DOCSLIB.ORG

Whitney Houston the Ultimate Collection Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Whitney Houston the Ultimate Collection Mp3, Flac, Wma Whitney Houston The Ultimate Collection mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Funk / Soul / Pop Album: The Ultimate Collection Country: Thailand Released: 2007 Style: RnB/Swing, Soul, Ballad MP3 version RAR size: 1720 mb FLAC version RAR size: 1154 mb WMA version RAR size: 1262 mb Rating: 4.6 Votes: 403 Other Formats: VOC XM AIFF VOX AAC ADX FLAC Tracklist Hide Credits I Will Always Love You –Whitney 1 Arranged By [Vocals], Executive Producer – Whitney HoustonProducer, 4:24 Houston Arranged By – David FosterWritten-By – Dolly Parton –Whitney Saving All My Love For You 2 3:46 Houston Producer – Michael MasserWritten-By – Gerry Coffin*, Michael Masser –Whitney Greatest Love Of All 3 4:47 Houston Producer – Michael MasserWritten-By – Linda Creed, Michael Masser One Moment In Time –Whitney 4 Arranged By [Vocals] – Whitney HoustonProducer – Narada Michael 4:44 Houston WaldenWritten-By – Albert Hammond, John Bettis I Wanna Dance With Somebody (Who Loves Me) –Whitney 5 Producer – Narada Michael WaldenWritten-By – George Merrill, 4:50 Houston Shannon Rubicam How Will I Know –Whitney 6 Producer, Arranged By – Narada Michael WaldenWritten-By – George 4:34 Houston Merrill, Narada Michael Walden, Shannon Rubicam So Emotional –Whitney 7 Producer – John "Jellybean" BenitezWritten-By – Billy Steinberg, Tom 4:32 Houston Kelly When You Believe (From The Prince Of Egypt) –Whitney Mixed By – Jon GassMusic By [Additional], Producer, Keyboards, Drum Houston Duet 8 Programming – BabyfaceRecorded By – Paul BoutinRecorded By [Mariah 4:33 With Mariah Carey's Vocal] – Dana Chappelle*Written-By – Kenneth Edmonds, Carey Stephen Schwartz Where Do Broken Hearts Go –Whitney 9 Arranged By [Vocals] – Whitney HoustonProducer – Narada Michael 4:36 Houston WaldenWritten-By – Charles Jackson*, Frank Wildhorn I'm Your Baby Tonight –Whitney 10 Producer – Babyface, L.A. ReidWritten-By – Kenneth Edmonds, Antonio 4:11 Houston Reid* Didn't We Almost Have It All –Whitney 11 Arranged By [Vocals] – Whitney HoustonProducer – Michael 4:35 Houston MasserWritten-By – Michael Masser, Will Jennings Run To You –Whitney 12 Arranged By [Vocals], Executive Producer – Whitney HoustonProducer – 4:24 Houston David FosterWritten-By – Allan Rich, Jud J. Friedman* Exhale (Shoop Shoop) –Whitney 13 Executive Producer – Kenneth "Babyface" Edmonds, Whitney 3:21 Houston HoustonProducer – BabyfaceWritten-By – Kenneth Edmonds If I Told You That –Whitney Engineer [Mix] – Ren SwanMixed By – Jon DouglasPerformer [All Houston Duet Instruments] – Rodney JerkinsProducer – Rodney JerkinsProducer 14 4:06 With George [Additional] – George MichaelRecorded By [Remix] – Dexter Michael SimmonsWritten-By – Fred Jerkins III, LaShawn Daniels, Rodney Jerkins, Toni Estes I Have Nothing –Whitney 15 Arranged By [Vocals], Executive Producer – Whitney HoustonProducer, 4:48 Houston Arranged By – David FosterWritten-By – David Foster, Linda Thompson I'm Every Woman –Whitney 16 Producer, Arranged By – Narada Michael WaldenWritten-By – Nick 4:40 Houston Ashford, Valerie Simpson* It's Not Right But It's Okay Edited By [Pro Tools Editing] – Harvey Mason, Jr.*Music By [All Music] – –Whitney 17 Rodney JerkinsProducer – Rodney JerkinsRecorded By, Mixed By – Brad 4:40 Houston GildermanWritten-By – Fred Jerkins III, Isaac Phillips, LaShawn Daniels, Rodney Jerkins, Toni Estes My Love Is Your Love –Whitney 18 Arranged By [Vocals] – Whitney HoustonProducer – Jerry "Wonder" 3:55 Houston Duplessis*, Wyclef JeanWritten-By – Jerry Duplessis, Wyclef Jean Credits Executive Producer – Clive Davis Mastered By – Larry Lachmann Notes ℗ 1985, 1987, 1988, 1990, 1992, 1995, 1998, 2000, 2007 & © 2007 Arista Records LLC, a unit of Sony BMG Music Entertainment Made in the Thailand. Released as digipack Barcode and Other Identifiers Barcode: 8 86978 596260 Other versions Category Artist Title (Format) Label Category Country Year The Ultimate Whitney 88697 17701 2 Collection (CD, Arista 88697 17701 2 Europe 2007 Houston Comp) The Ultimate Whitney 88985496452 Collection (CD, Sony Music, Arista 88985496452 Australia 2017 Houston Comp, RE) The Ultimate Sony BMG Music Whitney 88697 17701 2 Collection (CD, Entertainment, 88697 17701 2 Indonesia 2007 Houston Comp) Arista The Ultimate Whitney SICP 30434 Collection (CD, Arista SICP 30434 Japan 2013 Houston Comp, RE, BSC) The Ultimate Whitney 88697463232 Collection (CD, Sony Music, Arista 88697463232 Europe 2009 Houston Comp, RE, Sli) Related Music albums to The Ultimate Collection by Whitney Houston Whitney Houston & George Michael - If I Told You That (Remixes) Whitney Houston - DMC Greatest Mixes Whitney Houston Vol. Three Whitney Houston - Didn't We Almost Have It All Whitney Houston, - How Will I Know Whitney Houston - Who Do You Love / I'm Every Woman Whitney Houston - I Will Always Love You: The Best Of Whitney Houston Whitney Houston & George Michael - If I Told You That Whitney Houston - Whitney Houston Whitney Houston - How Will I Know Whitney Houston - Try It On My Own.
Load more

Recommended publications
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Listen to Dezron Douglas & Brandee Younger Cover the Stylistics' “You Make Me Feel Brand New” from New Album
    December 1, 2020 For Immediate Release Listen to Dezron Douglas & Brandee Younger Cover The Stylistics’ “You Make Me Feel Brand New” From New Album, Force Majeure, Out This Friday on International Anthem ​ ​ (Photo by Deneka Peniston) "Compiled from a soul-affirming livestream series that they shared from their Harlem apartment, [Force Majeure is] a portrait of resilience, solidarity and reassurance.” — WBGO ​ ​ ​ “Modal jazz classics by Pharoah Sanders and the Coltranes rub shoulders with heavenly, harmonically rich readings of soul standards such as You Make Me Feel Brand New by the Stylistics and Clifton Davis’s Never Can Say Goodbye, with Younger lurching from modal flourishes to the more chromatic, bop-influenced improvisations of Dorothy Ashby.” — The ​ Guardian (“Contemporary Album of the Month,” 4 stars) “Building on their weekly livestream and recorded in their living room with a single microphone, Force Majeure finds the duo swimming freely between the great canon of jazz compositions and familiar, contemporary popular songs.” — Bandcamp (“Album of the Day”) ​ Bassist Dezron Douglas and harpist Brandee Younger will release their debut album as a ​ ​ ​ ​ duo, Force Majeure, this Friday on International Anthem. Today, they present new single, ​ ​ ​ ​ “You Make Me Feel Brand New,” a cover of The Stylistics’ classic, written by Thom Bell and ​ ​ ​ Linda Creed. It follows previous singles, the pair’s “warm and inviting” (Stereogum) cover of ​ ​ Pharoah Sanders & Leon Thomas’ “The Creator Has A Master Plan,” and “Sing,” which was ​ ​ originally written by Joe Raposo for Sesame Street. ​ ​ Douglas & Younger’s rendition of “You Make Me Feel Brand New” opens with light, magnetic flutters from Younger’s harp and strolling plucks on Douglas’ bass.
    [Show full text]
  • Sammy Strain Story, Part 4: Little Anthony & the Imperials
    The Sammy Strain Story Part 4 Little Anthony & the Imperials by Charlie Horner with contributions from Pamela Horner Sammy Strain’s remarkable lifework in music spanned almost 49 years. What started out as street corner singing with some friends in Brooklyn turned into a lifelong career as a professional entertainer. Now retired, Sammy recently reflected on his life accomplishments. “I’ve been inducted into the Rock & Roll Hall of Fame twice (2005 with the O’Jays and 2009 with Little (Photo from the Classic Urban Harmony Archives) Anthony & the Imperials), the Vocal Group Hall of Fame (with both groups), the Pioneer R&B Hall of Fame (with Little An- today. The next day we went back to Ernie Martinelli and said thony & the Imperials) and the NAACP Hall of Fame (with the we were back together. Our first gig was to be a week-long O’Jays). Not a day goes by when I don’t hear one of the songs engagement at the Town Hill Supper Club, a place that I had I recorded on the radio. I’ve been very, very, very blessed.” once played with the Fantastics. We had two weeks before we Over the past year, we’ve documented Sammy opened. From the time we did that show at Town Hill, the Strain’s career with a series of articles on the Chips (Echoes of group never stopped working. “ the Past #101), the Fantastics (Echoes of the Past #102) and The Town Hall Supper Club was a well known venue the Imperials without Little Anthony (Echoes of the Past at Bedford Avenue and the Eastern Parkway in the Crown #103).
    [Show full text]
  • The Fan Data Goldmine Sam Hunt’S Second Studio Full-Length, and First in Over Five Years, Southside Sales (Up 21%) in the Tracking Week
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 24, 2021 Page 1 of 30 Leader; Travis Denning Makes History INSIDE The Fan Data Goldmine Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No. 1 on Billboard’s lionBY audienceTATIANA impressions, CIRISANO up 16%). Top Country• Spotify’s Albums Music chart dated April 18. In its first week (ending April 9), it earnedLeaders 46,000 onequivalent the album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingStreaming to Nielsen Giant’s Music/MRC JessieData. Reyez loves to text, especially with fans.and Ustotal- Countryand Airplay Community No. 1 as “Catch” allows (Big you Machine to do that, Label especially Group) ascends Southside‘Audio-First’ marks Future: Hunt’s seconding No.a phone 1 on the number assigned through the celebrity when you’re2-1, not increasing touring,” 13% says to 36.6Reyez million co-manager, impressions. chart andExclusive fourth top 10. It followstext-messaging freshman LP startup Community and shared on her Mauricio Ruiz.Young’s “Using first every of six digital chart outletentries, that “Sleep you canWith- Montevallo, which arrived at thesocial summit media in No accounts,- the singer-songwriter makes to make sureout you’re You,” stillreached engaging No.
    [Show full text]
  • Dolphin Films Una Produzione Bieber Time Films & Scooter
    DOLPHIN FILMS PRESENTA UNA PRODUZIONE BIEBER TIME FILMS & SCOOTER BRAUN FILMS IN ASSOCIAZIONE CON IM GLOBAL & ISLAND DEF JAM MUSIC GROUP DIRETTO DA JON M.CHU con JUSTIN BIEBER e la speciale partecipazione di SCOOTER BRAUN | USHER RAYMOND IV | JON M. CHU | PATTIE MALLETTE | JEREMY BIEBER | RYAN GOOD | MIKE POSNER | RODNEY JERKINS | ALFREDO FLORES | NICK DEMOURA ...e molti altri! Durata 92 minuti In Italia Believe è distribuito da Nexo Digital e Good Films in collaborazione con i media partner Sky Uno HD, Radio Kiss Kiss, MYmovies.it e Team World. SINOSSI BELIEVE di Justin Bieber regala una visione intima e profonda del tour mondiale dell’artista che ha registrato il tutto esaurito. Non solo vedrete le immagini sbalorditive delle performance dei suoi maggiori successi, ma avrete un biglietto personale per accedere al backstage e scoprire come l’intero tour è stato concepito. Believe garantisce una panoramica esclusiva sulla vita di Justin fuori dal palco ed è un viaggio che ne ripercorre la vita: dagli esordi da perdente che sognava di suonare al Madison Square Garden, fino a diventare la più grande pop star mondiale. “Believe” in Justin Bieber. NOTE DEL REGISTA Ho sempre saputo sin da quando finimmo “Never Say Never” nel 2011, che la storia di Justin Bieber non sarebbe finita. Avevo la sensazione che il capitolo successivo della sua vita sarebbe stato ancora più convincente dell’inizio della sua storia, ma non avrei mai pensato di essere di nuovo io a raccontarlo. Quando, qualche anno dopo, mi arrivò l’invito di Justin a seguirlo in tour per realizzarne un film, presi al volo questa opportunità.
    [Show full text]
  • ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
    DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
    [Show full text]
  • Artists Composer 1958 Abc the Jackson 5 Gordy/Mizell
    NO TITLE ARTISTS COMPOSER THE 1958 ABC JACKSON GORDY/MIZELL/PERREN/RICHARDS 5 THE AIN'T NO 1959 JACKSON WITHERS, BILL SUNSHINE 5 MICHAEL 1960 BAD MICHAEL JACKSON JACKSON MICHAEL 1961 BEAT IT MICHAEL JACKSON JACKSON MICHAEL 1962 BEN SCHARF / BLACK JACKSON MICHAEL 1963 BILLIE JEAN MICHAEL JACKSON JACKSON BLACK OR MICHAEL 1964 B. BOTTRELL / M. JACKSON WHITE JACKSON BLOOD ON MICHAEL 1965 THE DANCE MICHAEL JACKSON/TEDDY RILEY JACKSON FLOOR BREAK OF MICHAEL 1966 MICHAEL JACKSON, DR. FREEZE DAWN JACKSON MICHAEL AMBROSIUS, MARSHA/ HARRIS, 1967 BUTTERFLIES JACKSON ANDRE MICHAEL 1968 CRY R KELLY JACKSON THE DANCING 1969 JACKSON DAVIS/PARKS/FLETCHER MACHINE 5 MICHAEL MICHAEL JACKSON, BILL BOTTRELL 1970 DANGEROUS JACKSON AND TEDDY RILEY MICHAEL 1971 DIRTY DIANA MICHAEL JACKSON JACKSON DON'T STOP MICHAEL 1972 'TIL YOU GET MICHAEL JACKSON JACKSON ENOUGH MICHAEL 1973 EARTH SONG MICHAEL JACKSON JACKSON THE ENJOY 1974 JACKSON GAMBLE, K./HUFF, L. YOURSELF 5 MICHAEL 1975 GHOSTS MICHAEL JACKSON/TEDDY RILEY JACKSON GOT TO BE MICHAEL 1976 WILLENSKY, E THERE JACKSON HEAL THE MICHAEL 1977 MICHAEL JACKSON WORLD JACKSON HUMAN MICHAEL 1978 BETTIS, JOHN/ PORCARO, STEVE NATURE JACKSON MICHAEL I JUST CAN'T JACKSON 1979 STOP LOVING MICHAEL JACKSON & SIEDAH YOU GARRETT I SAW MOMMY THE 1980 KISSING JACKSON TOMMIE CONNOR SANTA CLAUS 5 THE I WANT YOU 1981 JACKSON GORDY/MIZELL/PERREN/RICHARDS BACK 5 MICHAEL GORDY, BERRY (JR)/ HUTCH, WILLIE/ 1982 I'LL BE THERE JACKSON DAVIS, HAL/ WEST, BOB MICHAEL MICHAEL JACKSON, JAMES HARRIS 1983 IS IT SCARY JACKSON III, AND TEDDY RILEY MICHAEL 1984 LIBERIAN GIRL MICHAEL JACKSON JACKSON MICHAEL 1985 LOVELY ONE JACKSON MAN IN THE MICHAEL 1986 G.
    [Show full text]
  • The Neptunes Have Oversize Lincoln Navigator
    } THENERDM ENTALITY THHY6 AVffiJ AY-XA B*UNCT, LENITT hIglRF UhIKT S'N SYh*CA NM HUSTLTPB HATSF &R T'{H KING OF POP.I T WAS *h,l-Y A MATTERO F TIM€ gHF{3RgT I{K \IIRGII''I[AM E,4CHP R$SLJCTIONT EAM CALI-EDT F{€I \FPTU'XE$P tJTTi{ENRC LIg'\d?SO N'HI OLP Ah{& LKTTF{€IRO WTdg ?RANGgS *UNSS LSOSHS hNT'..IfC; I.,IART"BSY ETHAN BROWN IHARRELL wTLLIAMs HAs rHE EvENING MAppED our "lIsrrN," have been shockingly consistent hitmakers, racking up ahalf- "tonight |!|h" explains, we're gonna hang out with punks, dozen Top ro hits (and loads of Top 4os) in an arenawhererna' I skatersa nd brothers from the hood." He glances down jor players like Sean "Puffy" Combs and legendary hit men such at the freshly painted morel parking lot and climbs into his as Clive Davis often strike out. Moreover. the Neptunes have oversize Lincoln Navigator. "I can t hang with just one group of proved they can savea rtists from themseives,s pinning stalwart people." The z8-year-old producer-musician is the mirror im- stars in new directions. They transformed JayZ'shrstler-by- age of his inclusive social sphere-call it a ghetto-glam-bumpkin numbers "I Just Wanna Love U (Give It z Me)" inro a soulful look faded thrift-store jeans, tattered Rolling Stones baseball sing-along, remixed and rescued the Backstreet Boys' uninspiring cap, VersaceT -shirt and white Prada sneakers.A nd though he u.rth.- "The Call' and converted Mystlfal's clicired boory "rl'i wears a chunky diamond earring in one ear and a cartoonishly "Shake Ya Ass" into a brassv.
    [Show full text]
  • Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A
    Williams, J. A. (2014). Theoretical Approaches to Quotation in Hip- Hop Recordings. Contemporary Music Review, 33(2), 188-209. https://doi.org/10.1080/07494467.2014.959276 Publisher's PDF, also known as Version of record Link to published version (if available): 10.1080/07494467.2014.959276 Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ This article was downloaded by: [University of Bristol] On: 26 March 2015, At: 13:07 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gcmr20 Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A. Williams Published online: 28 Oct 2014. Click for updates To cite this article: Justin A. Williams (2014) Theoretical Approaches to Quotation in Hip-Hop Recordings, Contemporary Music Review, 33:2, 188-209, DOI: 10.1080/07494467.2014.959276 To link to this article: http://dx.doi.org/10.1080/07494467.2014.959276 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content.
    [Show full text]
  • WDAM Radio's History of Dionne Warwick
    WDAM Radio's Hit Singles History Of Dionne Warwick # Artist Title Chart Position/Year Label Comments 001 Drifters “Mexican Divorce” –/1962 Atlantic Dionne Warwick’s back-up vocals on this recording are what caught the attention of Hal David & Burt Bacharach, who signed her to their production company. Recorded in 1961, but released as the B-side of When My Little Girl Is Smiling (#28-Rock-U.S. + #31- U.K./1962). Composers – Burt Bacharach & Bob Hilliard. 002 Burt & The Backbeats “Move It On The Backbeat” –/1961 Big Top Burt Bacharach, Dionne Warwick & Dee Dee Warwick. Composers – Hal David & Burt Bacharach. 003 Dionne Warwick “It’s Love That Really Counts” –/1962 Scepter Demo for song that was presented to the Shirelles. It also was a cut on Dionne’s debut LP – Presenting Dionne Warwick – released in 1963. Composers – Hal David & Burt Bacharach. 003A Shirelles “It’s Love That Really Counts” #102/1962 Scepter 004 Dionne Warwick “I Smiled Yesterday” –/1962 Scepter A-Side. Composers – Hal David & Burt Bacharach. 005 Dionne Warwick “Don’t Make Me Over” #21-Rock & #5-R&B- Scepter B-side. Song title inspired by Dionne’s angry U.S. + #38-Rock- statement to Hal David & Burt Bacharach Canada/1962 gave Make It Easy On Yourself to Jerry Butler first instead of her. Composers – Hal David & Burt Bacharach. 005A Swinging Blue Jeans “Don’t Make Me Over” #116-Rock-U.S. + #31- Imperial U.K./1966 005B Brenda & The “Don’t Make Me Over” #77-Rock & #15-R&B- Top And Bottom Co-producer – Van McCoy. Tabulations U.S./1970 005C Jennifer Warnes “Don’t Make Me Over” #67-Rock, #14-AC & Arista #84-C&W-U.S./1980 005D Sybil “Don’t Make Me Over” #20-Rock, #2-R&B & Next Plateau #4-Dance-U.S.
    [Show full text]
  • Music 1 Big American Voices
    AAP: Music Big American Voices – January 3, 2018 The focus of our discussion today will be two songs by iconic, big-voiced American singers: Aretha Franklin, “Ain’t No Way” (1968), and Whitney Houston, “I Will Always Love You” (1992). We’re going to discuss vocal timbre, ornamentation, and venue/audience as we figure out what makes these singers expressive and admired. Warm-up writing: Thinking about vocal timbres timbre (n) – sound quality or color. Timbre is the reason that a flute sounds like a flute and an oboe sounds like an oboe, even when they’re playing the same pitch at the same dynamic level. Different sounds have different timbres because of vibrato, intensity, the attack of the note (beginning), the decay of the sound (ending), and its resonance (the presence of different harmonics in the sound). Describe the voice of a singer you really like. What do you like about their voice, they way they perform, or the way their music makes you feel? Whitney Houston, “I Will Always Love You” (1992) Written by Dolly Parton (b. 1946) If I should stay I will always love you I would only be in your way So I'll go, but I know I hope life, treats you kind I'll think of you each step of the way And I hope that you have all And I will always love you That you ever dreamed of I will always love you And I wish you joy And happiness Bitter-sweet memories But above all of this That's all I am taking with me I wish you love Good-bye, please don't cry And I will always love you We both know that I'm not I will always love you What you need I will always love you I will always love you “I Will Always Love You” was written and first recorded by Dolly Parton in 1974.
    [Show full text]
  • 1 Canciones Clásicas Españolas, V.1
    Canciones clásicas españolas, v.1. Fernando Obradors (1897-1945) Spanish composer, Fernando Obradors was a conductor and pianist whose love of music was instilled in him by his mother. Althought he was a largely self-taught composer, he eventually ended up in Paris to continue his music study. He wrote in a variety of genres but vocal music is among his most well-known. Canciones clásicas españolas are settings of seven Spanish poems spanning multiple centuries and multiple poets. The overarching theme of this cycle is love, whether it is a romantic interest, family member, or friend. The influence of Spanish dances, flamenco, and Spanish guitar are highlighted through specific melodic flourishes, harmonic textures, and dance-like rhythms throughout the set. La mi sola, Laureola is inspired by a 16th century Spanish song (solmization villancico) wherein the text corresponds to solfege syllables (la mi sol la). The melody and harmony highlight the melancholic words of Leriano, who longs for Laureola. La mi sola, Laureola. My only, Laureola. Yo el cautivo Leriano I the captive Leriano aunque mucho estoy ufano Although I am very proud Herido de aquella mano Wounded from that hand Que en el mundo es una sola. That in the world there is only one. La mi sola, Laureola. My only, Laureola. Al amor provides a sharp energetic contrast to La mi sola, Laureola. The poet for these lyrics is 17th century poet, Cristobal de Castillejo, a staunch advocate for the use of traditional Spanish poetic form over that of the Italian. The accompaniment imitates the excited heartbeat of infatuation.
    [Show full text]