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Choose the instruments you want to hear, and download your version instantly! For The Good Times - Al Green - Custom Backing Track MP3. Your melody For The Good Times Al Green is merely for demonstration so if you just like the music you should pick the authentic audio. Help the actual vocalist simply by purchasing the original compact disc For The Good Times Al Green to ensure the vocalist provides the most effective music and go on functioning. Free Mp3 Al Green For The Good Times Download, Lyric Al Green For The Good Times Chord Guitar, Free Ringtone Al Green For The Good Times Download, and Get Al Green For The Good Times Hiqh Qualtiy audio from Amazon, Spotify, Deezer, Itunes, Google Play, Youtube, Soundcloud and More. Heyheyheyheyhey, for the good times, for the good times Lay your head, on my pillow, aw this is one time girl Hold your warrrrm-and tender body, close to mine hey hey a hey a hey aw baby Hear the whisper, hear the whisper, of the raindrops, of the raindrops Blow.

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Al Green For the Good Times lyrics

Don't look so sad, I, know its over
But life goes on, and this world, keeps on turning
Let's just be glad, we have this time,to spend together
There is no need to watch the bridges, that were burning
Lay your head, on my pillow
Hold your warm, and tender body, close, to, mine
Hear the whisper, of the raindrops
Blow softly, against my window pane aw late at night
Make believe you love me, one more time
Heyyyyy... For the good times, for the good times
I'll get along, and I'm sure, you'll find another
But baby please remember this, I'll be here
I'm gone stay right here If you should ever find, that you need me
Don't say-a-word, about tomorrow
Oh forever and ever and ever and ever
There will be time, enough for severence when you need me
heyheyheyheyhey, for the good times, for the good times
Lay your head, on my pillow, aw this is one time girl
Hold your warrrrm-and tender body, close to mine
hey hey a hey a hey aw baby
Hear the whisper, hear the whisper, of the raindrops, of the raindrops
Blow softly softly, against my window pane aw haw ho ah haw
All you gotta do, all you gotta do, is make believe you love me, one more time
For the good times, for the good times
And here's what you oughta do
Lay your head, on my pillow
Hold your warrrrm-and tender body, close to mine (fade)

1. Back Up Train

He didn’t think much of it at the time and quickly came to loathe having to perform it, but Al Green’s first hit was arguably the most important record he ever made. Greene – who dropped the e after he released his debut album – grew up dirt poor, one of 10 children born to a sharecropper family in Arkansas. One night, after being paid $800 for an entire year’s work, his parents decided to move the family north. They piled the kids and their few belongings into a truck and hit the road under cover of darkness. Young Albert’s new life in Grand Rapids, Michigan, revolved around church and music, but when his dad caught him playing a Jackie Wilson record at home, he threw his son out of the house. Greene stayed with friends, with whom he formed a band, initially called the Creations. By 1967, the band was aware of their lead singer’s promise and star power. They were billed as Al Greene and the Soul Mates, and released this self-penned single on their own label. The record became a local and then a national hit, and the band were invited to the Harlem Apollo, where an ecstatic crowd called them back to perform nine encores of the song. The truly life-changing performance, however, came the following year and was only witnessed by a handful of people. Late in 1968, the demoralised singer – now touring solo, his Soul Mates all pursuing day jobs back in Michigan – performed a gig in a bar in a tiny Texas town. On arrival, he discovered he was playing support to singer-songwriter Willie Mitchell and would be backed by Mitchell’s band. Eager to get a break, Greene introduced himself to Mitchell and tried to let the older man know he was looking for help and advice, without losing face by actually saying as much. When it was Greene’s turn to soundcheck,he performed his signature song in an unprecedentedly quiet, low-key manner. Mitchell and his band were won over; after the gig, they agreed to give Greene a lift north, as far as their home base in Memphis. Before he left Tennessee, Greene managed to persuade Mitchell to loan him a significant amount of cash (the singer remembers it as $2,000, although Mitchell told the writer Peter Guralnick it was $1,500) and they made loose plans to meet again. Months later, Greene turned up at Mitchell’s Memphis home, arriving during renovations; Mitchell initially mistook Greene for a decorator. Within three years, the pair would write a new chapter in the history of popular music.

2. Tired of Being Alone

Mitchell and Green, now shorn of the e, took their time building a sound and style for the singer after he relocated to Memphis and signed toHi Records. The pair were finding their feet on their first album together, Green covering George Gershwin’s Summertime and offering a straight, surprisingly inessential cover of the Beatles’ Get Back. But by their second LP, the partnership was slipping into gear. An audacious cover of the Temptations’ I Can’t Get Next to You gave Green a minor hit, but it was Tired of Being Alone that defined his signature sound. Mitchell had set up a studio in a former cinema, and believed the sloping floor gave an expansive quality to the frequencies; he had also assembled a great studio band. Over the years, as the formula became more successful, others tried to copy it, replicating Mitchell’s equipment setup and instrumentation, but there was an indefinable magic that proved impossible for anyone else to channel. The lyric for Tired of Being Alone had come to Green after he was awoken by music in his head during a stopover on his way back to Memphis after a gig in Detroit. Dawn was breaking as he finished the song, at which point he returned to his motel bed and fell straight back to sleep. Little wonder, then, if song and performance share some of the qualities of a dream.

3. I’m a Ram

For all the understatement, poise and patience of the classic Green-Mitchell sound, there was another side to Green that occasionally broke the surface. The singer wasn’t averse to the odd moment of apparent musical madness. The key conflict that dominated his life and his art was between the sacred and the secular, but it’s fascinating to ponder what kind of an musician he might have become had his more esoteric sides caught on with record buyers. At first, there’s not much to separate I’m a Ram from more stereotypical Green hits, but a rhythm guitar riff that anticipates the clavinet sound in Stevie Wonder’s Superstition and a particularly taut drum and bass performance that anchors the horn-seasoned soundbed gives the song a punchier, funkier feel than normal . Over it, Green jabs and spars with a strange, pugilistic lyric in a way that’s closer to funk, yet more experimental than he tended to get.

4. Let’s Stay Together

He may have been a peerless singer, but Al Green was not the greatest judge of a song. His first chart-topper was a case in point. Mitchell presented Green with the bare bones of a track, which the singer didn’t care for. Mitchell pressed him to write lyrics to it, but Green believed this was a ruse to make him keener to record and release the song because he would then earn writing royalties. Green relented; he claims he wrote the lyric in five minutes but spent a quarter of an hour in the studio lobby, just so Mitchell would think he’d taken it seriously. For the other 10 minutes he drank Coke and watched a boxing match on TV. The pair argued for two days before Green eventually agreed to record it, and even that process was fraught, as Mitchell tried repeatedly to get Green to sing the song with more softness and warmth. Eventually, by his account, Green performed the song the way the producer wanted, just to put an end to the ordeal – “whatever you want to do is alright with me,” indeed. That none of this backstage combat is evident in the record is testament both to Mitchell’s acute understanding of his art and Green’s superlative skill as a singer.

5. Love and Happiness

In the early part of his career, Green had blended the church music he’d grown up singing and the secular styles he absorbed against his father’s wishes by incorporating overt gospel tracks alongside ballads and love songs on his albums. With Love and Happiness, he and co-writer Mabon “Teenie” Hodges managed to amalgamate both. A driving, insistent pulse, powered by Teenie’s brother Charles’s organ, gives the song a sweaty, feral fug, but at the same time evokes church and spirituality. In his breathy, a cappella intro, Green sets up the dualities between “doing wrong” and “doing right”. The backing vocals could come from the stage in an after-hours Saturday night club or the choir stalls on a Sunday morning; as Green is stretched out on the song’s rack, his punchy exhortations and despairing moans shade in every inch of the conflict and confusion the lyrics outline in one song.

6. Beware

The closing track on Green’s 1973 album Livin’ for You is disconcerting and unsettling, though it appears mellifluous and warm. If Green’s best songs explore the tug of war between the soul and the flesh, Beware seems to show the consummate lover warning us his motives may not be honourable. You can choose to hear the song as just another come-on, or you can hear it as the opposite – a call to be on the alert for people who might manipulate you for their own ends. Yet it also seems to work on at least a third level, as a kind of obstinately low-key protest song (“Times are changing, life is upside down / No reason to cry now”), brushing up against a disturbing hook, which, if taken literally, has Green telling his us to take nothing he says at face value (“Beware of who you listen to / Beware of what you believe / Ain’t nothing I can do to you / To make you love”). All of this takes place across an extended eight-minute groove, the Hi Rhythm Section allowed to stretch out and investigate elements of jazz, soul, blues and funk.

Al Green For The Good Times Free Mp3 Download For Pc

7. Take Me to the River

To these ears, the very best thing Green ever did, Take Me to the River seems to occupy an odd place in the singer’s affections. He used its title for his autobiography in 2000, so clearly sees its importance. It’s also worth noting the spoken introduction, in which Green dedicates the song to Little Junior Parker, a distant cousin who’d worked with Howlin’ Wolf and who wrote and first recorded Mystery Train, a song that would later become a signature tune for Elvis Presley. Yet in his book, Green dismisses the song in a couple of sentences, claiming to prefer Syl Johnson’s version, released the following year, also on Hi, also produced by Mitchell, and which adds little or nothing to Green’s own recording.

8. Sha La La (Make Me Happy)

If music really does have charms to soothe a savage breast, you’d expect Al Green’s music to carry a triple dose. Mitchell’s use of strings here – an echo of the Philadelphia sound that would come to dominate music later in the decade, and a Green lyric of honeyed imprecision made Sha La La into a big hit: it would be the eighth, and last, of his million-selling singles. So it managed to sate his fans, but its ability to calm his sometime girlfriend, Mary Woodson, proved less potent. One night in October 1974, shortly after the release of the song, on the album Al Green Explores Your Mind, Woodsonarrived at the studio in a state of agitation. Understanding that something was wrong, but not knowing what, Green tried to play the song to her as a means of defusing the tension. It didn’t work: later that night, after he’d refused to propose to her (Woodson was already married), she burst into his bathroom while he was brushing his teeth and threw a pan of boiling grits over him, then went into another room and shot herself. The incident – which came shortly after a religious experience Green had had during a visit to Disneyland – had a profound impact. After a long stay in hospital, he decided that things had to change.

9. Georgia Boy

Al Green For The Good Times Free Mp3 Download 2017

Green and Mitchell dissolved their partnership in 1976, and with it went the Hi Records band and access to the cinema studio. Green built a new studio and recruited new players; he also bought a church – the Full Gospel Tabernacle, in Memphis – and became its pastor. The Belle Album was his first after the split with Mitchell, and the last for decades that would include anything but gospel material. Parts of it have weathered better than others: where Mitchell had introduced strings, Green’s production prefers a thin synthesiser, a sound that occasionally sits ill amid the classic AG sound. Georgia Boy, however, remains a delight. Perhaps even more so than his covers of Hank Williams or Willie Nelson, the song takes us back to the rural south of Green’s childhood, and reveals him as a country singer, just one who’s operating in a different genre. The textured throb of Ruben Fairfax, Jr’s bass and Green’s own guitar work recall the acoustic funk of Bill Withers, while the spacious, open production conveys both relaxation and urgency, as well as a sense of mysteries lying just below the surface. You’re reminded of the story Green told in his book when, shortly after relocating to Memphis, he took a drive into Arkansas to try to find the village he’d grown up in, only to realise everyone had left and barely a trace of it remained. By the time The Belle Album was released, Green was a few months into a marriage with former backing singer and church administrator Shirley Kyles: a relationship his autobiography omits to mention. In later interviews and in court filings, Kyles described beatings, violence and abuse that began the day after their wedding. There were numerous incidences requiring stitches, and one that took place when she was five months pregnant. In November 1979, she tried to shoot him, but missed. In divorce depositions, Green admitted to the abuse. Their relationship more recently appears at least cordial: in a 2014 profile, the Washington Post’s Chris Richards noted her presence at a Full Gospel Tabernacle service Green was leading.

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10. Standing in the Rain

For The Good Times Lyrics

“In the eyes of the fans of Al Green, the last Al Green record was in 1977,” drummer, producer and Roots bandleader Questlove told me in 2008. “You know, not to negate the 17 that came between 1977 and 2005 – but they don’t count. It’s almost as if he didn’t record. I told Al this. My whole goal was this has to be a follow-up to The Belle Album.” There’d been the occasional highpoint in Green’s post-Belle discography, not least the two albums he made in the early years of the 21st century after reuniting with Mitchell, but Lay It Down fulfilled Questlove’s ambition. Co-producer James Poyser and Questlove approached the task determined to honour Green’s 1970s work without attempting to just simulate the sound. There were battles to fight with a label – Blue Note, part of EMI, then going through acquisition by venture capital company Terra Firma – obsessed with securing big-name duet partners; Green’s own idiosyncratic approach also prolonged the record’s three-year gestation. “He’s very much like workin’ with D’Angelo, on some pullin’ teeth thing,” Questlove – who had produced D’Angelo’s Voodoo – said of Green. “You only really got four good hours out of him, and then he was spent – so you had to use it wisely. He’d show up every day at 11:30 then be ready to go home by 4 in the afternoon. ‘Whoo, I’m beat. I’ll see you next month.’ There was no room for musical mistakes. Al wanted to do a lot of duets, and I didn’t want to do The Duet Record. Blue Note wanted to make sure that we got our Starbucks on, but I didn’t want to make it bland. You had to sort of play two ends against the middle. So it took some time gettin’ there, but we got there.” The whole record works beautifully, but closing track Standing in the Rain is the pick. As with so much of his finest work, the lyric Green wrote is simple, but when allied to his honeyed voice and apparently effortless, intuitive performance, it is transformed. The song also works as a stubborn, defiant full-stop at what is, as of this writing, the end of a conflicted and complicated career. “I withstood all the pain, standing out here in the rain,” he sings, over a dry-as-dust, horn-punctuated backbeat that would have graced any of his early 1970s singles. “Do you know my name? It’s the end of the pain and the shame / That’s my name.”