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 12th entry on the Hot 100 for this female vocal group from Oakland, Calif., it proved to be their biggest hit, with four weeks in the runner-up spot. The song was recorded for the soundtrack to Set It Off, starring Queen Latifah and Jada Pinkett.
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The combination of Eminem rapping and Rihanna singing about an abusive relationship, something both artists had personally experienced, though from different perspectives, was powerful enough to send the song to No. 1 on the Hot 100 for seven weeks in the summer of 2010. At 12x platinum, it is the best-selling song by either artist.
Freddie Mercury wrote the song while languishing in his bath at the Munich Hilton. He leapt from the tub and ran to his guitar and piano to lay down the melody. His label was reluctant to release the song in the U.S. but radio stations played the imported U.K. single anyway, forcing an American release.
When the Stax label folded, the three Hutchinson sisters had to find a new home. They were signed to a production company run by Maurice White of Earth, Wind & Fire. With group member Al McKay, White wrote this song specifically for them and the lead voice of Wanda Hutchinson.
"Romantic" is a song by American singer Karyn White from her second studio album Ritual of Love (1991). It hit number one on the Billboard Hot 100 on November 2, 1991, making it her biggest hit to date. "Romantic" was also White's fourth number one on the Billboard Hot R&B Singles chart.[2]
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.
Third, a word to the congregation. The concern that Tim is raising for us here is this: What does a congregation or an individual in the congregation do if a song has defective lyrics, especially if we think the song is theologically or biblically defective, not just poetically defective?
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.
What I wanted to do here was to talk a bit about the Love Song, to speak about my own personal approach to this genre of songwriting which I believe has been at the very heart of my particular artistic quest. I want to look at some other works, that, for whatever reason, I think are sublime achievements in this most noble of artistic pursuits: the creation of the great Love Song.
The Love Song is a sad song, it is the sound of sorrow itself. We all experience within us what the Portuguese call Saudade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul. And it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love Song is the light of God, deep down, blasting through our wounds.
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.
The songs you choose for your wedding day create beautiful moments that you know will stay in your memory forever. Your song choices are also a great way to express who you are as a couple: classical traditionalists, vintage music aficionados, or pure romantics.
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.
German Romantic song (Lied) takes a special place in the repertoire of Western art music. Born from the spirit of Romanticism, it epitomizes the aesthetics of this artistic movement by its deep bond between music and poetry and intimate collaboration of voice and accompaniment. In this course we will trace the development of German Romantic song from its origins in Schubert, through its further development by Schumann and Brahms, until its late incarnations in orchestral songs by Mahler and Richard Strauss. Underway, we will learn the German poets whose texts were most frequently set to music (Goethe, Mller, Heine, Eichendorff, Rckert), explore issues of poetic rhythm, meter, and versification, and investigate their relation to musical rhythm, meter and form. We will excavate meaning and expression of individual songs as it emerges from the interaction between music and poetry and from interrelation of individual songs within song cycles.
The course will be of interest for students of vocal and instrumental performance, music theory, and musicology.
By the end of the class the student will be expected to have become familiar with some of the most celebrated Romantic songs and song cycles and have developed an understanding of how interaction of poetry with music and vocal part with accompaniment contributes to their meaning and expression.
If love is truly a sea as The Honeydrippers say it is, then consider us professional swimmers! ? This one has a groovy vibe to it, so you'd be able to play it during a slow dance or during a romantic dinner.
The little tablet numbered 2461 was lying in one of the drawers, surrounded by a number of other pieces. When I first laid eyes on it, its most attractive feature was its state of preservation. I soon realized that I was reading a poem, divided into a number of stanzas, which celebrated beauty and love, a joyous bride and a king named Shu-Sin (who ruled over the land of Sumer close to four thousand years ago). As I read it again and yet again, there was no mistaking its content. What I held in my hand was one of the oldest love songs written down by the hand of man. (245)
Once a year, according to Sumerian belief, it was the sacred duty of the ruler to marry a priestess and votary of Inanna, the goddess of love and procreation, in order to ensure fertility to the soil and fecundity to the womb. The time-honored ceremony was celebrated on New Year's day and was preceeded by feasts and banquets accompanied by music, song, and dance. The poem inscribed on the little Istanbul clay tablet was in all probability recited by the chosen bride of King Shu-Sin in the course of one of these New Year celebrations. (245-246)
This is one of several love songs composed for this king which articulate a belief in his very close and personal relationship with the goddess of love. In some songs of this type, the king's name seems to have been merely substituted for that of Dumuzi [Inanna's celestial lover in myth]. Almost certainly they were performed in the context of certain religious rituals which have been referred to as the `sacred marriage' but the precise details are unknown. The belief that the king could in some sense actually have sexual intercourse with the goddess is intimately connected to the belief in the divinity of the kings of this period. (88-89) 0852c4b9a8
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