rose royce sang love don't live here anymore.
rose royce sang love don't live here anymore.
who sang love don't live here anymore?
rose royce
kenny hill from "the san diego union-tribune" said that the song "was a lasting impression of rose royce's brilliance as a group" and it proved that disco and r&b soul music was not dead." frederick douglas from "the baltimore sun" complimented the song saying that "with their soul ballad 'love don't live here anymore', rose royce is poised to take their place in the musical landscape as the greatest soul group." bob kostanczuk from "post-tribune" listed "love don't live here anymore" as rose royce's greatest song. jim mortimer from "deseret news" felt that "love don't live here anymore" was a perfect example of how gospel and soul music can be clubbed together and complimented producer buckmaster. shannon kingly from "los angeles daily news" felt that "love don't live here anymore" is "a tad bit overrated, and is full of shouting." "love don't live here anymore" debuted at 91 on the "billboard" hot 100, and made a slow climb, ultimately reaching a peak of 32. it was more successful on the hot black singles chart, where it reached five, and stayed there for four weeks. in canada, the song debuted at 100 on the "rpm" singles chart on december 23, 1978. the song began a slow climb, and after nine weeks reached a peak of 41 on the chart. it was present for a total of 12 weeks on the chart. in the united kingdom, "love don't live here anymore" became rose royce's biggest hit, reaching two on the uk singles chart while in ireland it reached a peak of number seven. across europe, the song failed to chart except in netherlands, where it reached eleven. the song was successful in australia and new zealand, where it reached positions four and two on the charts, respectively.
love don't live here anymore
pre-islamic women's literature seems to have been limited to the genre of "marathiya" ('elegy'). the earliest poetesses were al-khansa and layla al-akhyaliyyah of the 7th century. their concentration on the "ritha'" or elegy suggests that this was a form deemed acceptable for women to work with. however, the love lyric was also an important genre of women's poetry. the umayyad and 'abbasid periods saw professional singing slave girls ("qiyan", sing. "quayna") who sang love songs and accompanied these with music; alongside panegyric and competitive verse-capping, "qiyan" also sang love-poetry ("ghazal"). in his "risalat al-qiyan" ("epistle of the singing-girls"), al-jahiz (d. 255/868×69) reckoned that an accomplished singer might have a repertoire of 4,000 songs. pre-eminent 'abbasid singing-girls included: 'inan (paramour of harun al-rashid, r. 786-809); arib al-ma'muniyya (concubine of al-ma'mun, r. 813-17); and fadl ashsha'ira (d. 871; concubine of al-mutawakkil, r. 847-61). meanwhile, harun al-rashid's half-sister ‘ulayya bint al-mahdī (777-825) was also known for her poetic skills, as was the mystic and poet of basra rabi'a al-'adawiyya (d. 801). women also had an important role in pre-modern periods as patrons of the arts.
arabic literature