Music
In April 1972 the Leeds squad released a single, "Leeds United" with the b-side being "Leeds! Leeds! Leeds!" (commonly known as "Marching On Together"). It was issued to coincide with the team reaching the 1972 FA Cup Final; the vocals on the original recording were by the Leeds team. The record reached number 10 in the UK singles chart. After Leeds' promotion back to the Championship in May 2010, the song was digitally re-mastered and re-released in an effort to get the song into the UK Singles Chart. By 4 pm on Monday, the song was already sitting 8th in the iTunes store charts and top of both the Amazon.com and Play.com singles charts. On the Official Chart Company's Official Chart Update the song charted at 10 (for the second time in its history) and was the highest new entry apart from B.o.B's Nothin' On You. Whilst it is not officially the club anthem, "Marching On Together" is played before every home game. Unlike many football songs that are just new words set to existing music, "Leeds Leeds Leeds" is an original composition by Les Reed and Barry Mason, purposely written for Leeds United.
For many years, Strings for Yasmin by Tin Tin Out was played before kick off at Elland Road, however it was replaced in the 2008–09 season with Eye of the Tiger by Survivor and in the 2009–10 season with, Dance of the Knights, composed by Sergei Prokofiev. Nightmare by Brainbug is currently played before the start of the second half.
Read more about this topic: Leeds United A.F.C.
Famous quotes containing the word music:
“It was a poetic recreation to watch those distant sails steering for half-fabulous ports, whose very names are a mysterious music to our ears.... It is remarkable that men do not sail the sea with more expectation. Nothing was ever accomplished in a prosaic mood.”
—Henry David Thoreau (1817–1862)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
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“I cannot say what poetry is; I know that our sufferings and our concentrated joy, our states of plunging far and dark and turning to come back to the world—so that the moment of intense turning seems still and universal—all are here, in a music like the music of our time, like the hero and like the anonymous forgotten; and there is an exchange here in which our lives are met, and created.”
—Muriel Rukeyser (1913–1980)