Rockets(" Talk To You By Hand", 1981); James Booker( as" Let the Good Times Roll" for" Live from Belle Vue", 2015); Stevie Ray Vaughan( as" Come On( Part III)" for" Soul to Soul", 1985); and the Steve Miller Band(" Bingo!", 2010).
Diesel recorded a version for his EP" 7 Axes"( 2011).
In 2013, Flo Rida included a part of the chorus, credited, in" Let it Roll", which also sampled Freddie King's 1974 recording.
Andrew Culverwell
Andrew Culverwell is an English Contemporary Christian music artist and songwriter who recorded in the 1970s and 1980s.
His most notable contribution to contemporary Christian music is possibly the Christmas song" Come On Ring Those Bells", performed in 1977 by Evie.
Come On Over (Shania Twain song)
" Come On Over" is a song co-written and recorded by Canadian country music singer Shania Twain.
It was the tenth single and title track from her third studio album" Come On Over"( 1997).
It was written by Twain and her then- husband, Robert John" Mutt" Lange.
" Come On Over" was originally released to North American country radio stations in September 1999.
The song went on to win a Grammy Award for Best Country Song in 2000.
" Come On Over" was included in the setlists of the Come On Over Tour and Now Tour and in a medley during the Up!
Tour; it was also performed at the CMAs on September 29, 1999.
The song was later included in Twain's 2004" Greatest Hits" album.
Alonso Mudarra
Alonso Mudarra( c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar- shaped string instrument.
He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.
Come On In
Come On In may refer to:
Robert Johnson
Robert Leroy Johnson (May 8, 1911August 16, 1938) was an American blues singer, songwriter and musician.
His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians.
Johnson's poorly documented life and death have given rise to much legend.
The one most closely associated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.
He is now recognized as a master of the blues, particularly as a progenitor of the Delta blues style.
As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime.
He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law.
These songs, recorded at low fidelity in improvised studios, were the totality of his recorded output.
Most were released as 10-inch, 78 rpm singles from , with a few released after his death.
Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers.
His music had a small, but influential, following during his life and in the two decades after his death.
In late 1938 John Hammond sought him out for a concert at Carnegie Hall, "From Spirituals to Swing", only to discover that Johnson had died.
Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed.
Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death.
Law, who by then worked for Columbia Records, assembled a collection of Johnson's recordings titled "King of the Delta Blues Singers" that was released by Columbia in 1961.
It is widely credited with finally bringing Johnson's work to a wider audience.
The album would become influential, especially on the nascent British blues movement which was just getting started at the time; Eric Clapton has called Johnson "the most important blues singer that ever lived.
"
Musicians such as Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson's lyricism and musicianship as key influences on their own work.
Many of Johnson's songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed and re-purposed by many later musicians.
Renewed interest in Johnson's work and life led to a burst of scholarship starting in the 1960s.
Much of what is known about him today was reconstructed by researchers such as Gayle Dean Wardlow.
Two films, the 1991 documentary "The Search for Robert Johnson" by John Hammond, Jr., and a 1997 documentary, "
Can't You Hear the Wind Howl, the Life and Music of Robert Johnson," which included reconstructed scenes with Keb' Mo' as Johnson, were both attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts.
Johnson was inducted into the Rock and Roll Hall of Fame in its first induction ceremony, in 1986, as an early influence on rock and roll.
He was awarded a posthumous Grammy Award in 1991 for "The Complete Recordings", a 1990 compilation album.
His single "Cross Road Blues" was inducted into the Grammy Hall of Fame in 1998, and he was given a Grammy Lifetime Achievement Award in 2006.
In 2003, David Fricke ranked Johnson fifth in "Rolling Stone" magazine's "100 Greatest Guitarists of All Time".
Come On Come On (disambiguation)
Come On Come
On is a 1992 album by Mary Chapin Carpenter.
Come On Come On and variants may also refer to:
Come On in My Kitchen
"Come On in My Kitchen" is a blues song by Robert Johnson.
Drawing on popular recordings of a traditional tune, Johnson creates a picture of himself alone in his kitchen.
As the wind howls outside, he urges his lover to join him before the rain starts.
A critic has described it as "a hypnotic lament" and "his first unquestionable masterpiece".
A sometime traveling companion and fellow musician, Johnny Shines, recalled that Johnson's performance of the song could be overpowering:
Come On
Come On may refer to:
In music:
Come On! Come On!
" Come on!
Come on!" is a song by Japanese singer Mai Kuraki, taken from Kuraki's second studio album" Perfect Crime".
The song was released as 12- inch promotional single.

Question: Which country the composer of song Come On In My Kitchen is from?
Answer: American