"Who sings witchy woman" The song "Witchy Woman" is a classic rock track that was released by the Eagles in 1972. The lead vocalist for this song is Don Henley, who is also one of the band's founding members. "Witchy Woman" is known for its haunting and mysterious atmosphere, with lyrics that convey the allure and intrigue of a woman with supernatural powers. The song features Henley's captivating vocals, along with the band's signature harmonies and melodic guitar riffs. With its catchy chorus and memorable guitar solos, "Witchy Woman" became one of the Eagles' most popular and enduring hits. It peaked at number 9 on the Billboard Hot 100 chart and remains a staple in classic rock radio playlists.

An Ode To Witchy Women

It peaked at number 9 on the Billboard Hot 100 chart and remains a staple in classic rock radio playlists. The song's success helped propel the Eagles to superstardom and solidify their place in the rock music pantheon. It showcased their unique blend of rock, country, and folk influences, as well as their ability to craft timeless songs with lasting appeal.

We Explore The Supernatural Agency Of Musicians Throughout History

Humans have always had a fascination with magic. In the world’s current chaotic climate, many cultural channels have had to switch to a more “new age” approach, satisfying a rising populace solving their disillusionment with witchery. Nowadays, you can find charged rose quartz chips swirling in perfume (to attract love) sold by en vogue shops. Online publications like Broadly and Refinery29 frequently release content spotlighting the best tarot spreads and crystal grids. You can even scroll through social media and browse the growing collection of Twitter astrologists, meticulously picking apart Beyonce’s birth chart in a bid to discover what exactly makes her Virgo-sun, Scorpio-moon and Libra-ascendant dominants tick.

But this sudden mass-exodus toward the use of tarot, spellcasting and dried sage isn’t new for one faction: music. Witchy women have always been a staple archetype in that world.

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Now, this archetype isn’t necessarily a “one-size-fits-all” deal, as the term suggests. Lyrics don’t have to conjure up images of toad tongues or blood sacrifice, but instead infer the themes that ended up getting women stuck with the label “witch” back in the good ol’ days: We’re looking at free-thinking, liberated ladies whose ideals probably look pretty feminist by modern standards. A lot of songs that give us that mystical energy also tend to focus on themes of supernatural naturalism, life and death and the complexities of the human condition.

In this modern mystical renaissance you can find Florence Welch dancing barefoot on-stage, the sound of her funeral-song vocals swirling around lyrics that speak of demons and the power of nature. Lorde could easily pass for an urban sorceress, all curling fingers and glittering eyes (armed with the prodigal power of star-man David Bowie) and Joanna Newsom conjures up images of unburied bones fleshed out with sinewy notes from her pedal-harp. And let’s not forget dark and syrupy songstress Lana Del Ray, who prompted fans to join her in hexing President Donald Trump last year — an iconic moment of literal witchery. Hell, there’s even an entire genre built around the movement called Witch House, featuring acts such as Zola Jesus electing to create a darker, more electronic sound.

Of course, the element of magic in music isn’t an entirely new concept. There is a strong history of this theme being used time and time again to great success, although a number of stand-outs have always been sung by men. It’s also notable that the witch in question is always the subject, portrayed as the object of misery whose black magic has caused these beleaguered gents to fall inescapably in love with them.

Frank Sinatra’s 1957 hit “Witchcraft” croons about the titular sorceress as a naughty-but-nice seductress. Peter Green of Fleetwood Mac penned “Black Magic Woman” (which became famous with Santana’s 1970 version) that sings of a tricksy and heart-stealing lady using spells to ensnare his favour. Then came The Eagle’s with “Witchy Woman” in 1972. This particular enchantress has arguably topped the exploits of her predecessors, namely because she’s been sleeping around in the actual Devil’s bed — but would still gladly rock you in the nighttime.

Now, there was an attempt to burst the bubble surrounding this incredibly niche boys club. It came in the form of the fabulous Eartha Kitt, who completely turned the trope on itself. She became a welcome exception to the rule by releasing the fabulously titled “I’d Rather Be Burned as a Witch” in 1959. In the song Kitt completely takes ownership of her magical sensuality, letting her fantastic purring voice entice the audience: “I use my charms to undo you, my arms to unglue you. And all of the hex, of the weaker sex, to voodoo you…”

This is the sound of a witch who is unashamed to play on the perceived weaknesses of her gender, before going on to proudly trill that being a woman is the source of all the wicked voodoo she has. Magic, indeed.

Unfortunately, Eartha Kitt had to wait for almost 20 years before a coven could form. But when it did, it came with all the force of a divine landslide. The mid-’70s brought forth a tilt-shift in terms of the perceived witch-archetype, pulling away from the male gaze and allowing the women who actually tapped into that energy when performing to shape their own vision of what made their music magical.

This came predominantly in the form of Stevie Nicks. Decked in chiffon and swaying around a microphone stand fastened with crystals, her recognisable falsetto now the stuff of vocal fairy tales. But Nicks’ true talent came in songwriting. She has the uncanny ability to pin an emotion or a story to a tune and make you feel it deep in your gut — one of the greats when it comes to lyrical spellcasting.

A whole class of witchy women began to follow in Nicks’ ballet-slippered footsteps. Kate Bush cartwheeled onto the scene with songs that told uncomfortable stories of Government agents, experiments and nuclear wars. Her voice slips around some of the more difficult subjects and handles them with operatic reverence; “This Woman’s Work” has become somewhat of a coaxing anthem, having most recently been used in The Handmaid’s Tale series soundtrack.

Just a handful of exemplary musical mages that followed include dark and unsettling Souxsie and The Banshees, then Tori Amos with songs exploring themes of feminism, religion and politics (some laced with Pagan symbolism) and even Bjork, especially with 2001’s Vespertine.

Witchy women, from Eartha Kitt to Florence Welch, have (certainly from a feminist perspective) been able to freely and unapologetically explore darker themes such as sex, death and the supernatural. They’ve weaved them into their music for years. But the current state of worldly affairs has driven a huge number of people to actively escape their upset, and tap into the experimental and crafted landscapes of crystal visions, cosmic love and (this) woman’s work. When you listen to this strange, shifting sort-of-genre, you can’t help but feel connected to the good things on the Earth, plug into the uncertainty of the Great Beyond — maybe even question if there’s a Great Big Something Else.

Either way, it’s pretty clear: There’s never been a better time for a little bit of witchcraft.

Lauren Entwistle is a 21-year-old writer and freelance journalist hailing from Manchester, England. She frequently pens odes to dead novelists and the '80s, essays on mental health, pop-culture and politics — with hopes to one day make an actual, decent living from her words.

Witchy Woman Dance

I danced to “Witchy Woman” with four other “witchy” women in front of the band last night.

I love live music.

Classical, rock, country — there is something about live music that sings to my soul. Maybe it’s the fresh air, the open atmosphere, the camaraderie of those surrounding me, all there for the same purpose. To meld with the music.

Last evening I went to a free outdoor concert in a neighboring town. The Whiskey Flat Trio was a band of older gents (and one younger one) who played great country and country rock-ish music.

If you know me you know I can’t sit still, especially where live music is concerned. I’m always tapping my knees to the beat, or clapping, or, need be (and I know the words), sing with the musicians. I love to get lost in the magic of the musical moment.

Well, I was beeping and bopping to the country beat, occasionally forgetting myself and raising my hands above my head when the music punctuated itself.

There was a group of “older” women in front of me who would now and then stand in front of the band and dance or more often do a little jiggy in a circle together. (I think they were the band members’ wives and/or friends.)

Anyway, one of the women must have noticed the ants in my pants and came to my chair and said I can come up and dance with them if I wanted.

Now if you know me, I also have this inbred fear (from my middle school years) of people laughing at me, so I thanked her yet kept in my seat.

The funny thing was they looked like they were having FUN! They didn’t care what people thought — they did their little moves to the beat of the music, all smiling at each other, singing when they knew the words, working together to be a whole.

I sat there wondering … if not now, when? What did I care? I am all about the moment and in the moment and being a part of the moment, no matter if I am sitting or standing or dancing.

So when the next popping song came along I went up to their little circle and started to jiggy with them. The song happened to be “Witchy Woman” by the Eagles.

I danced and sang along with the band and laughed with the women and did my own little dance. I raised my hands above my head when I sang, “She’s got the moon in her eyes” and got lost in the moment.

It was marvelous. I didn’t care who watched, who whispered, who cared.

~I~ didn’t care. And it felt wonderful.

Maybe I will try stepping out of my shell again soon. You should too.

Don’t miss the moment. It will never come again.

Don Henley

Donald Hugh "Don" Henley (born July 22, 1947) is an American singer, songwriter and drummer, best known as a founding member of the Eagles before launching a successful solo career. Henley was the drummer and co-lead vocalist for the Eagles from 1971–1980, when the band broke up, and from 1994-present, when they reunited. Henley sings lead vocals on Eagles hits such as "Witchy Woman", "Desperado", "Best of My Love", "One of These Nights", "Hotel California", "Life in the Fast Lane", and "The Long Run".

After the Eagles broke up in 1980, Henley pursued a solo career and released his debut album in 1982. He has released four studio albums, two compilation albums, and one live DVD. His solo hits include "Dirty Laundry", "The Boys of Summer", "All She Wants to Do Is Dance", "The Heart of the Matter", "The Last Worthless Evening", "Sunset Grill", "Not Enough Love in the World", "New York Minute" and "The End of the Innocence".

The Eagles have sold over 120 million albums worldwide, won six Grammy Awards, had five #1 singles, 17 Top 40 singles, and six #1 albums. They were inducted into the Rock and Roll Hall of Fame in 1998 and are the biggest selling American band in history. As a solo artist, Henley has sold over 10 million albums worldwide, had eight Top 40 singles, won two Grammys and five MTV Video Music Awards. Combined with the Eagles and as a solo artist, Henley has released 25 Top 40 singles on the Billboard Hot 100. He has released seven studio albums with the Eagles and four as a solo artist. In 2008, he was ranked the 87th greatest singer of all time by Rolling Stone magazine.

Henley has also played a founding role in several environmental and political causes, most notably the Walden Woods Project. [1] Since 1994, he has divided his musical activities between the Eagles and his solo career.

Overall, "Witchy Woman" stands as a testament to the Eagles' artistry and Don Henley's impressive vocal range. It remains a beloved classic that continues to captivate audiences and cement the band's legacy in the annals of rock music history..

Reviews for "Witchy Woman": The Singer Who Cast a Spell on the World"

- Jane - 2 out of 5 stars - I was really hoping to enjoy "Who Sings Witchy Woman" but I was thoroughly disappointed. The lyrics felt uninspired and lacked any depth. The melody was repetitive and didn't capture my attention at all. Overall, it just fell flat for me and I wouldn't recommend it.

- Mike - 3 out of 5 stars - I found "Who Sings Witchy Woman" to be average at best. While the vocals were decent, the production felt lackluster and unimaginative. The song had potential, but it failed to deliver anything memorable. It's not terrible, but there are much better options out there.

- Sarah - 2 out of 5 stars - I didn't connect with "Who Sings Witchy Woman" at all. The lyrics were cliche and didn't offer anything original. The instrumentation felt bland and lacked creativity. There are so many other songs within this genre that I would recommend over this one. It just didn't leave any lasting impression on me.

- John - 1 out of 5 stars - I really disliked "Who Sings Witchy Woman". The vocals were off-key and grating to my ears. The lyrics were nonsensical and didn't make any sense. Overall, I found it to be a poorly executed song that I regret listening to. Save yourself the disappointment and skip this one.

The Story of "Witchy Woman": Unveiling the Identity of the Singer