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"I'm Good (Blue)" is a song by French DJ and producer David Guetta and American singer and songwriter Bebe Rexha. Produced by the former alongside Timofey Reznikov, it was written by the artists alongside Kamille and Plested, with additional writing credits going to Jeffrey Jey, Massimo Gabutti, and Maurizio Lobina, as the song is a reworking of Italian group Eiffel 65's single "Blue (Da Ba ...
The song introduced several of rock music's most characteristic musical features, including its loud volume, powerful vocal style, and distinctive beat and rhythm. [ 4 ] In 2007, an eclectic panel of renowned recording artists ranked "Tutti Frutti" at No. 1 on Mojo ' s "The Top 100 Records That Changed The World" and hailed the recording as ...
"Mercy Mercy Me (The Ecology)" is the second single from American singer-songwriter Marvin Gaye's 1971 album, What's Going On. Following the breakthrough of the title track's success, the song, written solely by Gaye, became regarded as one of popular music's most poignant anthems of sorrow regarding the environment.
They primarily created content on Minecraft, including gameplay and music videos, and their most viewed video was a parody of Coldplay's song "Paradise" titled "New World". [4] [5] By 2013, Dahlberg had signed a deal with Machinima, Inc. [6] [4] Most of Dahlberg's content was noted to be family-friendly. [3]
"The Dogs of War" is a song by Pink Floyd from their 1987 album, A Momentary Lapse of Reason. [1] [2] It was released as a promotional single from the album.Live versions have an extended intro, an extended middle solo for the saxophone, a guitar and sax duel and a longer outro as compared to the album version.
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The song was recorded during the early 1977 Aja sessions at The Village Recorder in Los Angeles. [10] Gary Katz produced the song, as he had for every Steely Dan album. Roger Nichols and three other recording engineers did that task, work for which they would later share that year's Grammy Award for Best Engineered Non-Classical Recording.
Although described in Adolphe Sax's patent in 1846, a practical, playable subcontrabass saxophone did not exist until the 21st century. [2] An oversized saxophone that might have qualified was built as a prop circa 1965; it could produce tones, but its non-functional keywork required assistants to manually open and close the pads, and it was reportedly incapable of playing a simple scale.