She fared better on the Radio Songs chart, where the song was No. That's how the film became an Oscar winner; this song, written for the movie, claimed the Academy Award for Best Original Song. George Benson's soundtrack single peaked at No.
Asked to contribute a song to the "Back to the Future" soundtrack, Lewis said he had the perfect tune: "In the Nick of Time. Carey and producer Dave Hall did not have the title "Dreamlover" when they started writing the song. Other labels were heavily into disco in but not Motown. Ross had no problem with the slow, seductive first half but started laughing when the beats-per-minute increased, protesting she couldn't sing that part.
Producer Hal Davis created a club atmosphere in the studio and Ross got into it, resulting in another No. Elvis Presley's version peaked at No.
Three decades later, UB40 was asked to remake the song for the soundtrack to "Honeymoon in Vegas. The UB40 recording might have gone unreleased, but the music supervisor of another film, "Sliver," rescued the track from the Virgin vaults.
After producer Walter Afanasieff delivered the new Savage Garden album to Columbia, he was given a message to take back to the band: "It's an artistic masterpiece.
But we want another 'Truly Madly Deeply. There wasn't unanimous agreement among the members of Foreigner that this song would be a great single for the group. Lou Gramm thought it might do irreparable damage to their rock image and Rick Willis thought it was "fluffy. The follow-up was an original, though U. Their version went unreleased and Turner had her first No. It was producer George Martin's idea for them to start with the chorus of "She loves you, yeah, yeah, yeah" instead of the first verse.
Robin Gibb was considered the "chart freak" in the family but Andy was an avid chart watcher too, and he kept track of his second single's progress up the Hot And then…it just picked up and nothing stopped it.
David Cassidy and his stepmother Shirley Jones were the only cast members of the TV series who appeared on the group's recordings, and Jones says, "I did very little…I literally was the backing vocals for David. I never thought I'd have a gold record…it hangs on my wall and I'm very proud of it. After struggling for 15 years, the group scored a No.
It was the second single, "Love Rollercoaster," that returned the group to pole position. Asked to submit another song, they sent "Waiting for a Star to Fall," and when the answer was no, they recorded it themselves as Boy Meets Girl. Even though Paris used a term with little support in the contemporaneous Love Songe, it was not a neologism and does usefully describe a particular conception of love and focuses on the courtliness that was at its essence.
Richard Trachsler says that "the concept of courtly literature is linked to the idea of the existence of courtly texts, texts produced and read by men and women sharing some kind of elaborate culture Love Songe all have in common". The practice of courtly love developed in the castle life of four regions: AquitaineProvenceChampagne and ducal Burgundyfrom around the time of the First Crusade Eleanor of Aquitaine — brought ideals of courtly love from Aquitaine first to the court of France, then to England she became queen-consort in each of these two realms in succession.
Her daughter Marie, Countess of Champagne — brought courtly behavior to the Count of Champagne 's court. Courtly love found expression in the lyric poems written by troubadourssuch as William IX, Duke of Aquitaine —one of the first troubadour poets.
Poets adopted the terminology of feudalismdeclaring themselves the vassal of the lady and addressing her as midons my lordwhich had dual benefits: allowing the poet to use a code name so as to avoid having to reveal the lady's name and at the same time flattering her by addressing her as his lord. The troubadour's model of the ideal lady was the wife of his employer or lord, a lady of higher status, usually the rich and powerful female head of the castle.
When her husband was away on Crusade or elsewhere she dominated the household and cultural affairs; sometimes this was the case even when the husband was at home. The poet gave voice to the aspirations of the courtier Love Songe, for only those who were noble could engage in courtly love. This new kind of love saw nobility not based on wealth and family history, but on character and actions; such as devotionpietygallantrythus appealing to poorer knights who saw an avenue for advancement.
Since at the time some marriages among nobility had little to do with modern perspectives of what constitutes love,  courtly love was also a way for nobles to express the love not found in their marriage.
These "lovers" had short trysts in secret, which escalated mentally, but might not physically. By the late 12th century Andreas Capellanus ' highly influential work De amore "Concerning Love" had codified the rules of courtly love. De amore lists such rules as: . Much of its structure and its sentiments derived from Ovid 's Ars amatoria. Hispano-Arabic literature, as well as Arabic influence on Sicily, provided a further source, in parallel with Ovid, for the early troubadours of Provence—overlooked though this sometimes [ quantify ] is [ by whom?
The Arabic poets and poetry of Muslim Spain express similarly oxymoronic views of love as both beneficial and distressing as the troubadours were to do;  while the broader European contact with the Islamic world must also be taken into consideration. According to Gustave E. The Persian psychologist and philosopher Ibn Sina c. The final element of courtly love, the Love Songe of "love as desire never to be fulfilled", sometimes occurred implicitly in Arabic poetry, but first developed into a doctrine in European literaturein which all four elements of courtly love were present.
According to an argument outlined by Maria Rosa Menocal in The Arabic Role in Medieval Literary Historyin 11th-century Spain, a group of wandering poets appeared who would go from court to court, and sometimes travel to Christian courts in southern France, a situation closely mirroring what would happen in southern France about a century later.
Contacts between these Spanish poets and the French troubadours were frequent. The metrical forms used by the Spanish poets resembled those later used by the troubadours. The historic analysis of courtly love varies between different schools of historians. That sort of history which views the early Middle Ages dominated by a prudish and patriarchal theocracy views courtly love as a "humanist" reaction to the puritanical views of the Catholic Church.
However, other scholars note that courtly love was certainly tied to the Church's effort to civilize the crude Germanic feudal codes in the late 11th century. It has also been suggested that the prevalence of arranged marriages required other outlets for the expression of more personal occurrences of romantic love, and thus it was not in reaction Love Songe the prudery or patriarchy of the Church but to the nuptial customs of the era that courtly love arose.
At times, the lady could be a princesse lointainea far-away princess, and some tales told of men who had fallen in love with women whom they had never seen, merely on hearing their perfection described, but normally she was not so distant.
As the etiquette of courtly love became more complicated, the knight might wear the colors of his lady: where blue or black were sometimes the colors of faithfulness, green could be a sign of unfaithfulness. Salvation, previously found in the hands of the priesthood, now came from the hands of one's lady. In some cases, there were also women troubadours who expressed the same sentiment for men.
The medieval genres in which courtly love conventions can be found include the lyricthe romance and the allegory. Texts about courtly love, including lays, were often set to music by troubadours or minstrels.
According to scholar Ardis Butterfield, courtly love is "the air which many genres of troubadour song breathe". This can be inferred because people at court were encouraged or expected to be "courtly" and be proficient in many different areas, including music.
Several troubadours became extremely wealthy playing the fiddle and singing their songs about courtly love for a courtly audience. It is difficult to know how and when these songs were performed because most of the information on these topics is provided in the music itself.
Kehlani likes her girls just like she likes her honey: sweet. Norwegian bedroom pop musician Girl in Red, a. Marie Ulven, weaves a bittersweet confessional about teenage queer romance on this fuzzy indie-rock ditty about unrequited love.
Mary Lambert is charming and infatuated on this sweet indie-pop tune. Hayley Kiyoko pines over another young woman on this emotive synth-pop anthem about queer love.
Queer music icon Beth Ditto sings about unconditional, no frills love on this sweeping, synth-assisted Southern rock tune off her album Fake Sugar. Cushioned within the swirling synths, the two women sing of the heartache, frustration, and lust bursting from a seemingly doomed relationship.
The incredibly talented Toni Braxton released this song in This was not your ordinary breakup love song. It seems to detail the feelings of loss one feels when the person they love actually passes away. Of course, there is no way to Un-Break a heart that has been hurt by death.
While this song was recorded init did not see wide release until later in The sound was written and released in by Calvin Lewis and Andrew Wright. While Percy Sledge released a popular version of the song init was Bolton who brought the power of the song to life inpushing the song to 1 on both the Billboard Hot and Billboard Adult Contemporary Singles charts. One of the best and most touching 90s love songs to date; this song still rocks the airwaves.
Shania wrote this song for Mutt Lange, her husband. Because of their age gap, many people felt she was merely using him to better her career. There have been at least four other renditions of this song by a variety of artists over the years. As one of his most momentous accomplishments, the song made it to number two on the charts, which it retained for eight weeks.
In the year of its release, this sentimental love song reached No. It also appeared on several weekly charts globally.
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