DOCSLIB.ORG

VOICES of QUEEN: a Literary Analysis of Queen Lyrics of the 1970S and 80S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VOICES of QUEEN: a Literary Analysis of Queen Lyrics of the 1970S and 80S VOICES OF QUEEN: A Literary Analysis of Queen Lyrics of the 1970s and 80s Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Christine SCHAUER am Institut für Anglistik Begutachter : Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, 2011 TABLE OF CONTENTS 1 INTRODUCTION ..............................................................................................1 2 COMMUNICATION IN LITERARY TEXTS.......................................................2 2.1 Lyrical I and Lyrical You...................................................................................................................2 2.2 Persona, Alter Ego and Voice ............................................................................................................3 3 VOICES OF…...................................................................................................3 3.1 Freddie Mercury.................................................................................................................................4 3.1.1 Establishing Lover, Musician and Teller of Tales............................................................................6 3.1.1.1 The Bipolar Lover.................................................................................................................6 3.1.1.1.1 Desperate and Obsessive ............................................................................................8 3.1.1.1.2 Faking it .........................................................................................................................13 3.1.1.1.3 Jealous ..........................................................................................................................19 3.1.1.1.4 Left and Lonesome ......................................................................................................20 3.1.1.1.5 Melodiously Melancholic .............................................................................................24 3.1.1.2 The Musician ......................................................................................................................25 3.1.1.2.1 Idealistic Artist ..............................................................................................................26 3.1.1.2.2 Businessman ................................................................................................................28 3.1.1.3 The Teller of Tales.............................................................................................................33 3.1.1.3.1 Magical ..........................................................................................................................33 3.1.1.3.2 (IR)Religious .................................................................................................................40 3.1.2 Extracting the Bipolar from the Lover ...........................................................................................46 3.2 Brian May..........................................................................................................................................47 3.2.1 Establishing Lover, Musician and Conscience of Society .............................................................48 3.2.1.1 The Miserable Lover..........................................................................................................48 3.2.1.1.1 Failing ............................................................................................................................49 3.2.1.1.2 Compensating ..............................................................................................................51 3.2.1.2 The Musician – From Rags to Riches to Rags..............................................................53 3.2.1.3 The Conscience of Society...............................................................................................55 3.2.2 Pro Sex and Anti Guns...................................................................................................................57 3.3 Roger Taylor .....................................................................................................................................58 3.3.1 Establishing Rebel and Musician ...................................................................................................59 3.3.1.1 The Rebel – Escape through Music and Love for Cars ...............................................59 3.3.1.2 The Musician – Critic and Artist.......................................................................................63 3.3.2 Still Rocking Hard .........................................................................................................................67 3.4 John Deacon ......................................................................................................................................67 3.4.1 Establishing Lover and Musician...................................................................................................68 3.4.1.1 The Successful Lover and His Journey..........................................................................68 3.4.1.1.1 Yearning ........................................................................................................................69 3.4.1.1.2 Falling in Love ..............................................................................................................70 3.4.1.1.3 Living in the Moment ...................................................................................................71 3.4.1.1.4 Finding his Soul Mate..................................................................................................72 3.4.1.1.5 Parting Ways ................................................................................................................74 3.4.1.2 The Critical Musician .........................................................................................................76 3.4.2 The Lover’s Journey Continues .....................................................................................................78 4 CONCLUSION................................................................................................79 5 REFERENCES ...............................................................................................81 6 APPENDIX: LYRICS ......................................................................................88 1 Introduction The aim of this thesis is to isolate and identify the main voices of each member of Queen through the literary analysis of song lyrics. The texts used for the analyses have been carefully selected from the many songs written in the 1970s and 1980s that can be clearly assigned to each member of the band, making it therefore possible to locate and isolate their voices. The thesis is divided into two parts, of which the first part is a brief introduction into literary theory, defining what is meant by ‘voice’ in terms of literary criticism. In the second part the focus lies on the individual members of Queen. Making up the main part of the thesis, it contains detailed song analyses of selected song material from each band member from the 1970s to establish their voices and summaries of the major changes their voices underwent in the 1980s. The conclusion gives an outline of the various voices of Queen that have been established in part two. Also, the advantages of Queen being polyphonic are stressed and an outlook on further possible research is given. Since the album The Miracle in 1989, all songs were attributed to Queen, showing on the one hand the unity of the band but on the other hand making it more difficult to locate the unique and valuable voices of the members of the band, all songs selected for the analyses have been taken from albums before The Miracle. The aim of this thesis is not to give an account of all Queen lyrics of the 1970s and 80s but focuses on the main voices one is able to extract in the 70s and their most important changes over the 80s. 1 2 Communication in Literary Texts Before one can delve into a selection of lyrics from the vast array of Queen songs of the 1970s and 80s, it is essential to establish the concept and terminology that is the basis of this thesis. The main concept this paper is based on is that in a literary text (e.g. a lyric poem or song) communication is taking place, not on just one but on two different levels at the same time. The first level is the communication taking place between people who are outside of the text i.e. communication between author and readers, or singer and audience. The second level is the communication inside of the text, occurring between the lyrical I and the lyrical you. Since the main focus of this paper is on the latter, the next step is to take a closer look at the participants of the inner textual communication. 2.1 Lyrical I and Lyrical You The ‘lyrical I’ and the ‘lyrical you’ are terms used to refer to the speaker of a literary text and the audience of a literary text. Both are “implied, literary created versions” of the real thing and are therefore sometimes also referred to as the “implied author” and the “implied auditor” (Abrams and Harpham. 2005: 227). However, the more fitting expressions used in this paper for lyrical I are ‘persona’ and ‘voice of the alter ego’. The lyrical you is referred to as addressee or simply ‘you’. It is important to note that the lyrical I per se does not have any specific qualities other than being the speaker of the text. However,
Load more

Recommended publications
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • THE CHEKHOV DREAMS a Play by John Mckinney Copyright © 2014
    THE CHEKHOV DREAMS A play by John McKinney Copyright © 2014 by John McKinney 67 East 11St. Apt. #708 New York, NY 10003 (212) 598-9970 [email protected] ii CHARACTERS JEREMY Mid-30’s, affable, well-read, reclusive, a wounded soul. KATE Mid-30’s, beautiful, sophisticated, perceptive, deceased. CHRISSY Early 20’s, cute, upbeat, eager, passionate. EDDIE Late 30’s, jaded, decadent, addicted to just about everything. CHEKHOV Mid 40’s, wise, eccentric, crotchety, deceased. SETTING Time: The present. Place: New York City, various locations; A lake, various times and seasons. Author’s notes: This play was written as a dark romantic comedy, accent on the comedy. As such, the default tempo for the play should be brisk and lively, pausing or stopping only as necessary to reflect the deeper, more serious moments. Scene transitions should occur as smoothly as possible with a minimum of set and prop handling to ensure that the story keeps moving apace. In essence the play should avoid the trap of over-indulging in the darker currents of the story and becoming labored or ponderous. As this play explores two alternating states of mind – dreams and reality – it is intended that the design elements establish a distinctive motif for each. For example, there might be a magical, sparkling quality to the lighting to represent the water reflecting off of the lake in the dream scenes, while the real life apartment scenes might have a grittier, more somber feel especially as most of these scenes occur at night. Similarly, the dream scenes might be accompanied by a recurring ethereal theme, or “dreamscape,” which would shift in tone from light and magical to something more ominous, reflecting the main character’s psychological journey.
    [Show full text]
  • Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me.
    [Show full text]
  • RADIAL VELOCITIES in the ZODIACAL DUST CLOUD
    A SURVEY OF RADIAL VELOCITIES in the ZODIACAL DUST CLOUD Brian Harold May Astrophysics Group Department of Physics Imperial College London Thesis submitted for the Degree of Doctor of Philosophy to Imperial College of Science, Technology and Medicine London · 2007 · 2 Abstract This thesis documents the building of a pressure-scanned Fabry-Perot Spectrometer, equipped with a photomultiplier and pulse-counting electronics, and its deployment at the Observatorio del Teide at Izaña in Tenerife, at an altitude of 7,700 feet (2567 m), for the purpose of recording high-resolution spectra of the Zodiacal Light. The aim was to achieve the first systematic mapping of the MgI absorption line in the Night Sky, as a function of position in heliocentric coordinates, covering especially the plane of the ecliptic, for a wide variety of elongations from the Sun. More than 250 scans of both morning and evening Zodiacal Light were obtained, in two observing periods – September-October 1971, and April 1972. The scans, as expected, showed profiles modified by components variously Doppler-shifted with respect to the unshifted shape seen in daylight. Unexpectedly, MgI emission was also discovered. These observations covered for the first time a span of elongations from 25º East, through 180º (the Gegenschein), to 27º West, and recorded average shifts of up to six tenths of an angstrom, corresponding to a maximum radial velocity relative to the Earth of about 40 km/s. The set of spectra obtained is in this thesis compared with predictions made from a number of different models of a dust cloud, assuming various distributions of dust density as a function of position and particle size, and differing assumptions about their speed and direction.
    [Show full text]
  • Top 5 Underrated Queen Songs Laura Ballinger Explores the Joys Of
    Top 5 Underrated Queen Songs Laura Ballinger explores the joys of Queen’s lesser-known tracks Everyone knows the Queen classics, ‘Bohemian Rhapsody’ and ‘Killer Queen’ to name just two. But what about those songs that are less well known and equally as good? Here’s a list of five of Queen’s most underrated songs, with the albums they feature on. 1. One Vision (A Kind of Magic) In top position comes ‘One Vision’. It starts with a slow motion, sci-fi sound, building into a funky beat and a classic Brian May guitar solo. The lyrics are memorable and catchy, with a fun back story as to why they became so iconic. When the band recorded this, they played around with the lyrics, finding alternative versions of ‘one vision’ which would fit the number of syllables. Some examples include, ‘John Deacon’, ‘One sex position’, then drifting into ones that didn’t quite fit, like ‘one shrimp’ and ‘one clam’. They actually settled on ‘fried chicken’ and, if you listen closely, it’s the final line in the song. Despite the comedic aspect, this song has quite a serious and meaningful undertone. It was written following Queen’s performance at Live Aid in 1985 and depicts the joining together of millions of people, united with the ‘one vision’ of making a better world for everyone. For this reason, it makes the top of the list. 2. Death on Two Legs (Dedicated To…) (A Night at the Opera) As one of Queen’s heavier songs, it’s not for everyone.
    [Show full text]
  • MEDLEY Peter Buck, Michael Mills and Michael Stipe
    Shinyg Happy People Words and Music by William Berry, MEDLEY Peter Buck, Michael Mills and Michael Stipe Shiny happy people laughing. WE WILL ROCK YOU (No wrong, no right, I’m gonna tell you there’s no black and no white. Buddy you’re a boy, make a big noise Meet me in the crowd, people, people. No blood, no stain. playing in the street, gonna be a big man someday, Throw your love around, love me, love me. All we need is) you got mud on your face, you big disgrace, Take it into town, happy, happy. one worldwide vision. kicking your can all over the place. Put it in the ground where the fowers grow. One fesh, one bone, one true religion. Gold and silver shine. We will, we will rock you! One voice, one hope, one real decision. We will, we will rock you! Gimme one night, gimme one hope. Shiny happy people holding hands. We will, we will rock you! Shiny happy people holding hands. We will, we will rock you! 1 2 Shiny happy people laughing Just gimme. Just gimme. CRAZY LITTLE THING CALLED LOVE One man, one bar, one day. One man, one night, hey, hey, Everyone around, love them, love them. Just gimme, Put it in your hands, take it, take it. This thing called love I just can’t handle it, There’s no time to cry, happy, happy. this thing called love I must get around to it, gimme, gimme, gimme fried chicken! Put it in your heart where tomorrow shines.
    [Show full text]
  • • Principals Off Er Alternative to Loans Scheme
    IRlBOT RICE GRLLERY a. BRQ~ University of Edinburgh, Old College THE South Bridge, Edinburgh EH8 9YL Tel: 031-667 1011 ext 4308 STATIONERS 24 Feb-24 March WE'RE BETTER FRANCES WALKER Tiree Works Tues·Sat 10 am·5 pm Admission Free Subsidised by the Scottish Ans Council Glasgow Herald Studen_t' Newspaper of the l'. ear thursday, february 15, 12 substance: JUNO A.ND •20 page supplement, THE PAYCOCK: Lloyd Cole interview .Civil War tragedy . VALENTINES at the .and compe~tion insi~ P.13 Lyceum p.10 Graduate Tax proposed • Principals offer alternative to loans scheme by Mark Campanile Means tested parental con­ He said that the CVCP administrative arrangements for Mr MacGregor also stated that tributions would be abolished, accepted that, in principle, stu­ loans and is making good prog­ administrative costs would be pro­ ress." hibitive, although the CVCP UNIVERSITY VICE Chan­ and the money borrowed would dents should pay something be repayed through income tax or towards their own education, but "The department will of course claim their plan would be cheaper cellors ancf Principals have national insurance contributions. that they believed that the current . be meeting the representatives of to implement than the combined announced details of a A spokesman for the CVCP, loans proposals were unfair, the universities, polytechnics, and running costs for grants and loans. graduate tax scheme which · Dr Ted Neild, told Student that administratively complicated, and colleges in due course to discuss NUS President Maeve Sher-. they want the government to the proposals meant that flawed because they still involved their role in certifying student lock has denounced the new prop­ consider as an alternative to graduates who had an income at a parental contributions, which are eligibility for loans." osals as "loans by any other student loans.
    [Show full text]
  • L'italia E L'eurovision Song Contest Un Rinnovato
    La musica unisce l'Europa… e non solo C'è chi la definisce "La Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai una rassegna globale, che vede protagonisti nel 2016 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area (l’anno scorso fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che quest’anno è stata nuovamente invitata dall’organizzazione). L'ideatore della rassegna fu un italiano: Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più Paesi e promuovere il mezzo televisivo nel vecchio continente.
    [Show full text]
  • Brian May Plays “God Save the Queen” from the Roof of Buckingham Palace to Commemorate Queen Elizabeth II’S Golden Jubilee on June 3, 2002
    Exclusive interview Brian May plays “God Save the Queen” from the roof of Buckingham Palace to commemorate Queen Elizabeth II’s Golden Jubilee on June 3, 2002. © 2002 Arthur Edwards 26 Astronomy • September 2012 As a teenager, Brian Harold May was shy, uncer- tain, insecure. “I used to think, ‘My God, I don’t know what to do, I don’t know what to wear, I don’t know who I am,’ ” he says. For a kid who didn’t know who he was or what he wanted, he had quite a future in store. Deep, abiding interests and worldwide success A life in would come on several levels, from both science and music. Like all teenagers beset by angst, it was just a matter of sorting it all out. Skiffle, stars, and 3-D A postwar baby, Brian May was born July 19, 1947. In his boyhood home on Walsham Road in Feltham on the western side of Lon- science don, England, he was an only child, the offspring of Harold, an electronics engineer and senior draftsman at the Ministry of Avia- tion, and Ruth. (Harold had served as a radio operator during World War II.) The seeds for all of May’s enduring interests came early: At age 6, Brian learned a few chords on the ukulele from his father, who was a music enthusiast. A year later, he awoke one morning to find a “Spanish guitar hanging off the end of my bed.” and At age 7, he commenced piano lessons and began playing guitar with enthusiasm, and his father’s engineering genius came in handy to fix up and repair equipment, as the family had what some called a modest income.
    [Show full text]
  • Queen 39 Live Killers Bass Transcription Sheet Music
    Queen 39 Live Killers Bass Transcription Sheet Music Download queen 39 live killers bass transcription sheet music pdf now available in our library. We give you 2 pages partial preview of queen 39 live killers bass transcription sheet music that you can try for free. This music notes has been read 3939 times and last read at 2021-09-27 23:16:26. In order to continue read the entire sheet music of queen 39 live killers bass transcription you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bass Guitar Tablature, Double Bass, Easy Piano Ensemble: Musical Ensemble Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Queen Spread Your Wings Live Killers Accurate Bass Transcription Whit Tab Queen Spread Your Wings Live Killers Accurate Bass Transcription Whit Tab sheet music has been read 5215 times. Queen spread your wings live killers accurate bass transcription whit tab arrangement is for Early Intermediate level. The music notes has 3 preview and last read at 2021-09-27 08:45:45. [ Read More ] 39 Live Killers Queen John Deacon Complete And Accurate Bass Transcription Whit Tab 39 Live Killers Queen John Deacon Complete And Accurate Bass Transcription Whit Tab sheet music has been read 2960 times. 39 live killers queen john deacon complete and accurate bass transcription whit tab arrangement is for Beginning level. The music notes has 2 preview and last read at 2021-09-27 16:50:19. [ Read More ] Queen John Deacon Dreamers Ball Live Killers Complete And Accurate Bass Transcription Whit Tab Queen John Deacon Dreamers Ball Live Killers Complete And Accurate Bass Transcription Whit Tab sheet music has been read 4720 times.
    [Show full text]
  • 'Killer Queen' (From the Album Sheer Heart Attack)
    Queen: ‘Killer Queen’ (from the album Sheer Heart Attack) (For component 3: Appraising) Background information and performance circumstances ‘Killer Queen’ was written by Freddie Mercury and featured on Queen’s third studio album Sheer Heart Attack released in November 1974. Freddie Mercury was born Farrokh Bulsara on 5 September 1946 in Stone Town, Sultanate of Zanzibar (now Tanzania) and grew up in India, where he was educated at St Peter’s Boys School and took up the piano at the age of 7. At the age of 17 his family moved to Middlesex, England. Queen was formed in London in 1970 with singer Freddie Mercury, guitarist Brian May, drummer Roger Taylor and bassist John Deacon. Sheer Heart Attack and A Night at the Opera (1975) brought them international success. ‘Killer Queen’ was the first single from the album and it is one of the few songs where Freddie Mercury wrote the lyrics first, which are about an upper-class prostitute. ‘Killer Queen’ reached number 2 in the British charts and provided them with their first top 20 hit in the US, peaking at number 12 on the Billboard singles chart. The song won Freddie Mercury his first Ivor Novello Award. Performing forces and their handling The vocal part is performed by Freddie Mercury and is a high male voice – tenor. ‘Killer Queen’ uses lead and backing vocals, piano, overdubbed with a honky-tonk (jangle) piano, four electric guitars, bass guitar and drum kit. Guitars and vocals are overdubbed to create a richer colour. The guitars use techniques such as slides, bends, pull-offs and vibrato.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]