#Was it really worth it song tv

I still recall feeling so moved by that song. вЂњIt was a sunny day, and I put the radio on and вЂFor What ItвЂ™s WorthвЂ™ came on. вЂњIвЂ™m not sure if it was the first time I heard it, but I clearly remember driving with my dad and wearing blue granny glasses, which I thought were so cool,вЂќ Lifeson says. RushвЂ™s Alex Lifeson recalls first hearing the song while driving in the family car in the Toronto suburbs. The song was also added into new pressings of the bandвЂ™s first album, replacing another Stills original, вЂњBaby DonвЂ™t Scold Me.вЂќ вЂњI didnвЂ™t hear it, but Stephen felt the pulse of it and there you go.вЂќД®veryone else knew the song was special, and the single was rush-released with an amended title, вЂњ(Stop, Hey WhatвЂ™s That Sound) For What ItвЂ™s Worth,вЂќ at ErtegunвЂ™s suggestion. The combination of the two guitar parts, with my scared little voice, made the record.вЂќДЇuray admits he didnвЂ™t hear anything special in the song at first: вЂњI was more into the electric work, like вЂBluebirdвЂ™ and вЂRock & Roll Woman,вЂ™ that phase of where we were,вЂќ he says. That was it.вЂќ Added Stills later, вЂњNeil came up with the wonderful harmonics part with the vibrato.

вЂњTook a broom, a guitar pick and mixed that in so itвЂ™s got that sound вЂ“ of a guitar pick going through a broom, on the straw. вЂњStan came in and said, вЂYou gotta do this one thing to the drum, the snare,'вЂќ Young said in Jimmy McDonoughвЂ™s Shakey. Young credited engineer Stan Ross with the songвЂ™s spare, almost sinister arrangement. studio to lay down the song in a one-day session. On December 5th, only a few weeks after the Strip mayhem, the Springfield went into an L.A. вЂњAt the end of the day, Stephen said, вЂI have another one, for what itвЂ™s worth.'вЂќ вЂњAhmet had come to Los Angeles and we were at StephenвЂ™s house,вЂќ Furay recalls. According to one legend, Stills played it for one of the groupвЂ™s managers, prefacing it with, вЂњLet me play you a song, for what itвЂ™s worth.вЂќ Springfield singer-guitarist Richie Furay recalls he, Stills, and Young playing new material for AtlanticвЂ™s Ahmet Ertegun, a major supporter of the Springfield. вЂњBut I knew I had to skedaddle and headed back to Topanga, where I wrote my song in about 15 minutes.вЂќ The folk-blues feel of the song harked back to StillsвЂ™ days in the Greenwich Village folk scene.ДЄs anyone whoвЂ™s heard it knows, the phrase вЂњfor what itвЂ™s worthвЂќ appears nowhere in the song. вЂњIt was really four different things intertwined, including the war and the absurdity of what was happening on the Strip,вЂќ Stills later told The Los Angeles Times. Egged on by that fight, the protesters (some of whom carried placards that read вЂњWeвЂ™re Your Children! DonвЂ™t Destroy UsвЂќ) trashed a city bus and threw bottles and rocks at storefronts. According to reports, a fight broke out for reasons having nothing to do with the curfew a car carrying a group of Marines was bumped by another vehicle. On the night of November 12th, a local radio station announced there would be a protest at PandoraвЂ™s Box.

An increasing number of clubgoers was descending on the Strip, irritating area residents and upscale boutiques, and the LAPD instigated a 10 p.m. The song is going, вЂWhat the hell is this?вЂ™ You can apply the song to any situation in any decade.вЂќД«y 1966, the situation in Los Angeles was tense. The main hook, вЂEverybody look whatвЂ™s going downвЂ™ вЂ“ you can apply that, to say, the current election. вЂњThe way itвЂ™s written, itвЂ™s so open to interpretation,вЂќ says HeartвЂ™s Ann Wilson, who released a cover last year on her first EP with side project the Ann Wilson Thing. In 2014, it came in at number three on Rolling StoneвЂs readers poll of the best protest songs.

#Was it really worth it song tv

(Robert Plant also cut a version with his pre-Zep band, Band of Joy.) Public Enemy even sampled it on 1996вЂ™s вЂњHe Got Game.вЂќДЄccording to BMI, the songвЂ™s publishing house, вЂњFor What ItвЂ™s WorthвЂќ been played 8 million times on TV and radio since its release. The Staple Singers were among the first to cover it, in 1967, but since then, itвЂ™s been recorded by a mind-bendingly diverse number of acts: Ozzy Osbourne turned it into a grim stomper, Lucinda Williams into a ghostly ballad, Kid Rock into a classic-rock homage, Rush into a swirling soundscape, Led Zeppelin (in live bootlegs) into languid blues.

вЂњFor What ItвЂ™s WorthвЂќ has transcended its origin story to become one of popвЂ™s most-covered protest songs вЂ“ a sort of вЂњWe Shall OvercomeвЂќ of its time, its references to police, guns and paranoia remaining continually relevant.