Quincy Jones almost nabbed this slice of loved-up electrofunk for Michael Jackson, but it ended up becoming a signature tune for R&B diva Khan when she sang it with her old band Rufus in 1983. When Frankie Knuckles gave it a piano house remix in 1989, a new generation went crazy for the song: now artists ranging from Mary J. Blige to KT Tunstall have recorded versions, but none of them reach the thrilling heights of Chaka as she hits the final chorus.

The universal language of music has united generations of lovers since the beginning of time. Falling in and out of love, grasping at unrequited love, mourning love lost and succumbing to deep love are central to the human experience. Love peels back emotions, incorporating complex feelings that come across powerfully in the common language of music. With endless love songs to describe matters of the heart, the top love songs according to music lovers of all ages connect the past with the present.

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Frank Sinatra and daughter Nancy deliver this duet with unmatched melodies and the sort of calmness that love can sometimes bring. The almost country-esque wobble of the strumming guitar and drum patterns contrasted with a cinematic string section feel almost embarrassingly romantic, like young love.

This beautiful country ballad is so sad that its relatable to anyone who has lost love and gained a hole in their heart. An under-the-radar song, many discovered this lonely hit via popular 1993 rags-to-riches movie, The Beverly Hillbillies.

Burt Bacharach, one of the most influential songwriters and composers in modern music history delivers the timeless message of love for one another through the political and social realities of the 1960s making What The World Needs Now Is Love" a staple in community building and a reminder of humanity. Bacharach received three Academy Awards, two Golden Globe Awards, six Grammy Awards, an Primetime Emmy Award and over 1,000 artists have recorded his songs.

One of the most versatile soul singers of all time, Sam Cooke, brings deep emotion to music through his ability to oscillate between disparate music genres and styles. "Bring It On Home To Me" is a call-and-response love song with Lou Rawls on backup vocals as Cooke longs for his lover to come back home.

Jill Scott is powerful, candid and curious in her writing and performance. In "He Loves Me (Lyzel in E Flat)," Scott recounts the ways her partner loves her in the most descriptive and intricate details and settings. The song sounds and feels like love.

A group show conceived as a mixtape of songs gifted to a lover, Love Songs features photographic projects about love and intimacy from 16 contemporary photographers, including Nobuyoshi Araki, Ergin avuolu, Motoyuki Daifu, Fouad Elkoury, Aikaterini Gegisian, Nan Goldin, Ren Groebli, Herv Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Lin Zhipeng (No. 223), Sally Mann, RongRong&inri, Collier Schorr, and Karla Hiraldo Voleau.

Through the myriad lens of intimate relationships, Love Songs brings together series dating from 1952 to 2022 by some of the leading photographers of our time that explore love, desire and intimacy in all their most complex and contradictory ways. The exhibition is the U.S. museum debut for work by Aikaterini Gegisian and Lin Zhipeng (aka no. 223), the first New York City museum presentation of the work of Sheree Hovsepian and Motoyuki Daifu, and the U.S. debut of the work of Karla Hiraldo Voleau.

Melina Duterte, best known for her project Jay Som, and Michelle Zauner of Japanese Breakfast felt like the perfect choice to talk to us this week: They both know how to write about love, and they're both playfully entertaining on social media. They each sent me a list of love songs, with neither aware of what the other had picked.

The Song of Solomon is an extraordinary Love Song but it was the remarkable series of love song/poems known as the Psalms that truly held me. I found the Psalms, which deal directly with the relationship between man and God, teeming with all the clamorous desperation, longing, exultation, erotic violence and brutality that I could hope for. The Psalms are soaked in saudade, drenched in duende and bathed in bloody minded violence. In many ways these songs became the blueprint for many of my more sadistic love songs. Psalm 137, a particular favourite of mine which was turned into a chart hit by the fab little band Boney M is a perfect example of all I have been talking about.

By the rivers of Babylon, there we sat down / Yea, we wept when we remembered Zion / We hanged our harps upon the willows in the midst thereof / For there they that carried us away captive required of us a song / And they that wasted us required of us mirth saying / Sing us one of the songs of Zion / How shall we sing the Lord's song in a strange land? / If I forget thee, O Jerusalem / Let my right hand forget her cunning / If I do not remember thee, let my tongue cleave to the roof ofmy mouth / If I prefer not Jerusalem above my chief joy / Remember, O lord, the children of Edom in the day of Jerusalem / Who said Rase it, rase it, even to the foundation thereof / O daughter of Babylon, who art to be destroyed / Happy shall he be, that rewardeth thee as thou hast served us / Happy shall he be, that taketh and dasheth thy little ones against the stones.

Pretty words, innocent words, unaware that any day the bottom would drop out of the whole thing. Love Songs that attach themselves to actual experiences, that are a poeticising of real events have a peculiar beauty unto themselves. They stay alive in the same way that memories do and being alive, they grow up and undergo changes and develop. A Love Song such as Far From Me has found a personality beyond the one that I originally gave it. With the power to influence my own feelings around the actual event itself. This is an extraordinary thing and one of the truly wondrous benefits of songwriting. The songs that I have written that deal with past relationships have become the relationships themselves. Through these songs I have been able to mythologise the ordinary events of my life, lifting them from the temporal plane and hurling them way into the stars. The relationship described in Far From Me has been and gone but the song itself lives on, keeping a pulse running through my past. Such is the singular beauty of songwriting.

First, we live in a time of unprecedented wealth of Christian music. There is no shortage whatsoever of older songs, newer songs, and fresh renditions of older songs that are rock-solid in their biblical content and creative, fresh, and powerful both in their lyrics and in their tunes.

Back to the pastors and lead worshipers. Please do your job, and do not ask too much of the sheep. As we sit in service, give us songs whose original meaning we can joyfully affirm because they are fully biblical.

Mantia said in 2018 that he was approached by his cousin, who was managing Mr. Bungle at the time, to join the band. Initially, he felt intimidated by Broadrick, calling him "scary," but soon found a common ground for their love of jungle music. A few months after the album's release, Mantia was unable to commit his time in Europe and left the band. He has not been in contact with Broadrock ever since but would love to someday.[5]

Following up on the success of their two previous projects (The Song Project and Songs for Petra) composer John Zorn and lyricist Jesse Harris have created sixteen new songs fashioned in the form of an Off-Broadway musical. Love Songs tells the story of a young woman, her friends, their relationships both past and ongoing, and struggles with identity and trauma.

Among ancient Egypt manuscripts, love songs survive from only one time and place: the Ramesside Period community of elite craftsmen working on the tomb of the king (Deir el-Medina, 13th-12th centuries BC). The contents of the songs have been taken to indicate an even more elite setting, the palace and court of the king: the centres of power of Ramesside Egypt were all in the north, at Per-Ramses, Memphis and the palace of the court women at Gurob. These may be the places where the songs were composed and sung originally. Although no manuscripts survive from the palace sites themselves, the songs seem to echo the figures of singing women on late Eighteenth Dynasty and Nineteenth Dynasty cosmetic equipment and vessels produced for the highest level of society.

There are three papyri with sets of long songs, and one fragmentary pottery jar covered in another set; in addition there are about twenty ostraca that bear compositions that have been identified as love songs (Mathieu 1996: 27, with list and reference to different opinions of modern commentators). The songs are written in the Late Egyptian phase of the Egyptian language, a formal version of the spoken language of New Kingdom Egypt. No Middle Egyptian equivalent survives, although parts of the Middle Egyptian composition now known as Kemyt seem to present a man justifying his absence to a griefstruck woman. There are no later manuscripts containing love songs, but other written sources indicate that the genre continued in use or was revived; the inscription on a stela of about 700 BC describes the owner, a woman named Mutirdis, in terms close to the Ramesside love songs (Mathieu 1996: 36 n.34, 87 n.276).

Perhaps the most elaborate series of songs is the cycle of seven stanze on the back of a papyrus roll now preserved in the Chester Beatty Library and Gallery, Dublin (Papyrus Chester Beatty I, verso, column 1 to column 5, line 2: other love songs follow the cycle). In alternate stanze, a young man and a young woman sing of their love in separation. As in many cultures, they call one another 'brother' and 'sister' (Mathieu 1996: 26):

To explore the effect of the songs on their hearers, listen to the readings of stanze 1 and 7 (male voice) and 2 and 6 (female voice); for the female voice, two different readers were recorded, as a reminder of the variable of different speakers. These recordings were arranged for this website by Kenneth John, Outreach Officer for the Petrie Museum: the voices are those of Merlyn Gaye, Natalie Wright and Kenneth John. 0852c4b9a8

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