21, 1942, in Lubbock, the second of three children. But unfortunately, with the way things are today, the song is probably more poignant now than when I wrote it.” Davis said of “In the Ghetto” in a 2017 interview with the website. “I really thought I was going to change the world with that song,” Mr. Davis’s experience with a childhood playmate, the 5-year-old son of one of his father’s Black co-workers - conveyed empathy and depth in speaking to racial inequities. “Baby Don’t Get Hooked on Me,” with lines like “I’ll just use you, then I’ll set you free” (about desiring only casual sex from a woman), smacked of male chauvinism.īy contrast, “In the Ghetto” - inspired by Mr. Davis in 1974, expressed a naïve optimism verging on schmaltz. Davis’s songwriting in the late 1960s and early ’70s was a product of that era, revealing a debt to both the sunny humanism of 1967’s Summer of Love and the candid sensuality of the sexual revolution that accompanied it.īuoyed by singalong choruses and a handclap beat, “Stop and Smell the Roses,” a Top 10 pop hit for Mr. Davis’s other projects over the last few years included collaborations with the country star Keith Urban and the singer Rivers Cuomo of the band Weezer. Mars in 2012 was certified platinum by the Recording Industry Association of America. He also wrote “Young Girls” with the pop star Bruno Mars a version released by Mr.
#Mac davis youtube karaoke movie
He made his acting debut in the 1979 movie “North Dallas Forty,” a comedy that starred Nick Nolte as an aging football star and Mr.
#Mac davis youtube karaoke mac
Davis had his own television variety hour, “The Mac Davis Show,” from 1974 to 1976 on NBC and was a regular guest on “The Tonight Show” and other talk shows in those years. “Of course, I was just a kid, you know,” Mr.
Davis said in an interview with the website Elvis Australia about the first time he saw Presley perform onstage, in a parking lot at the county fairgrounds in Lubbock. “He was like nothing I’d ever seen before,” Mr. Davis recorded many of these originals himself, working in a Southern pop vein akin to that of Presley, whom he often cited, and his fellow Lubbock, Texas, native Buddy Holly, whom he called his greatest musical influence. Singing in a warm, resonant baritone, Mr. “Watching Scotty Grow,” another of his best-known compositions, stalled just outside the pop Top 10 for Bobby Goldsboro in 1971. Davis’s signature song he closed his concerts with it for decades. “I Believe in Music” was recorded by scores of artists and became Mr.
0 kommentar(er)
