(The) New Release, Reception, Commercial success
(the) New Release peaked at number one on the Billboard Heatseekers chart and number 102 on the Billboard 200. The album's single, "This Life" peaked at number 37 on the Mainstream Rock Tracks chart. In the week ending on November 11, the album's thirteenth week of release, SoundScan reported sales figures at 53,191.


(The) New Release, Reception, Commercial success
However, despite debuting on the Billboard 200 and selling 15,000 copies in its first week, Island allegedly cut support for the album merely two months after its release. Guitarist Bobby Burns reflected on the matter in a 2008 interview, exclaiming, "It totally fucking sucked! The album was out two months then 9/11 happened and we got lost in that shuffle that was going on in New York at that time."


(The) New Release, Reception, Commercial success
A music video was also allegedly in the works for "This Life," but in September 2001, Burns defused this claim, lamenting, "I have no idea what's going on with our label."


(The) New Release, Reception, Critical response
Allmusic's Michael Gallucci criticizes the album, declaring, "Plenty of other bands do this stuff a whole lot better and with much more conviction."


(The) Rock and Roll Waltz
"(The) Rock and Roll Waltz" is a popular song with music by Shorty Allen and lyrics by Roy Alfred in 1955, although the identity of the lyricist is in dispute. Other sources cite a Dick Ware, Dick Wise, or Dick Wine.


(The) Rock and Roll Waltz
As the title suggests this novelty song is a waltz in triple metre, but it also contains a bass riff that is reminiscent of typical boogie woogie and rock and roll riffs.


(The) Rock and Roll Waltz
The song is told from the point of view of a teenager who comes home early from a date, and catches her parents attempting to dance to one of her rock and roll records; only, having no frame of reference, the couple tries to waltz to the music.


(The) Rock and Roll Waltz
The Kay Starr recording of the song, made in 1955, reached number one on the Billboard singles chart in 1956, staying there for six weeks. The recording was released by RCA Victor as catalog number 47-6359. It was Kay Starr's first recording of great significance for RCA Victor after leaving Capitol Records. She had a number of lesser chart entries on RCA Victor in 1955, including "Good and Lonesome" and "Turn Right".


(The) Rock and Roll Waltz
At first, she thought it was a joke when the A&R staff at RCA Victor brought it to her, it was a  marked departure from what she usually recorded. The song turned out to be a number one hit, a million seller, and one of the early songs of the rock and roll era.


(The) Rock and Roll Waltz
The track also spent one week at No. 1 in the UK Singles Chart in March 1956.


(The) Rock and Roll Waltz
Other artists who recorded this song include Ann-Margret (in 1962), Annette Funicello (in 1961), Lawrence Welk and His Champagne Music with Alice Lon on vocals (in 1956, Coral EC 81128), and George Wright in his 1984 album Red Hot and Blue.


(Theme From) The Monkees
"(Theme from) The Monkees" is a 1966 pop rock song, written by Tommy Boyce and Bobby Hart as the signature tune for the TV series The Monkees. Two versions were recorded – one for their first album The Monkees and a second shorter rendition designed to open the television show. Both feature vocals by Micky Dolenz. It is based loosely on the Dave Clark Five song (including finger snap intro) "Catch Us If You Can".


(Theme From) The Monkees
The full-length version was released as a single in several countries including Australia, where it became a hit, reaching No. 8. It also made Billboard Magazine's "Hits of the World" chart in both Mexico and Japan, reaching the Top 20 in Japan and the Top 10 in Mexico. It is still played on many oldies radio stations. An Italian version of the song was featured on a Monkees compilation album. Ray Stevens did his take of the Monkees Theme on his 1985 album He Thinks He's Ray Stevens featuring a male German group of singers, Wolfgang and Fritzy, that are arguing during the refrain of the song. ("Hey Hey Bist Du Monkees".)


(Theme From) The Monkees
A slower version – sung by Boyce and Hart – was recorded for an early production of the pilot episode (16mm black and white). This can be found on the Special Features section of the Monkees season 1 DVD box set.


(Theme From) The Monkees
The song is featured in the trailer for the 1994 film Monkey Trouble, and is used on the Minions film soundtrack.


(Theme from) Valley of the Dolls
"(Theme from) Valley of the Dolls" is a 1967 song by André and Dory Previn, composed for the film version of the Jacqueline Susann novel Valley of the Dolls, and recorded by Dionne Warwick.


(Theme from) Valley of the Dolls
Actress Barbara Parkins, who starred in the motion picture, suggested that Warwick be considered to sing the film's theme song. The song was to be given to Judy Garland, who had been fired from the film. Warwick performed the song, and when the film became a success in the early weeks of 1968, her single of the film theme became a million-seller, peaking at #2 for four weeks on the U.S. Billboard Hot 100 (kept out of the first position by "Love is Blue" by Paul Mauriat and "(Sittin' On)


(Theme from) Valley of the Dolls
The Dock of the Bay" by Otis Redding) and #1 on 4 March 1968 on WLS. It also reached #2 on the Easy Listening charts in early 1968, #2 on the Cash Box Top 100 and #1 on the Record World chart. The song was the B-side of another million selling tune composed for Warwick by Burt Bacharach and Hal David, "I Say a Little Prayer," which had hit #4 on Hot 100 on 9 December 1967. The single would become one of the biggest double-sided hits of the rock era.


(Theme from) Valley of the Dolls
Warwick re-recorded a Pat Williams-arranged and Burt Bacharach-produced version of the theme at A&R Studios in New York because contractual restrictions from her home label, Scepter Records, would not allow her version from the film to be included in the 20th Century-Fox soundtrack album. The re-recorded version became a million-seller. The RIAA-certified Gold Scepter LP that contained the hit version of the song, Dionne Warwick in Valley of the Dolls, peaked at number six on the Billboard Top 10 Albums chart, and would remain on the chart for over a year.


(Theme from) Valley of the Dolls
In the UK "(Theme from) Valley of the Dolls" had a February 1968 release with "Zip-a-Dee-Doo-Dah" as the B-side, peaking at UK #28.


(Themes from) The Man with the Golden Arm
"(Themes from) The Man with the Golden Arm" is a song written by Elmer Bernstein and performed by Richard Maltby & His Orchestra. It reached number 14 on the Billboard chart in 1956. It was featured in the 1955 film The Man with the Golden Arm.


(There'll Be Bluebirds Over) The White Cliffs of Dover
"(There'll Be Bluebirds Over) The White Cliffs of Dover" is a popular World War II song composed in 1941 by Walter Kent to lyrics by Nat Burton. Made famous in Vera Lynn's 1942 version, it was one of Lynn's best-known recordings and among the most popular World War II tunes.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Background
The song was written about a year after the Royal Air Force and German Luftwaffe aircraft had been fighting over southern England, including the white cliffs of Dover, in the Battle of Britain. Nazi Germany had conquered much of Europe and in 1941 was still bombing Britain. With neither America nor the Soviet Union having yet joined the war, Britain was the only major power fighting the Axis powers in Europe (see The Darkest Hour). The American lyricist, Nat Burton, wrote his lyric (unaware that the bluebird is not indigenous to Britain) and asked Kent to set it to music. Notable phrases include "Thumbs Up!" which was an RAF and RCAF term for permission to go, and "flying in those angry skies" where the air war was taking place.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Background
The lyrics looked toward a time when the war would be over, and peace would rule over the iconic white cliffs, Britain's symbolic border with the European mainland.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Background
The full song includes two verses rarely found in recordings:


(There'll Be Bluebirds Over) The White Cliffs of Dover, Background
I'll never forget the people I met braving those angry skies. I remember well as the shadows fell, the light of hope in their eyes. And tho' I'm far away, I can still hear them say "Thumbs Up!" for when the dawn comes up,... There'll be blue birds over... When night shadows fall, I'll always recall out there across the seaTwilight falling down on some little town;It's fresh in my memory. I hear mother pray, and to her baby say "Don't cry,"This is her lullaby.... There'll be blue birds over...


(There'll Be Bluebirds Over) The White Cliffs of Dover, World War II performances
The song was made most famous by Vera Lynn and sung to troops during the war. It was a top ten hit in America for Kate Smith in 1942, and Glenn Miller recorded a version in November 1941.


(There'll Be Bluebirds Over) The White Cliffs of Dover, World War II performances
Jimmie Baker frequently performed it in Europe during the war, and the song was sung by the vocal group The King's Men on a 3 February 1942 episode of the Fibber McGee and Molly Show. Ray Eberle and Tex Beneke also included it in their repertoires.


(There'll Be Bluebirds Over) The White Cliffs of Dover, World War II performances
In 1944, a version was recorded by Louis Prima and his Orchestra. This version reached number nine on the Harlem Hit Parade chart.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
The song is the terrace anthem of the supporters of Dover Athletic F.C.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
The Checkers, an American group, released an R&B version of the song in 1953 which became very popular. Other artists who have recorded the song include Connie Francis, Bing Crosby, Ray Conniff, Jim Reeves, Acker Bilk, The Righteous Brothers (a hit in the UK Singles Chart), Steeleye Span, Bert Kaempfert and The Hot Sardines on their debut album released in 2014.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
In the 1990s, British pop duo Robson & Jerome recorded the song as part of a double A-side release, coupled with "Unchained Melody"; the single stayed at No. 1 for seven weeks in the UK Singles Chart, selling over a million copies and also making it the number one song with the longest title, including brackets. The Jive Aces released a swing version in 2005 (similar to Acker Bilk's arrangement).


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
On 18 February 2009, a story in The Daily Telegraph announced that Dame Vera Lynn was suing the British National Party (BNP) for using her version of "The White Cliffs of Dover" on an anti-immigration album without her permission. Lynn's lawyer claimed sales of the song would help boost the BNP's coffers and would link her name to the party's far-right views by association.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
On 12 October 2009, Ian Hislop presented a half-hour BBC Radio 4 programme about the song.


(There'll Be Bluebirds Over) The White Cliffs of Dover, Later performances
On 9 May 2015, Elaine Paige performed the song at VE Day 70: A Party to Remember at Horse Guards Parade in London.


(There's A) Fire in the Night
"(There's A) Fire in the Night" is a song written by Bob Corbin, and recorded by American country music band Alabama. It was released in October 1984 as the fourth and final single from the band's album Roll On. The song became the group's 15th straight No. 1 single on the Billboard magazine Hot Country Singles chart in January 1985.


(There's A) Fire in the Night, Single and album edits
A slightly early fade on the single version is the only difference between the single and album versions of "(There's a) Fire in the Night".


(There's A) Fire in the Night, Music video
A video of the song, directed by David Hogan and depicting the band camping in a forest at night, has aired on The Nashville Network, CMT and Great American Country. It is not the original video, however. The original video, released in 1984, featured partial nudity and what writer Edward Morris described as a "bizarre plot". Alabama then decided the video was not family-friendly and, with the help of their management, had RCA Records withdraw the original video from circulation.


(There's Gotta Be) More to Life
"(There's Gotta Be) More to Life" is a song by American recording artist Stacie Orrico from her self-titled second studio album. The song was released as the album's second single in the United States in July 2003. "More to Life" was written by Sabelle Breer, Kevin Kadish, Lucy Woodward, Harvey Mason Jr. and Damon Thomas, and produced by the Underdogs.


(There's Gotta Be) More to Life
"(There's Gotta Be) More to Life" received generally positive reviews from music critics, with most of them calling it "strong" and saying it was a definite highlight from the album.


(There's Gotta Be) More to Life
The song was also a worldwide success. The song peaked in the top five in three countries, which included New Zealand at number three, Norway at number two and number five on the US Billboard Pop Songs chart.


(There's Gotta Be) More to Life
"(There's Gotta Be) More to Life" was included in the 2005 film Robots and the 2004 compilation WOW Hits 2005.


(There's Gotta Be) More to Life, Composition
"(There's Gotta Be) More to Life" conveys a message about a person wanting more from their life. Writing for musicOMH, Bill Lehane observed that the track is "concerned with troubles of faith and gradually introduce [listeners] to the idea that this is, in fact, a record of deeply religious music."


(There's Gotta Be) More to Life, Reception
Jon Singer of PopMatters called the song a "strong" single.


(There's Gotta Be) More to Life, Chart performance
"(There's Gotta Be) More to Life" peaked at number 30 on the US Billboard Hot 100, becoming Orrico's biggest single to date in the country. The song also peaked at number 5 on the US Billboard Pop Songs, and number 31 on the US Billboard Adult Top 40.


(There's Gotta Be) More to Life, Chart performance
The song also had received worldwide success. The song debuted at number 32 on the Australian singles chart, and after eight weeks in the charts, it peaked at number 11. It stayed in the charts for 19 weeks, and was certified Gold, selling over 35,000 copies in the country. The song debuted at number 48 on the New Zealand Singles Chart.


(There's Gotta Be) More to Life, Chart performance
After two weeks, the song jumped from number 38 to number 9, and after two weeks in the top 10, dropped to number 12; however, the next week, it re-entered the top 10, and after five weeks ascending the top 10, it reached its peak of number 3. It then stayed another two weeks in the top 10 before slowly dropping down the chart, staying 18 weeks total on the New Zealand chart. Half of those 18 weeks were spent in the top 10, and the song was certified Gold, selling over 7,500 copies there. The song also peaked at number 2 for four weeks in Norway and stayed on the country's chart for 16 weeks.


(There's Gotta Be) More to Life, Music video
The video is directed by Dave Meyers. Throughout the video, Orrico portrays a number of women with different yet hectic lives: a poor mother in debt, a member of a busking band, a long-distance marathon runner, a supermodel, a diner waitress, a businesswoman, a gang member, and a secret agent.


(There's Gotta Be) More to Life, Music video
The video ends with Orrico portrayed as a regular girl in a crowd, before finally disappearing as a passerby walks by.


(There's Gotta Be) More to Life, Charts and certifications, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone.


(There's) Always Something There to Remind Me
"(There's) Always Something There to Remind Me" is a song written in the 1960s by songwriting team Burt Bacharach and Hal David. Originally recorded as a demo by Dionne Warwick in 1963, "(There's) Always Something There to Remind Me" first charted for Lou Johnson whose version reached No. 49 on the Billboard Hot 100 in the summer of 1964.


(There's) Always Something There to Remind Me, Sandie Shaw version
British impresario Eve Taylor heard Johnson's version while on a US visit scouting for material for her recent discovery Sandie Shaw, who consequently covered the song for the UK market. Rush-released in September 1964, the song was premiered by Shaw with a performance on Ready Steady Go!, the pop music TV program. The first week after its release, the single sold 65,000 copies. Shaw's version reached No. 1 on the UK Singles Chart, spending three weeks at the top of that listing in November 1964, and that same month it debuted on the Billboard Hot 100. However, despite reaching the Top Ten in some markets including Detroit and Miami Shaw's version failed to best the US showing of the Lou Johnson original; the Hot 100 peak of Shaw's version was No. 52.


(There's) Always Something There to Remind Me, Sandie Shaw version
A No. 1 hit in Canada and South Africa, Shaw's version of "...Always Something There to Remind Me" was also a hit in Australia (No. 16), Ireland (No. 7) and the Netherlands (No. 10), the track's success in the last territory not precluding hit status for the Dutch rendering by Edwin Rutten entitled  "Ik moet altijd weer opnieuw aan je denken" (No. 12). Shaw herself recorded  "...Always Something There to Remind Me" in French, as "Toujours un coin qui me rappelle", with lyrics by Ralph Bernet, which reached No. 19 in France.


(There's) Always Something There to Remind Me, Sandie Shaw version
A cover by Eddy Mitchell was more successful, reaching No. 2 in France in April 1965 and also reaching No. 3 on Belgium's French-language chart. Shaw made a bid for a German hit as well, rendering "...Always Something There to Remind Me" as "Einmal glücklich sein wie die ander'n". It was not a success.


(There's) Always Something There to Remind Me, R. B. Greaves version
"(There's) Always Something There to Remind Me" – as "Always Something There to Remind Me" – entered the US Top 40 for the first time via a version by R. B. Greaves which reached No. 27 in February 1970. Recorded at Muscle Shoals Sound Studio in 1969, with production by Ahmet Ertegun and Jackson Howe, Greaves' version was also a No. 3 Easy Listening hit. This version peaked at number 48 in Australia. In Canada, it reached number 12.


(There's) Always Something There to Remind Me, Naked Eyes version
Twenty years after its composition, "Always Something There to Remind Me" (so titled) reached the US Top 20 for the first time via a synthpop reinvention of the song by Naked Eyes which reached the Top 10 on the Billboard Hot 100 in the summer of 1983.


(There's) Always Something There to Remind Me, Naked Eyes version
Vocalist Pete Byrne and keyboardist Rob Fisher first cut "Always Something There to Remind Me" as one of a number of demos recorded in Bristol upon forming the duo later known as Naked Eyes in early 1982. Byrne would recall: "I had always loved the song "Always Something There to Remind Me", so we called a friend who had the record, he read the lyric over the phone and we put it together from memory."


(There's) Always Something There to Remind Me, Naked Eyes version
On the strength of the demos cut in Bristol, Byrne and Fisher were signed to EMI Records in May 1982 and the track "Always Something There to Remind Me" was cut on 1 September 1982 in a session at Abbey Road Studios produced by Tony Mansfield. Byrne would recall: "The record was recorded at Abbey Road, and we were invited to a party downstairs, with Paul McCartney and many other stars... When we returned upstairs to the studio around 1 a.m., I decided to have a go at the vocal, it was the first time I have ever recorded a vocal in one take".


(There's) Always Something There to Remind Me, Naked Eyes version
Released in the US in January 1983, Naked Eyes' "Always Something There to Remind Me" gradually gained attention, entering the Billboard Hot 100 in March 1983 to peak at No. 8 that June. The cachet of entering the US Top 10 allowed the single, previously overlooked in its performers' United Kingdom homeland, to make a July 1983 UK chart debut, although it only rose to No. 59. "Always Something There to Remind Me" did afford Naked Eyes' Top 10 success in other countries besides the United States: Australia (No. 7), Canada (No. 9) and New Zealand (No. 2).


(There's) Always Something There to Remind Me, Naked Eyes version
In Brazil, the song was included on the international soundtrack of the soap opera Guerra dos Sexos/War of the Sexes in 1983.


(There's) Always Something There to Remind Me, Naked Eyes version
Naked Eyes re-recorded the song as an acoustic version for the 2007 album Fumbling with the Covers. This version appears in a 2017 commercial for T-Mobile, as well as the trailer for the fifth season for Arrested Development in 2018.


(There's) Always Something There to Remind Me, Tin Tin Out featuring Espiritu version
English electronic music duo Tin Tin Out recorded a house cover of the song titled "Always (Something There to Remind Me)" in 1995. The song features vocals by French singer Espiritu (aka Vanessa Quinones) and went to No. 14 on the UK Singles Chart and No. 1 on the UK Dance Singles Chart. A music video was made to accompany the single, filmed in the Café de Paris in London.


(There's) Always Something There to Remind Me, Tin Tin Out featuring Espiritu version, Critical reception
A reviewer from Pan-European magazine Music & Media wrote, "The first thing she reminds you of is all the previous versions of this Burt Bacharach & Hal David song. Spirited and dancey as it is, it doesn't make a poor figure at all." Brad Beatnik from Music Week's RM Dance Update commented, "This unabashed house cover of Dusty Springfield's 'Always Something There To Remind Me' is already on its way into the dancefloor history books thanks to its initial Hooj Choons release and its ability to whip a club into a total frenzy. Simple in its piano house format and chugging Euro rhythm, this is hardbag house at its purest and most joyful." Another editor, James Hamilton noted, "Vannessa calmly croons the title over piping wheezy organ and plonking piano in [a] naggingly effective simple jiggly chugging 0-129.7bpm [track]".


(There's) No Gettin' Over Me
"(There's) No Gettin' Over Me" is a song written by Walt Aldridge and Tom Brasfield, and recorded by American country music singer Ronnie Milsap. It was released in June 1981 as the first single from the album There's No Gettin' Over Me. Known by many fans by its less grammatically correct title "There Ain't No Gettin' Over Me" — the song's official title appears nowhere in the lyrics — the song became one of Milsap's biggest country and pop hits during his recording career.


(There's) No Gettin' Over Me, Critical reception
Thom Jurek of Allmusic wrote that "(There's) No Gettin' Over Me" — and the album from which it came — was "indicative of the times and the artists making hit records at the same time." Milsap's "urban country" style, as Jurek put it, was evident in the song, given its "sweet alto saxophone solo" and "chorus that reflects James Taylor's late-'70s attempts at crooning early rock."


(There's) No Gettin' Over Me, Cover versions
A cover version was recorded by Heartland on their 2006 album I Loved Her First.


(There's) No Gettin' Over Me, Cover versions
In 2018, Milsap rerecorded the song with Kacey Musgraves, which appeared on his 2019 album Ronnie Milsap: The Duets.


(There's) No Gettin' Over Me, Commercial performance
His 18th No. 1 hit on the Billboard Hot Country Singles chart in August 1981, "(There's) No Gettin' Over Me" marked the apex of Milsap's popularity as a crossover artist, reaching No. 5 for 5 weeks on the Billboard Hot 100 chart and number two  Hot Adult Contemporary Singles.


(There's) No Gettin' Over Me, Commercial performance
A video was also produced of the song, and it has aired on The Nashville Network, CMT and GAC.


(They Long to Be) Close to You
"(They Long to Be) Close to You" is a song written by Burt Bacharach and Hal David. The most well-known version is that recorded by American duo The Carpenters for their second studio album Close to You (1970) and produced by Jack Daugherty. Released on May 14, 1970, the single topped both the US Billboard Hot 100 and Adult Contemporary charts. It also reached the top of the Canadian and Australian charts and peaked at number six on the charts of both the UK and Ireland. The record was certified Gold by the Recording Industry Association of America (RIAA) in August 1970.


(They Long to Be) Close to You, Background
The song was first recorded by Richard Chamberlain and released as a single in 1963 as "They Long to Be Close to You". However, while the single's other side, "Blue Guitar", became a hit, "They Long to Be Close to You" did not. The tune was also recorded as a demo by Dionne Warwick in 1963, was re-recorded with a Burt Bacharach arrangement for her album Make Way for Dionne Warwick (1964), and was released as the B-side of her 1965 single "Here I Am".


(They Long to Be) Close to You, Background
Dusty Springfield recorded the song in August 1964, but her version was not released commercially until it appeared on her album Where Am I Going? (1967). Bacharach released his own version in 1971. But the version recorded by Carpenters with instrumental backing by L.A. studio musicians from the Wrecking Crew, which became a hit in 1970, was the most successful.


(They Long to Be) Close to You, Carpenters version
In 1970, "(They Long To Be) Close To You" was released by the Carpenters on their album Close to You (1970) and became their breakthrough hit. The song stayed at number one on the Billboard Hot 100 for four weeks. "(They Long to Be) Close to You" was named Billboard's Song of the Summer for 1970.


(They Long to Be) Close to You, Carpenters version
Bacharach and David gave Herb Alpert the song after he scored a number one hit in 1968 with "This Guy's in Love with You", which the duo had also written. Alpert recorded the song, but he was displeased with the recording and did not release it. After The Carpenters achieved their first chart success with "Ticket to Ride" in 1969, Alpert convinced them to record their version of the song, believing it was well-suited for them.


(They Long to Be) Close to You, Carpenters version
Carpenter and Alpert collaborated on the song, and the finished product was a 4-minute, 36-second long song. When A&M Records decided to remove the extended coda and release it as a 3-minute, 40-second long single in May 1970, it became A&M's biggest hit since Alpert's "This Guy's in Love with You" from 1968. Billboard ranked it as the number two song for 1970.


(They Long to Be) Close to You, Carpenters version
"(They Long to Be) Close to You" earned the Carpenters a Grammy Award for Best Contemporary Performance by a Duo, Group or Chorus in 1971. It became the first of three Grammy Awards they would win during their careers. The song was certified Gold by the Recording Industry Association of America (RIAA) on August 12, 1970. Reaching number six in the UK Singles Chart in 1970, in a UK television special on ITV in  2016 it was voted fourth in The Nation's Favourite Carpenters Song.


(They Long to Be) Close to You, Carpenters version, Composition
Richard had originally written the flugelhorn solo part for Herb Alpert, but when he was unavailable, Chuck Findley was brought in. Richard later commented: "Chuck didn't play it that way at first, but I worked with him and he nailed it. A lot of people thought it was Herb – Bacharach thought so, too. But it's the way Findley is playing it."


(They Long to Be) Close to You, Certifications
^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


(This Ain't No) Drunk Dial
"(This Ain't No) Drunk Dial" is a song recorded by American country music group A Thousand Horses. It is the second single from their album Southernality. The band's lead vocalist Michael Hobby co-wrote the song, along with Corey Crowder, Neil Mason and Cale Dodds.


(This Ain't No) Drunk Dial, Critical reception
An uncredited Taste of Country review stated that "“(This Ain’t No) Drunk Dial” is a strong follow-up to a chart-topper that took little time in standing out from the clutter on the radio. It’s similar enough to add another brick to the group’s Dixie-rock-country brand, but the story separates it from what they previously released."


(This Ain't No) Drunk Dial, Music video
The music video was directed by Peter Zavadil and premiered in June 2015. It features the band performing the song in a courthouse hallway, and them testifying in front of a judges panel.


(This Ain't) No Thinkin' Thing
"(This Ain't) No Thinkin' Thing" is a song written by Tim Nichols and Mark D. Sanders and recorded by American country music singer Trace Adkins. It was released in January 1997 as the third single from his debut album Dreamin' Out Loud. It reached the top of the Billboard Hot Country Singles & Tracks chart, marking his first Number One single.


(This Ain't) No Thinkin' Thing, Content
"(This Ain't) No Thinkin' Thing" is in the key of A minor, with a vocal range from C4 to E5. The verses use a pattern of G-F-C three times, followed by an F and E chord for one bar each. The refrain uses a pattern of Am-F-G-Am twice, followed by C, G, F and E and another Am-F-G-Am progression. The solos between verses are eight bars long, each based on a pair of Am-F-G-Am progressions. Lyrically, the song reflects on the complexity of understanding love and romance.


(This Ain't) No Thinkin' Thing, Music video
The music video for this song features Adkins singing the song with his band at a concert, as well as him performing the song beneath a sunset orange backdrop, with an acoustic guitar. This video was directed by Michael Merriman.


(This Ain't) No Thinkin' Thing, Chart performance
This song debuted at number 44 on the Hot Country Singles & Tracks chart dated January 25, 1997. Having charted for 20 weeks on that chart, it also became his first Number One single on the country chart dated April 5, 1997. It would remain his only Number One hit until ten years later, when he topped the country charts again with "Ladies Love Country Boys."


(This Thing Called) Wantin' and Havin' It All
"(This Thing Called) Wantin' and Havin' It All" is a song written by Dave Loggins and Ronnie Samoset, and recorded by American country music group Sawyer Brown. It was released in July 1995 as the lead single from the album This Thing Called Wantin' and Havin' It All. The song reached number 11 on the Billboard Hot Country Singles & Tracks chart.


(This Thing Called) Wantin' and Havin' It All, Chart performance
"(This Thing Called) Wantin' and Havin' It All" debuted at number 57 on the U.S. Billboard Hot Country Singles & Tracks for the week of July 22, 1995.


(Till) I Kissed You
"(Till) I Kissed You" is a song written by Don Everly of The Everly Brothers. It was released as a single in 1959 and peaked at No. 4 on the Billboard Hot 100. Chet Atkins played guitar on this record and Jerry Allison played drums. Recorded 7 July 1959 at RCA Victor Studio, Nashville, Tennessee, and issued as a single (Cadence 1369) July/August 1959 coupled with ‘Oh, What A Feeling’. Don Everly (guitar); Phil Everly (guitar); Chester B. “Chet” Atkins (electric guitar); Sonny Curtis (guitar); Floyd T. “Lightnin’” Chance (bass); Jerry “J.I.” Allison (drums); Floyd Cramer (piano). Producer: Archie Bleyer.


(Till) I Kissed You, Connie Smith version
"(Till) I Kissed You" was covered by American country music artist Connie Smith on her 1976 album The Song We Fell in Love To. Released in January 1976, it was the album's second single. Smith's version peaked at No. 10 on the Billboard Hot Country Singles chart. It also reached No. 1 on the RPM Country Tracks chart in Canada.


(Till) I Kissed You, Reggae versions
The song has been a popular choice for reggae artists and several covers have been recorded including those by: Nan McClean, Delroy Jones, Dobbie Dobson and Al Campbell. In 1975 Jimmy London topped the charts in Jamaica with his version of the song and subsequently scored highly on reggae charts abroad. In the early 90s, the Bronx-raised Shinehead did a version.


(Tonight We Just Might) Fall in Love Again
"(Tonight We Just Might) Fall in Love Again" is a song co-written and recorded by American country music artist Hal Ketchum. It was released in April 1994 as the first single from the album Every Little Word. The song reached No. 20 on the U.S. Billboard Hot Country Singles & Tracks chart. It was written by Ketchum and Al Anderson.


(Tonight We Just Might) Fall in Love Again, Music video
The music video was directed by Sherman Halsey and premiered in May 1994.


(Tonight We Just Might) Fall in Love Again, Chart performance
"(Tonight We Just Might) Fall in Love Again" debuted at number 66 on the U.S. Billboard Hot Country Singles & Tracks for the week of April 23, 1994.


(Triphenylphosphine)iron tetracarbonyl
(Triphenylphosphine)iron tetracarbonyl is a coordination complex with the formula Fe(CO)4(PPh3) (Ph = C6H5). A off-white solid, this complex is derived from iron pentacarbonyl by replacement of one carbonyl ligand by triphenylphosphine (PPh3). The substitution is catalyzed by cobalt chloride. (Triphenylphosphine)iron tetracarbonyl is an intermediate in the synthesis of bis(triphenylphosphine)iron tricarbonyl. Both the mono- and bis(triphenylphosphine) complexes were originally described by Walter Reppe.


(Turn On) The Music Machine
(Turn On) The Music Machine is the debut album by the American garage rock band the Music Machine, and was released on Original Sound Records on December 31, 1966. It arrived just months after the group's hit single, "Talk Talk", propelled to number 15 on the national charts. Although the album was hastily recorded to capitalize on the Music Machine's popularity, (Turn On) The Music Machine managed to become a moderate hit on the Billboard 200, and is hailed today as a classic garage rock piece. Another single, "The People in Me" was also released in support of the album.


(Turn On) The Music Machine, Background
Fronted by their innovative songwriter and lead vocalist Sean Bonniwell, the Music Machine became a radio favorite as a result of their rebellious proto-punk song "Talk Talk", which reached number 15 on the Billboard Hot 100 in mid-1966. "Talk Talk", along with the B-side "Come on In", was rigorously rehearsed by the group under the instruction of Bonniwell, who held a virtue to perfecting a uniquely hard-edged sound for the band. By the time the Music Machine entered RCA Studios to record the two songs, they were well-practiced and completed them in only a few takes. Hoping to capitalize on the band's sudden success, their record label Original Sound hastily summoned the members back into the studio to record for (Turn On) The Music Machine.


(Turn On) The Music Machine, Background
The album includes five cover versions -- "Cherry, Cherry", "Taxman", "See See Rider", "96 Tears", and "Hey Joe"—that were recorded for a local dance club in Los Angeles called 9th Street West, but were never intended to be featured on (Turn On) The Music Machine. However, the group's record producers insisted that the songs would improve record sales, a decision that Bonniwell recalled made him feel "artistically crest-fallen and infuriated". Still, Bonniwell regarded the Music Machine's arrangement of "Hey Joe" as innovative, invoking a slow, moody nuance that is strikingly similar to Jimi Hendrix's more well-known version.


(Turn On) The Music Machine, Background
All of the remaining tracks were penned by Bonniwell, including the melodically complex "Trouble", the reflective ballad "Some Other Drum", which hinted at the musical direction the group would later take, and "Wrong", a song written in a similar style to "Talk Talk". Perhaps the most accomplished piece other than "Talk Talk" is "Masculine Intuition". Bonniwell explained the song is "very tricky for non-musicians. They really can't quite figure out what it is...I've had other musicians tell me, their bands have tried to play that song, and they can't. There's two sections--it's called a turnaround, and I invert two chords. And if you don't pick up on it, there's no way you can play the song".


(Turn On) The Music Machine, Background
(Turn On) The Music Machine was released on December 31, 1966 and reached number 76 on the Billboard 200. The Music Machine's second single from the album, "The People in Me", was distributed in January 1967, and managed to chart at number 66. Over the years, the album has been considered a garage rock classic, with Guitar magazine ranking it at number three in its category of "100 Essential Garage Rock Albums". Music historian Richie Unterberger, writing for the Allmusic website, gathers that (Turn On)


(Turn On) The Music Machine, Background
The Music Machine is highlighted by Bonniwell's original material, and "would have been a lot better if they'd let Sean Bonniwell write all of the songs". Critic Doug Sheppard praised Bonniwell's lyrical style, saying it "transcends the typical boy-girl theme of the day by instead favoring more introspective, psychological matter". In his article The Psychedelic Experience, Brian Hogg wrote the album "naturally features the group's hit single, as well as its flipside, the moody 'Come on In'.


(Turn On) The Music Machine, Background
But alongside these tracks were five equally excellent Sean Bonniwell originals, as well as five covers" that the author goes on to conclude were "all rather offbeat and idiosyncratic choices". In 1983, Big Beat Records reissued the album, and in 2006 its material was released on the record label's compilation album The Ultimate Turn On.


(Turn Out the Light And) Love Me Tonight
"(Turn Out the Light And) Love Me Tonight" is a song written by Bob McDill, and recorded by American country music artist Don Williams. It was released in August 1975 as the second single from the album You're My Best Friend. The song was Williams' ninth country hit and his third number one on the country chart. The single went to number one for one week and spent a total of twelve weeks on the country chart.


(U)SIM interface
The (U)SIM interface is the connecting point of the mobile phone and the UICC with its SIM or USIM application.


(U)SIM interface, Standardisation of the (U)SIM interface
The UICC with the SIM or USIM application plays an important role in mobile telephony as it is the secure element identifying a subscriber in the network and allowing MNOs to bill the respective account. Hence it is crucial to have standardised features e.g. placing phone calls or sending SMS working throughout the global network with all available handsets and (U)SIM cards resp. UICCs. Developing globally applicable standards for communication technologies is the task of standardisation bodies such as ETSI (European Telecommunications Standards Institute, 3GPP (Third Generation Partnership Project) and 3GPP2 (Third Generation Partnership Project 2). In case of the (U)SIM interface, the most important specifications are:


(U)SIM interface, Standardisation of test scenarios
To ensure that actual implementations of such standardised features are interoperable, the standardisation bodies also create so called test specifications. These document detail exact procedures on how to test that an implementation under test acts according to conformance requirements. Important test specifications for the (U)SIM interface are:


(U)SIM interface, Type approval for mobile terminals
Before mobile network operators select new handset types to be offered to their customers, they want to be sure the new handset will support all features and work in combination with new and existing UICCs. Hence, they request the manufacturers to perform those test cases defined by the standardisation bodies. Therefore, certification organisations such as the GCF (Global Certification Forum), CCF (CDMA Certification Forum) and PTCRB (PCS Type Certification Review Board) have been founded. These organisations are associations of the leading network operators, device manufacturers and other stakeholders such as test system suppliers and test houses. They select relevant test cases and define an independent certification programme for handset type approval.


(Un)arranged Marriage
The young-adult novel (Un)arranged Marriage is the first novel by English author Bali Rai, published in 2001.


(Un)arranged Marriage, Plot summary
(Un)arranged Marriage is the story of Manjit (nicknamed Manny), a teenage boy living in Leicester, England. His strict Punbjabi parents are disappointed in Manny's poor behaviour and grades at school, so they decide to arrange a marriage between Manny and a girl from India, whom he does not know.


(Un)arranged Marriage, Plot summary
Manny's parents take him to India under the pretext of visiting family, but he later finds that they have returned to England without him. His Uncle Jag, who disagrees with arranged marriage, agrees to help him leave the country. When he gets back to England, his father beats him, telling him that he still expects him to go ahead with the marriage. Manny starts working in a local supermarket in order to save money towards his escape.


(Un)arranged Marriage, Plot summary
Manny and his friend, Adrian, devise a plan to trick his parents into thinking that he has changed his mind about the arranged marriage. They break up the wedding party in order to allow Manny to escape the marriage and be free from his parents, but he loses his family in the process.


(Un)arranged Marriage, Autobiographical elements
There are several parallels between the author, Bali Rai, and the protagonist of (Un)arranged Marriage, Manny. Both are British-Punjabi Sikhs and grew up in the multicultural city of Leicester. Like Manny, Rai also worked in a supermarket.


(Un)arranged Marriage, Reception
The novel received generally positive reviews, with The Guardian's Kit Spring calling it an "absorbing and engaging first novel" and "highly readable". Books for Keeps magazine praised Rai for his "vitality and freshness", as well as his "ear for dialogue", but criticized his "lack of characterisation and convincing plotting".


(Un)well
(Un)well is an American documentary series about the wellness industry. The series was produced by Left/Right Productions and premiered on August 12, 2020, on Netflix. Reviewers point out the episodes tend to give more weight to enthusiastic testimonials than to expert advice, painting a positive picture of treatments that are often ineffective or dangerous.


(Un)well, Summary
Through interviews with practitioners, consumers and experts, the series questions the efficacy and safety of six treatments offered by the "wellness" industry. Presented without a narrator, the audience is left to make up their own minds about the information presented.


(Un)well, Reception
Reviewers give credit to the series for exposing some of the worst abuse of the wellness industry. However, the series suffers from false balance, drowning the advice of experts in lengthy testimonies by sympathetic practitioners of alternative medicine and their clients.


(Until) Your Love Broke Through
"(Until) Your Love Broke Through" is a song recorded by American-Australian singer Marcia Hines. The song was written by Keith Green, Randy Stonehill and Todd Fishkind and produced by Robie Porter and released in December 1976 as the third single from Hines' second studio album, Shining (1976).


(Untitled) (2009 film)
(Untitled) is a 2009 comedy film directed and written by Jonathan Parker, co-written by Catherine DiNapoli, and starring Adam Goldberg, Marley Shelton, Eion Bailey, and Vinnie Jones. The film was released on October 23, 2009 in the United States.


(Untitled) (2009 film), Plot
Set in the artsy Chelsea, this satirical film centers on a young bohemian avant-garde composer Adrian (Goldberg), who becomes involved with a trendy New York art gallery owner, Madeleine (Shelton). Adrian is a composer who makes music by breaking glass and kicking metal buckets. In contrast to Adrian is his brother Josh (Bailey), a successful painter who happens to bring Madeline to one of his brother's concerts. Madeleine is immediately drawn to Adrian's work and invites him to perform at her gallery and into her bedroom. Eventually, Josh discovers the secret relationship between Madeleine and Adrian, and the fact that Madeleine has been using Josh's paintings, which have commercial appeal, to keep the gallery running while it features more avant-garde work.


(Untitled) (2009 film), Director
Jonathan Parker's debut film Bartleby (2001), an updated retelling of the classic Herman Melville tale "Bartleby, the Scrivener", was nominated for the Grand Prize at the Deauville Film Festival and was selected to be the opening night film of New York's New Directors/New Films Festival. A musician in his youth, Parker is also a collector of the San Francisco school of abstract expressionism, using many of his experiences in both worlds as a basis for (Untitled).


(Untitled) (2009 film), Reception, Reviews
The film received generally mixed reviews from critics. The review aggregator Rotten Tomatoes reported that 65% of critics have given the film a positive review based on 40 reviews, with an average rating of 5.99/10. The site's critics consensus reads, "This satire on the art world is at times both clever and shallow, but its top-notch cast generates plenty of goodwill." On Metacritic, the film has a weighted average score of 58 out of 100 based on 19 critics, indicating "mixed or average reviews".


(Untitled) (2009 film), Reception, Reviews
Lisa Schwarzbaum of Entertainment Weekly wrote "The whole cast is museum quality, music and the performances are pitch-perfect in their dissonance. Gary Goldstein of Los Angeles Times called the film "Ace in the best movie satires, there's a solid core of truth Informing director Jonathan Parker's (Untitled), which takes on the New York art and music worlds smart and funny in one swoop."


(Untitled) (2009 film), Reception, Reviews
Stephen Holden of The New York Times wrote, "If (Untitled) shrewdly hedges its bets about the value of it all, it is ultimately on the side of experimental music and art and their champions, no matter how eccentric. For that alone this brave little movie deserves an audience." The film also received bad reviews like that of Kevin B. Lee Time Out New York in which he wrote "(Untitled) 's onslaught of self-indulgent bohos and art-vs.-commerce clichés are as ersatz as their objects of scorn."


(Untitled) (2009 film), Reception, Box office
The film premiered in the United States on October 23. It opened in theaters and grossed in its first weekend $18,002.


(Untitled) Blue Lady
Untitled, more commonly referred to as The Blue Lady, 1999–2002, is a carved teakwood, metal, and indigo sculpture by Mumbai-based artist Navjot Altaf. The artwork represents a goddess of fertility and is painted bright blue, a traditional Hindu colour symbolizing divinity. The larger than life sculpture is also an illustration of the "challenges faced by women who try to claim recognition for their knowledge in parts of India." This contemporary South Asian work can be seen in the  Sir Christopher Ondaatje South Asian Gallery of The Royal Ontario Museum in Toronto, Ontario, Canada. Notably, the sculpture is listed as one of the ROM's iconic treasures and has been considered to be one of the most important pieces in the museum's collection of South Asian art.


(Untitled) Blue Lady
In 2003, (Untitled) The Blue Lady was exhibited at Talwar Gallery in New York City, which currently represents Altaf, in her first solo exhibition in the United States entitled In Response To.... The sculpture was installed alongside other human figures, similar in their monumental scale and brilliant indigo color, in what was an almost theatre-like setting; together, the solid, confident female figures became iconic presences, whose insistent physicality worked to "subvert...the narrative of patriarchal dominance and transcending the modes of art practices." The exhibition was instrumental in illuminating the gender-based concerns of Altaf's work, which questions the accepted language of eroticism, sexuality, and domesticity through the creation of figures, like (Untitled) The Blue Lady, of anomalous femininity.


(Untitled) Blue Lady, Description
The sculpture explores contrasting ideas in South Asian culture while providing a contemporary take on traditional South Asian art. The wood from which the statue is crafted, along with the indigo blue colour that it is painted, are symbolic nods to the handicraft industries of South Asia. The buxom female form is also seen readily in historical South Asian arts. Through the combination of the handcrafted and industrial, the past and present are brought together and contrasted without a recognizable resolution.


(Untitled) Blue Lady, Description
Among the influences cited for this sculpture are, "village witch-trials, fertility goddesses, and the indigo trade." The sculpture is also referred to as "Kunti", after a woman in the Adivasi community in Bastar, India that was part of Altaf's inspiration for the artwork. In this case, the woman was declared a witch and put on display to be humiliated in public. Altaf describes this real-life woman, Kunti, as a normal, confident woman, who was dehumanized for possessing knowledge.


(Untitled) Blue Lady, Description
Altaf started off by drawing the figure, then used clay to model it. The final sculpture, based on the clay model, is carved out of teakwood. Since it was not possible to carve the entire sculpture from one piece of wood, Altaf carved the torso and head as one piece, while the arms and legs have been carved separately. The body of the sculpture is not clothed, but bare. Her hands are stretched in mudra; one fist clenched, thumb outside fist, and the other hand open.


(Untitled) Blue Lady, Description
This symbolizes that she has knowledge in the grasped hand, and has the ability to receive more, while also dispersing information with the other open hand. The Blue Lady sits atop a vintage bottle drying rack; the inspiration for which Altaf drew from artist Marcel Duchamp's readymades, specifically his first readymade, the bottle drying rack.


(Up A) Lazy River
"(Up A) Lazy River" is a popular tune and song by Hoagy Carmichael and Sidney Arodin, published in 1930. The melody is by Arodin, arranged and with words modified by Carmichael. It is considered a jazz standard and pop standard, and has been recorded by many artists as listed below.


(Victoriaville) 1992
(Victoriaville) 1992 is a live album by composer and saxophonist Anthony Braxton recorded at the Festival International de Musique Actuelle de Victoriaville in Canada in 1992 and released on the Victo label.


(Victoriaville) 1992, Reception
Unlike many of the other documented recordings of this group, the material, with the exception of the closing track, consisted entirely of (at the time) recently composed pieces. Since much of Braxton's writing in the early '90s involved the exploration of very fluid and expansive sound territories, there are none of his infectious, bop-derived numbers or any plaintively emotional ballads. Instead we have a series of fairly knotty compositions where the thematic elements are elusive, recurring melodies rare and regular meter almost non-existent. All of which makes for one of the more challenging recordings by this quartet, requiring of the listener an approach perhaps more suited to contemporary classical music than to jazz.


(Waiting For) The Ghost Train
"(Waiting For) The Ghost-Train" is a single by Madness. Released in 1986 shortly after the band announced they were to split, it was their last single prior to reforming in 1992. It spent nine weeks in the UK charts, peaking at number 18. The song first appeared on an album on the band's 1986's Utter Madness greatest hits compilation, issued one month after its single release.


(Waiting For) The Ghost Train
The song was written by Suggs about apartheid in South Africa, with its chorus "It's black and white, don't try to hide it" and the line "The station master's writing with a piece of orange chalk / One hundred cancellations, still no one wants to walk" (in reference to the South African flag). Mike Barson reunited with the other members of the band to record this song, although he did not appear in the music video.


(Waiting For) The Ghost Train
A Christmas flexi-disc record containing the 'band demo' of the song was sent out to Madness fan club (M.I.S.) members, featuring farewells and thanks from each member of the band (except Barson).


(Waiting For) The Ghost Train, Critical reception
Upon its release, Anna Martin of Number One stated: "Reminiscent of the classic sound of "Grey Day" and "The Sun and the Rain", the chorus follows in the great tradition of sing-a-long-ability and ends in a big, sweeping crescendo that signals the end." Simon Mills of Smash Hits related the song to the band's recent material of that time: "Their "farewell single" is more of the same doomy stuff about an unfortunate bunch of folk who are all waiting for this train that never comes. Life's like that isn't it?"


(Want You) Back in My Life Again
"(Want You) Back in My Life Again" is a song by the popular group the Carpenters, the second single off their album Made in America, released in 1981. The song reached #72 on the U.S. Billboard Hot 100. Its B-side was "Somebody's Been Lyin'", another song from the album.


(Want You) Back in My Life Again
This song also has the "synthesizer programming" of Daryl Dragon of Captain and Tennille fame.


(We Ain't Got) Nothin' Yet
"(We Ain't Got) Nothin' Yet" is a song by the American rock band Blues Magoos, released in October 1966. It was a chart hit in the United States in February 1967. It was written by Ron Gilbert, Ralph Scala and Mike Esposito. The Vox Continental organ riff was closely based on guitarist James Burton's riff to Ricky Nelson's 1962 rock recording of the old George Gershwin standard "Summertime", which also inspired Deep Purple's 1970 hit song "Black Night".


(We Ain't Got) Nothin' Yet, The Spectres version
"(We Ain't Got) Nothin' Yet" is a single released by the British Rock band The Spectres  (a predecessor of Status Quo) in 1967.


(We All Are) Looking for Home
"(We All Are) Looking for Home" is a charity single recorded by British singer and songwriter Leona Lewis, which was written by the Grammy Award-winning songwriter Diane Warren.


(We All Are) Looking for Home
It is their second collaboration. Warren wrote the track "You Knew Me When" for Lewis' fifth studio album, I Am (2015). As Lewis and Warren are animal rights activists, they decided to work together again on a track that would raise awareness of the torturous cruelty to dogs around the world.


(We All Are) Looking for Home
"(We All Are) Looking for Home" was recorded and released to raise awareness of Lisa Vanderpump and her husband Ken Todd's Vanderpump Dog Foundation. Speaking about the campaign, Todd said, "It is our vision that this song will represent a movement to a more humane world for dogs everywhere and symbolize the global outcry for change." Vanderpump expressed her excitement at working with Lewis and Warren, adding, "We are very excited to be working alongside such innovative women like Diane and Leona. They are just as passionate about this campaign as we are, and we truly appreciate their support. The song supported the Stop Yulin Forever campaign in particular, which advocates for the end of the Lychee and Dog Meat Festival. The festival, which takes place in June each year, sees up to 10,000 dogs and cats slaughtered for their meat.


(We Are) Nexus
(We Are) Nexus is an American Electro-Pop act consisting of composer/producer Nick Gunn and lyricists/vocalist Carmen Rainier. The group officially formed in late 2012 in Chicago, IL.


(We Are) Nexus, Musical career, Formation
Gunn and Rainier met in 2010 in Santa Barbara, CA and began working together immediately on an album for Gunn's World music career, Thirty-One Nights, released in September 2012. They began producing dance music together in 2012 and (We Are) Nexus was formed.


(We Are) Nexus, Musical career, Releases
The first production released by (We Are) Nexus was a cover of Sonique's 1998 Trance hit classic "It Feels So Good."


(We Are) Nexus, Musical career, Releases
It was released by Shotgun Productions on the 13th of August, 2013, as an EP. The "It Feels So Good EP" consisted of an original cover track produced by Nexus, titled "It Feels So Good (Original Mix)" and six remixes of this cover by artists/DJs Casey Alva, Flatdisk, Wayne G & LFB, Sinclair & Chatters the Tribe, Tony Marinos, and Neon Knights.


(We Are) Nexus, Musical career, Releases
Their single "It Feels So Good (Flatdisk Electro Mix)," made Canada's Top 100 Overall iTunes Chart securing the #99 spot on August 17th, 2013 and cracked the US iTunes Top 100 Dance Chart its first weekend out.


(We Are) Nexus, Musical career, Releases
During the week of September 16th, Nexus gained recognition from online dance music radio station Fusion Radio after "It Feels So Good (Flatdisk Electro Mix)" hit #3 on the "Fusion Top 100" list. In the same week, Nexus became the #1 Breakout Artist of the Week on the Billboard Hot Dance/Club Chart beating out nationally recognized "Foxes" for her collaboration with DJ and Producer Zedd. After becoming the #1 Breakout Artist of the Week on Billboard, Nexus made their debut on Billboard Dance Club Songs at #42 on the week of September 23 and rose steadily in the weeks following. Nexus also debuted on the Top 50 of Billboards Dance/Electronic Songs the week of October 26, 2013.


(We Are) Nexus, Musical career, Releases
(We Are) Nexus' "It Feels So Good" peaked on Billboards Dance Club Songs and Dance/Electronic Songs charts the week of November 4, 2013 at #14 and #40, respectively.


(We Are) Nexus, Musical career, Releases
In addition to releasing the "It Feels So Good" EP on 13 August 2013, Nexus also released through  another EP titled "Sound of the Beat."


(We Are) Nexus, Musical career, Releases
After their initial success with "It Feels So Good," Nexus released their second album, "World Around Me," on January 28, 2014, which featured their original mix plus seven remixes from the likes of Flatdisk, Wayne G & LFB, and Grammy-nominated artist Mike Rizzo.


(We Are) Nexus, Group members, Nick Gunn
Nicholas Graham Gunn was born in Rochester, Kent in South East England. He enjoyed playing the flute, and studied with the prestigious Royal Academy of Music from age seven till age eleven, when his family moved to Southern California. After moving to Southern California Gunn continued his classical flute studies under private instruction. During junior high school and high school Gunn played wind ensemble in the band during concert season and drums and percussion during the marching season.


(We Are) Nexus, Group members, Nick Gunn
With a passion for recording his own instrumental style of music out of high school, Gunn has enjoyed a successful twenty-year career in world music under the name Nicholas Gunn. He has recorded and produced fourteen albums in this genre and is a double-platinum artist. He has also been on the Billboard New Age charts for fifty consecutive weeks with his albums, "The Sacred Fire," "The Music of the Canyon," and "Thirty-One Nights." Gunn also owned and operated his own record label, Gemini Sun Records, which represented over seventy-five artists worldwide and grew to be one of the top New Age music labels. Gemini Sun closed in 2009.


(We Are) Nexus, Group members, Carmen Rainier
Carmen Rainier was born in Scarborough, ME. Upon moving to Southern California at the age of nine, she began acting, forming a teen acting group in Los Angeles during high school and acting in local community productions such as Tony Kushner's Angels in America. Leaving college after her sophomore year, Rainier spent most of her twenties traveling, having visited nearly twenty countries and living abroad in Spain, Costa Rica, and Guatemala. She eventually returned to the U.S. in 2010 and moved to Santa Barbara, CA to complete a degree in Global Studies from the University of California, Santa Barbara. It was during this time that Rainier began singing seriously and when she began working with Gunn.


(We Are) Nexus, Group members, Carmen Rainier
In addition to being Nexus' lyricist and vocalist, Rainier is the owner and operator of , the record label through which Nexus' first two EPs were released and the ASCAP registered publishing arm overseeing the (We Are) Nexus and Nicholas Gunn music catalog.


(We Do It) Primo
"(We Do It) Primo" is a song by American recording artist Colette Carr. The song was written by Carr, and produced by Frankmusik. "(We Do It) Primo" was released on May 11, 2011 by Interscope as the first single from Carr's debut album Skitszo. The song was written about just having fun and a good time. "(We Do It) Primo" is musically known as a "summer anthem" by many critics. It samples Keane’s song "Somewhere Only We Know".


(We Do It) Primo
The song garnered mainly positive reviews from music critics. Many critics called it a "fun", "terrific" and "a summer anthem". "(We Do It) Primo" failed to become a commercial success, but it did gain Carr the number one spot on Billboard's "Uncharted Chart". A corresponding music video for "(We Do It) Primo" was directed by Nate Weaver. The purpose of the video was to introduce Carr to the public. The song was promoted through its music video being played on Teen Nick and MTV. The song is also the closing number of Carr's act in "The Cherrytree Pop Alternative Tour". The tour came to various different countries.


(We Do It) Primo, Background and composition
The song was written by Carr, by herself. It was described by many as " a total summer track" and a “total party tune." It samples Keane's song, “Somewhere Only We Know”. "(We Do It) Primo" was released internationally on May 11, 2011 as a CD single. “I wanted to cry of excitement. It's just the beginning,” said Carr.


(We Do It) Primo, Background and composition
"(We Do It) Primo" is a pop song with a length of three minutes and thirty-four seconds. It is an uptempo number. The song has tempo of 114 beats per minute. "(We Do It) Primo" is heavy in synths Lyrically. "(We Do It) Primo" speaks of the just having fun, with the lyrics saying “We Do It Primo”, with “Primo” meaning  “Of top quality or importance”. The bridge describes “doing it primo”  by using various similes including: “sweeter than vanilla” and “slaying all of this like it was Christmas”.


(We Do It) Primo, Background and composition
The song differs from Carr's previous songs. One main reason was that instead of her rap/singing style, she went for a more melodic song.


(We Do It) Primo, Critical reception
“(We Do It) Primo” was met with mainly positive reviews. Freewired.com called it “an addictive summer-y beatThe Prophet Blog gave the song a mixed review saying, “the hook is a total earworm” and called Carr “a badly dressed Ke$ha”. He did, however called the song's melody “uplifting”. Popjustice.com called it "various types of brilliant"TotallyVivid.com said that sampling a Keane song could but dangerous, but Primo " cleverly only uses the briefest of moments of the song, cherry-picking the catchiest hook of the chorus." MostlyJunkFood.com gave it 5 stars and called it "addictive". The song led Carr to be compared to various other women in the music industry, including Nicki Minaj, Ke$ha, Lady Gaga, Fergie, and Katy Perry.


(We Do It) Primo, Chart performance
Despite being released internationally, "(We Do It) Primo" failed to chart. The song gained 250,000 song plays in its first week. This got Carr the top spot on Billboard's Uncharted Chart. "My fans got my back. I feel like I could put out a country album and they'd still support it," said Carr.


(We Do It) Primo, Music video
The music video for "(We Do It) Primo" was directed by Nate Weaver. The video starts with Carr in her neighborhood, singing the song. In the background are different people riding bikes and skateboards. Frankmusik makes an appearance in the video as one of these people. Carr goes onto various green screens and different effects that represent the lyrics flash up on the screen. During the bridge of the song, Carr crawls through a white tent filled with glowing lights.


(We Do It) Primo, Music video
Then, the tent closes and we see Carr open the curtain to a stage and is seen wearing a glittery body-suit, dancing with different background dancers behind her. After the dancers leave, Carr flashes two sparklers at the camera, while dancing. The video finishes with her blowing out the sparklers. The main purpose of the video was to introduce Carr and her unique style.


(We Do It) Primo, Music video
The video for "(We Do It) Primo" was premiered on Vevo on May 18, 2011. Colette Carr called the video "purposly sloppy". MusicIsMyKingSizeBed.com called the video "freshy fresh" and called Carr "a star in the making." Like the song, the video was given positive reviews. BestInNewMusic.com said "Dunno which I like better the song or the video!" BlastThatBoombox.com said that "There really is no storyline which doesn't even matter because the song doesn't need one. The ending was a nice twist with Colette going under bed sheets to her hip underground place."


(We Do It) Primo, Music video
During the summer season of 2011 the video was shown on commercial breaks on Teen Nick and MTV.


(We Do It) Primo, Promotion
Before the song's release, Colette uploaded a 30-second preview to her YouTube channel, hoping it would attract people to buy the song. Carr performed the song as her closing number of her act at "The Cherrytree Pop Alternative Tour". The tour came to many countries including Canada and parts of Europe. Carr also did various internet and radio interviews for promotion. The music video for "Primo" was shown during commercial breaks on Teen Nick and MTV from June to September 2011.


(We Don't Need This) Fascist Groove Thang
"(We Don't Need This) Fascist Groove Thang" is a song by British synth-pop band Heaven 17. It was their debut single, released on 6 March 1981, also acting as the lead single from their debut studio album, Penthouse and Pavement (1981). It was a minor hit in the UK in 1981, despite being banned by the BBC. It was also a minor dance hit in the US. It developed from an instrumental, "Groove Thang", that Martyn Ware and Ian Craig Marsh created earlier that year for Music for Stowaways, an album they released under the British Electric Foundation name.


(We Don't Need This) Fascist Groove Thang, Details and ban by the BBC
"(We Don't Need This) Fascist Groove Thang" was written by Heaven 17 members Martyn Ware, Ian Craig Marsh and Glenn Gregory and included on their 1981 debut album Penthouse and Pavement. It was the first single released by the band.


(We Don't Need This) Fascist Groove Thang, Details and ban by the BBC
In the lyrics fascism and racism are described in an ironic fashion, using the lexicon of funk music. The lyrics of the song also reference the UK and US political leaders of the time, Prime Minister Margaret Thatcher and President Ronald Reagan, respectively, and include denunciations of both racism and fascism. According to the book Banned! : Censorship of Popular Music in Britain, 1967-92, the song was banned by the BBC due to concerns by Radio 1's legal department that it libelled Ronald Reagan as he was the U.S. president at the time of the song's release.


(We Don't Need This) Fascist Groove Thang, Reception and chart performance
Despite being banned by the BBC, "(We Don't Need This) Fascist Groove Thang" reached number 45 on the UK singles chart. It debuted on that chart on 21 March 1981 and peaked one week later. The single peaked at number 72 in Australia, and was a minor dance hit in the U.S., reaching number 29 on the Billboard Dance Music/Club Play Singles chart in 1981. The song was ranked at number 4 among the top 10 "Tracks of the Year" for 1981 by NME.


(We Don't Need This) Fascist Groove Thang, Reception and chart performance
Allmusic reviewer Stewart Mason describes the song as "clattering and jangled", with multiple electronic rhythm tracks played simultaneously, making the song seem faster than its nominal tempo. "(We Don't Need This) Fascist Groove Thang" has appeared on over a dozen 1980s music and dance music compilations, including Rhino Records' Postpunk Chronicles and Just Can't Get Enough: New Wave Hits of the '80s compilations.


(We Don't Need This) Fascist Groove Thang, Remix
A Rapino Brothers remix of "(We Don't Need This) Fascist Groove Thang" was released as a single in 1993, reaching number 40 in the UK Singles Chart. The remix and original version of the song were included on the compilation album Higher and Higher – The Best of Heaven 17, released in the same year.


(We Don't Need This) Fascist Groove Thang, Cover versions
The Fire Engines covered this song on a Peel session dated 23 February 1981


(We Don't Need This) Fascist Groove Thang, Cover versions
German dark wave project Deine Lakaien featured a cover on the 1999 CD Maxi "Into My Arms" (as "(We Don't Need This) Fascist Groove Thing")


(We Don't Need This) Fascist Groove Thang, Cover versions
American indie rock band Poster Children covered the song on their 2004 EP On the Offensive.


(We Don't Need This) Fascist Groove Thang, Cover versions
American new wave band Information Society covered the song in 2016 for their album  Orders of Magnitude. It was remixed by Inertia and The Crusher for the DEF CON 24 music compilation that same year, featuring multiple voice samples of American president elect Donald Trump.


(We Don't Need This) Fascist Groove Thang, Cover versions
American post-punk band 100 Flowers covered the song in 2017 for release as a digital single.


(We Don't Need This) Fascist Groove Thang, Cover versions
American rock band LCD Soundsystem released a cover of the song on 2 November 2018 and included it in their live album Electric Lady Sessions (2019).


(We Don't Need This) Fascist Groove Thang, Cover versions
Philadelphia's Dead Milkmen released a cover August 21, 2020 on a limited-release 7", with proceeds to benefit the charity Girls Rock Philly.


(We Want) The Same Thing
"(We Want) The Same Thing" is a song by American singer Belinda Carlisle. Written by Rick Nowels and Ellen Shipley, it was produced by Nowels for Carlisle's third album Runaway Horses (1989). It was released as the album's fifth single in the United Kingdom, on October 2, 1990.


(We Want) The Same Thing
To help promote the single in the United Kingdom, Virgin Records released a deluxe 12" vinyl boxed set with free stickers, and a picture disc single on CD, in addition to standard formats. The single peaked at #6 on the UK singles chart, and spent ten weeks in the Top 75.


(We Want) The Same Thing
The song was used during adverts, including one for the Peugeot 106.


(We Want) The Same Thing, Single remix
The single version of "(We Want) The Same Thing" is drastically different from the original version found on the album Runaway Horses. While the album version has a heavily accented punk rock staccato sound, the single version was changed into a powerful pop anthem; one of her most successful to date. The intro of the single version is notable for its chants of 'Hey!' repeated four times before a drum piece introduces the song. In the Runaway Horses album booklet, the lyrics listed for "(We Want) The Same Thing" vary from the actual version on the album though they match the lyrics for the single version.


(We're Not) The Jet Set
"(We're Not) The Jet Set" is a song recorded by country music duo George Jones and Tammy Wynette. It was written by country songwriter Bobby Braddock.


(We're Not) The Jet Set, Background
The song is a humorous celebration of country roots. Epic released the song as a single in 1974 and it climbed to #15 on the Billboard country charts. In July 2013 Uncut singled out the performance as a "grand romance." John Prine covered the song with Iris Dement and it became the opening track on his 1999 LP In Spite of Ourselves.


(We're Off on the) Road to Morocco
(We're Off on the) Road to Morocco is a song composed in 1942 by Jimmy Van Heusen, with lyrics by Johnny Burke, for the film Road to Morocco, in which it was performed by Bing Crosby and Bob Hope. Crosby recorded a solo version of the song, with different lyrics, on June 10, 1942 with Vic Schoen and his orchestra. Subsequently, on December 8, 1944,  Crosby and Hope recorded a duet version which reached the No. 21 position in the Billboard charts briefly in July 1945.


(We're Off on the) Road to Morocco
The song was included as #95 in AFI's 100 Years...100 Songs.


(We're Off on the) Road to Morocco
The song was also recorded by Rosemary Clooney and Jack Sheldon for Clooney's 1994 album Still on the Road.


(We've Got) Honey Love
"(We've Got) Honey Love" is a 1967 song by Motown girl group The Velvelettes that later became a 1969 single released by another Motown girl group Martha and the Vandellas (credited here as Martha Reeves & the Vandellas) from their album Ridin' High released in 1968. The song returned the Vandellas to the top forty of Billboard's R&B singles chart where it peaked at number twenty-seven while it hit the Billboard Hot 100 peaking at number fifty-seven.


(We've Got) Honey Love
It was the group's sixth record where they were listed as Martha Reeves and the Vandellas following the successful "Honey Chile" single two years earlier. The song talked of how one woman's lover's charm was like "sugar and spice" adding names of candy and soda adding "a little bit of me, a little bit of you and we've got honey love."


(We've Got) Honey Love
The Velvelettes, meanwhile, had recorded two versions of the song (one led by the group's lead singer, Carolyn 'Cal' Gill, the other is a rare lead for then group member - and future Vandella - Sandra Tilley), both of which would go unreleased for almost 40 years. All three versions were written by Richard Morris and Sylvia Moy, and produced by Morris (with Moy co-producing the versions by The Velvelettes). Every version also used the same track with The Andantes as background vocals.


(What Can I Say) To Make You Love Me
"(What Can I Say) To Make You Love Me" is a song written by Jimmy Jam and Terry Lewis and recorded by American recording artist Alexander O'Neal. It is the fifth single from the singer's second solo album, Hearsay (1987). The song's distinctive backing vocals were performed by Lisa Keith. Following the successful chart performances of the Hearsay singles "Fake", "Criticize", "Never Knew Love Like This", and "The Lovers", "(What Can I Say) To Make You Love Me" was released as the album's fifth single.


(What Can I Say) To Make You Love Me, Release
The song O'Neal's eleventh top 40 single which reached #27 in the UK Singles Chart in July 1988, and #68 on the R&B chart in O'Neal's native United States.


(What Is) Love?
"(What Is) Love?" is a song recorded by American entertainer Jennifer Lopez. Originally entitled "What Is Love? ", the song appeared on the soundtrack to The Back-up Plan (2010), a film in which Lopez stars, version presented in Italy at the Sanremo Music Festival 2010. The song was later included on Lopez's seventh studio album Love? (2011), as the album's title track. "(What Is) Love?" is a midtempo electropop song written by Diana "Wynter" Gordon, with the song's producer Emile "D'Mile" Dernst II. The song is about "not knowing what love is," according to Gordon. A remix of "(What Is) Love? ", entitled "What Is Love? Part II", was produced by Jean-Baptiste. It was considered for inclusion on Love? and was leaked onto the internet in April 2013.


(What Is) Love?
The song was due to be released as a promotional single from Love? on April 26, 2011, but was "unlocked" and released on April 22, 2011 by Island Records through a campaign on Lopez's Facebook page. Upon its promotional release, the song debuted at number 97 on the South Korea Gaon International Chart and at 33 on the Productores de Música de España.


(What Is) Love?, Writing and production
"(What Is) Love?" written by Diana "Wynter" Gordon and Emile "D'Mile" Dernst; the latter who also produced the song. Lopez's vocals for the song were recorded and produced by Kuk Harrell, with recording assistance from Jim Annunziato and Josh Gudwin at Conway Studios in Hollywood, California. Annunziato and Eric Eylands handled audio engineering of "(What Is) Love? ", while the song was later mixed by Mike "Handz" Donaldson at Chalice Recording Studios in Los Angeles, California.


(What Is) Love?, Writing and production
"(What Is) Love?" deals with the topic of "not knowing what love is". The song's co-writer Gordon stated that: "I felt like so many woman have that same story. No fathers, families, abusive boyfriends and husbands..no parental support, they feel alone .. I've had my few relationships and have yet to feel love  [sic]."


(What Is) Love?, Leak and release
"What Is Love?" was leaked onto the internet in May 2009. Wynter Gordon, the co-writer of "What Is Love? ", expressed her dismay at the "unfinished and unmastered" song's leak in a post on her official MySpace blog. She stated: "I wrote this song from a deep place in my heart. If the world was gonna hear it, I wanted them to hear it right... It's as good as gone to me now... The story was given a Lifetime TV special instead of a movie... sad." Gordon did note that she was dissatisfied with the circumstances, but was in "no way dissing Lopez."


(What Is) Love?, Leak and release
A mastered version of "What Is Love?" was included on the soundtrack to The Back-up Plan (2010), a film in which Lopez stars. "What Is Love?" was re-titled as "(What Is) Love?" and appeared on Love? (2011). "(What Is) Love?" was due to be released as a promotional single from Love? on April 26, 2011, but was "unlocked" and released four days earlier, on April 22, 2011 by through a campaign on Lopez's Facebook page. It was released in many European countries on April 25.


(What Is) Love?, Critical response
The song received a positive review from Digital Spy's Robert Copsey, who although stating that it isn't any "we haven't heard before," Lopez carries "it off with her unrivalled glamour and effortless sophistication." He concluded by stating that the song was worthy of a standalone release. Monica Herrera from Billboard commented that on the song, Lopez channels "J.Lo circa 2003." Herrera added the song would have been "slayed if the gender had been flipped", and it had been sung by Justin Bieber. Joey Guerra from the Houston Chronicle said that Lopez uses "(What Is) Love?" (and the album cut "Starting Over") to play the jilted lover. Us Weekly noted the song's lyrics to be pointing "a few fingers" at Lopez's previous relationships, seen in the line dissing "blind dates" and the declaration of: "Musicians are the worst."


(What Is) Love?, "What Is Love? (Part II)"
During the first album listening party for Love? in 2009, Rap-Up magazine revealed that Jean-Baptiste had produced a second version of the song called "What Is Love? (Part II)". It was considered for included on the album but ultimately did not make the final track listing. It samples the "club-friendly" riff of Edwin Starr's 1970 single "War". "What Is Love? Part II" was leaked onto the internet on April 22, 2013.


(What's So Funny 'Bout) Peace, Love, and Understanding
"(What's So Funny 'Bout) Peace, Love, and Understanding" is a 1974 song written by English singer/songwriter Nick Lowe. Initially released by Lowe with his band Brinsley Schwarz on their 1974 album The New Favourites of... Brinsley Schwarz, the song was released as a single and did not chart.


(What's So Funny 'Bout) Peace, Love, and Understanding
The song was most famously covered by Elvis Costello and the Attractions, who recorded a version of the song that was released as a B-side to Lowe's 1978 solo single "American Squirm". The cover saw great popularity and was later included on the American version of Costello's 1979 album Armed Forces.


(What's So Funny 'Bout) Peace, Love, and Understanding, Brinsley Schwarz version
Nick Lowe had initially written the song while in the pub rock band Brinsley Schwarz. He explained, "I had the incredible foresight not to mess it up with any clever, stupid, clever lines. ' Just let the slightly clunky title do the work,' was the idea. The idea was all in the title. I had a good tune for it. And I let the title do the work. And that was amazing—I'm amazed nowadays, looking back, that I did that." Their version was produced by Dave Edmunds, whose production, according to Lowe, gave the track "a big full sound."


(What's So Funny 'Bout) Peace, Love, and Understanding, Brinsley Schwarz version
The song was originally released in 1974 on the album The New Favourites of... Brinsley Schwarz and released as a single; this version has been included in the following Lowe compilations: 2002's Anthology (along with the Elvis Costello version), 2009's Quiet Please... The New Best of Nick Lowe, 1991's Surrender to the Rhythm: The Best of Brinsley Schwarz, 1996's Naughty Rhythms: The Best of Pub Rock 1970–1976, and 1998's Pub Rock: Paving the Way for Punk. The song was a commercial failure; Lowe commented, "When the Brinsleys split up, that should've been the end of it. That’s what happens to bands' songs when they split up, the songs go in the dustbin of history. The song was never a hit, it never caused much of a stir at all when we did it originally."


(What's So Funny 'Bout) Peace, Love, and Understanding, Brinsley Schwarz version
Lowe has not released a solo studio version of the song, but plays it regularly in concert, and live versions have appeared as B-sides of his 1982 double single "My Heart Hurts", and his 1994 EP True Love Travels on a Gravel Road, on the radio compilations KGSR Broadcasts Vol. 3, Q107's Concerts in the Sky: the Campfire Versions, and Live at the World Cafe 10th Anniversary, some with solo acoustic guitar and some with different full bands.


(What's So Funny 'Bout) Peace, Love, and Understanding, Brinsley Schwarz version
Another live Lowe version appeares on his 2004 live album Untouched Takeaway, and a live Brinsley Schwarz version is included on What IS so Funny About Peace Love and Understanding?, which featured songs played live in BBC sessions. Lowe also produced a cover version of the song as a B-side for the 1991 single "See Saw" by the British band the Katydids, after producing their eponymous debut album.


(What's So Funny 'Bout) Peace, Love, and Understanding, Elvis Costello & the Attractions version
Elvis Costello and the Attractions recorded a cover of the song for the B-side of Nick Lowe's 1978 single "American Squirm", a version credited to "Nick Lowe and His Sound". At the time Lowe was Costello's producer, and produced this track as well. Lowe recalled of the process:


(What's So Funny 'Bout) Peace, Love, and Understanding, Elvis Costello & the Attractions version
It was [Costello's] idea. I produced his records back then. ... He was a fan of a band I was in before Rockpile, called Brinsley Schwarz. He used to come see us play. ' Peace Love and Understanding' was a Brinsley Schwarz song. ... But it was he who really popularized that song. It's been covered by loads of people, and it would've disappeared if it wasn't for him.


(What's So Funny 'Bout) Peace, Love, and Understanding, Elvis Costello & the Attractions version
When the song became a hit, it was quickly appended as the last track to the US edition of Costello's album Armed Forces. It has appeared on most of Costello's "Best of..." compilations over the years, as well as on the soundtrack to the film 200 Cigarettes. Live versions appeared on Rock and Roll Hall of Fame, Volume 7: 2002–2003, and 2012's The Return of the Spectacular Spinning Songbook, both by Elvis Costello and the Attractions. In 2004, Rolling Stone magazine ranked this version of the song as the 284th-best song of all time.


(What's So Funny 'Bout) Peace, Love, and Understanding, Elvis Costello & the Attractions version
Modern Drummer said of drummer Pete Thomas' performance, "A beautiful thing happens on this song, common to many early Attractions songs. It's that feeling that the track could derail, when in reality Thomas has everything locked down. He does a lot of playing here without overplaying. Like most Attractions songs from that era, this was cut live, full-band and lead vocal. That’s probably why so many years later, it still sounds so energized and inspired."


(What's So Funny 'Bout) Peace, Love, and Understanding, Elvis Costello & the Attractions version
The video for the song was directed by Chuck Statler.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
A version of the song was included on the soundtrack album for the film The Bodyguard, which sold 17 million copies in the United States alone. This version was performed by jazz singer Curtis Stigers (who also used it as a B-side to the single "Sleeping with the Lights On" from his eponymous debut album, which had been released the previous year) and produced by Danny Kortchmar. According to Will Birch's book on pub rock, No Sleep Till Canvey Island, the cover royalties from Stigers' version of the song made Lowe wealthy. Lowe, however, asserts that he used most of the money to support a subsequent tour with full band. Stigers later covered a second Lowe song, "You Inspire Me", on the 2003 album of the same name.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
John Lennon quotes the song in his 1980 Rolling Stone interview with Jonathan Cott.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
A karaoke version of the song, sung by Bill Murray, is included in the 2003 film Lost in Translation. However, it was not included in the film's soundtrack.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
In 2004, "(What's So Funny 'bout) Peace, Love and Understanding" was regularly performed as an all-star jam on the Vote for Change tour, which featured a rotating cast of headliners. The 11 October concert at the MCI Center in Washington, D.C. was broadcast live on the Sundance Channel and on radio. This version of the song featured Bruce Springsteen and the E Street Band, the Dixie Chicks, Eddie Vedder, Dave Matthews, and John Fogerty with Michael Stipe, Bonnie Raitt, Keb' Mo', and Jackson Browne.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
In 2008, it was also used as a group number, at the close of the Comedy Central special A Colbert Christmas: The Greatest Gift of All!, sung by Stephen Colbert, Elvis Costello, Willie Nelson, Toby Keith, John Legend, and Feist. This performance was included on the album, which won the 2010 Grammy Award for Best Comedy Album.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
In response to the Pittsburgh synagogue shooting on October 27, 2018, at Tree of Life, Pittsburgh, Pennsylvania-based band The Clarks released a cover of the song, with all proceeds going to the synagogue.


(What's So Funny 'Bout) Peace, Love, and Understanding, Other recordings and performances
In May 2020, during the corona pandemic, Sharon Van Etten and Queens of the Stone Age's Josh Homme released a cover of the song accompanied by an official video which was shot at the artists' respective homes. "We wanted to share something personal and universal. That we are all in this time together", Van Etten wrote about the cover. Van Etten in seen performs in her garden as her child plays in the background. Homme performed the song while sitting on a staircase and later in one of his house’s bedrooms. The musician's children also appear in several scenes. The visuals of the video was created by Matthew Daniel Siskin "via iMessage + telephone", with co-directing duties coming from "all the kids".


(What's the Story) Morning Glory?
(What's the Story) Morning Glory? is the second studio album by English rock band Oasis. Released on 2 October 1995 by Creation Records, it was produced by Owen Morris and the group's guitarist and main songwriter Noel Gallagher. The structure and arrangement style of the album were a significant departure from the group's previous album Definitely Maybe (1994). Gallagher's compositions were more focused in balladry and placed more emphasis on "huge" choruses, with the string arrangements and more varied instrumentation contrasting with the rawness of the group's debut album. Morning Glory was the group's first album with drummer Alan White, who replaced Tony McCarroll (though McCarroll still appeared on the album, drumming on the track "Some Might Say").


(What's the Story) Morning Glory?
The record propelled Oasis from being a crossover indie act to a worldwide rock phenomenon, and is seen by critics as a significant record in the timeline of British indie music. Morning Glory sold a record-breaking 345,000 copies in its first week in the UK, spent 10 weeks at number one on the UK Albums Chart. It was also the band's breakthrough in America, reaching number four on the US Billboard 200 and being certified 4× platinum there.


(What's the Story) Morning Glory?
The album yielded four major hit singles in the band's native Britain: "Some Might Say" and "Don't Look Back in Anger" reached number one, and "Roll with It" and "Wonderwall" peaked at number two; the latter spent a then lengthy 30 consecutive weeks on the chart during its initial run and emerged as the band's biggest selling UK hit. "Champagne Supernova" and "Wonderwall" reached number one on the Billboard Alternative Songs chart. At the 1996 Brit Awards, the album won Best British Album. Over several months in 1995 and 1996, the band supported the album with an extensive world tour, which saw them play to among the largest audiences ever at the time.


(What's the Story) Morning Glory?
Although a commercial success, the record initially received lukewarm reviews from mainstream critics; many reviewers deemed it inferior to Definitely Maybe, with the songwriting and production particular points of criticism. However, critical opinion towards the album completely reversed in the ensuing years, and it is now generally considered an important record of both the Britpop era and the 1990s in general, as well as appearing on several lists of the greatest albums in rock music. At the 2010 Brit Awards, Morning Glory was named the greatest British album since 1980.


(What's the Story) Morning Glory?
It has sold over 22 million copies worldwide, making it one of the best-selling albums of all time. As of October 2018, it is the UK's fifth best-selling album and third best-selling studio album of all time, having been certified 16× platinum and selling 4.94 million copies. It was also the UK's best-selling album of the 1990s, and is currently the fourth-longest charting studio album in the UK, having spent over 500 weeks on the UK Album Chart.


(What's the Story) Morning Glory?, Background and recording
In May 1995, in the wake of the critical and commercial success of their 1994 debut album, Definitely Maybe, Oasis began recording Morning Glory at Rockfield Studios in Wales, with Owen Morris and Noel Gallagher producing. By the time they had finished in June 1995, Oasis were on the brink of becoming one of the most popular bands in the UK; the August 1995 "Battle of Britpop" incident in which Oasis and Blur had a chart battle over their respective singles "Roll with It" and "Country House" would propel them to mainstream awareness.


(What's the Story) Morning Glory?, Background and recording
Despite the friction between the Gallagher brothers, Owen Morris reflected in 2010 that: "The sessions were the best, easiest, least fraught, most happily creative time I've ever had in a recording studio. I believe people can feel and hear when music is dishonest and motivated by the wrong reasons. Morning Glory, for all its imperfection and flaws, is dripping with love and happiness." Paul Weller joined them in the studio and provided lead guitar and backing vocals for "Champagne Supernova", and harmonica for the two untitled tracks known as "The Swamp Song". Noel wrote the last song for the album, "Cast No Shadow", on the train as he returned to the studio.


(What's the Story) Morning Glory?, Background and recording
Morris claimed the album was recorded in 15 days, at a pace of one song a day. "Some Might Say" proved problematic to record: the backing track was recorded in one take after Noel Gallagher and Morris drunkenly listened to the demo and decided the new version was played too fast, and Noel woke the rest of the band to re-record it.


(What's the Story) Morning Glory?, Background and recording
The backing track was faster than intended, with what Morris described as "a really bad speed up during the first three bars of the first chorus", but the take had to be used because those involved were impressed with Liam's vocals, and Morris had to mix the track three times, using delay and other processing to hide the mistakes. When the album was finished, Morris said it would "wipe the field with any competition ... It's astonishing. It's the Bollocks for this decade." Creation Records boss Alan McGee was similarly enthused, saying that "You just cannot slag this record.


(What's the Story) Morning Glory?, Background and recording
It's gonna speak to real, working class lads in a way that a Suede or Radiohead could only dream of doing." The title (What's the Story) Morning Glory? was inspired by Noel's friend Melissa Lim answering the phone with said phrase, which is itself derived from a line from the film Bye Bye Birdie - presumably itself a reference to the 1938 Mary Lou Williams jazz standard of the same name.


(What's the Story) Morning Glory?, Background and recording
The brickwall mastering technique utilised during the recording of the album has led to some journalists claiming that it was responsible for initiating the loudness war, as its heavy use of compression, first widely used by Morris on Definitely Maybe, was leaps and bounds beyond what any other album up until then had attempted. Music journalist Nick Southall, who has written extensively on the loudness war, commented, "If there's a jump-the-shark moment as far as CD mastering goes then it's probably Oasis."


(What's the Story) Morning Glory?, Background and recording
In Britpop and the English Music Tradition, Andy Bennett and Jon Stratton noted that as a result of this technique "the songs were especially loud. [ Liam] Gallagher's voice is foregrounded to the point that it appears to grow out of the mixes of the songs, exposing itself to execute a pseudo-live quality."


(What's the Story) Morning Glory?, Composition
The music on (What's the Story) Morning Glory? has been characterised by commentators as rock and Britpop. Music critic John Harris commented in his music history Britpop! : Cool Britannia and the Spectacular Demise of English Rock that much of the music seemed to be "little more inspired than a string of musical hand-me-downs".


(What's the Story) Morning Glory?, Composition
Among the musical cues Harris noted on the album were Gary Glitter's "Hello, Hello, I'm Back Again", the theme to the 1970s children's programme You and Me and the Beatles' "While My Guitar Gently Weeps" ("She's Electric"), and the influence of R.E.M. 's "The One I Love" on "Morning Glory". One song, "Step Out", bore such a close resemblance to the song "Uptight (Everything's Alright)" by Stevie Wonder that it was removed from the album shortly before release due to the threat of legal action.


(What's the Story) Morning Glory?, Composition
In Britpop ..., Bennett and Stratton analysed Liam Gallagher's vocal style in significant detail, stressing its importance to the songs of the album; "[Liam's] Mancunian accent blends into a register and timbre that works the gestural contours of the melody and lyrics." Bennett and Stratton went on to conclude that Liam's 'over-personalized' style on songs such as "Wonderwall" resulted in "a beautiful sense of sentimentality that bespeaks the despondency of a generation. This occurs through the narrative structure of the song, vocal production, and the conventions of the singer's cultural context."


(What's the Story) Morning Glory?, Composition
Noel Gallagher summed up his own perspective on the album's aesthetic in an interview with Rolling Stone in 1995; "Whilst [Definitely Maybe] is about dreaming of being a pop star in a band, What's the Story is about actually being a pop star in a band." The album has a notable anthemic theme to its songs, differing from the rawness and edged rock of Definitely Maybe. The use of string arrangements and more varied instrumentation in songs such as "Don't Look Back in Anger" and "Champagne Supernova" was a significant departure from the band's debut.


(What's the Story) Morning Glory?, Composition
This style had first been implemented by the band on their fifth single, "Whatever", released in December 1994. It was produced in conjunction with the London Symphony Orchestra, resulting in a much more pop-oriented and mellower sound; this would be the template that would come to define many of the songs on What's the Story. In the BBC documentary Seven Ages of Rock, former NME chief editor Steve Sutherland noted that "with Morning Glory, [Noel] began to take seriously the notion of being the voice of a generation".


(What's the Story) Morning Glory?, Composition
The album title closely resembles the song title "What's Your Story, Morning Glory?" written by Paul Francis Webster, Jack Lawrence, and Mary Lou Williams in 1938.


(What's the Story) Morning Glory?, Cover
The cover is a picture of two men passing each other on Berwick Street in London. The two men are London DJ Sean Rowley and album sleeve designer Brian Cannon (back to the camera). The album's producer Owen Morris can be seen in the background, on the left footpath, holding the album's master tape in front of his face. The location was chosen because the street was a popular location for record shops at the time. The cover cost £25,000 to produce.