What I’ve Been Listening To: Faces/Ooh La La

Yesterday, I went to my great go-to little store close to my house, which is selling used vinyl records and vintage stereo equipment. While I can easily get lost there, I usually leave with one or two vinyl records. This time I also stroke out on the equipment front, getting an ’80s Nakamichi tape deck. I know in the age of streaming all of that sounds pretty antiquated. But my old tape deck had given up years ago, and I still have hundreds of music cassettes, mostly from the ’80s and ’90s when I was taping music like a maniac. I could never throw them out, even though the quality of most of these MCs inevitably has diminished over the decades.

Anyway, while I guess you can sense that I’m a happy camper with my newly acquired gear – and Nakamichi isn’t exactly a shabby name – this blog isn’t about stereo equipment. So to bring it back to the actual subject, one of the vinyl records I got is Ooh La La by Faces. Not only is this album a lot of fun to listen to, but it’s also great to look at.

Faces_Ooh La La Cover Detail

While I had seen images of Ooh La La’s cover art before, I had not appreciated how cool this cover is until I held the album in my hands. You can actually move the eyes and the jaw of the face by pushing the top of the cover down (see image above). In order to do that you have to remove the record from the cover. The cover also has a gatefold showing a can-can dancer admired by the band’s members (see image below). Yes, the age of streaming undoubtedly has many advantages, but it’s also true that some of the experience when dealing with old-fashioned vinyl gets lost, such as enjoying a great record cover.

Faces_Ooh La La Foldout

Ooh La La was the fourth and final studio album by Faces, released in March 1973. To quickly recap, the band was founded by the remnants of Small FacesIan McLagan (keyboards), Ronnie Lane (bass guitar, vocals) and Kenney Jones (drums and percussion), as well as Rod Stewart (lead vocals) and Ronnie Wood (guitar), who joined from the Jeff Beck Group. By the time Faces went into the studio to record the album, Rod Stewart’s solo career already had been in full swing and he had become “too big” for the band.

The recording sessions for Ooh La La were impacted by Stewart’s rising commercial success and apparent lack of commitment to the band. According to Wikipedia, he pretty much behaved like a jack ass, trashing the record the moment it came out. He described it as a “stinky rotten album” to New Musical Express and “a bloody mess” to Melody Maker. He later told Rolling Stone the band would have been capable to do a better album. Never mind Stewart had a little help from his band mates on his first four solo albums that had come out by the time Ooh La La was released. It’s unfortunate what success and fame can do! Time for some music.

Here’s the album’s opener Silicone Grown, a nice rocker that was co-written by Stewart and Wood.

Cindy Incidentally, which has a pretty similar flair to the opener, is credited to Stewart, Wood and McLagan. The track was also released separately as a single and climbed all the way to no. 2 on the U.K. charts in 1973.

Another great rocker is My Fault. It’s credited to McLagan, Stewart and Wood. The two latter share lead vocals.

Glad And Sorry is one of the three tracks on the album, in which Stewart apparently had no role, neither a co-writer or as a vocalist. It is solely credited to Lane, who also shared vocals with Wood and McLagan. The tune has a softer sound that is mostly driven by piano and acoustic guitar, as well as harmony singing.

The last song I’d like to call out is the title track. The beautiful folk tune was co-written by Lane and Wood, featuring the latter on vocals. The track was also released as a single in the U.S. in May 1973. It didn’t chart at the time. Stewart would cover the tune on his 1998 solo album When We Were The New Boys, scoring a top 20 and 40 hit in the U.K. and U.S., respectively. Stewart recorded the song as a tribute to Lane who had passed away in June the prior year at the age of 51.

Ooh La La was produced by Glyn Johns, a producer and recording engineer, who at the time already had worked with artists, such as The Rolling Stones, Led Zeppelin, Bob Dylan and The Beatles. His experience working with the latter during a time of high inner tensions would come in handy for holding Faces together for their final studio record. BTW, the “stinky rotten album” ended up topping the U.K. charts and climbing to no. 21 on the U.S. Billboard 200.

Sources: Wikipedia, YouTube

Advertisements

Aw, The ’80s (Part 1: 1980-1984)

A two-part feature looking back at music of the decade

I’ve mentioned my weak spot for ’80s music on a few previous occasions. My taste has since evolved, and I now find myself wondering more often than not how I could have liked certain songs as much as I did back then. Well, obviously, I was a lot younger (though of course, I’m still young at heart!), and that music was all around me. It also triggers memories of school, parties, the first vacations with friends (and without my parents or any adults for that matter), the first hangover…in other words, it really was the soundtrack of growing up – okay, call me a sentimental fool!

This morning, I rode the car with my wife and put on Duran Duran’s Rio album – she loves ’80s, so it was all her fault! 🙂 Anyway, listening to this 1982 record gave me the idea to reflect on music and some related events from that decade. Since it’s a big topic, I figured it would be best to divide my thoughts in two parts. Obviously, it’s still not possible to make this all-inclusive, so I’m going to be arbitrary and selective, focusing on things that are meaningful to me. Here’s part I spanning 1980 to 1984.

Prince_Purple Rain

Some of the first things that come to my mind when thinking about the ’80s are Madonna, Michael Jackson, Prince, the death of disco, new wave, the advent of the CD, hair metal bands and Live Aid. Of course, I could add many other buzz words, e.g., music videos. At the time, we didn’t have cable or satellite television at my house back in Germany, so I missed out on MTV and VH1. In fact, believe or not, it wasn’t until 1993 when I first came to the U.S. that I watched VH1 and kind of got hooked, especially on their Behind The Music documentaries. For some reason, I never warmed to MTV.

1980

Some of the events I’d like to call out are Paul McCartney’s arrest in Tokyo for marijuana possession, which resulted in the cancellation of the remaining Wings tour that year (Jan 16); launch of Pink Floyd’s The Wall tour in Los Angeles (Feb 7); release of Back In Black, AC/DC’s first album with Brian Johnson who had replaced original lead vocalist Bon Scott (Jul 25); death of Led Zeppelin drummer John Bonham (Sep 25); and murder of John Lennon who was shot by deranged Mark David Chapman in front of his Manhattan residence after returning from the recording studio with Yoko Ono (Dec 8).

The biggest hit singles of the year were Another Brick In The Wall (Part 2) (Pink Floyd), Woman In Love (Barbara Streisand), (Just Like) Starting Over (John Lennon), Funkytown (Lipps) and Upside Down (Diana Ross). I dug all of these songs at the time. While from today’s perspective my favorite is the Lennon tune, the track I’d like to highlight in a clip is Call Me by Blondie. Co-written by Debbie Harry and producer Giorgio Moroder (remember that guy?), the song was released as a single in February that year and was also included on the soundtrack for the 1980 picture American Gigolo. It became the band’s biggest hit, topping the Billboard Hot 100, as well as the charts in the U.K. and Canada, and scoring in the top 20 in many other countries.

1981

Notable events include the release of Face Value, the first solo album by Phil Collins – like it or not, the Genesis drummer was just everywhere in the ’80s – with Genesis and solo! (Feb 9); first break-up of Yes (Apr 18) only to reunite less than two years later and release their biggest-selling album 90125; U2’s television debut in the U.S. on the NBC late night program The Tomorrow Show (Jun 4); official launch of MTV in New York (Aug 1); Simon & Garfunkel’s free reunion concert in the Big Apple’s Central Park, drawing more than 500,000 visitors – no disputes over crowd attendance here! (Sep 9 ); and Rod Stewart show at Los Angeles Forum, broadcast live via satellite and watched by an estimated 35 million people worldwide – the first such broadcast since Elvis Presley’s 1973 Aloha From Hawaii special.

The top 5 hit singles of the year were Bette Davis Eyes (Kim Carnes), Tainted Love (Soft Cell), In The Air Tonight (Phil Collins), Woman (John Lennon) and Stars On 45 Medley (Stars On 45). Again, to me the Lennon tune holds up the best, though I also still like Bette Davis Eyes and have to admit In The Air Tonight is kind of cool. Even though I feel I’ve been over-exposed to Collins, I admit he’s done some good songs. Here’s a clip of Down Under by Men At Work. Co-written by Colin Hay and Ron Strykert, and released in October, the song was the second single from the band’s debut album Business As Usual that appeared the following month. It was cool then, and I still dig this tune.

1982

Perhaps most notably, the year saw the debut of Madonna with Everybody (Oct 2), the lead single from her first eponymous 1983 studio record, as well as the release of Michael Jackson’s Thriller album (Nov 30), which remains the world’s best-selling record to date. Some of the other events include the death of comedian and Blues Brothers vocalist John Belushi (March 5); premiere of Pink Floyd – The Wall, a film adaptation of the band’s 1979 album with the same title, at the Cannes Film Festival in France; and start of CD mass production by Dutch technology company and disc co-inventor Philips in Langenhagen near Hanover, Germany (Aug 17).

Eye Of The Tiger (Survivor), Down Under (Men At Work), I Love Rock ‘N’ Roll (Joan Jett & The Blackhearts), Come On Eileen (Dexys Midnight Runners) and Ebony And Ivory (Paul McCartney & Michael Jackson) were the biggest hit singles that year. Below is a clip of Come On Eileen, which appeared as a single in June. Co-written by Kevin Rowland, Jim Paterson and Billy Adams, the song was also included on the band’s second studio album Too-Rye-Ay, released the following month. I always found it cool how the catchy tune blended elements of Celtic folk with pop music.

1983

On March 2, CDs started to go on sale in the U.S., following their initial release in Japan the previous October. Some of the year’s other events in music include the debut of Let’s Spend The Night Together in New York, a film documenting the 1981 North American tour of The Rolling Stones (Feb 11); release of U2’s third studio album War, which debuts at no. 1 in the U.K. and features their first international hit single New Year’s Day (Feb 28); release of David Bowie’s commercially most successful studio album Let’s Dance (Apr 14); unveiling of Kiss’s faces without their make-up for the first time on MTV (Sep 18) – yes, I do seem to recall that seeing their actual faces was a pretty big deal at the time!; and Quiet Riot’s Metal Health, the first heavy metal album to top the Billboard 200 (Nov 26).

The biggest hit singles of the year: Karma Chameleon (Culture Club); Billie Jean (Michael Jackson); Flashdance…What A Feeling (Irene Cara); Let’s Dance (David Bowie) and Every Breath You Take (The Police). Did I have all these songs? You betcha – in fact, I still do, mostly somewhere on music cassettes! Here’s Billie Jean, written by the King of Pop himself, and released as the second single from the Thriller album in January 1983.

1984

Some of the happenings in the music world that year: Announcement from BBC Radio 1 DJ Mike Read of this refusal to play Relax by Frankie Goes To Hollywood due to its suggestive lyrics (Jan 11), a ban that was put in place by the entire BBC around the same time – in a clear illustration that something forbidden oftentimes tends to make it more attractive, only 10 days later, the tune stood a no. 1 on the Official Singles Chart in the UK; death of one of the greatest soul artists, Marvin Gaye, who following an argument was killed by his own father with a gun he had given to him as a Christmas present the previous year (Apr 1); release of Prince’s sixth studio album Purple Rain (Jun 25), the soundtrack to the 1984 film of the same name – one of his most successful records and the third-best-selling soundtrack album of all time, exceeding more than 25 million copies sold worldwide; and the first annual MTV Music Awards held in New York, where Madonna raised some eyebrows with a racy performance of Like A Virgin (Sep 14) – Madonna being controversial?

The biggest hit singles of 1984 were Careless Whisper (George Michael), I Just Called To Say I Love You (Stevie Wonder), Wake Me Up Before You Go-Go (Wham!), Girls Just Want To Have Fun (Cyndi Lauper) and Relax (Frankie Goes To Hollywood). Since I was a good boy and never listened to Relax and Like A Virgin, here’s a clip of Borderline, a song from Madonna’s debut record. On a more serious note, the tune that was written by producer Reggie Lucas still is one of my favorite Madonna songs. It became the album’s fifth and last single released in February 1984, peaking at no. 2 in the U.K. and reaching no. 10 in the U.S., less successful than the scandalous Like A Virgin!

Stay tuned for part 2, which will cover the period from 1985 to 1989.

Sources: Wikipedia, YouTube

Van Morrison Teams Up With Joey DeFrancesco On New Jazz Album

After almost 60 years, Van the Man shows no signs of slowing down

Van Morrison has kept pretty busy over the past few years. Since September 2016, he has released four studio albums, the latest of which, You’re Driving Me Crazy, just appeared yesterday. Think about this for a moment, how many septuagenarian music artists do you know who are as productive as Van the Man? Of course, ultimately, it should be about quality, not quantity. After having listened to this new album, I have to say I really dig it!

So, how does Morrison’s 39th studio release compare to his other albums? Frankly, given my significant knowledge gaps about his music, I can’t give a fully informed answer. I certainly like Moondance better, but I’m not sure this comparison makes a lot of sense. Is it a good jazz record? That’s another tough question for me to answer, since I rarely listen to jazz. But while this isn’t Morrison’s first jazz album and jazz has been a key influence for his music over the decades, it’s safe to assume the Belfast Cowboy isn’t on the radar screen of most hard-core jazz fans.

Van Morrison & Joey DeFrancesco

Here’s the deal, as far as I’m concerned. After having listened to music for some 40 years and as a past hobby musician who still occasionally grabs a guitar, I’m confident enough to say I know good music when I hear it. To my ears, Morrison and his partner in crime Joey DeFrancesco delivered a beautiful record that is smooth and grooves nicely throughout. While recording the tracks live in the studio, they apparently also had a lot of fun – you can literally hear laughter during and after some of the songs!

The album’s 15 tunes feature a mix of reworked jazz and blues songs like Every Day I Have The Blues (Peter Chatman), The Things I Used To Do (Eddie Jones) and Miss Otis Regrets (Cole Porter), together with new takes of orignal Morrison tracks, such as All Saints Day (Hymns To The Silence, 1991), The Way Young Lovers Do (Astral Weeks, 1968) and Close Enough For Jazz (Too Long In Exile, 1993). Morrison shares writing credits for Evening Shadows with Bernard Stanley “Acker” Bill, an English clarinettist and vocalist  who passed away in November 2014. He first recorded the tune with Bill for his 2002 studio album Down The Road.

With DeFrancesco, Morrison selected a heavy hitter. Over a now 30-year professional career, the 47-year-old American jazz organist, trumpeter and vocalist has worked with the likes of Miles Davis, David Sanborn, John McLaughlin and Ray Charles. I love DeFrancesco’s playing on the album, especially his work on the Hammond organ. According to Rolling Stone, it was also DeFrancesco who put together the backing musicians for the recording sessions: Dan Wilson (guitar), Michael Ode (drums) and Troy Roberts (saxophone). I’d say the time has come for some music!

The record opens with Miss Otis Regrets, a relaxing jazz standard composed by Cole Porter in 1934. The piece is a testament to Morrison’s apparent appreciation of old jazz.

The Way Young Lovers Do takes Morrison back all the way to 1968 and his second studio album Astral Weeks, which I understand is widely considered to be one of his best records. I think this new version presents a nice slightly smoother take, though one certainly needs to consider the whooping 50 years that separate the two recordings.

Another great cover is The Things I Used To Do. Originally, this 12-bar blues tune was written by Eddie Jones, better known as Guitar Slim, and released in 1953. By the way, the producer was then-23-year-old Ray Charles. I like how Morrison and DeFrancesco give the tune a nice jazz feel that makes you want to snip your fingers. The tune is a great example of DeFrancesco’s ace work on the Hammond. I also dig Wilson’s guitar-playing.

Close Enough For Jazz originally was recorded by Morrison as an instrumental for Too Long In Exile, his 22nd studio record from 1993. This new version is a tick faster and more immportantly adds vocals, a nice take.

Everyday I Have The Blues is a blues standard by John Chatman, also known as Memphis Slim. The American blues pianist, singer and composer first recorded the tune in 1947. In addition to Morrison, many other artists covered the song, including B.B. King, Elmore James and Fleetwood Mac during their blues days with Peter Green.

The last track I’d like to highlight is Have I Told You Lately, a Morrison tune he first recorded as a ballad for his 19th studio album Avalon Sunset, which appeared in 1989. Admittedly, until now, I only had known the Rod Stewart version from his 1993 Unplugged…And Seated album. Morrison’s new take speeds up the original and gives it a jazz groove. The updated version also uses a female backup singer whose name I haven’t been able to find. But she surely sounds great, as do the Hammond and the horns.

This post wouldn’t be complete without some commentary from Van The Man himself. During a rare phone interview with The New York Times he said, “My thing is not talking about music. It’s about doing it. Other people talk about it, and they make a living talking about it. I make a living kind of singing it and playing it. If it feels right, and it’s the right kind of vibe, then you should just go with it.” Amen to that!

Sources: Wikipedia, Rolling Stone, The New York Times, YouTube

Clips & Pix: Rod Stewart & The Faces With Keith Richards/Sweet Little Rock & Roller

While looking for clips of The New Barbarians after listening to their excellent album Buried Alive: Live In Maryland, I came across the above gem: Rod Stewart & The Faces with Keith Richards as a guest, performing an amazing version of the Chuck Berry classic Sweet Little Rock & Roller. Apparently, this footage was captured during a gig in London in December 1974.

Not only are the musicians killing it, but Stewart proves he once was a bad ass rock vocalist. The Faces consisted of Ronnie Wood (guitars, vocals), Ian McLagan (piano, organ, vocals), Kenney Jones (drums) and Tetsu Yamauchi (bass). Richards, Wood and McLagan would also become part of The New Barbarians, a band formed by Wood and Richards in 1979 to support Wood’s third solo album Gimme Some Neck.

Sweet Little Rock & Roller was first released by Berry as a single in October 1958. It is also included on his third studio album Chuck Berry Is On Top, which appeared in July 1959. Like many of Berry’s songs, Sweet Rock & Roller has been covered by various other artists over the years. I don’t believe I’ve heard a better version than the above.

Sources: Wikipedia, Setlist.fm, YouTube

When Less Is More

A list of some of my favorite unplugged performances

Do you remember when in the ’90s many music artists suddenly seemed to realize they could deliver more intimate performances by sitting down on stage with their bands and largely replacing electric with acoustic instruments? Unplugged albums quickly became en vogue. They also helped revive flagging careers of some artists, such as Eric Clapton and Rod Stewart. Undoubtedly, the television series MTV Unplugged fueled this trend.

To perform music that originally was written for electric instruments in a stripped down fashion required a good degree of craftsmanship. Gone were many of the sound effects behind which artists had been able to “hide.” While as is oftentimes the case with fashionable trends the unplugged wave may have been a bit overdone, the concept has generally appealed to me as a hobby guitarist. Following are five of my favorite unplugged performances.

I also would have loved to include the fantastic version of Hotel California by the Eagles from their great Hell Freezes Over album. But this band is very protective of their music, and even if you’re lucky enough to find a specific song you want on YouTube, oftentimes the clips are taken down, and before you know it, you have a dead link – not fun!

Billy Idol/White Wedding (VH-1 Storyteller, 2002)

Billy Idol may have been a fashion punk who became known for playing commercial music that didn’t have anything to do anything with punk. But in my opinion, he surely knew how to write tunes with catchy melodies that rocked. Undoubtedly, a major role in all of it played his guitarist Steve Stevens, who co-wrote various of Idol’s biggest hits, such as Rebel Yell, Eyes Without A Face and Flesh For Fantasy. Plus, Stevens is a hell of a guitarist, which this clip of White Wedding nice illustrates, one of the best unplugged performances I’ve seen. He continues to perform and tour with Idol to this day.

Eric Clapton/Layla (Unplugged, 1992)

To successfully strip down an iconic rock song like Layla, which in its original features fantastic guitar interplay by Eric Clapton and Duane Allman, is a formidable task. Clapton didn’t only do that, but gave the tune an entirely new character on his 1992 Unplugged album. In my opinion, the result is one of the best rock cover versions, similar to Joe Cocker’s rendition of With A Little Help From Friends by The Beatles.

Rod Stewart/Maggie May (Unplugged…And Seated, 1993)

Sometimes one may forget that Rod Stewart in his early days was a top-notch rock artist. I’ve always loved Maggie Mae, which he co-wrote with British guitarist and composer Martin Quittenton. The tune was originally recorded for Stewart’s third solo album Every Picture Tells A Story, released in May 1971. At the time, Stewart was still with The Faces. In fact, all of the band’s members played on the album. Notably, Ronnie Wood was also part of Unplugged…And Seated, Stewart’s excellent unplugged album from 1993, from which this clip is taken.

Nirvana/The Man Who Sold The World (MTV Unplugged In New York, 1993)

Nirvana’s unplugged version of The Man Who Sold The World is one of the most haunting covers of the David Bowie song I know. It was part of the band’s MTV Unplugged In New York album, which was recorded on November 18, 1993 – about four and a half months prior to Curt Cobain’s death. His almost painful singing, along with guitars that sound are out of tune, give this performance a somewhat creepy feel. It shows an artist who at the time was in the brutal throes of drug addiction and depression.

Neil Young/Like A Hurricane (Unplugged, 1993)

Like A Hurricane is one of my favorite rock tunes by Neil Young. Naturally, I was curious how he would handle an unplugged version of a song that in its initial recording is dominated by heavily distorted grunge-like electric guitar. In my opinion, Young’s performance with just an organ and a harmonica takes it to another level. The church-like sound of the organ combined with Young’s signature quavering voice induces chills and literally blows me away. Check it out yourself.

Sources: Wikipedia, YouTube

On This Day In Rock & Roll History: December 27

You’d think the time between the Christmas holiday and New Year would be dead when it comes to music. At least I didn’t expect to find much when I checked my usual sources for this feature. Well, it turns out that at least for December 27, the above notion is not exactly true.

1963: In a story titled What Songs The Beatles Sang William Mann, music critic of the UK newspaper The Times wrote, “The outstanding English composers of 1963 must seem to have been John Lennon and Paul McCartney, the talented young musicians from Liverpool whose songs have been sweeping the country since last Christmas, whether performed by their own group, the Beatles, or by the numerous other teams of English troubadours that they also supply with songs.” Only two days thereafter, Sunday Times music critic Richard Buckle kicked it up a few notches, proclaiming Lennon and McCartney were “the greatest composers since Beethoven.” Even as a die-hard fan of The Beatles, I have to say that Buckle may have had a few too many eggnogs before the wrote this!

Backstage At Beatles Christmas Show

1967: Bob Dylan released his eighth studio record, John Wesley Harding. After three electric rock-focused albums – Bringing It All Back Home (March 1965), Highway 61 Revisited (August 1965) and Blonde On Blonde (May 1966) – Dylan returned to acoustic and roots music on this album, which was recorded in Nashville. John Wesley Harding was liked by critics and fans alike. It hit no. 1 on the UK Albums Chart and no. 2 on the Billboard 200. Only less than three months after it had appeared, the album was certified Gold by the Recording Industry Association of America (RIAA). Among others, John Wesley Harding includes All Along The Watchtower, which Jimi Hendrix widely popularized with his recording the following year. Here’s a clip of a Dylan live performance, which apparently was captured during a show in Italy in 1984.

1969: Led Zeppelin II, the English rock band’s second studio album, hit no. 1 on the U.S. Billboard 200. Released on October 22 that year, it was Led Zeppelin’s first record to top the charts in the U.S. and the UK. The album also became a big seller. On November 15, 1999, it was certified 12 times Platinum by RIAA. This album includes gems, such as Whole Lotta Love, The Lemon Song, Heartbreaker, Ramble On, Moby Dick and Thank You, one of my favorite acoustic Zep tunes.

1975: The Faces, one of the great British rock bands of the late ’60s and early ’70s officially called it quits. Lead vocalist Rod Stewart, who already had released six albums under his name and scored a big international hit with Sailing a few months earlier, decided to entirely focus on his solo career. Guitarist Ronnie Wood already had started recording and touring with The Rolling Stones and became an official member in February 1976. Bassist Ronnie Lane went on to form his own band, Slim Chance, while drummer Kenney Jones eventually joined The Who in November 1978, following the death of Keith Moon. Here’s a cool clip of a live performance of Stay With Me. If you ever doubted that Stewart once was a kick-ass rock & roll singer, check it out.

1980: Double Fantasy, the album credited to John Lennon and his wife Yoko Ono, reached no. 1 on the U.S. Billboard 200, where it would stay for eight weeks, while the record’s lead single Just Like Starting Over started a five-week run as no. 1 on the singles chart. Undoubtedly, the remarkable chart performance was driven by Lennon’s tragic death on December 8 that year, when he was shot at the entrance to his Manhattan apartment building by Mark David Chapman, an apparently mentally deranged former Beatles fan. Initially, Double Fantasy had been poorly received. While I’m not particularly fond of Ono’s songs, I’ve always thought the album includes some of Lennon’s greatest tunes of his solo period. Here’s a clip of one of my favorites, Watching The Wheels.

Sources: The Beatles Bible, This Day in Music.com, Songfacts Music History Calendar, Wikipedia, YouTube